May/June 2009 Take the Plunge Also in This Issue . . . Throwing with Templates Throw Really Big Pots Is Porcelain for You? PotteryMaking Illustrated | May/June 2009 1 2 PotteryMaking Illustrated | May/June 2009 table of contents features 17} High Profile 22} The Pancaker by William Schran by Keith Phillips Design once, throw If you love cooking, many. Here’s how to here’s the perfect project make and use throwing for your weekend pan- templates for great pot- cake breakfast. Pass the tery profiles every time. syrup, please. 29} Getting Started with Porcelain 35} Throwing Big by Michael Guassardo by Antoinette Badenhorst Throwing a large pot is Thinking about making simple when you do it a switch? Meet the chal- step-by-step. Just mea- lenge of white clay with sure your kiln before a few expert tips on you begin! working with porcelain. departments 6} In the Mix Reticulation Glazes 8} Tools of the Trade Green Wheels by Robin Hopper by Bill Jones 12} Tips from the Pros 10} Supply Room Sun Screen Buying Porcelain by Paul Andrew Wandless by Antoinette Badenhorst 41} Instructors File Throwing: A Three Stage Approach 44} Off the Shelf The Basics of Throwing by Jake Allee by Sumi von Dassow 48} Ad Hoc Impress your friends, improve your life and fill your brain. On the Cover Keith Phillips creates The Pancaker—the perfect gadget for any potter’s kitchen. See story on page 22. PotteryMaking Illustrated | May/June 2009 3 fired up Stimulus Volume 12 • Number 3 “You cannot depend on your eyes when your imagination is out of focus.” —Mark Twain I magination is your greatest asset in the studio, but then that’s why you got into clay in the first place. If you’re feeling a little out of focus because of all the bad economic news, you’ll enjoy this “studio stimulus package” filled with techniques, projects and ideas you can put to use immediately. We focused on throwing in this issue and our imaginative authors provide a variety of perspectives. Keith Phillips’ imagination (remember the Gumball Machine in the Nov/Dec 2008 issue?) came up with the Pancaker—an ingenious 50s-era gadget reborn as a highly creative gift idea. Keith has even more projects in store for future issues, so stay tuned. Do you imagine your next creation in porcelain? Antoinette Badenhorst takes a look at what you need to know and do to be successful in this challenging medium. When she decided that she wanted her work to reflect light and movement, she realized that porcelain was the way to go. But as she discovered, using porcelain isn’t as simple as just changing clay—it’s a new way of working. We’re fortunate to have Michael Guassardo, editor of South Africa’s National Ceramics, as a contributor again. His report on the technique used by David Schlapobersky to create large thrown vessels, which his wife, Felicity Potter, decorates, has been missing from our repertoire of wheel techniques. In his step-by-step description, David describes the technique for making a large form, which he doesn’t finish. That’s where your imagination comes in. William Schran made throwing templates so he could use the wheel to repeat some of his favorite profiles. And while we’re on the topic of repeating things, Paul Wandless is always looking for the latest printing techniques he can use to transfer images onto his work—take a look at his report on screens you can develop in the sun. And finally, there’s an ongoing argument in the throwing world about wheel rotation. With the pottery world divided into two major traditions— Eastern and Western—it’s no surprise there’s disagreement about which method is superior. In our PMI Reader Survey (see p. 48), we asked a sampling of readers about what they preferred and whether they were right or left handed. Of course the results are skewed because we’re predominantly Western-trained potters, but what’s surprising is the number of you who use the wheel going either direction and/or you’re ambidextrous. Bill Jones Editor 4 PotteryMaking Illustrated | May/June 2009 Publisher Charles Spahr Editorial Editor Bill Jones Assistant Editor Holly Goring Assistant Editor Jessica Knapp editorial@potterymaking.org Telephone: (614) 895-4213 Fax: (614) 891-8960 Graphic Design & Production Cyndy Griffith Marketing Steve Hecker Ceramics Arts Daily Managing Editor Jennifer Poellot Harnetty Webmaster Scott Freshour Advertising Advertising Manager Mona Thiel Advertising Services Jan Moloney advertising@potterymaking.org Telephone: (614) 794-5834 Fax: (614) 891-8960 Subscriptions Customer Service: (800) 340-6532 www.potterymaking.org Editorial & Advertising offices 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 USA www.potterymaking.org Pottery Making Illustrated (ISSN 1096-830X) is published bimonthly by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082. Periodical postage paid at Westerville, Ohio, and additional mailing offices. 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Form 3579 requested. ceramicartsdaily.org Copyright © 2009 The American Ceramic Society All rights reserved PotteryMaking Illustrated | May/June 2009 5 in the mix Reticulation Glazes by Robin Hopper 1. LG 1 • e (10%) • 6 Ox 2. LG 1 • x (5%) • 6 Ox 3. LG 1 • x (5%) • 6 Ox 4. LG 1 • x (7.5%) • 6 Ox 5. LG 1 • x (10%) • 6 Ox 6. LG 1 • d (.625%) • 6 Ox 7. LG 1 • vg (10%) • 6 Ox 8. LG 1 • e (2.5%) • 6 Ox 9. LG 1 • x (5%) • 6 Ox 10. LG 1 • u (7.5%) • 6 Ox 11. LG 1 • h (.625%) • 6 Ox 12. LG 1 • h (7.5%) • 6 Ox 13. LG 2 • b (.625%) • 6 Ox 14. LG 2 • b (1.25%) • 6 Ox 15. LG 2 • h (5 %) • 6 Ox 16. LG 1 • base • 9 R 17. LG 2 • x (10%) • 9 R 18. LG 1 • x (10%) • 9 R 19. LG 2 • c (5%) • 9 R 20. LG 2 • u (10%) • 9 R 6 PotteryMaking Illustrated | May/June 2009 R eticulation glazes form a group of specialized glazes that show patterns of heavy crawling, or reticulation. The patterns look similar to lichens, lizard skin and leopard skin, depending on the glaze base, underglaze coatings and firing temperature. The same glaze may give very different results at a variety of temperatures. Putting the reticulation glazes over a colored slip allows the top glaze to move and the visible cracks to be colored between “islands” of glaze. Any colored slip will do, but one of the most interesting is usually black, as it intensifies the color of the covering glaze. With reticulation glazes applied heavily over the slip and fired at cones 04, 6 and 9-10, and with added colorants, a wide range of textural possibilities can be developed. The main requirement in the glaze is a big saturation of magnesium carbonate as seen in the two typical base glazes below. Hopper LG #1 Soda Feldspar . . . . . . . . . . . . . . . . . . 27% Magnesium carbonate . . . . . . . . . . . 28 Ferro frit 3134 . . . . . . . . . . . . . . . . . . 9 Ferro frit 3195 . . . . . . . . . . . . . . . . . 5 Talc . . . . . . . . . . . . . . . . . . . . . . . . . 7 Zinc oxide . . . . . . . . . . . . . . . . . . . . . 5 Kaolin . . . . . . . . . . . . . . . . . . . . . . . 19 100 % Hopper LG #2 Soda Feldspar . . . . . . . . . . . . . . . . . . 35% Magnesium carbonate . . . . . . . . . . . 25 Ferro frit 3195 . . . . . . . . . . . . . . . . . 10 Talc . . . . . . . . . . . . . . . . . . . . . . . . . 15 Kaolin . . . . . . . . . . . . . . . . . . . . . . . 15 100 % Excerpted from The Ceramic Spectrum by Robin Hopper. For more information, visit www.ceramicartsdaily.org/books. Soldner Clay Mixers by Muddy Elbow Manufacturing 310 W. 4th Newton, KS • 67114 Phone/Fax (316) 281-9132 conrad@southwind.net soldnerequipment.com Key for Colorant Additions b = cobalt carbonate c = copper carbonate d = manganese dioxide e = nickel carbonate h = chromium oxide u = Commercial Yellow Stain vg = Commercial Victoria Stain x = Cerdec/Degussa inclusion red stain 27496 Key for Firing 6 Ox = cone 6 oxidation 9 R = cone 9 reduction PotteryMaking Illustrated | May/June 2009 7 tools of the trade Going Green by Bill Jones E xisting in one form or another for more than 10,000 years, the potter’s wheel has evolved slowly over the millennia. In the 21st century, electric wheels with enhancements reign supreme, but the venerable, traditional kick wheel still hangs on—a testimony to its simplicity. There are basically two types of foot-powered wheels—kick wheels and treadle wheels. The kick wheel utilizes a heavy flywheel that stores energy as it speeds up when propelled by your foot, while the treadle wheel utilizes a lever and cam mechanism that turns a shaft with a weighted flywheel. Operating a foot-powered wheel takes a little practice and coordination, but potters who use them swear by the relaxed rhythm and pace of their throwing as well as their intimate connection to the throwing process. Kick Wheels There are three major manufacturers of kick wheels in North America: Thomas Stuart wheels made by Skutt, Brent wheels made by Amaco, and Lockerbie wheels made by Laguna Clay. Most basic kick wheels are constructed with a steel frame and come with an adjustable seat, reinforced cast concrete flywheel, cast metal wheel head and wood or composite work surface. Some accessories are also available. And even though you can power the wheels by foot, some models come with an electric motor option. With flywheels Western kick wheels typically feature a steel frame with a reinforced cast concrete flywheel, cast metal wheel head, adjustable seat and wood or composite work surface. Once a flywheel is rotating, the weight of it (between 120 and 140 pounds) provides momentum. An electric motor can maintain the momentum of a moving flywheel. Pictured: Brent J Kick Wheel Pictured: Skutt Thomas Stuart Kick Wheel with optional motor Since the designs of most wheels have been around for up to 40 years, parts are easy to come by. For example, Laguna’s Lockerbie wheels can be retrofitted with a motor. For the economy minded, a knock-down wooden Brent wheel comes in a kit with all hardware. The flywheel is weighted with bricks sandwiched between two plywood pieces. Pictured: Brent Kick Wheel Wood Kit Pictured: Laguna Clay’s Lockerbie Wheel 8 PotteryMaking Illustrated | May/June 2009 much remains in one place due to its weight. Since they are bulky and heavy, consider having your wheel shipped unassembled to save on shipping. For the budget conscious, the Brent Kick Wheel Wood Kit is economically priced. And if you’re really industrious, you can search for “kick wheel plans” online and construct your own or give a set of plans to a local woodworker to have one custom made. n Who to Contact These manufacturers have detailed information on their websites along with information on their distributors. Brent Kick Wheels: www.amaco.com Thomas Stuart Kick Wheels: www.skutt.com Lockerbie and Laguna Kick Wheels: www.lagunaclay.com Great River Woodworking Leach Treadle Wheel: http://greatriverwoodworking.com This Leach Treadle Wheel, crafted by Great River Woodworking, is based on a style attributed to Bernard Leach at the onset of the 20th century. Typically made to order, these highly prized wheels remain a favorite of many working potters. Photo courtesy Great River Woodworking weighing more than 125 pounds, the motors easily maintain momentum after the flywheel is turning. Treadle Wheels Treadle wheels, which rely on a foot-powered treadle mechanism to drive a flywheel, were once common in English and American potteries and more recently mass produced for both school and private studio. The most common version now available is a sit down version based on a designed refined by Bernard Leach at the beginning of the 20th century. The so-called Leach wheel is legendary among potters who prefer the non-electric wheel, probably because of the comfort achieved even throwing for long stretches of time. Buying Considerations In the age of electric wheels, kick wheels are a throwback to a simpler time. And while many consider it easier to learn the basics of throwing on an electric, there remain many potters who rely solely on a kick wheel for all their production needs. Maintenancewise very little is needed, however, once installed, a kick wheel pretty PotteryMaking Illustrated | May/June 2009 9 supply room Buying Porcelain by Antoinette Badenhorst I f you’ve only worked with red, brown or buff clay in the past and you’re looking for a change, maybe porcelain is the right clay for you. Planning, research and evaluation are the best ways to assure any future success in making a switch from one clay body to another. To determine if porcelain what you’re looking for, you’ll need to evaluate where you want to go with your clay work, your skill level and your vision as a potter. Decide if you’re happy with your current work, and if so, consider the effect that work will have if made with a white or porcelain clay body. Not all works in clay maximize the qualities that porcelain has to offer, so if you have to change your work in order to use porcelain, evaluate whether that’s something you want to do. In my own experience, I had a vision of pots dancing like ballerinas—soft figurines moving around in bright colors against pure white backdrops. I also envisioned translucent light and instantly knew what to do, but it took some time to find the right porcelain and to develop a body of work. Studio Setup and Working Methods Do you have the right studio setup for porcelain and are you able to adjust your current workplace with ease? Can you work with precision and in a clean studio? Do you work with other clay bodies that might contaminate porcelain, or are there other potters working with you that might not respect a porcelain work station? Which techniques do you use most? For instance, if you work mostly with an extruder with a steel chamber and plunger, you’ll need to replace it with a stainless steel or aluminum one to avoid possible rust contamination. Different Porcelains If you want to become a porcelain production potter, you’ll look at a different clay body than someone who wants to make one-of-a-kind porcelain pieces, porcelain sculptures or strictly hand-built forms. Your working methods will differ dramatically from theirs. Maybe you need a clay body that combines some or all of the above mentioned clay techniques. Once you decide that you want to take on the challenges that porcelain offer, you’ll have to find the clay that suits your newly set goals. There are many different porcelain clay bodies available on the market. I tested several commercially available cone 6 porcelain bodies and suggest you do the same before settling on one. Each clay had some special characteristic that I could use for my own work and could see used by anyone else. Commercial porcelain clay bodies meet almost all the needs of the potter, and there are some excellent throwing, handbuilding and sculpture bodies available. The producers and suppliers know which one best suits each purpose, and they are an excellent resource when you are trying to figure out what you need. Skill Level It’s important to know your own abilities and skill level. If you’re a beginner who wants to throw 20 inch pots, you’ll have a lot of difficulty achieving your goals and there will be a whole lot of frustration, time and money wasted before you can reach them. In such a case, it’s better to use white stoneware clay and gradually work your way first through a semi-porcelain body and then eventually use pure porcelain as your skills improve. 10 PotteryMaking Illustrated | May/June 2009 Before making a large investment in porcelain, test several bodies to see which one best suits your needs. They develop some bodies to be more plastic and stretchable, but less white and translucent. These bodies can go further in height and thinner in walls than some others that might be pure white and translucent, but may be a little harder to throw. If you choose to work with pure white, translucent clay, you can always throw thicker and trim thin afterward. If you need an all translucent, white and a non-warping clay body, it might cost a little more, but your ceramic supplier can recommend the right clay body for your purposes. Amazingly, you will even find that some of the semi-porcelaneous clay bodies meet all the characteristics of porcelain and have the added green strength that is often missing in true porcelains. Add these qualities to the fact that you can save energy because many of the commercial clays are formulated for firing at cone 6 electric, and there are very few restrictions left that would limit you from working with this material. Test several clay bodies for their ability to throw, to trim and to keep their shape even when stretched to their limits. Also test them to see how they stand up to adjustments and attachments, then fired them to the proper cone in an electric kiln. I checked them to see if shrinkage can cause problems. Compare the tests for shrinkage, color and translucency. A Final Word I’ve seen porcelain clay bodies improve from one batch to another. Clay companies are constantly doing research to improve their clays. If you consult your clay company, they’ll know what to recommend to you only if you understand your own needs and what you want. To us, as potters, that’s good news, because it means that if we admire a specific clay body today, but it’s not working for our circumstances, it’s worth discussing that with our clay producer and retesting a body again to see if it has changed. Maybe your skills improve, perhaps the clay composition improves, or maybe you and that specific clay body simply get in sync with each other. Read the literature available online, then talk to a sales representative and they’ll be able to recommend the right clay body for your needs. n Thanks to T Robert at Laguna Clay and Carla Flati of Standard Ceramics. Transition Carefully It’s always best to start by buying one bag of clay and testing it thoroughly. Then, even when you think you’re satisfied with your choice, make the transition to your new style and clay body slowly and carefully. Porcelain is expensive but if you take a conservative approach, and do enough testing to make an informed decision, it will pay to make an investment in a large batch of clay. PotteryMaking Illustrated | May/June 2009 11 tips from the pros Sun Screen by Paul Andrew Wandless S creenprinting ranks as one of the most popular printmaking techniques because it can be used to apply images to virtually any surface. Clay artists are always looking for simple options to transfer complex images, designs, patterns, digital images and photography onto their ceramic pieces. While many image transfer techniques, such as decals, require chemicals and equipment, I’ve discovered a simple, commercially available screen that requires minimal effort to create an image for printing. The product is called PhotoEZ (available at www.ezscreenprint.com) and it’s designed for use with simple black and white photocopies and the sun. You can go from an idea to screening an image on clay in about an hour! How cool is that? Overview PhotoEZ is a screen that’s pre-coated with a lightsensitive, water-soluble polymer. Instead of using a light table to expose an image into the emulsion, you simply use the sun as your light source to expose the Image on a Hi-Res screen by Chicago artist Tom Lucas, used to print on clay. 12 PotteryMaking Illustrated | May/June 2009 screen for about 5 minutes then soak (develop) the screen in tap water for about 15 minutes. After the exposed areas have been hardened or “set” during the soaking, rinse the screen with water to wash away the unexposed emulsion and create an open, stencil version of your image. The final step is putting it back in the sun for another 15 to 20 minutes to harden the emulsion and make the screen more durable. Experiment with the test strips included in the kit to get the hang of exposing and setting the screen before using a full sheet for your final image. Image, Paper and Screen For best results, the type of image, screen mesh size and photocopy paper must be suitable and compatible with each other. Though your image can be simple or complex, it must be black and white. It can be line art, an illustration, photograph, digital image or halftone. Line-art images have few, if any, small details and consist more of bold lines and shapes or silhouettes with high contrast and no mid tones, so those are considered simple images. Illustrations, photographs, digital images or halftone images that typically have finer lines and smaller details are considered complex images. (Note: If the line or image parts are too fine or small, the screen will clog when printing.) Once you choose an image, make a black and white print or photocopy using paper that is no more than 20-pound weight and has a brightness rating of 84 or less. PhotoEZ screens come in two mesh sizes for simple or complex images. The Standard screen is 110 mesh and the Hi-Res screen is 200 mesh. The 110 mesh has larger openings and is best for simple images, while the 200 mesh is a tighter screen (with more threads per square inch, resulting in smaller openings) and is best for the more complex images. Both screen meshes come in a variety of sizes. The image in figure 1 started with digital photographs of tools in my studio, which were altered in Photoshop to make them high contrast black and white images. As shown here, you can arrange the images on the screen in a group, leaving half-inch spaces between individual images for easier printing. You can also choose to fill the screen with just one image, a pattern, motif, text or any combination of these. Whatever you want to use visually on the surface of your work is fair game. I printed on a 8½×11 in. sheet of paper using an HP laser printer. Setting up the Exposure Frame With the black and white image on paper, you’re ready to set up the exposure frame. Everything needed is supplied in the PhotoEZ Starter Kit—one 10×12 in. exposure frame (black felt-covered board with clips and Plexiglas), two sheets of 8½×11 in. Standard Pho- 1 Peeling protective covering off the screen. 2 Left to right: Black felt covered board, screen centered over photocopy placed on Plexiglas and fastening clips. toEZ screens (110 mesh), small test strips, one plastic canvas and a small squeegee. Tip: Be sure to work in a dimly lit room while setting up the exposure frame to avoid prematurely exposing the screen. Remove the protective covering from both sides of the Plexiglas and place it on a flat surface, then align your black and white image in the center. Take one of the PhotoEZ screens from the protective black envelope then close the bag tightly so the unused screen inside is still protected. Peel the protective backing off the screen (figure 1) and immediately place it shiny side down on top of the black and white image (figure 2). Place the exposure board on top of the screen with the black felt side down and clamp together with the clips provided in the kit. PotteryMaking Illustrated | May/June 2009 13 As soon as you’re done, take the frame out into the sunlight. Keep the Plexiglas side down to keep light from hitting it or cover it with a towel to protect it from light before and after exposing it to sunlight. Exposing and Setting the Screen Once outside, turn the exposing frame Plexiglas side up to face the sun. Expose for 5 minutes during a regular sunny day and for 6 minutes if it’s a slightly overcast day. Dark, cloudy days with no real sunlight are not optimal and success varies if exposed under these conditions. I exposed this screen for 6 minutes on a partially cloudy day, but had good sunlight through the light clouds. Once exposure is complete, turn the frame over (Plexiglas side down) or cover with a towel and go inside to “set” the screen in a dimly lit room. Unclamp the frame and submerge the screen in a sink or 3 Using the Screen Rinsing screen to remove unexposed emulsion. 4 Dabbing off extra water from screen. 14 container filled with cool water for a minimum of 15 minutes to develop your stencil. Soaking longer than 15 minutes doesn’t harm the stencil in any way. After a minute or two, the unexposed areas blocked by the dark parts of your image appear light green. The exposed areas turn dark, and these darker areas become the stencil in the next step. After 15 minutes, place the perforated plastic canvas provided in the kit under the screen and rinse with cool water from a faucet or kitchen sprayer (figure 3). The plastic canvas acts as a protective backing for the screen during the rinsing process. Rinse both sides of the screen to remove the unexposed emulsion (light green areas). Take more care when rinsing the side that the emulsion is applied to. Keep rinsing until all the residue from the unexposed emulsion is completely removed. Use a soft nylon brush if there are some small detail areas that did not rinse out very well. This will happen more with complex images in the Hi-Res screens because of the tighter mesh screen. When you think you’re done rinsing the screen, hold it up to the light to check it. You should only see the white threads of the screen itself in the open areas. If you still see a thin film of residue, rinse again until it’s removed. Once open areas are completely rinsed, place the screen emulsion side up on a dry paper towel and dab off all the excess water (figure 4). Put a fresh dry paper towel under the screen with emulsion side up and take it outside to re-expose in the sun for 10–20 minutes. This hardens the stencil and makes it more durable and longer lasting. PotteryMaking Illustrated | May/June 2009 Once the screen is hardened, you’re ready to start using it! Since the screen is unframed, it’s flexible and can be used around a vessel or on a flat slab. Any surface you can bend the screen around is fair game to print your image on. Be careful not to make creases in the screen if you try to bend it around sharp corners. This will keep it from lying flat if you want to print on a flat surface in the future. If you group them onto one screen, you can also use scissors to cut it into smaller individual images. Experiment and have fun with this easy to use product. It’s a great way to create images for screenprinting on clay that you thought were only possible with a darkroom. You can screen images directly onto greenware, bisqueware or decal paper using both underglaze and glaze. Please feel free to e-mail me about your experiments and experiences. n Paul Andrew Wandless is a studio artist, workshop presenter, visiting assistant professor and on the Potters Council Board of Directors. He authored a book titled Image Transfer On Clay (Lark Books). His website is www.studio3artcompany.com and he can be e-mailed at paul@studio3artcompany.com. Potters Council 2010 Exhibition FILL-adelphia CALL For ENtrIES: Deadline to SubmIt is July 1, 2009 First juried exhibition of Potters Council members’ work to be held in conjunction with NCECA 2010 in Philadelphia, PA. Entrants must be members of the Potters Council both at the time of application and at the time of the exhibition. Public reception on April 2, 2010 at A Show of Hands Gallery. Go here for submission form www.potterscouncil.org PotteryMaking Illustrated | May/June 2009 15 A Texas potter makes 1,300 pound quilts with her Paragon Dragon As a child, Earline Green made hand-stitched quilts with her grandmother Mama Freddie. Earline spent more time quilting with the older ladies than she did playing with children her own age. Her early experiences with the lively quilters taught her a life-long love of artwork. Earline’s other grandmother, Mama Ginger, taught her advanced quilting patterns. Later this influenced the design of Earline’s stoneware quilt tile mosaics displayed in the entrance of the Paul Laurence Dunbar Lancaster-Kiest Library in Dallas, Texas. For that project, Earline fired 284 white stoneware tiles—all in her faithful Paragon Dragon. “The Dragon's design and controls are perfect for firing large flat pieces,” said Earline. “The digital programming controls provide a consistent firing environment that eliminated cracks and warpage in this project. Earline Green’s clay spirit quilts on display in the Dunbar Lancaster-Kiest Branch Library in Dallas, Texas. 16 PotteryMaking Illustrated | May/June 2009 Earline Green with her Paragon Dragon front-loading kiln. This kiln is becoming a favorite with potters. It is easy to load, heavily insulated, and designed to reach cone 10 with power to spare. “During tile production, I fired my Dragon two or three times a week for four to six weeks at a time. I expected and received excellent results with each firing.” Contact us today for more information on the exciting Dragon kiln. Ask about the new easy-open switch box hinged at the bottom. Call us for the name of your local Paragon distributor. Better Designed 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 High Profile Throwing with Templates w by William Schran hen my beginning wheel-throwing students have developed sufficient facility with clay, they’re assigned the project of creating a set of four matching cups. Though I’ve demonstrated how to measure their forms using calipers and other devices, I continue to observe them experiencing difficulties. In an effort to overcome this stumbling block, I showed them a technique successfully used by students in a beginning handbuilding class. Some of the shapes used to create design templates. This technique involves using templates to repeatedly create an even, symmetrical form. In the coilbuilding exercise, you position the template next to the pot as coils are added, making certain the pot conforms to the profile of the template. The template is then used as a rib to scrape the surface as it's rotated, creating a smooth, uniform surface. Making a Template Any number of objects can be employed to design templates that have a variety of shapes. French and ships curves, found in drafting or mechanical drawing sets, are excellent tools for creating profiles for wheel-thrown vessels. A variety of calipers can be taken apart to create any number curved forms. Lids of various sizes can be combined to create a mixture of curves. This process can also be used to produce templates with more complicated and compound profiles with relative ease. Assortment of bottle forms made with templates. PotteryMaking Illustrated | May/June 2009 17 Templates used to throw cups. Template shapes used to throw bottle forms. To incorporate this technique into wheel-throwing, I began testing various materials that might serve the function of a template. Sheet plastic, a durable material that can easily be cut and shaped, turned out to be the best material. Searching through scraps available at local glass supply and repair shops, I found pieces of ¼ in. and 3/16 in. sheets that could be readily shaped into the desired profiles by cutting them with a power saw and handsaw. The edges can then be smoothed with fine sandpaper. the top to the bottom, pushing out where necessary, to conform to the profile of the template. This is often necessary for shapes with wider diameters. Refine the rim with a sponge or chamois and the cup is complete. Creating the Form To use a template, as in the wheel-throwing project for the set of cups, prepare several balls of clay weighing between ¾–1 lb. each. Throw a basic wide cylinder. Check the interior diameter, height and width of this basic form with calipers. Tip: Make a template for the basic cylinder form as well as the finished piece. The first template, showing the right width and shape of the ideal starting cylinder, can help you get the right basic shape. Once you have your cylinder ready, lubricate the interior of the pot, but do not lubricate the outside. Avoiding excess water results in a stronger form that can better withstand manipulation and alteration when using the template. Position the bottom of the template so that it’s just touching the bottom of the pot and rests on the wheel head. The template should contact the wheel but should not be pressed against it. Hold the template at approximately a 45° angle, abutting the rotating clay, such that the clay moves away from the edge of the template. The template should not be held at a 90° angle to the pot as this may lead to inadvertently shifting the template into the movement of the clay. The fingers of the interior hand slowly move up, pushing the clay out to the curve of the template. As the pot widens, the hand must move up along the interior of the form more slowly so that it remains symmetrical. After reaching the top, the profile of the pot and template should be compared. If the pot does not match the template, move the fingers of the interior hand down from 18 PotteryMaking Illustrated | May/June 2009 Large or Complex Forms Templates are also useful in creating larger pots, particularly bottle shapes. This provides a method to quickly create multiples of the same form, but also the opportunity to explore changes to certain areas, such as the neck and rim. The process of working with larger forms follows the same steps as you would for cups, except the neck and rim are made without the template. Make another cylindrical shaped pot, leaving the top portions of the wall, including the rim, thicker than the rest of the pot. Position the template and push the clay out to conform to the shape, moving fingers on the interior up and down as necessary. After creating the desired curve, pull up the upper portion of the wall to thin it out and narrow it in using a collaring movement. Note: It is very important to continue moving your hands up while collaring in to maintain a curve or arch in the shape of the wall. A wall that becomes too horizontal or flat may collapse. In order to collar in the pot, Using the middle fingers and thumbs to constrict the neck, As you create the neck, pressing down on the rim with the first finger of the right hand helps to maintain a level top. Use a flexible rib after each collaring process to refine the shape and maintain the desired curve. Using the rib also removes excess water and compresses the clay. After narrowing the diameter of the pot, the wall has been thickened and can now be pulled up thinner. As the top becomes too narrow to insert a sponge to remove lubricating water from the interior, switch to using slurry to lubricate the clay instead. This allows your fingers and tools to continue shaping the clay without building up excess torque that might twist or tear the clay wall. Using slurry on the exterior, instead of water, provides a stronger clay wall. n 1 Template held against basic cylindrical form. 3 Hold template at an angle against surface during forming. 5 The interior hand slowly moves up, pushing the clay against the template. 2 Pushing clay out to the template. 4 Larger forms also begin with a basic cylinder form. 6 The interior hand moves from the top to the bottom, making certain the pot conforms to the template. PotteryMaking Illustrated | May/June 2009 19 8 7 Collaring the neck. The middle fingers confine the shape, thumbs push in, first finger of right hand presses down on the rim keeping it level. A flexible rib removes water and slurry while compressing and refining the wall. 10 9 When the top becomes narrower, use slurry rather than water to lubricate the interior of the pot. Use slurry to lubricate the exterior to maintain a stronger clay wall. Set of cups made with a template, shino and turquoise glazes, fired to cone 10. Set of cups made with a template, iron matte glaze, fired to cone 10. William Schran is Assistant Dean of Fine Arts at Northern Virginia Community College, Alexandria Campus. Visit his website, www.creativecreekartisans.com, for more information. 20 PotteryMaking Illustrated | May/June 2009 PotteryMaking Illustrated | May/June 2009 21 The * * Pancaker * * by Keith Phillips e ight years ago, shortly after our son was born, ally have a great selection. A spring from a retractable pen my mother-in-law was visiting and stayed with might work in a pinch. Finally, the #6–32 die probably has us through Christmas. My brother lived near us to be purchased as part of a tap and die set. This will be at the time, and gave my mother-in-law a vintage used to thread the rod once you have it measured and cut pancaker from the 50’s. You filled it with batter, held it over to size. a hot skillet and depressed the plunger for a few seconds to open the plug at the bottom and let the batter flow into the skillet. The result: perfect pancakes with no mess. The Start by throwing a tall bowl with 2½–3 lbs. of clay. The pancaker she received came in the original 1950’s box— shape or style is up to you (it doesn’t have to be round!). everything about it was cool. I probably made pancakes Be sure the rim is a little thicker than normal. The weight every day during her visit. of the basket-type handle can spread the bowl during firA few years ago, I was pondering what handmade item I ing, and a sturdy rim helps counter that. would give my brother for ChristThough the overall shape is mas and decided on the perfect up to you, the bottom of the “re-gift”­—I’d try to make my own pot should be about ¼–3/8 in. pancaker out of clay. After a few thick. The plug will be cut out 3–4 pounds of clay attempts, I settled on the following of the bottom later and making 2 ft. of 1/8 in. brass or stainless steel rod design. As with any other work, I it a little thicker makes this plug 7/32 x 1¾ in. 020 compression spring always like to make sure the destronger. I usually taper the botsign is flexible enough to make a tom of the form in slightly (fig2 #6–32 hex nuts variety of forms that will still fit ure 1), making a graceful transi2 #8 washers the function. tion to the pedestal foot that’s 5-minute epoxy My pancaker is basically a tall attached later. #6–32 die (available at home centers) basket or bowl that has a pedesNext, throw the pedestal. This tal attached to the bottom to keep needs to be a bottomless form. the stopper from touching the It is thrown upside down, with counter. The plunger rod and nuts ideally should be made the bottom tapered to match the diameter of the botfrom stainless steel, however this is usually hard to come tom of the bowl (figure 2). by, so a brass rod works just as well. The right-sized spring Finally, throw a little knob. I find it easier to throw may also be hard to come by, but farm supply stores usu- small items off the hump, since the form I’m throwing Throwing the sections Materials 22 PotteryMaking Illustrated | May/June 2009 This 111/2 inch high porcelain pancaker is basically a tall basket or bowl with a pedestal attached to the bottom to keep the stopper from touching the countertop. Beyond that basic requirement, the form is open for your creative touch. is raised up on a mound of clay rather than close to the wheelhead, I can easily get to the underside and shape it (figure 3). When you’re finished, just slice it off the mound using a wire tool. Trim the bottom of the bowl. You don’t need a proper foot since it will sit on the pedestal. Before taking it off the wheel, cut out the plug from the bottom. First take a ¼ in. drill bit and drill a hole in the exact middle of the bowl (figure 4). Then take your needle tool and cut a 1¼ inch diameter circle out of the bottom. This piece becomes the plug, so take care when cutting it out to keep it intact. Hold the needle tool at an angle and not straight up and down when making this cut. This creates an inward taper on the plug, so that it can easily be pushed open, but makes a seal when closed (figure 5). It will be impossible to make the pancaker water tight, but batter is thicker and won’t seep out. Just make sure the plug matches the hole as closely as possible. Joining the parts Now score and slip the pedestal and the bottom of the bowl, then attach the two together (figure 6). PotteryMaking Illustrated | May/June 2009 23 The Pancaker!* 2 1 Using 2½ to 3 lbs. of clay, throw the body of the pancaker, making it taper in slightly at the bottom. 8 7 Attach a small flattened coil to the inside bottom of the bowl as a second guide for the plunger rod. Slide the other end of the rod into the bottom opening, through the bottom guide and into the handle. PotteryMaking Illustrated Drill a hole in the second guide. Flip the pancaker over and re-insert the plug to make sure the holes line up. 14 13 24 Throw the pedestal separately as an open form, thrown upside down. | Pull the rod up and check that the plug fits securely into the opening. Set the pancaker aside. May/June 2009 3 Throw a little knob off the hump so you can get under it and shape it. 9 Attach a handle then drill a hole through the center when leatherhard. Check that the holes line up. 15 After inserting a scrap piece of rod and a spring into the knob, make a mark on the rod where the spring ends. * some assembly required 4 Trim the bowl section then use a drill bit to create a hole in the exact center of the bottom of the bowl. 10 Drill a ½ in. deep hole in the knob using a ¼ in. drill bit. 16 Moving up from the handle, mark this measurement, (minus ½ in.) onto the rod in the pancaker, then cut to size. 6 5 Using a needle tool held at an angle to create an inward taper, cut a 1¼ in. circle to make the plug. 11 After threading the die onto the rod, unscrew it carefully to reveal the threaded end. 17 Disassemble. Epoxy the rod into the knob, slide on a washer below the spring, and insert into the handle. Score the surfaces of the pedestal foot and the bowl, apply slip and join the two parts together. 12 Slide on the fired clay plug, a protective washer, and then thread on a nut to secure the plug. 18 Slide the rod down through the second guide, flip the pancaker over and reassemble the stopper mechanism. PotteryMaking Illustrated | May/June 2009 25 * * * Press Plunger – then release for perfect pancakes! Roll out a small coil about an inch thick and then gently flatten it so it gets a little wider, while keeping it about a halfinch thick. Form it into a bridge, then slip and attach it to the inside bottom of the bowl so that it spans the hole. This is a second guide for the plunger rod, and will help make the stopper line up and the plunger operate smoothly (figure 7). Drill a ¼ inch hole in the second guide, being sure to drill straight, lining it up with the hole in the plug. There is little play in between these two, so be sure this hole and the plug hole are exactly in the center of the bowl (figure 8). Roll out another coil for the handle, then pull and taper both ends like a handle for a mug. Don’t pull too thin, you want it to hold its shape and not slump when fired. Make the mid-section near the top of the arch pretty thick as well, since you'll be drilling the guide hole for the rod through that section. When the handle has stiffened enough to work with it, firmly attach it to the bowl. You want a strong attachment here as this is the area where cracks are most likely to form. If there’s any place you develop cracks, it will probably be here. So dry slowly and be gentle. When the handle has set, but before it’s bone dry, drill your hole exactly in the center (figure 9). You can have more play here, and you might want to step up one size on your drill bit. You can always use a washer later if your hole is too big for your spring. Still, be very careful drilling the hole, be sure it lines up with the second guide hole in the strap of clay at the bottom. Also don’t press too hard when drilling, you want the bit to “cut” the clay, not push through it. The easiest hole to drill is in your knob. Don’t go all the way through, you just need about half an inch for your rod to glue into (figure 10). Slowly dry the pancaker and then bisque and glaze. When glazing, wax as you normally would. Fire the plug separate from the pancaker, as there’s no way to secure it into the bottom. By firing it separately, you can also glaze the area that will eventually make contact with the bowl. * a ¼- to ½-inch section of the rod. Unscrew the die and you should have a nice threaded end (figure 11). Slide the stopper on with the bevel side up, then add a washer and nut (figure 12). Insert the rod into the bottom of the pancaker, through the bottom guide and finally into the hole in the handle (figure 13). Pull the rod all the way up (figure 14) to seat the plug then set the pancaker aside. The next step involves measuring the rod to figure out the final length of your stopper mechanism. Push a spring and spare length of rod into the knob and make a mark on the rod where the end of the spring comes to when it’s NOT under compression (figure 15). Measure that distance, and then subtract about half an inch. This will create enough tension to keep the plug seated securely so that it covers the opening. For example, my overall measurement came to 1¾ in., so my measurement for the next step was 1¼ in. Pull the rod all the way up so the stopper seals the bowl. Now take the measurement from the previous step and add it to the rod. Start at the very top of the handle, measure up toward the end of the rod, and mark this point. This is where you want to cut the rod (figure 16). This should be a perfect length so the stopper is firmly under pressure, sealing the pancaker, but also leaving enough room so that the knob can be pressed down about a half inch, opening the stopper and releasing the batter. Disassemble everything and cut the rod with a hacksaw. Using the die, thread the end of the rod to make a nice “grip” for the glue. Assembling the pancaker Take one end of the rod and slide the spring on, daub a fair amount of five-minute epoxy onto the end and glue it into the knob. Make sure there is enough epoxy to hold everything in place when it sets. Also, make sure the rod is sticking straight out of the knob while the epoxy sets. Note: Even though it says five minutes, wait twenty before assembling your pancaker. Slide a washer against the spring and then insert the rod into the handle (figure 17). Slide the assembly down through the second guide and then flip the pancaker over (figure 18) and re-assemble the stopper. Use a die to thread the rod, so that a nut will gracefully screw Slide the clay plug on, then slide a washer onto the rod so it on to it. Since you are using a 1/8-inch thick rod you will want rests against the clay plug and then thread on the nut against to get a #6–32 die. This makes a thread for a fine-thread #6 the washer. When the assembly is finished, just heat the skillet, machine nut. fill your pancaker with batter and you’re ready to go. n Holding the rod with pliers, carefully start twisting the die Keith Phillips is a full-time artist and potter in Fletcher, North onto the rod like you would if threading a nut, being sure to Carolina. To see more of his work, go to http://khphillips.etsy.com keep it straight. Once it is started, just keep rotating the die or visit his blog at http://blog.mudstuffing.com or contact him via and it will carve the threads. You only need to thread about email at keith@mudstuffing.com Creating the mechanism 26 PotteryMaking Illustrated | May/June 2009 PotteryMaking Illustrated | May/June 2009 27 28 PotteryMaking Illustrated | May/June 2009 with Porcelain by Antoinette Badenhorst Photo Credit: Koos Badenhorst Getting Started Porcelain is desired for its purity, delicacy and translucency, but its also the perfect body for carving and bringing out a color palette. C hoosing a white clay body might look like a simple choice, but because of the different working characteristics between stoneware and porcelain, it’s worth exploring the options first (see “Supply Room”, pg. 10). For the right potter, the joy of working with porcelain always overshadows the potential sorrows that come along with it, but the condition is that you understand the medium and get in sync with it. As I’ve heard potters say before: “I don’t know what it is about porcelain that keeps me coming back for more punishment, but it’s real . . .” A Different Material Porcelain can be worked like other clays, but when fired can reach a state of extreme whiteness, becomes vitreous and often translucent, similar to glass. When tapped on, it has a ringing sound like a bell. Porcelain in its raw plastic state is very fine, smooth white clay that offers a canvas for color and textures—from a very smooth white surface to the finest and most elegant textural detail. The whiteness of porcelain allows for coloring the clay itself, painting stains and oxides onto its surface, or glazing it with an PotteryMaking Illustrated | May/June 2009 29 outcome of brilliant and often dramatic colors. Efficiently-fired porcelain has a glass-like character and becomes vitreous and watertight even when left unglazed. The transition between the fired porcelain and the glaze layer is also less distinct than in a comparably fired piece of stoneware. Well designed glazes can be just as hard as the clay and are basically scratch-proof. This hardness and blurring of the interface between clay and glaze are of tremendous value to the production potter, since these qualities limit some 2 1 The dome width predicts the width of the base. 4 Start lifting the clay wall by making a dent at the bottom. 5 Keep your non-dominant arm parallel above the pot as you thin the clay. 30 trouble with glazes, particularly where chipping and leaching are concerned. Translucency is obtained under specific circumstances. High percentages of glass forming ingredients like silica and feldspar in porcelain—in combination with thin walls and efficient firing—enhance translucency, but might also increase the difficulty to form and shape it. To some potters, translucency can add to the decorating process, but many potters choose an easier working, plastic clay body that has most of the other qualities of porcelain. PotteryMaking Illustrated | Throwing a Tall Bottle Throwing tall forms is a challenge with any clay body, and I recommend you practice throwing tall forms using a smooth stoneware clay first. Once you have the basic principles down, it’s easier to apply them to porcelain. To get started, take 2 lbs. of porcelain and prepare a ball for throwing. The process described here is a somewhat different approach to the one typically used but promises to be successful. 3 Imagine the clay to be a wave that gets pushed upward. 6 The clay wave diminishes as the walls Repeat the dent and wave process at become thinner and the cylinder taller. least 3 times. May/June 2009 The width of the cylinder is determined by the width of the dome from which you open the clay; the wider the diameter of your dome, the wider the base of your pot (figure 1). Once centered and opened, start by indenting the exterior of the clay where it meets the wheel head or bat (figure 2). Imagine pushing the clay upward from below rather than pulling it from above. It’s like water in the ocean that gathers to form a wave before it breaks on the shore (figure 3). Let the dominant arm and hand control the clay on 7 Collar the cylinder to regain control if the top becomes off centered. 10 Use rubber kidney ribs to remove excess slurry. the outside of the cylinder from a secure position on the side of your body or knees. The non-dominant arm hangs in the air, above and parallel with the cylinder, guiding the pot upward in the direction of the elbow and controls the clay on the inside (figure 4). Repeat this process a few times. Each time, less clay becomes available to move upward into the wall (figure 5). Pushing the clay up from below, rather than pulling it, eliminates the excess ring of thick clay around the bottom or foot area of 8 the cylinder. Repeat this process at least three times, or until the clay is thinned out (figure 6). When you feel the cylinder starting to swing, or that you start losing control, slow down the wheel somewhat and collar the clay back in to regain control (figure 7). Once the desired height is reached, continue to define the shape of the object you intend to make (figure 8). For shaping forms like bottles, the non-dominant hand pushes from the inside, while the dominant or outside hand supports the clay (figure 9 After creating the cylinder, start defining the shape. 11 Push the clay from the inside while the dominant hand supports the clay on the outside. 12 Use two rubber ribs to help in the final thinning, or prior to collaring the neck. For a bottle, begin collaring the upper rim by encircling it with your hands. PotteryMaking Illustrated | May/June 2009 31 9). Use rubber kidney ribs to remove excess slurry (figure 10), then use them to help in the final thinning of the form for a cylinder or bowl, or for a bottle form before starting to collar in the neck (figure 11). To bring the neck in, repeatedly collar then thin out the top third of the cylinder. Use all your fingers to support and guide the clay inward, slowly closing the opening between your fingers as the piece narrows (figure 12). Next, thin out this section, throwing with your fingers angled toward the vertical center to 14 13 Thin this collared area by angling your fingers towards the vertical center to further narrow the form. Thin the neck using a rib on the outside and a finger supporting the inside. PotteryMaking Illustrated Repeat the collaring and thinning process to narrow the top until the opening is the right diameter. When adjusting a piece, work on thick foam cushions and chucks to protect the thin neck area and stabilize rounded forms. Some of these foam chucks are custom cut to fit the shape of the pieces I have in progress. Tips for Working With Porcelain 1 Always wedge clay from a few hours to up to a day before using it to make sure that the water content is evenly distributed throughout the clay ball. This also helps to orient the clay particles into a circle or spiral. Al- 15 Create the neck of the bottle by thinning and collaring the remaining clay with your fingertips. 17 16 32 further narrow the form (figure 13). Repeat the collaring and thinning process until the opening is the right diameter (figure 14), then create the neck of the bottle with the remaining clay (figure 15). Thin the neck with a rib on the outside and your finger supporting on the inside, then finish the exterior of the form with a rubber kidney rib (figure 16). Allow the finished piece to set up to leather hard on the bat then trim it right side up while still on the bat (figure 17) before turning it over on a chuck and trimming a foot ring. | Finish the opening and the exterior surface of the form with a rubber rib. May/June 2009 Finished, carved porcelain vessel by Antoinette Badenhorst. though aged clay is stiff during the first few wedges, it’s much better than freshly made clay and it quickly softens. Allowing the porcelain to rest after it’s wedged is important, because it tends to fatigue easily. Pay special attention to centering and always cone the clay to get all the clay particles lined up. Many potters consider coning as just another way of wedging, but in many instances porcelain reminds me of the fairy tale of the princess that could not sleep with a pea under her mattress. The slightest little lump or unevenness can force you back to the beginning. Handle the clay as little as possible to limit it from getting fatigued. I manipulate the wedged ball into a pear shape and place it with the small end downward on the wheel head to take advantage of the circular movement that started forming during wedging. I further define the lineup of clay particles through the coning process. Porcelain is normally thirsty, absorbing water quickly, and collapses easily when too much water is used. Even a more plastic porcelain clay body functions better with less water. Adding a spoonful of vinegar in the throwing water gently deflocculates the clay and helps in lubricating the clay. Since porcelain shrinks more than other clay bodies, using less water limits the problems related to shrinkage. Porcelain cracks easily for different reasons. If basic rules are important for working with other clay bodies, it becomes of the utmost importance to porcelain. Uneven thickness in clay walls and attaching pieces of uneven dryness will result in cracking. Cracks in the bottom of a form are usually caused by uneven thickness throughout and/or improper compression. Some cracks in the bottoms are caused by water left inside, which weakens the bottom. Cracks on rims are usually caused by too much pressure applied when trimming the foot. Using a foam bat on the wheel 2 3 4 5 head while trimming absorbs the shock and eliminates most rim cracks. You can also prevent excessive pressure on fragile pieces by using sharp tools. Metal kidney ribs and Surform blades are some of my most important trimming tools. Fill a spray bottle with water and use it to keep the pieces damp as long as is needed while you’re working on them. Be careful as it takes some training of the hand and eye to prevent delamination of walls when spraying semi-dry pots to rehydrate them. Every porcelain body is different and needs to be evaluated separately. To be safe, never leave freshly thrown work in the open air longer than 15–30 minutes, no matter if you are working in Mississippi or Arizona. Here are two simple systems for keeping unfinished pieces leather hard for weeks while you work on them. Invert a lidded food container, set the pot on the inverted lid and place the container over top of it to seal the pots in while they are in process. Make a damp box by taking a plastic storage box, and pouring an inch or so of plaster into the bottom. After it cures, dampen the plaster slab and it will slowly release moisture into the air within the closed container. 6 7 8 Design Considerations When working with porcelain, there are specific things to bear in mind in the design stage that have a direct effect when firing a piece. Porcelain slumps easily so avoid large horizontal areas that are not supported. Wide domed lids, wide rimmed bowls and plates, handles and spouts should have an angle of at least 45° built into the design. Some pieces will even split or separate during the final firing if unsupported. I use different systems in the kiln to support my work. It’s an ongoing process of planning and improvisation, since my work is one of a kind and using supports only works if the area to be propped up is unglazed. Porcelain utilitarian work is normally the same thickness or slightly thinner than stoneware, but it’s still important to be aware of possible slumping and to design works accordingly. Firing Considerations Because porcelain fluxes and starts to melt somewhat at its peak temperature, any supportive materials need to be dusted with a refractory material such as silica or calcined alumina. The same refractory materials are necessary to prevent lids from sticking to pots. I found that regular kiln wash is not enough to prevent my pots from sticking, so I wet each piece and dip it in a thin layer of silica that I can wipe off after the piece is safely fired. Dimples in fired porcelain may be caused by a very open, less plastic clay body or by gasses that are either created by burn-off from plasticizers or other organic materials that might be trapped in the clay. Slow firing, soaking bisqueware for 30 minutes and a soak hold when the final glaze firing temperature is reached are all precautions you can take to allow these gasses to escape. For a very open clay body, it’s sometimes useful to dampen the pieces slightly before glazing. Be aware that if the piece is too damp (which happens quickly with thin work), it can’t absorb as much water from the glaze solution, and so the glaze coating will be too thin. If you’re having problems with cracks forming during the firing, they can be prevented by down firing the kiln, which helps to cool pieces (especially thin ones) slowly. I consider my porcelain work as a discovery; one that takes me to all different and interesting places. It suits my personality and my passion. I invite you to join me in this journey. Maybe you will find the same joys as I do. n Antoinette Badenhorst has worked with translucent porcelain since the early 90’s. She leads workshops, presentations and demonstrations both in the U.S. and internationally and has written articles on pottery in both Afrikaans and English. Her work is presented by leading galleries in America, South Africa and Japan. Contact her through her website: www.clayandcanvas.com. PotteryMaking Illustrated | May/June 2009 33 WH EN SH FR IPP EE ING YO U OR DE R ON LIN E( US ON LY ) Ceramic Arts Handbook Series: Throwing & Handbuilding Price: $29.95 ceramicartsdaily.org/books 866-721-3222 34 PotteryMaking Illustrated | May/June 2009 Throwing Big Wine jug made from thrown base and added thrown coils. D by Michael Guassardo avid Schlapobersky and Felicity Potter are leading South African studio potters who have been working together in the tradition of highfire, reduction stoneware and porcelain since 1973. Their open, working pottery studio is in the historic heart of Swellendam in the Overberg region of the Western Cape, South Africa. They work in collaboration, with David taking care of preparing the clay, making pots and blending glazes, while Felicity decorates the work prior to glaze firing in one of two oilfired kilns. They make a wide range of items including functional and decorative stoneware and porcelain, as well as large floor jars, urns, platters, fountains, garden and indoor containers. David has developed a process that combines throwing and adding coils to create pieces up to four or five feet PotteryMaking Illustrated | May/June 2009 35 in height. He demonstrates his method for making a tall vase here. Process Center 15 pounds of clay (figure 1). If it’s too difficult to center that much at one time, try centering five pounds of it at a time, one over the other, starting at the bottom. Open up the clay to within ½ inch of the wheelhead (figure 2). To ensure the base is properly worked down and compacted, David adds a small flat piece of clay on the base, which he works in to release any trapped air and compresses by pressing down firmly (figure 3). Next, open out the form to about 8 inches and begin to pull the clay up to form thick walls that taper inward (figure 4). This also gives you a thickish rim. Repeat the process, this time adjust the pressure and your hand position so that the cylinder has straight walls (figure 5). Pull the cylinder to the final height and flare outward to form the desired shape, about 12 inches in diameter at the top. With a kidney rib, bevel the top slightly outward to accommodate the angle of the next step, which continues the outward curve (figure 6). Tip Compress the rim at the end of each pull to consolidate the clay and slightly thicken the rim. At this stage use the kidney rib to remove any slop on the inside walls and base. 1 Center 15 pounds of clay. 2 Open clay to ½ inch above the wheelhead. 3 Add a slab of clay to the bottom. You are now ready to quick dry the pot to stiffen the walls before doing any further work. First, run a wire tool under the base of the form to release it from the bat. This quick drying step creates sudden and uneven pressures that could cause the foot of the form to crack if it is left attached to the bat. Dampen the throwing bat to prevent it from burning. Using a blow torch, and with the wheel revolving at your throwing speed, dry the pot (figure 7). First heat the outside, then the 36 PotteryMaking Illustrated | May/June 2009 4 Collar the clay in and keep the rim thick. 5 Pull up the cylinder. 6 Begin adding shaping outward. 7 Dry the pot using a blow torch. 8 Score the rim then place the coil on top. inside. After a minute or two, repeat the drying process. The clay will start to change color, and become leather hard. After two cycles of using the blow torch, the pot should be firm enough to handle about 10 more pounds of clay. Roll out an 8 or 9 pound coil. Since your pot is about 12 inches in diameter, you’ll need a 36 inch coil. Score and dampen the top of the pot then place the coil on the rim. Cut and join the two ends together (figure 8), place the coil onto the pot, but do not fix it to the rim at this point. Press the coil down and inward with the wheel revolving slowly, so that the outside of the coil is flush with the pot and the roll is overhanging on the inside. Now you are ready to throw again to thin out this added coil and shape the contour to make its transition with the pot seamless. Throw by pulling the inside roll up, with the wheel spinning at a slightly slower speed than when throwing the pot. Shape and trim off any uneven clay. Once again, compress the rim and prepare it for the next coil. Clean the outside join and address the transition if necessary. Remove the excess clay from the inside join using a sharp trimming tool or rib, and clean out any slurry from the bottom of the pot (figure 9). Note: When you finish throwing the coil, the top flare should be a little exaggerated to allow for quick drying. Dry the pot as before, using the blow torch (figure 7). You may need to wet the upper part of the first section prior to heating the piece, so it does not dry out too much. Clean up and remove any small dried edges on the rim. Now add a slightly thinner coil (about 36 inches in length) made from about 5 pounds of clay (figure 10). Repeat the process of attaching and throwing the coil as before. This second coil should give you enough clay to form the widest part of the pot and start to curve the form back in, finishing up to the shoulder of the PotteryMaking Illustrated | May/June 2009 37 pot (figure 11). Clean up and dry the pot as before. Note that the bevel at the top edge should slope gently inwards for the final coil, which will become the rim of the pot. Add a final coil, rolled out from about 2 to 3 pounds of clay. Throw the desired neck and rim (figure 12) and clean up the inside of the pot and the transition as before. The final coil allows for a bit of creativity. You can finish off these tall forms as vases, jars, or bottles. Dry as before and add accents like lugs, handles and or sprigs. Your final pot will be around 28 to 30 inches tall. n 9 Clean up the join after shaping the contour. 10 Glazing David and Felicity usually skip the bisque fire, but their glazing technique is the same for greenware or bisqueware. After spraying the entire pot with a glaze, they add brushwork decoration using various oxides and pigments. After thoroughly drying the pots, the work is fired to cone 12 in a gas kiln in a reducing atmosphere. Add the next coil and cut it to size. 11 Start to taper the form inward, using a rib to refine the profile. Michael Guassardo is a professional potter and the editor of National Ceramics Quarterly. He lives and works in Knysna, South Africa. For comments, contact him at editor.ncq@webafrica.org.za. David Schlapobersky and Felicity Potter operate the Bukkenburg Pottery Studio & Guest Cottage in Swellendam, South Africa. For comments or questions, contact them at bukkenburg@sdm.dorea.co.za or visit their website at www.pottery.co.za. 38 PotteryMaking Illustrated | May/June 2009 12 Complete the shoulder and neck of the form with the last coil. The Robin Hopper Trilogy The Robin Hopper Trilogy covers every important aspect of creating ceramic art. The Ceramic Spectrum guides you through a non-mathematical easy-to-understand journey for getting the colors and glazes you want. In Functional Pottery, you’ll be able to develop your own designs and methods for the pots you use. And in Making Marks you’ll discover the many possibilities of enriching your surfaces. Color form surface The Ceramic Spectrum Functional Pottery Making Marks Only $44.95 each or you can SAVE 25% when you order all three for just $99! Robin Hopper’s books are now available from www.CeramicArtsDaily.org/books JOIN TODAY! 866.721.3322 or www.potterscouncil.org We realize that one of the largest barriers for ceramic artists is the rising cost of health care. This is one of the most comprehensive health insurance programs available. Ar tis t: K ell yK ing potters council Did you know that Potters Council now offers REAL Health Insurance for Members? Other beNefITs include: • Online Artist Gallery • Potters’ Pages Newsletter • 20% Discount on Art Books • 20% Discount on Ceramics Monthly • Regional Conferences • 20% Discount on PMI • And much more... PotteryMaking Illustrated | May/June 2009 39 40 PotteryMaking Illustrated | May/June 2009 instructors file Throwing: A Three-Stage Approach by Jake Allee W hile conducting a workshop at the “Clay on the Wall” symposium at Texas Tech, someone asked the question, “How do you approach teaching people to throw on the wheel?” This is a good question and it’s something I’ve thought about often. I’ve always held that all people have a mechanical intelligence related to manual dexterity as we all have cognitive intelligence. People have different aptitudes that translate into or affect their manual dexterity. Over the last several years, I’ve focused my teaching efforts on catering to all of these dispositions and to different learning styles with the goal of helping students learn and develop good habits. After all, learning to throw on the wheel is about developing habits and you want the student to develop good habits first. I personally know what it’s like to feel the frustration of having to relearn something after developing a bad habit, because I’m learn things slowly to begin with. The following should help you get quicker results from all your students. Many educational workshops use a lot of buzz words and philosophical concepts to identify and measure learning styles, but what a clay instructor needs is a simple “nuts and bolts” method for attacking the problem. I resolved to strip down the basic learning methods into three categories and attack them individually in three matching stages through my teaching: excitement and raw energy to learn! I believe when the students are called upon to refer to information they’ve learned in stages 1 and 2 while engaging in stage 3, they get a phenomenon educators call “completing the circle.” When you complete the circle you are being as efficient as possible with your efforts toward teaching and directing the students to do the same with the act of learning. Stage 1: Readings and Visual Diagrams This first category of learning methods, and the first stage in teaching throwing, is often ignored by the teacher because it takes work up front, and as educators we’re already buried in paperwork! However, the extra time used for preparation pays off and the students will be quicker to meet you half way. A worksheet designed to address all the critical points associated with habit forming for wheel throwing technique helps. I always begin by asking the students to read the worksheet through and I then present them with several questions to make sure they have read it. After that, I go over the content of the worksheet again, re-phrasing it with words that come more naturally. Any worksheet that addresses frequently asked questions can be used as a reference point by the students and ultimately make your job easier. A worksheet never takes the place of a verbal explanation from the Stage 1. Readings and visual diagrams instructor or a practical demonstration, but it certainStage 2. Practical demonstration and use of technique ly gives the student something to think about when Stage 3. Hands-on experience it’s placed in their hands, even if they’ve walked into the classroom late. The worksheet always reinforces Obviously hands-on experience is the part we quite stages 2 and 3. Flying solo with a worksheet for one often throw our students at first, and we answer quesclass might make a student think about showing up on tions after mistakes are made. However, reinforcement time. Revisiting the handout prior to practical demonof information introduced first through readings and di- stration at the beginning of the next class will elimiagrams then through practical demos is the best way to nate your feelings of guilt and give the late student a see results at stage 3. Using the three-stage process calls chance for redemption. upon the student to assimilate information in a manner that they don’t normally associate with art making, yet are familiar with through other subjects. As a teacher, After everyone has read the worksheet and I reinforce prioritizing these stages in learning a process in order and explain it verbally, I move to stage 2. The students from 1 to 3 is key to a student’s success, because they watch the practical demonstration while reference to the have the “blinders” on and will always prioritize them worksheet throughout the process. I slow way down and in the opposite direction, from 3 to 1 due to honest ask the students how I should be executing the tech- Stage 2: Practical Demonstration PotteryMaking Illustrated | May/June 2009 41 nique according to the worksheet. I demonstrate all of the steps listed to further reinforce the information. At this time I also talk about some of the “tricks” in my personal approach for success. If I make a mistake in the process while demonstrating, we discuss what happened. I encourage the students to ask the following questions. WHY did the mistake happen? WHAT should have been done differently? HOW can the mistake be corrected? This shows students how to learn from the inevitable mistakes. They also refer to this experience of watching a demonstration, and the troubleshooting that occurred, when working on their own pieces, so it helps and influences them as they form their own habits. Lastly, it also puts them at ease with the expert imparting the knowledge. The first piece I make for a demo is always destroyed at the end; this takes away the preciousness of the object created. I then take the opportunity to give my short talk on how each person in the class dictates what is considered their first piece on the wheel. Will it be the piece that becomes an ashtray, or will it be the piece that is kept after they understand the control required to make a thin wall and keep the piece centered? The viewer may never know if the maker’s first piece was made on the very first day or at the end of the first year of practice. and address all of the students one-on-one, giving suggestions and helping with the challenges they encounter. The whole process takes me about an hour to go through from start to finish. I always start the next class with a review through practical demonstration and check that everyone has their worksheet with them for reference. This approach may not work for all teachers, but the idea is to teach from as many angles as possible and use each angle to reference the other. Think about adapting this method to your particular way of teaching. Look at the effort Val Cushing has put into point #1—the achievement of his students speaks of the value of his efforts. To the Throwing on the Wheel by Jake Allee Tips for success Always apply and release pressure to the clay slowly. | large arrow indicates hand to clay contact area when throwing. Small arrow indicates wheel direction. Never allow water to collect in the bottom of the piece. right handed Slow the wheel down in each step of the process. Be persistent in your efforts. large arrow left handed cenTering The clay When I finally make it to Stage #3, everyone is ready to get started. I ask for one more exercise of patience on the student’s part. Everyone goes through the steps of centering and opening simultaneously and no one moves to the next step until everyone is ready. Once everyone gets to the point of pulling up on the cylinder, they are all cut loose and begin to work on their own. At this point I walk around PotteryMaking Illustrated Jake Allee teaches at Mesa State College in Grand Junction, Colorado. For comments, or to see his work, visit www.jakeallee.com. Below and right: A two page worksheet on the basics of wheel throwing, available online at www.potterymaking.org. Stage 3: Hands-on Experience 42 students reading this, please use this information to pull knowledge from your teacher in a way that best fits your learning style, I’m sure he or she will direct you to a good resource even if there’s no worksheet available. Remember, the classroom environment is a 50%–50% situation with regards to effort, requiring equal amounts from both student and teacher. Realizing this helps speed everyone to what really counts, THE CONTENT OF THE WORK. Technique is only the path to content and work ethic will drive you down that path! GOOD LUCK! n May/June 2009 flat mov Start with a well wedged ball of clay that’s no larger than the size of your hands. diagram illustrating hand to clay pressure. Anchor your elbows to your knees for stability. Wet your hands and the clay. Slowly apply downward pressure equally to all sides of the clay until no movement exists within the mass. clay profile wheel head When the clay is “centered,” it will be spinning while your hands remain still. Once the clay is centered, relax and slowly pull your hands away. ©2009 Ceramic Publication Company illust poin Creating a Teaching Worksheet for Ceramics #1 Identify the basic steps in the technical process. Double check the descriptive language used to convey these steps. #2 Develop drawings or high-contrast photographs as visual examples to these steps. All diagrams should be clearly labeled and the images should photo copy well. #3 #4 Identify and address frequently asked questions. Leave the “tricks” out and let that be a point of interest with the practical demonstration. opening up The clay Place the tip of your thumb in the center of the clay mass. Slowly roll your thumb into the center of the clay maintaining pressure on the clay profile. Stop ½ inch from the wheel head. To create a flat bottom, use the same hand position and pull straight back toward yourself. Any movement causing the piece to go out of “center” is reflected in the rest of the piece. thumb making a pull thumb wheel head large arrow represents thumb movement. Small arrows indicate hand to clay pressure. clay profile From this point on, manipulate the piece only at the 3 o’clock position relative to the wheel head (9 o’clock if left handed). Slowly apply and release pressure. thumb Always use your fingertips when making a vertical pull and slow the wheel down. clay profile wheel head flat bottom profile with arrow representing thumb movement. handS lay our Position your inside finger slightly above the outside finger and apply pressure with the outside finger slowly moving your hands upward. When making a vertical pull, pull the clay inward to create the volcano shape. Repeat the pulling process until the wall is uniform in thickness from top to bottom. for clay profile wheel head illustration showing fingertip to clay pressure points and direction of vertical pull. il no be ill. nd clay profile volcano profile ©2009 Ceramic Publication Company PotteryMaking Illustrated | May/June 2009 43 off the shelf The Basics of Throwing by Sumi von Dassow M y first thought on seeing this book was something like, “not another throwing book!” However, when I began reading it I was captivated and ended up reading every word and examining each picture. David Cohen is not just an experienced thrower, he is a master at manipulating clay and obviously a master instructor as well. His goal in writing this book is to lay out his lessons and aesthetic philosophy for those of us not fortunate enough to attend his classes in person. If this were yet another step-by-step “here’s how to make a pitcher, teapot, etc.” book, it wouldn’t be especially valuable, because that territory is already well explored in other books. There are indeed many very well-photographed step-by-step sequences in this book, complete with color-coded arrows and lines pointing to important details or demonstrating the direction of pressure and movement; and the instructions on difficult-to-describe processes such as wedging and centering are as good as any I’ve seen; but the real value of this book is in Cohen’s systematic presentation of design and aesthetic considerations concerning the process of throwing. The first three chapters are aimed at beginners and cover the properties of clay, clay preparation and the basics of throwing. These subjects aren’t given short shrift, and it is possible that a determined beginner could really get the hang of centering and throwing a cylinder from Cohen’s instructions. In the fourth chapter, however, Cohen moves on to helping the reader develop a “visual vocabulary” by applying “attention, selection, and critical assessment.” As he says, “this trio of qualities is the foundation for establishing a visual vocabulary, without which there is little chance of going beyond technical proficiency.” Thus, he lets you know the real purpose of this book: to help you make pots which are not just competently made, but welldesigned. As a teacher who inevitably spends a lot of time teaching “technical proficiency,” I found this chapter refreshing, eye-opening and inspiring. Cohen doesn’t attempt to impose his own sense of design on the reader; his goal is to encourage you to make your 44 PotteryMaking Illustrated | May/June 2009 The Basics of Throwing: A Practical Approach to Form and Design By David Cohen ISBN: 978-0-8122-2041-4 University of Pennsylvania Press Philadelphia, PA, 2008 www.upenn.edu/pennpress forms deliberately, to create a finished form that communicates your intention. After all, what is the point of spending time mastering a demanding craft, only to make generic pots? The next couple of chapters in the book intermingle “how-to information” with “why” information— demonstrating not just making a pitcher, a teapot and a mug, but making a “family” of forms which relate visually to one another. Then Cohen moves on to the elements of visual expression, explaining the use of line, shape, color, texture and other visual elements to enhance your visual vocabulary. Believe it or not, he really does explain all these terms so that you can understand what he means, illustrating the explanations with stunning pots and suggesting a lot of fun, interesting ways to alter thrown forms. In short, I would recommend this book to potters at any level of proficiency. If you’re a beginner you will get some good tips to help you develop both your technique and your understanding of design principles. If you’re already an expert potter you will undoubtedly learn neat new things to do with clay but I hope you’ll also learn to evaluate your forms with a critical eye. And if you’re a teacher, your own pots will benefit, and you’ll also learn a whole new vocabulary for communicating with your students – more importantly, a whole new philosophy to communicate to them. n ceramic arts handbooks www.ceramicartsdaily.org/books Featuring 3 New Releases CERAMIC ART: Innovative Techniques Clay has no limits, which is proven by the more than 20 artists who share their stories and their techniques. From cutting up credit cards for extruder dies to coating a wedding dress with slip, there are no rules. This new handbook is sure to be a great resource for the professional, enthusiast, instructor or student at any skill level. With dozens of innovative techniques and scores of innovative tips, this book provides endless ideas and inspiration for any ceramic artist. Softcover | Order code CA74 | ISBN 978-1-57498-299-2 | Price $29.95 CERAMIC SCULPTURE: Inspiring Techniques With sculpture, clay provides more possibilities than any other medium. 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Softcover | Order code CA77 | ISBN 978-1-57498-301-6 | Price $29.95 PotteryMaking Illustrated | May/June 2009 45 46 PotteryMaking Illustrated | May/June 2009 index to advertisers Acclaimed pottery. Exceptional workshops. Steven Hill Pottery at Center Street Clay www.centerstreetclay.com. Working Pottery and Consignment Art Gallery established 30+ years with 30+ artists. Beautifully situated in upscale, historic, downtown Stuart, Florida. For more information visit www.rare-earth-pottery.com/4sale. EXTRUDE IT! Getting the Most From Your Clay Extruder, new instructional videos by David Hendley. Volume I—extrusions as handles, feet and additions; Volume II—two-part dies for hollow extrusions; Volume III—the expansion box and extrusions as building components. $43 each or $105 for the set (more than four hours of video). Shipping costs included. (903) 795-3779; www.farmpots.com. 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Long hours spent throwing or trimming at the wheel can do a real number on your neck and back. The following simple tricks can help enormously. . . 1. If your wheel pedal is under your right foot, place a brick under your left foot. This makes your knees level and eliminates asymmetrical stress on the lower back. Clay is a fluid medium and here’s a demonstration of how it works. Balls of strategically placed dark clay inserted into a white clay illustrate how the forces of throwing work on clay. 2. Use a stool on wheels. Tiny variations in distance to the wheel head allow you to use a range of back muscles, reducing fatigue. 3. Keep at least one tool that you use frequently, such as a cut-off wire, high above your head. This forces you to reach up and straighten your back at regular intervals, which is particularly helpful in avoiding those headaches due to tense neck muscles. Clay at the circumference moves more than clay at the center. Q. What’s the earliest known Potter’s Wheel? A. The first pottery wheels appeared around 8,000 BCE in Egypt and Khnum, one of the earliest Egyptian deities, is usually depicted as a bull-headed man at a potter’s wheel (no comment). Also known as the Divine Potter, he is thought of as the creator of children’s bodies, which he made on the wheel and placed in their mother’s wombs. Handedness and Throwing Rotation 10% RH/CW 4% lH/CcW 2% cw/CcW Did you know? In the Far East, potters usually work with the wheel turning clockwise and in Western cultures the wheel turns counterclockwise. According to our recent PMI Reader survey, 78% of PMI readers are right handed and throw counterclockwise. 6% LH/CW 78% RH/CCW Key: RH/CCW = Right Handed/Counterclockwise LH/CCW = Left Handed/Counterclockwise RH/CW = Right Handed/Clockwise Contrasting clay sandwiched between white clay. Coning causes clay from below to be pushed upward in the center and downward on the outside. Balls of half red and half white clay were centered, starting with red clay on the bottom to illustrate how coning moves clay from the bottom to the top. LH/CW = Left Handed/Clockwise CW/CCW = Right or Left Handed and uses both directions 48 PotteryMaking Illustrated | May/June 2009 Thanks to Ivor Lewis Visit us at ceramic arts dail y.org Showcasing the work of leading ceramic artists Your resource for ceramic techniques A membership community of potters and artists ceramic arts dail y.org A website bringing it all together for the ceramics community Join today to receive your FREE newsletter featuring weekly videos, post your work, submit listings and much more. Ceramic Publications Company, 600 N. Cleveland Avenue, Suite 210, Westerville, OH 43082 Phone: 866-721-3322 Fax: 614-794-5842