Clay Times Magazine Volume 13 • Issue 69

cErAMIc

ArT

TrENDs,

TooLs,

AND

Pottery You Can Live In! Understanding and Applying Glaze Without Ruining Your Work Conner Burns: Pushing Pots & Career Georgia Perspectives Showcase and Sale Building the Sugar Maples Soda Kiln

$ 7.50 U.S./$9 CAN

Aventurine Glazes: 14 New Recipes for Cones 04 & 5

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The Ceramic House

TIMES

Clay

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Vol. 13 No. 2 March/April 2007

renaissance-ad-Clay-Times-1-07:Layout 1

1/23/2007

5:26 PM

Page 1

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contents

TIMES

Clay March/April 2007 • Volume 13, Number 2

exhibitions & events Sam Chung, guest artist at recent “Georgia Perspectives” gathering.

features 34 Pottery One Can Live In: The Ceramic House Forget modern housing ... Joseph Diliberti built his California clay dwelling for next to nothing!

18 kilnopening.edu The American Museum of Ceramic Art showcases works by accomplished college-level California ceramic art teachers and students.

33 22nd Alabama Clay Conference Still going strong after 22 years, this annual gathering draws hundreds of participants from the Southeast.

38 Georgia Perspectives See why thousands flock to this annual event to learn new skills, plus view, buy, and sell pottery by Georgia clay artists.

42 Building the Sugar Maples Soda Kiln Thinking about building a new soda kiln? Here are some pointers from the workshop recently held in Windham, NY.

46 Conner Burns: Pushing Pots and His Career This Mississippi clay artist knows the importance of promoting his work, and it shows.

50 Sparkling, Glittery Glazes for Cones 04 & Cone 5 Check out these brand-new aventurine glaze recipes to add dazzling sparkle to your palette!

52 The Bray Effect With a new director and cuttingedge facilities, this former Montana brickyard continues to grow—as does its legend.

Untitled plate by Keiko Fukazawa. 27" diameter. From the “kilnopening.edu” exhibition featuring works by California art educators and their outstanding students, to take place April 7-28 at the American Museum of Ceramic Art (AMOCA) in Pomona, CA. To learn more about the show, turn to page 18.

contents

®

TIMES

Clay March/April 2007 • Volume 13, Number 2

At right: Joseph Diliberti celebrates life off the grid atop the arched entryway to the clay house he built for himself in El Cajon, CA. For details, turn to p. 34.

departments 11 EDITOR’S DESK “Going Green”

13 YOUR WORDS Letters from our readers

14 WHAT’S HOT Clay world news, events, and calls for entries

49 GREAT GLAZES A few of Conner Burns’s favorite formulas

54 THE GALLERY A selection of new works by CT readers

columns 67 POTTERY CLASSES Where you can learn claywork in the United States and Canada

70 CLASSIFIED MARKETPLACE Goods and services offered especially for active clay artists

73 SLURRY BUCKET TIPS Save time and trouble with these studio-tested tips & techniques.

On the cover: Ceramic House by Joseph Diliberti. Photo by Wilson North.

23 AS FAR AS I KNOW “Back to Basics, Part 2: An Introduction to Glaze Chemistry”

by Pete Pinnell

27 BENEATH THE SURFACE “More Confessions from an Electric Kiln Repairman”

by Lana Wilson

29 TEACHING TECHNIQUES “Waxing & Glazing”

by Bill van Gilder

57 TOOL TIMES “Tools for Altering”

by Vince Pitelka

59 KILNS & FIRING “Flow Interruption”

by Marc Ward

61 STUDIO HEALTH & SAFETY “Fashion Footwear for Potters”

by Monona Rossol

65 BOOKS & VIDEOS Image Transfer on Clay review by Steven Branfman

74 AROUND THE FIREBOX Thousands of works by Georgia potters can be found at “Georgia Perspectives.” See page 38.

“Never Say Never”

by David Hendley

6” xx 6” 6” 6”

12.5” 12.5”

12.5” 12.5”

9.5”” 9.5

EUCLID KILNS KILNS EUCLID

Las Vegas, Nevada

Jim Connell April 28-29, 2007

Registration: $200 ($150 for Nevada Clay Guild members) Special rates on rooms available for Pottery West Workshops at The Santa Fe Hotel— Call PWest for details

magazine

Editor & Art Director: Polly Beach editorial@claytimes.com Circulation Manager: Rachel Brownell circulation@claytimes.com Advertising Manager: Karen Freeman advertising@claytimes.com Accounts Manager: Nanette Greene accounting@claytimes.com Proofreaders: Jon Singer & Jenna McCracken Office Assistant: Ingrid Phillips Regular Columnists: Steve Branfman, Books & Videos David Hendley, Around the Firebox Pete Pinnell, As Far as I Know Vince Pitelka, Tool Times Monona Rossol, Health & Safety Kelly Savino, Around the Firebox Bill van Gilder, Teaching Techniques Marc Ward, Kilns & Firing Lana Wilson, Beneath the Surface Contributing Writers: Peggy Albers, Susan Beecher, Bruce Dehnert, Joseph Diliberti, Chandra Johnson, Beatrice Pearson, Robert Pearson Published by: CLAY TIMES INC. 15481 Second St. • PO Box 365 Waterford, Virginia 20197-0365 (540) 882-3576 • FAX (540) 882-4196

CLAyTIMES·COM n MARCH/APRIL 2007

For more information on workshops & classes, contact Amy Kline

10

Phone: (702) 987-3023 Cell: (702) 845-1715 E-mail: potterywest@cox.net

Pottery West 5026 N. Pioneer Way Las Vegas, NV 89149 Phone: (702) 987-3023

Clay Times® (ISSN 1087-7614) is published bimonthly, six issues per year. Periodicals Postage Paid at Waterford, VA, and at additional mailing offices.

Annual subscriptions are available for $30 in the U.S.; $36 in Canada; $55 elsewhere (must be payable in US$). To subscribe, call toll-free 1-800-3562529, or visit www.claytimes.com.

Freelance editorial and photographic submissions are welcome: Please contact Clay Times or visit our Web site for writer’s and photographer’s guidelines.

POSTMASTER: Address service requested. Send address changes to: Clay Times, PO Box 365, Waterford, VA 20197-0365. Copyright © 2007 Clay Times, Inc. All rights reserved. The material contained herein is derived from various sources and does not necessarily reflect the views of the publisher. All technical material is offered as general information only and should not be acted upon without expert supervision. No part of this publication may be reproduced or transmitted by any means without the written permission of the publisher.

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Hands-On Workshop with

Clay

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Pottery West

ceramic art trends, tools & techniques

J

ust recently, the international scientific commission on global warming ruled it official: we humans are, in fact, contributing to global warming. If you’ve been keeping tabs on the latest developments in the atmosphere around us, or you’ve had a chance to view Al Gore’s An Inconvenient Truth movie, you’re probably well aware that our planet is in serious, immediate jeopardy of grave consequences during our lifetime if all of us do not begin to act now with specific deeds to reverse global warming.

When watching Gore’s movie, it finally dawned on me that I, too, should take this seriously. I’m now committed to taking personal and professional action to do whatever is within my power to reduce the carbon dioxide (CO2) emissions that we (Americans, in particular) are producing at rates devastating to the precious ecological cycles of our planet. “What can I do to help make a difference?” I asked myself.

Of course, there are many other things we can all do. We can put the pressure on our politicians, and our commercial suppliers, to adopt eco-friendly policies to reduce CO2 emissions. We can actively explore ways in which we can make a difference with our family, friends, and colleagues.

Now I ask you: How can we, as potters, help reduce CO2 emissions? A few things that come to mind are:

• Stack bisque whenever possible and always fill the kiln before firing.

• Bisque and/or glaze-fire at lower temperatures.

• Recycle all studio materials ... and this is just the beginning! Please email your suggestions to me at editorial@claytimes. com, and I’ll share your ideas next issue as we further explore this topic.

—Polly Beach, Editor [

spouting off I Editor’s Desk

Going Green: Reducing Greenhouse Gases

First, I bought An Inconvenient Truth on DVD, and am now sharing it with friends to spread the word. I also jotted down the names of resources listed at the end of the movie to learn more about potential solutions to the problem. I visited www. stopglobalwarming.org online and joined the virtual march against global warming. From there, I followed links to ‘action items:’ little things each of us can do in our own households and businesses to make a big difference in reducing CO2 emissions worldwide. Here is a partial sampling from that list of simple, everyday actions all of us can do to help:

CLAyTIMES·COM n MARCH/APRIL 2007

1. Use compact fluorescent bulbs.

2. Inflate your tires.

3. Change your car’s air filter.

4. Run the dishwasher only when full.

5. Use recycled paper and materials.

6. Adjust the thermostat.

7. Check the water heater.

8. Change the AC filter.

9. Take shorter showers.

10. Install a low-flow shower head.

11. Buy products locally.

12. Buy energy certificates.

13. Buy minimally packaged goods.

14. Buy a hybrid car.

15. Buy a fuel-efficient car.

16. Carpool whenever possible.

17. Reduce garbage.

18. Plant a tree.

19. Insulate the water heater.

20. Replace inefficient appliances.

11

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A Kiln Guy’s Corrections As a kiln guy, I am always interested in articles relating to the products we manufacture. “Confessions of an Electric Kiln Repairman” [Lana Wilson’s column in Jan./Feb. ’07 Clay Times] contained some excellent information, especially on cleaning the interior of the kiln, maintaining the kiln sitter sensing rod, and proper loading of the kiln. However, it contained two points that I believe are misleading or incorrect.

The first is regarding Nichrome wire and the Kanthal company. Kanthal is the most prevalent purveyor of resistive heating wire and it manufactures numerous varieties of element wire. The two main trade names used are Kanthal A-1 and Nikrothal.

Kanthal A-1 material is the predominant material for pottery kilns, as its properties allow temperatures in the range of 2350° F. The major detraction to this material is large deformation at temperature: it sags.

It is an alloy consisting primarily of iron and chromium.

The second issue regards the belief that heat rises, so the top of the kiln is always hotter than the bottom.

This is true and false. The answer depends upon which temperatures the statement regards. At temperatures generally below 1100° F, this is

SUBSC RIB TODAY E !

Convection, the normal action of hotter molecules to rise and cooler ones to fall, occurs at temperatures below 1100° F. This normal action of molecules allows hotter molecules to physically collide with cooler molecules and transfer the heat energy. As temperatures approach 1100° F, the amount of convection diminishes quickly as the primary method of heat transfer because there are so few molecules remaining in the fire chamber. The density of air diminishes dramatically with temperature. As the density of air diminishes, the number of air molecules decreases, and the ability to transfer heat by collision decreases accordingly.

The primary method of heat transfer at temperatures above 1100° F is radiation. This is transferring heat from the elements to the ware by line-of-sight high-energy, highfrequency “light.” Think of sunlight on a cool, clear day. One can feel the radiant heat from the sun on your face, but when the cloud passes over it feels much cooler. This is line-ofsight radiant heat transfer. This is why the tallest items are always to be placed in the middle of the shelf, and shorter items toward the perimeter, to create a dome effect.

This also creates a need to not align shelves with the element grooves, but rather to have the shelves above or below element grooves to allow the radiant heat to transfer directly to the ware. Therefore, it is incorrect that the top of the kiln is always hotter than the bottom.

Whether you are a teacher in the schools, a director of an after-school visual art program or a future teacher attending college, Arts&Activities is the magazine for you.

10 issues for $24.95 Visit us at: www.artsandactivities.com

or call toll free: 866.278.7678 Clay Times March07 1/19/07 11:13 AM

Anderson Ranch Arts Center Field Workshops 2007

Jamaica, April 20 – 28, 2007 Akio Takamori, David Pinto & Doug Casebeer

Residencies 2007-2008

Michael Corney, Cups

[At] the temperatures at which most glazes and clay bodies mature, radiant heat is the method by which heat is transferred and convection plays no part. This means most uneven firings are the result of less than optimal kiln loading, or because of a difference in the amount of power generated by the elements in the kiln.

John S. Hohenshelt President, Paragon Industries LP [Editor’s note: Thank you, John, for your letter. We stand corrected.] [

Page 1

Akio Takamori, School Boy

Summer Workshops 2007 Christa Assad Victor Babu Doug Casebeer Ching-Yuan, Chang Victoria Christen Michael Corney Josh DeWeese Arthur González Jody Guralnick Chris Gustin Sam Harvey Jason Hess

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Randy Johnston Ralph Scala Eva Kwong Virginia Scotchie Matt Long Michael Sherrill Peg Malloy Paul Soldner Kirk Mangus James Surls Andrew Martin Akio Takamori Jan McKeachie-Johnston Alleghany Meadows Scott Parady Sandi Pierantozzi David Pinto Jeanne Quinn

www.andersonranch.org

CLAyTIMES·COM n MARCH/APRIL 2007

The second major variety of elements is nickel chrome material sold under the Nikrothal trade name. The nickel chrome, or Nichrome, elements come in various types, but the main attribute they have is very little deformation at temperature—but they are not to be used above 2000° F. The author’s statement that “Nichrome wire used as pins also burns up the elements because they are made of Kanthal” is misleading, if not incorrect. Nichrome wire from any wire manufacturer will melt if used as an element pin above 2000° F. Element staples from most kiln manufacturers are made from Kanthal A-1 iron chrome material because they can handle any temperature to which either element material can be fired.

Whether the wire is from Kanthal or another manufacturer has no bearing on whether it will melt. The determinative factor is the material type of the wire.

generally true; but above 1100° F it is generally false. Let me explain.

Spouting Off I Letters

Your Words

The Ultimate Art-Teaching Resource for over 70 Years

13

4

What’s Hot

ceramic art world news • events • calls for entries

Fire Destroys Cub Creek Home ‰ On December 26, 2006, Virginia clay artist John Jessiman lost his home and everything in it to a devastating fire.

Although no one was hurt in the blaze, Jessiman lost everything: books, clothes, furniture, 40 years of slides documenting his work; even his collection of ceramic art did not survive the intense fire.

His house was more than one man’s home. It served as the physical heart of the Cub Creek Foundation, a ceramic residency facility that John started four years ago in Appomattox, Virginia. It was where the residents slept, ate, and gathered for conversation and entertainment.

house after the fire at this Web address: www.erinintrevadoroot.blogspot.com.

Residencies

Teapot, Sugar and Creamer by Ruth Duckworth, participant in Northern Clay Center’s “Magnificent Obsessions” show.

Porcelain, bamboo handle. 6" x 9" x 6" (teapot); from the Root Collection.

Ceramics Exhibitions

CLAyTIMES·COM n MARCH/APRIL 2007

At present, John has found temporary housing for the residents. He has begun the difficult task of planning the reconstruction of his home. Plans for separate resident housing were in the works before the fire, at a cost of more than $200,000. Now this housing and the funds are needed more than ever. Foundation members hope to raise 20% via donations, to allow them to proceed with financing and construction.

14

‰ The Clay Studio, a Philadelphia, Pennsylvania-based non-profit ceramic arts organization, presents “Small Favors II,” a ceramic art exhibition showcasing the latest in miniature, wall-mounted artwork.

Featuring creations by more than 100 ceramic artists from across the nation, this special exhibition will run May 4-13, with a preview event on Thursday, May 3 from 6-8 pm in The Clay Studio’s home at 139 North Second Street, Philadelphia, PA 19106. For more information, call (215) 925-3453 ext. 18, or log onto www.theclay studio.org.

Donations should be sent to: The Cub Creek Foundation, c/o Steven Glass, Board Member, 4303 Springhill Avenue, Richmond, Virginia 23225. Cub Creek is a non-profit organization with 501(c)3 status. All donations are tax-deductible and will be specifically used to support the Foundation’s efforts.

Any questions about the Foundation or about plans and progress of the rebuilding efforts may be directed to board member Elizabeth Kendall at: EAkendall@ cox.net. You can also take a look at a blog created by Erin Root, one of the new residents. She has posted some dramatic images of her first encounter with John’s

‰ Genesee Pottery in Rochester, New York is seeking two self-motivated potters or handbuilders to serve as artistsin-residence for the 2007-2008 residency term. Please contact: Joe Fastaia, Director, Genesee Pottery, 713 Monroe Ave, Rochester, NY 14607; telephone: (585) 271-5183, email: pottery@geneseearts.org, or see www. geneseearts.org for downloadable application information. Application postmark deadline: May 1, 2007.

‰

Wall Tiles by Denis Licul, featured in Clay Art Center’s “East West Fusion” show.

“Magnificent Obsessions: Collecting with Passion and Knowledge” takes place March 9-April 29, 2007, at Northern Clay Center’s Gallery M, 2424 Franklin Avenue East, Minneapolis, MN 55406. This exhibition features work lent by several local collectors of ceramic art. The objects from their collections exemplify not only the range of possibilities for expression in clay, but also show what happens when individuals apply a balance of mind and heart to the decisions about what to acquire.

Also from March 9-April 29, Northern Clay Center will host its “2007 Regis Master Exhibition: Don Reitz,” in Gallery A. The opening reception takes place Friday, March 9 from 6-8 pm. Then on Saturday, March 10, Reitz will present the 200 Regis Masters Series Lecture at the Pillsbury Auditorium of the Minneapolis Institute of Arts at 2400 Third Ave. S. in Minneapolis. Admission is free.

For further details on either event, call (612) 339-8007 ext. 304, or email: jennifer otis@northernclaycenter.org, or visit the Web site at www.northernclaycenter.org.

‰ Baltimore Clayworks presents “Opposites Attract,” an invitational exhibition curated by Nick Joerling, to take place April 14-May 23, 2007. The show will feature works of eight artists invited by Joerling—each asked to pick another artist whose work they admire but is different from their own. Opening reception: April 14, 6-8 pm. In conjunction with the exhibition, Joerling will lead a workshop on altering pots, April 14-15. To find out more, visit the Web site at www.baltimore clayworks.org, or call (410) 578-1919. ‰ Clay Art Center of Port Chester, New York, will host “East West Fusion,” an exhibition of recent works by five current CAC members who explore the fusion of eastern aesthetics and ceramic traditions with the western cultural environment.

The exhibit will run from April 1-28, 2007 with an opening reception on Sunday, April 1 from 3-5 pm. For further details, visit the Web site at www.clayartcenter.org, or call (914) 937-2047 ext. 222.

‰ The Jacoby Arts Center presents “Material Attraction: Diverse Reactions II,” an exhibition of works by 38 regional ceramic artists. Curated by Susan Bostwick, Charity Davis-Woodard, and Melody Ellis, this exhibit will run from May 11June 17, 2007, with an opening reception on Friday, May 18 from 5-8 pm. To learn more, contact the Jacoby Arts Center, 627 East Broadway, Alton, IL 62002; (618) 4625222; or visit www.jacobyartscenter.org. ‰ In support of the mission of the National Council on Education for the Ceramic Arts (NCECA), the American Museum of Ceramic Art will host an extensive exhibition of work created by Southern California college/university ceramic instructors and select advanced students during “kilnopening.edu,” April 7-28, 2007 (see story, page 18). The opening reception takes place April 14, 2007, from 6-9 pm.

AMOCA is open Wed.-Sat., 12-5 pm; 2nd Saturday of month, 12-9 pm; or by appointment. Admission fees are: Adults $3; seniors & students $2; members & children 12 years & under, free. For more information, contact American Museum of Ceramic Art, 340 S. Garey Ave., Pomona, CA 91766; tel. (909) 865-3146; email: front desk@ceramicmuseum.org; or visit the Web site at www.ceramicmuseum.org.

Conferences ‰ The National Council on Education for the Ceramic Arts presents its 41st annual conference March 14-17 at the Kentucky International Convention center in Louisville, Kentucky. Entitled “Old Currents/ New Blends: A Distillation of Art and Geography,” this year’s conference features several lectures, exhibitions, and an extensive trade show designed to meet the needs of ceramics students, teachers, and active clay artists at all levels. Full conference registration fee is $260 ($175 for students); day passes are also available. For complete details, visit the Web site at www.nceca.net/conference/2007, or call (866) 226-2322.

CLAyTIMES·COM n MARCH/APRIL 2007

‰ Santa Fe Clay Gallery presents “Salt & Pepper,” a national invitational exhibit featuring salt and pepper dispensers created by ceramic artists from across the U.S., to take place April 27-May 26, 2007.

Salt and pepper are partnered as condiments on almost every table in America.

Shakers, cellars, and a variety of containers for this pair of spices have long been produced and collected as novelty souvenirs. The opening reception takes place Friday, April 27, from 5-7 pm. For those who can’t attend the show in person,

the digital online show may be found at www.santafeclay.com. For additional information, contact Santa Fe Clay, 1615 Paseo de Peralta, Santa Fe, NM 87501; (505) 9841122; email: sfc@santafeclay.com.

hot stuff I News & Events

The opening reception will be on Friday, March 9, from 6 to 8 pm. In conjunction with the show, there will also be two Thursday evening gallery talks during the month of April. Refreshments will be served.

15

Hot Stuff I News & Events

‰ The 18th Annual California Conference for the Advancement of Ceramic Art (CCACA) takes place April 27-29, 2007 at various venues in Davis, California.

Hosted by the John Natsoulas Gallery, this year’s show will bring leading national and international ceramic artists to the Sacramento Valley for a weekend of creative instruction and collaboration.

Among planned events are a children’s workshop by Kevin Nierman on Saturday, April 28, from noon to 3:00 pm.

In conjunction with the weekend conference and festival, the John Natsoulas Gallery will hold its annual gallery-wide “30 Ceramics Sculptors” exhibition. The show, a collaboration between Robert Arneson and John Natsoulas, was first conceived in 1986 and continues the ceramic traditions made famous by instructors and students of the University of California, Davis Art Department and the University of California at Berkeley.

The “30 Ceramics Sculptors” exhibition will be open from April 25 through May 26.

Kathy triplett:

Artist-in-Residence at

CLAyTIMES·COM n MARCH/APRIL 2007

CeramiCs WorKshop

16

May 21 - 25, 2007

Call 610.374.4600 to register GoGGleWorKs Center for the arts 201 Washington Street, Reading, PA 19601 goggleworks.org • myspace.com/goggleworks

Our mission... to nurture the arts, foster creativity, promote education and enrich the community.

Special weekend showings that open Friday, April 27 and run through Sunday, April 29 include free exhibitions of ceramic work by art students from 30 colleges and universities, as well as exhibitions of ceramic work by well-known local artists at ten other Davis locations.

Free shuttle service will be provided to all exhibitions. In addition to the Ceramics Festival, there will be a weekend ceramics conference with presentations by professionals and enthusiasts in the field. For a complete schedule and additional information, contact the John Natsoulas Gallery at 521 First Street, Davis, CA 95616, (530) 756-3938, email: art@natsoulas.com, or visit the Web site at www.natsoulas.com.

‰ The International Ceramics Festival will be held June 29-July 1, 2007, at the Aberystwyth Arts Centre on the campus of the University of Wales on the beautiful coast of mid-Wales, United Kingdom.

Since it began in 1987, the International Ceramics Festival has grown to become the UK’s leading ceramics event. It offers teachers, students, ceramic artists, collectors, working potters, and amateurs alike the chance to meet and study the work of distinguished, internationallyknown craftspersons from Wales, the UK, and many countries worldwide.

The festival attracts about 800 participants to a series of lectures, practical demonstrations, and exhibitions over three days. The focus is both practical and inspirational: kilns are built and fired, pots are made, and demonstrations are given. Guest artists also have their own work space, enabling more in-depth discussions and exchange of ideas. During the festival there are selling exhibitions, bookstands, and a comprehensive display of products from leading pottery manufacturers and suppliers. The festival is organized jointly by North Wales Potters, South Wales Potters, and Aberystwyth Arts Centre.

Demonstrators include Ruth Duckworth, Bill van Gilder, Joe Finch, Richard Dewar, Laurie Spencer, Clive Bowen, and many other renowned potters from across the globe. This year’s program begins with Friday evening slide show introductions by invited guests. Saturday and Sunday is filled with demonstrations, lectures, seminars, slide shows, and films. Concurrently, a program of kiln building and

firings, demonstrations, and events will take place in the adjacent outside areas.

The International Ceramics Festival is made possible by the financial support of the Arts Council of Wales and the generous support and sponsorship of all the trading companies who donate materials and equipment.

Complete details of the conference may be found on the Web site at: www.inter nationalceramicsfestival.org. To request additional information, please contact International Ceramics Festival, Aberystwyth Arts Centre, Penglais, Aberystwyth, Ceredigion, SY23 3DE, Wales, UK, tel.: (44) 01970 623232, or email: artstaff@ aber.ac.uk.

Calls for Entries March submission deadlines

‰ The Isadore Gallery of Lancaster, Pennsylvania is requesting submissions for the “National Juried/Invitational Cup Show” to take place May 31-June 30, 2007. Juror Deborah Sigel will select works from each artist’s submission of three slides or three JPEG-format digital images supplied on CD. Entries may be functional or sculptural interpretations of “the cup.” Fee: $20.

Postmark deadline: Friday, March 23.

For a prospectus, visit www.isadoregallery.com, or contact Isadore Gallery, 228 N Prince St., Lancaster, PA 17603, tel.

(717) 299-0127. ‰ The Virginia Artisans Center in Waynesboro, Virginia, announces a national call for entries to “A Twist on Tradition,” a juried fine craft exhibition.

The exhibition will take place from May 17 through June 27. Deadline for entries is March 10; entry fee is $25. All fine craft media are eligible. Tim Glotzbach, founding Director of the Kentucky School of Craft, will serve as juror.

Visit www.artisanscenterofvirginia.org for a prospectus, or mail an SASE to Artisans Center of Virginia, PO Box 452, Waynesboro, VA 22980. For more information, call or email Elizabeth Moss: (540) 9463294, ACV@nexet.net.

‰

Clay artists living within a 600-mile radius of Amarillo, Texas, are asked to submit up to three slides or digital images of three clay works to be considered for the upcoming exhibition, “Amarillo Biennial 600: Clay.” The show will take place June 29-August 26, 2007, and will be juried by Marilyn A. Zeitlin, Director and Chief Curator of the Arizona State University Art Museum. Entry deadline: April 2, 2007; entry fee: $30. Awards will include Best of Show, $700; 1st Place, $500; 2nd Place, $200; 3rd place, $100. To enter, send your SASE to Amarillo Museum of Art, Attn: Carol Caummisar, P.O. Box 447, Amarillo, TX 79178, or download an application at www.amarilloart.org.

‰ The Clay Art Center in Port Chester, New York, in conjunction with The Westchester Arts Council, is calling for artists and exhibition proposals for “All Fired Up: A Celebration of Clay in Westchester,” a county-wide tour of clay throughout Westchester County, NY in Fall 2008.

The Clay Art Center will be accepting proposals from artists and curators for solo, group, and thematic shows which highlight the accessibility and diversity of ceramics as an expressive medium.

All proposals will undergo a curatorial review, after which selected exhibitions will be sited at participating galleries and venues in Westchester County. Submissions are due by April 6. Visit www. clayartcenter.org or www.westarts.com, contact Leigh Taylor Mickelson via email at leigh@clayartcenter.org, or call (914) 937-2047 for proposal forms.

(563) 242-5120. The mailing address is Art in the Park, PO Box 2164, Clinton, IA 52733-2164.

May submission deadlines

‰ American Craft Council Southeast announces “Spotlight 2007,” the regional annual juried exhibition, to take place at Arrowmont School of Arts & Crafts in Gatlinburg, Tennessee, August 17September 22.

The deadline for submissions is May 31.

The call is open to artists in all media who are at least 21 years old and who reside in one of the eleven member states of the ACC/SE region: AL, FL, GA, KY, LA, MS, NC, SC, TN, VA, WV. To request a prospectus, email info@ whoknowsart.biz or visit www.acc-south east.com, or send an SASE to Wendy Outland, ACC-SE Spotlight 2007, PO Box 1382, Asheville, NC 28802. [

GLAZES INC.

Introducing our new Low-Stone 900 Series colors.

We’re coming out with 36 brand new colors for our most popular low-fire glaze line. As always they are lead-free and dinnerware safe. Each color will work with the existing colors to create new layered effects. Watch this space for pictures of the other 18 new colors and some great new layering ideas.

For booth fees and other information, visit the Web site at www.clintonartin thepark.com, email directors@clinton artinthepark.com, or call Stacy Kinkaid at

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CLAyTIMES·COM n MARCH/APRIL 2007

‰ Art in the Park in Clinton, Iowa, is accepting applications for the 45th annual Outdoor Fine Arts Festival. Held in Riverview Park overlooking the Mississippi River, the festival features fine arts and fine crafts by national and regional artists, and will take place June 16, 2007.

The application deadline is April 15 and the fee is $5. Submissions will be juried from four slides or digital images (one of booth display). Cash awards will be assigned by jurors.

Hot Stuff I News & Events

April submission deadlines

17

Hot Stuff I On Exhibit

kilnopening .edu College-level art educators and their outstanding students from Southern California showcase their work at the American Museum of Ceramic Art this April.

Cholla. 15" x 14" x 21.5" tall.

Brian Kohl, Saddleback College, Mission Viejo, CA. Layered slip decoration; soda/salt glazed during cone 10 firing.

CLAyTIMES·COM n MARCH/APRIL 2007

T

18

he American Museum of Ceramic Art (AMOCA) in Pomona, California, is focusing on community during the months of April and May. The first of its related exhibitions, “kilnopening.edu,” offers Southern California college and university ceramic instructors—and some of their more outstanding students—an opportunity to show their work.

Presented in support of ceramic education, this exhibition underscores the importance of college-level ceramic programs, many of which are fighting to stay alive. When it comes to budget cuts, art has traditionally been an easy target. This

is especially true of ceramics, which is considered by many to be merely “playing in the mud.” According to Dr. Billie Scessions, Art Education Professor at California State University, San Bernardino, and a ceramic researcher, there are at least ten major reasons why colleges are questioning or even withdrawing their support from ceramic labs. Some of these factors include cost, environmental concerns, “craft” designation rather than “art,” and retirement or impending retirement of key and influential ceramics professors.

As a member of the National Council on Education for the Ceramic Arts (NCECA),

AMOCA is committed to aligning its activities with NCECA’s priorities. In 1961, the National Council on Education for the Ceramic Arts (NCECA) was organized to promote and improve the ceramic arts through education, research, and creative practice. From the 22 art educators from 17 colleges present at the initial conference, NCECA has grown to more than 4,000 members. “kilnopening.edu” is one way AMOCA is joining with NCECA to be a virile advocate of ceramic education.

From a substantive viewpoint, every ceramic work has roots as well as echoes.

Objects made of clay are the single most

Hot Stuff I On Exhibit CLAyTIMES·COM n MARCH/APRIL 2007

Personal Archaeology. 24" tall. William Catling, Azusa Pacific University, Azusa, CA. Made of ceramic & found objects.

19

Hot Stuff I On Exhibit

enduring indicators of past cultures, providing the ideal way to study human ingenuity. Wooden artifacts decay, textiles deteriorate, metals rust, but ceramic objects are not subject to any of these processes of degradation.

Whether utilitarian or decorative, from the east or west, or from the past or present, ceramic works supply keys to the sociological, ideological, technological, religious, and economic details of diverse civilizations.

Aside from the personal value of individual creativity, the creation of clay objects adds valuable information applicable to interpreting history through ceramics.

Historically, Southern California has a rich tradition of ceramics. AMOCA provides exhibitions that honor the ceramic achievements of the past and, through community exhibitions like “kilnopening.edu,” supplies encouragement to help ensure the future of the ceramic medium.

Untitled teapot. 11" tall. John Hopkins, Riverside Community College, Riverside, CA. Glazed porcelain.

To learn more about the exhibition, visit www.ceramicmuseum.org, e-mail frontdesk@ceramicmuseum.org, or call (909)

CLAyTIMES·COM n MARCH/APRIL 2007

865-3146. [

20

Tea Bowl. 3½" tall. Neil Moss, El Camino Community College, Torrance, CA. High-temperature clay with alumina matte glaze sprayed with ash, fired to cone 10 in reduction.

ceramics two week intensives for experienced and aspiring ceramicists. with Jack Troy Tom Bartel Rob McClurg Matthew Groves

two week Ceramics Residency July 22-August 4.

Applications due March 16.

CLAyTIMES·COM n MARCH/APRIL 2007

www.ox-bow.org 800.318.3019

22

image: tom bartel

John C. Campbell Folk School

Brasstown, North Carolina

2007 Instructors Hadi Abbas • Chad Allman • Bill Buckner • Marcia Bugg Ira Chaffin • Fong Choo • Christine “Chiwa” Clark Dylan & Angela Cox • Kevin Crowe • Doug Dacey Mary Dashiell • Ray DelConte • John Dodson • Susie Duncan Steven Forbes-DeSoule • Steve Fasen • Michael Hunt Mike Lalone • Jonah Levy • Kathrine Mathisen Joe Frank McKee • Jim Phillips • Robert Putnam Peter Rose • Vince Sansone • Ken Shipley • Jay Spalding Andrew Stephenson • Kaaren Stoner Martha Sullivan • Susan Vey • David Voorhees Mark Wingertsahn • Rob Withrow

Register for classes online.

Request a catalog. www.folkschool.org 1-800-FOLK-SCH

An Introduction to Glaze Chemistry

by PETE PINNELL

I

n my previous column, I began an introduction to glaze chemistry by defining some of its terminology and talking a little bit about the structure of molecules and why that is important to potters. I ended by mentioning that almost all of the elements that potters use—whether in glazes or in clay bodies—are in the form of oxides.

An oxide is defined as any element combined with oxygen.

“Combine” is a relative term and can imply a number of meanings. When I mix up a batch of pancake batter, I combine the ingredients in the proportions called for by the recipe but sometimes alter it slightly, adding more milk if it seems too thick, for instance. This mixture is a combination, but not in the same way as a molecule, such as an oxide. In chemical terms, my pancake batter is a mixture, and its proportions aren’t fixed: they can be altered depending upon any number of variables. On the other hand, if we combine sodium with chlorine to make salt (NaCl), they will always bond in the

same proportions. It was an early French chemist named Joseph-Louis Proust who first noticed that all genuine chemical compounds (as opposed to mixtures) had definite compositions, which led to his proposing (in 1799) what is now called the Law of Definite Proportions1. This law states that elements can’t simply bond any old way: instead, they will always bond in specific, predetermined proportions2. Some elements can only bond with oxygen in one way, while others, like iron (Fe), can bond in a number of proportions.

When we look at the way each element we use bonds with oxygen, we can predict, with some degree of accuracy, what role that oxide will play in a glaze.

Below is a chart containing the oxides we use to produce a base glaze (a glaze without any colorant). The first column is headed by the formula “RO, R2O.” In this case, we are using the upper-case letter “R” to stand for “any element.” In other words, everything listed in the first column oxidizes in the proportions of

1/1 (element to oxygen) or 2/1 (element to oxygen). This column is also titled “Fluxes,” because that is the role these oxides usually play in a glaze (more on what “flux” means a bit later).

Perspectives I As Far As I Know

Back to Basics, Part 2

The middle column is headed with the formula “R2O3,” because everything in that column is in that form: two atoms of the element combined with three atoms of oxygen. This column includes just two things: aluminum and boron.

The name we’re giving this column is stabilizers, because this is the primary role that each of these plays in a glaze.

There is a lot of disagreement on boron, with some preferring to include it in the flux column, while others put it in the third column. I’ll talk more about this later on, too, but for now let’s include it in the stabilizer column, if for no other reason than the way it oxidizes (B2O3).

The third column is “RO2,” and is called glass formers. It’s a pretty short list, including just one oxide: silica.

Oxide Chart (with each oxide’s reported melting point) Stabilizers (R2O3)

Glass Formers (RO2)

Na2O sodium oxide (1132˚ C, 2070˚ F) K2O potassium oxide (350˚ C, 662˚ F) Li2O lithium oxide (1700˚ C, 3092˚ F)

Al2O3 alumina (2054˚ C, 3729˚ F) B2O3 boron oxide (450˚ C, 842˚ F)

SiO2

CaO MgO BaO SrO

calcium oxide (2572˚ C, 4662˚ F) magnesium ox. (2800˚ C, 5072˚ F) barium oxide (1923˚ C, 3493˚ F) strontium ox. (1100˚ C, 2012˚ F)

ZnO PbO

zinc oxide (1975˚ C, 3587˚ F) lead oxide (888˚ C, 1630˚ F)

silica (1713˚ C, 3115˚ F)

CLAyTIMES·COM n MARCH/APRIL 2007

Fluxes (RO, R2O)

23

Perspectives I As Far As I Know CLAyTIMES·COM n MARCH/APRIL 2007

24

I mentioned in Part 1 of this column that questions of nomenclature (what we call things) are established by a group called IUPAC3. According to its guidelines, we should no longer use the suffix “a” on an element’s name to designate an oxidized state. In the past, “calcium oxide” could also be called “calcia,” for instance. I’m willing to go along with this except in regard to aluminum oxide and silicon dioxide.

The terms alumina and silica are in such common usage in ceramics, and are so much easier to write (and say), that I’m going to stick with them. Sorry for the inconsistency.

We’ll begin defining these column headings with ‘glass former.’ When a solid melts to become a liquid, it no longer has a defined structure: we say that its molecules are in an amorphous state, meaning “without form.” Interestingly, when the substance cools again, its molecules will usually reform into well-defined patterns that we call crystals. The vast majority of oxides crystallize quite readily upon cooling, but a very few resist this change. Among these is silica, which can remain in an amorphous state as it cools, so that we can describe it as having the qualities of a solid, even while it retains the structure of a liquid. Quite simply, this is glass: a solid that retains the structure of a liquid4.

As you can see from our chart, the number of glass formers we use in our glazes is pretty darn limited—we only list silica.

Yes, we use other glass formers on a lesser basis—such as boron and phosphorus—but silica is our primary glass former. Upward of 70% of a glaze can consist of silica. By itself, it can be made into a glass that is quite beautiful and very durable. One of the reasons why we don’t use glazes consisting of silica alone is that it melts at too high a temperature: 3115˚ F, or about cone 23. This means we need some way to get silica to melt at a lower temperature.

The way we do this is by combining it with fluxes. If you look back at our chart, you’ll notice a problem, though: many of our fluxes actually melt at a higher temperature than silica. That’s because fluxes don’t work in the way that many assume. Fluxes are not necessarily things that melt: fluxes are things that combine with silica to cause the mixture to melt.

This action is the basis for all our glazes.

If you were to produce a line blend between two contrasting materials, test the melting points for each mixture, and then graph those melting points, logic would seem to dictate that this graph would form a straight line between the two materials. What this would mean, for instance, is that a 50/50 mixture of the two materials would have a melting point exactly halfway between the melting points of each material. In reality, that line would usually have a marked sag to it, and certain mixtures of those two materials would melt at a point far below the melting points of either material.

In practice, this works with all different sorts of materials, from simple metals to complex compounds. For example, the tin and antimony mixture we use to solder

“RO” and “R2O” oxides: most glazes include at least one from each category, and usually several from each. This not only improves the melting characteristics, but also helps with color and surface quality, as well as durability.

our plumbing melts at a lower temperature than either tin or antimony alone.

As usual, this column is already getting long, and I’m just getting started! Next time I’ll write more about stabilizers—in particular, about an amazing oxide called boron that, as I’ve alluded to, can function as flux, stabilizer, and glass former.

After that, we’ll be ready to get down to business and put all this information to practical use. [

The same is true of a mixture of oxides, such as SiO2 (silica) and Na2O (sodium oxide), and it works equally well with a mixture of two or more complex compounds, such as feldspar and talc.

In each case, when the two are mixed together, they will tend to begin melting at a lower temperature than either would alone.

Our last category is stabilizers, and it is these that make a glass into a glaze.

Without a stabilizer, a mixture might melt just fine, but it would probably run off the pot as soon as it melts. One of the things a stabilizer does is increase viscosity, which is the measure of how runny a glaze is.

The higher the viscosity of a glaze, the less runny it is. Stabilizers can also affect the degree to which a glaze may crystallize.

FOOTNOTES 1. Sometimes called the Law of Fixed Proportions,

This also applies for extremely heatresistant oxides like alumina. Any amount of silica will lower the melting point of alumina, but some proportions of the two will melt at a lower temperature than either alone. Even in glazes maturing at pottery temperatures there are situations in which the addition of alumina will lower the melting point of the glaze.

If you’d like to personally see a nice example, try making a small batch of the following mixture: 34% whiting, 30% kaolin, and 36% silica. If you look at our little chart on page 23, silica has the lowest melting point among these three materials at 3115˚ F, yet our mixture will actually melt at cone 9, or about 2300˚ F. No, it’s not a good glaze, but it’s a good example of this simple principle.5 Interestingly, the more complex the mixture, the earlier the melting will tend to occur. This is one of the reasons why we will often use a variety of fluxes in a glaze rather than just one. In our chart, you’ll notice that the flux column includes both

or Proust’s Law. The law is fixed even if the title is not.

2. There are exceptions (aren’t there always?): a class of substances called Barthollides.

They aren’t important to us as potters, unless you’re just someone who likes knowing about exceptions.

3. International Union of Pure and Applied Chemistry.

4. The technical term for this is supercooling, so a glass is a supercooled liquid.

5. Interesting stuff can be learned from phase equilibrium diagrams, which is where I found this information. It came from “Phase Diagrams for Ceramists,” by Ernest M. Levin, Carl R. Robbins, and Howard F. McMurdie; Margie K. Reser, Editor; published by the American Ceramic Society (1964, 1981). If you can’t find it at your local library, remember that they can usually get books for you through interlibrary loan.

Pete Pinnell teaches at the University of Nebraska-Lincoln. He has been a potter for many years and has numerous exhibitions and workshops to his credit.

You can reach him with comments or questions at ppinnell1@unl.edu.

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Olympic commercial electric and gas kilns are heavily insulated (6” of insulation and air space) for energy efficiency and built to last with heavy angle iron frames, stainless steel skins. The electric kilns have options for kiln sitter and limit timer, electronic controller, 480 volts, 3-phase, and 3- zone control. Olympic DownDrafts are designed to fire on propane or natural gas. Stainless steel or galvanized vent hoods can be added as option in addition to kiln sitter and timer, electronic control wall unit, pyrometer and blower burners. Olympic commercial electric kilns range in sizes from 5.5 – 53 cubic feet and the gas kilns range from 9-40 (useable space) cubic feet.

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The unique firing chamber keeps temperature hot inside the kiln even when opened. Sizes range from 18” to 28” wide to accommodate small to large pieces. Propane or natural gas.

part 2 of a series by LANA WILSOn

Do you cover your kiln, or prop your kiln sitter?

Lana’s busy repairman warns about what NOT to do with your kiln, and offers useful maintenance pointers and safety tips to keep your firings successful and trouble-free...

O

ne time when he arrived for a kiln repair, my kiln repairman noticed the tarps on my kilns.

Whoops—potential problem! “A common cause of repairs is that people leave tarps on their kilns or put a tarp on incorrectly,” he explained. “This can cause condensed water to get in the control box. The kiln sitter is still fine, but the switches will have rusted. When switches rust, they start arcing and smoking and then you have to replace them,” he said. He advises putting a towel under the tarp and leaving some air space under the tarp, especially by the control box. “You don’t want condensed water under the tarp dripping into the control box,” he said.

My kiln guy tells stories of common repairs that take two to four minutes.

“Sometimes, an electric kiln owner phones in great frustration because the kiln will not turn on. I go to repair it, and simply turn on the limit timer. The kiln works—a two-minute repair! When the limit timer is at zero and the start button is pushed in, nothing can turn on, and the start button won’t stick in.

He wasn’t surprised when I told him my worst kiln-beyond-repair kiln story.

A friend of mine in a clay co-op finished loading the 24-cu.-ft. gas kiln. She had left the dampers closed from the last firing, and turned on the pilot­—but couldn’t find the matches quickly. She

looked all over the co-op kiln yard, finally found matches, and lit the pilots.

There was a large, dramatic explosion, and the expensive kiln blew up. The pilot gas had collected in the closedup kiln while she was searching for matches. When it was lit, it blew out the kiln. Amazingly, she was not hurt, but the kiln was beyond repair.

I told my repairman of electric kilns that had melted to the floor. He had stories, too. “I tell potters not to put the kiln timer on the maximum time, because the timer might stick and the kiln will go on forever. Set the timer for about one or two hours more than you think the kiln needs to get to the designated kiln temperature. You should be there to check it when it is expected to switch off.

“I have seen electric kilns without stands melted to the ground of a wood-floor studio before they turned themselves off. If it is a glaze firing, you should have cones in the kiln to get an accurate temperature—kiln sitters are not as accurate as cones. A loosely-stacked kiln will yield a kiln sitter response different from that of a densely-packed kiln. For glazes to turn out correctly, you need to watch the cones in the kiln, and switch off the kiln when the cones bend over.

Repeat: for accurate glaze temperature firings, look at cones inside through the kiln peephole. When the cones bend, you should turn off the kiln and plug the peephole.”

There is another sobering story of the potter who had a kiln on a stand on a wooden floor. It had never over-fired but it did catch the floor on fire, probably from radiant heat from a crack in

the kiln floor or maybe a chunk of hot brick that dropped down. The potter was lucky: they caught it in the early morning with just a charred hole in the floor under the kiln—not that much damage.

Electric kilns must be put on fire-proof insulated platforms if they’re on wooden floors. My electric kilns are placed on platforms of two layers of pavers, so at least I haven’t made that mistake.

CLAyTIMES·COM n MARCH/APRIL 2007

“I have also had upset customers because—after repeated attempts—their gas kilns will not turn on. The problem?

The pilot has not been turned on. As soon as I turn it on, the kiln is ready to go. A four-minute repair.”

Kiln Repair Guy Joe

Perspectives I Beneath the Surface

More Confessions from an Electric Kiln Repairman

27

Perspectives I Beneath the Surface

My kiln repairman advises public schools against starting electric firings on Fridays.

“We have had school teachers turn the kiln on at the end of the day on Friday, and the kiln will still be on when they come in on Monday. Now I recommend they never fire on Fridays. If something does go wrong during the week, at least it has only gone overnight. When I try to repair a kiln that has been over-fired during an entire weekend, the bricks are so brittle and glassy that they just break.

That means the kiln is practically ruined.”

He says you need to be careful with kiln

sitters. He has customers who have made the mistake of shoving a chair up against the kiln sitter’s swing plate to keep the kiln from turning off normally. Another blunder is placing a shelf at the same level, and too close to, the kiln sitter inside the kiln.

As the shelf expands or leans toward the kiln sitter, the sensor rod can’t drop.

He commented on what he thinks when he sees big black spots and broken bisque.

“I know there is not enough vacuuming.

Vacuum your kiln, but if it is a computercontrolled kiln, never put the vacuum over the thermocouple (temperature probe)

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because it may cause enough static to ruin the kiln computer. Don’t ever use a metaltip vacuum in a computer kiln, because it will cause even more static than a plastic vacuum. The higher static is even more likely to burn out your [circuit] board. This is not common, but it can happen.”

Regarding purchase of used kilns: “I see people buy used kilns and try to fire to cone 10.

With a used kiln, you are not likely to get the temperature to go that high. Kiln elements are only capable of about 40 degrees hotter than the temperature the kiln is designed to reach. That is one big reason why, if you are firing to cone 6 all the time, you should buy a cone 10 kiln. Firing to cone 6 won’t be as hard on the elements, and the kiln will last longer than if you get a cone 6 kiln and fire it to its maximum capability of cone 6.”

He had two suggestions on kiln wash. The first one is more expensive, but I have found it to be the best I have ever used. You can mix equal parts by weight in grams or pounds in the first formula.

Kiln Wash #1 EPK Calcined EPK Zircopax Alumina Hydrate

25.0% 25.0 25.0 25.0

Another kiln wash that is effective, but cheaper, follows below. I admit I like the first one so much, I haven’t even tried this one.

The formula is in grams, and totals 100%: Kiln Wash #2 Calcined Kaolin EPK Silica Alumina Hydrate

28.0% 18.0 45.0 9.0

The final hint from the kiln repairman: Beware of those ‘good deals’ on kilns! Pay attention to the delivery process and prices—it is your responsibility to unload it off the truck. The fee to do that is usually $75 to $95, and that only gets it to the curb. I did phone around and found a marvelous bargain deal on a kiln, but the inflated shipping fee was a third of the price of the kiln!

Astounding how much I did not know about using electric kilns. But it’s nice to know I do some things right! For more firing information, go to: www.ortonceramic.com. Click on resources, then click on reference library for information on firing and cones. [ Lana Wilson is a handbuilder from Del Mar, California. She gives frequent workshops and is the author of Ceramics: Shape and Surface. She may be reached via her Web site, www.lanawilson. com, or by e-mail at lana@lanawilson.com.

Waxing & Glazing

by BILL van GILDER • photos by rex looney

organized glaze surface. I’m going to layer two glazes onto a few footed, smoothwalled bowls. Because these bowls are relatively tall and deep, I’m going to focus on decorating just the outside walls. We’ll cut some shaped stamps from this piece of foam sponge and use them to apply an assortment of wax-resist patterns between the two layers of glaze. And this is where I’m headed…”

Necessary Supplies • assorted bisque ware bowls • assorted sponge brushes • a sturdy banding wheel • assorted pieces of finetextured foam sponge • one sheet of newspaper • scissors • wax-resist emulsion • water and a small sponge • two complementary glazes

If you use an erasable board to occasionally illustrate your demos, draw several bowl shapes and ‘decorate’ them (Fig. 1).

Optional: • an erasable drawing board and marker

A

Fig. 1

“But, before going further, take some time to inspect your pots. If there are rough spots or small bits of clay attached to your pot, now is the time to smooth or remove them. And next time, try to take care of these imperfections at the leather-hard stage.”

Announce to the class, “Sarah wants some glazing ideas for her six bowls. So, I’m going to gather a few tools, materials, and several bowls, and demo a stamped, waxresist technique. Demo in five minutes.”

Students should absolutely avoid sanding their bisque ware. The dust factor is the issue here, so I stress producing clean pots during the final leather-hard step—not after bisque firing. Especially important are foot and rim edges. If it’s necessary to smooth any part of a bisqued pot, advise students to use a sharp fettling knife to lightly scrape away the roughened area, and follow-up with a quick wipe using a slightly dampened sponge.

During this demo you also have an opportunity to lay down some glazing basics, no matter what type of pot is being glazed.

Gather the class and explain, “Your neatlymade functional pots deserve a neat and

First Waxing On a newspaper-covered work table, gather a container of wax-resist emulsion, a ¾"or 1"-wide sponge brush, a heavy-duty banding wheel, a piece of newspaper and scissors, a container of water, and a small fettling sponge.

In our classroom we use a wax emulsion (Mobil Wax Resist from Highwater Clays, Asheville, NC), diluted one part water to two parts emulsion, stored in a small, covered container. It’s the most suitable liquid wax we’ve found for both waxing the bottoms of pots and for overglaze decoration.

It applies very evenly, and doesn’t peel or ‘lift’ from a powdery, glazed surface.

With the container of wax-resist opened and a dampened sponge brush in hand, explain that, “The waxing of the foot is the first step. The second and third steps, as described and illustrated prior, will follow the first glaze coat.”

Placing the banding wheel front and center, point out the likelihood that the wheelhead surface may have some residual wax on it from prior use. Because we don’t want that wax to attach itself to the rim of our inverted bowl, cut a piece of newspaper from the larger sheet, sized to roughly fit the wheelhead. Lay it on the banding wheel, then invert and center your bowl.

For a clean, straight wax line, quickly spin the banding wheel and, using your dampened sponge brush, apply a thin skin of emulsion to the foot of the bowl.

Direct students to avoid overloading the brush with wax. Too much wax combined with some brush pressure results in ‘runaway’ wax down the side of the bowl. Not

CLAyTIMES·COM n MARCH/APRIL 2007

s an instructor, how many times have you heard, “I’ve worked really hard to make these bowls. Now, I’m going to mess them up by trying to glaze them. Any help? Please?” The comment and question give you a great opening for a finishing techniques demo.

“O.K. … now on to waxing. Neatness counts here, so work methodically, step by step.”

In Form I Teaching Techniques

In the beginning...

29

In Form I Teaching Techniques

2 good (I learn far more from my mistakes than from my successes)!

pronged glaze tongs which are stored in our communal tool bin … and that’s fine.

Share with them a few sensible waxing rules: each pot must be waxed at least ¼" upward of the foot, or whatever part of the piece is going to contact the kiln shelf. This generally prevents running glazes from sticking the pot to the shelf. Another pointer: when waxing pots that have a trimmed foot, the trimmed-out area must be also waxed.

Again, this reduces the glaze-stick potential. Continue to spin the banding wheel and wax the inside of the foot ring.

“In a couple of minutes you’ll need to pick up your bowl and fettle, or clean away, any glaze that has adhered to the waxed foot area.”

Set the bowl aside, placing it rim down, and note to students that a minimum of 15 minutes is the necessary drying time per waxed surface. “These thick white beads of wax will disappear when the wax has totally dried. If you glaze too soon, the glaze will stick to and cover the waxed surface. Again, not so good—so be patient! While your pots are drying, stir up your first glaze.”

First Glaze Coat

CLAyTIMES·COM n MARCH/APRIL 2007

Having picked two complementary glazes— glazes that over- and under-lap each other well—proceed to stir them vigorously. For this job we use a long-handled, stiff-bristled brush (commonly called a toilet brush)! It works great.

30

4

3

Pick up your (not toilet!) bowl and using a fingertip at the rim and your thumb at the foot, slowly and completely submerge it into the glaze. Count to three (or four, if the glaze batch is on the thin side) and slowly pull it from the glaze. Set it upright on the table and immediately tap some of the glaze from your fingertips onto the bare spot where your fingertip held the bowl at the rim. Some students prefer to use the four-

While your glazed bowl is drying, you have a brief moment to discuss “what is glaze.”

Keep it simple. Students are in a ‘hands-on’ mode right now, and I’ve discovered that their attention wanes quickly if a lecture ensues. I simply state that, “Glass is powdered silica, which alone, melts at a very high and very specific temperature. Powdered clays are added to stiffen the silica to avoid over-melting and runny glazes. Added into the mix are fluxes, which bring the melting point of the clays and silica mixture down to a temperature that’s useful to us potters, like cone 6, or 2291º F. Color is attained by adding an assortment of powdered coloring oxides, or stains.” And I name a few of them.

“We add enough water to a mix of 10,000 grams of powdered glaze material to produce a 5-gallon batch of glaze, like the two I’m using here. The batch is then sieved twice through a very fine mesh screen, and it’s ready to use.” I then point out our inhouse collection of Clay Times magazines and recommend that students read Pete Pinnell’s columns. If they want to know even more, “Check out the glaze books in our classroom library.”

Second Waxing Back to the demo … Two issues I constantly deal with, both with students and in my own work, are ‘drips and runs’ during the application of a glaze … and achieving

straight glaze-stop lines. So talk about them and begin this part of the demo by showing techniques to deal with them.

“This bowl is going to be glazed twice, or double-dipped on the outside of the form only. The inside surface will remain singlecoated. I’m going to dip the bowl into the second glaze rim-first after the wax-resist decorating step. And I want a straight glaze line here … just inside the rim.”

Center your bowl upright on the banding wheel, give it a quick spin, and brush a 1"- to 2"-wide band of wax at the inside rim. Start your waxed band about ¼" downward into the bowl (Fig. 2).

Flip the bowl over, rim to banding wheel, and wax a couple of thin lines on the outside wall. One will be painted near the rim and the other will be nearer the foot, or at the bottom of the wall. Add one more wide band of wax at a point just above the foot.

This band will create a neat end line at the bottom of the second glaze dip (Fig. 3).

Making Stamps While your waxed bands dry, pick up your scissors and a scrap piece of foam sponge.

(A razor blade works a bit better here, but the scissors are safer for students to use.)

Cut some triangular, squared, diamondshaped, or any assortment of small shapes from the larger piece of foam sponge (Fig. 3): lots of possibilities! Note that it’s the ‘face’ of the stamps that you’ll be decorating with, so the shape of the ‘handle’ part of each stamp isn’t very important. It only has to be long enough to grasp with the fingertips. The scale of your stamps—how big or how small—is up to you (Fig. 4).

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Waxed Decoration Pick up your bowl and hold it in one hand, by the foot. Dampen one of your stamps in water, squeeze it dry, and then dip the shaped ‘face’ into the wax emulsion. To avoid a running and out-of-control wax application, dip the stamp no more than ¼" into the liquid wax.

As if you were block printing, lightly press the stamp to the bowl’s outer wall (Fig. 5). To keep things neat and tidy, I use the two narrowbanded wax lines as containment points as I build a pattern around the form.

Note these two points to those watching: “Don’t overload your stamp with wax, and don’t press the stamp too hard against the pot; a light touch is best. If you rock the sponge left and right a bit as you press it onto the curved wall of the pot, the waxed shape will be transferred cleanly, with definition.”

Second Glaze Coat Again, allow your waxed decoration to dry completely—the longer, the better. Now stir up the second glaze. Hold your bowl by the foot and dip it into the glaze, rim first, for a count of two. “One … two … and slowly out.

Slide your bowl sideways from the glaze as opposed to popping it straight up. This avoids splashes of glaze on the inside of the bowl.

“These next two steps are important: Shake the bowl quickly left and right to move the glaze away from the waxed surfaces. Continue to hold your bowl upside down, and slowly rotate it until that glaze drip at the rim dries and stops rolling. We want to keep it there at the rim and not running down the outside of the pot, over our decoration. There … it’s dry.

So I can upright the pot (Fig. 6), set it on the table, and I’ll fettle away any glaze beads that have stuck to the inside band of wax. What about these tiny beads of glaze that are stuck to my stamped pattern? I kind of like them there. They’re very small and not worth the effort needed to remove them. Now let’s get it fettled and fired.

“Next class—or column—we’re going to cut some of these sponge brushes into combshaped profiles, and wax some ‘loose’ and more nature-inspired decoration onto our bowls. But for now, learn and play with this technique. It’s all about accumulating and building skills.

“There you go, Sarah. Now, you do it!” [

5

6 Bill van Gilder has been a full-time potter and ceramics teacher since the 1960s. He is creator/host of the Throwing Clay DIY Network TV series and teaches functional pottery-making workshops. He may be reached by e-mail at vangilderpottery@ earthlink.net. His potters’ tool line, van Gilder Tools, is now available via the Clay Times online store at www.claytimes.com, or by calling toll-free 1-800356-2529.

CLAyTIMES·COM n MARCH/APRIL 2007

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22ND ANNUAL

Alabama Clay Conference

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ore than 350 attendees from the southeastern U.S. converged upon the University of North Alabama in Florence, AL in early February for the 22nd Annual Alabama Clay Conference (ALCC22). Sponsored by the Alabama Craft Council with partial funding from the Alabama State Council on the Arts and the Alabama Arts License Plate Program, this year’s event was organized by Jim and M.C. Jerkins of Florence, who own and operate “M.C.’s Hallelujah Hands” clay studio and gallery there.

Headlining ALCC22 were presenters Linda Arbuckle, Sandy Blain, Lisa Orr, and Bill van Gilder. Programming took place on Friday and Saturday in the student union of the University of North Alabama campus, with two presenters in the morning and two in the afternoon, simultaneously offering their demonstrations in different meeting rooms. Large-screen video projections made even the finest details of creation easy for the audience to comprehend, and most attendees left the presentations armed with pages and pages of valuable notes gleaned from demonstrations.

Additional parts of the weekend programming included a mug exchange, a participants’ exhibition and a presenters’ exhibition at the

UNA Art Gallery, slide presentations, and participant donations to the Florence Empty Bowl Luncheon, with proceeds earmarked for Salvation Army food projects. Participants could also visit the on-site ALCC Art Market throughout the weekend to view and purchase books, tools, supplies, and equipment offered by vendors, plus original clayworks by the presenters themselves.

Sunday was filled with several mini-demonstrations by additional presenters, including: “Assembling Teapots” by Stephen Cappelli; “Throwing Really Tall Pots” by Bill Buckner; “Application of Commercial Glazes”

by Bill Boakes of Mid-South Ceramic Supply; “Tilemaking” by Sue Jensen; “Mixed Media Collages” by Gail Bergeron; “Bonsai 101” by Clark Mueller; and a popular bring-your-own-bisque mini-raku demonstration, sponsored by Olympic Kilns.

Evenings were filled with entertainment, too: Friday night featured a reception at M.C.’s Hallelujah Hands to view the “NW Alabama Clay Artists & A Few Friends” invitational exhibition. Then on Saturday evening, conference goers were treated to “Ceramic Works by Contemporary Artists” at the Kennedy-Douglass Center for the Arts.

Pictured, clockwise from top left: Presenters Lisa Orr (l) and Linda Arbuckle synchronize contacts on their Palm Pilots; Jim Jerkins, co-organizer of ALCC22; vase by presenter Sandy Blain; platter by Linda Arbuckle.

CLAyTIMES·COM n MARCH/APRIL 2007

Surprisingly enough, ALCC is not organized by the same group each year: both the staff and the venue change annually. Next year’s conference will be headed by W. Lowell Baker, and will take place at the University of Alabama in Tuscaloosa, AL, where he serves as professor of art, ceramics. Watch the official Web site at www.alclayconference.org for details on next year’s event as they become available. [

33

Pottery One Can Live In:

The Ceramic House

STORY By Joseph Diliberti • PHOTOS BY WILSON NORTH

CLAyTIMES·COM n MARCH/APRIL 2007

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34

hen most people think about ceramics, they usually associate it with pottery such as a bowl, dish, cup, or vase. When I think about ceramics, I think about housing.

Then the interior is sculpted with counters, cabinets, sinks, shelves, bowls, and drums.

The structure is converted into a multipurpose kiln by firing it from the inside out for three days. Thus it is turned into a ceramic house.

Instead of throwing a bowl on a wheel and firing it in a kiln, I become a human wheel and spin from left to right around a huge, eggshaped truss of wood and plastic pipe, using honeycomb-shaped blocks of various sizes to build a bowl big enough to live in. With a plumb bob hung down the center to keep the structure in balance, a chain is attached to a nail from the center, to spot each block and keep the structure round and true to the truss.

Before I begin explaining the do’s and don’ts and how’s of building a fired ceramic house, I would like to say that all of what I do comes from hands-on, self-taught experience. I have no engineering background, and there are no guarantees: I learn by trial and error.

I would also like to point out that there are obstacles to overcome when making a fire that shoots through a chimney 15'

into the atmosphere. These include the Fire Department, Department of Forestry, Police Department, and the neighbors, who usually make the calls. There are a number of safety factors to observe, particularly the need to keep at least a 15' clearance around the dome.

It is also important to wear welder’s goggles when looking at the fire, and I protect the skin of my face by covering it with clay.

Keep in mind that a kiln is a place of holocaust, a potential enemy as well as collaborator.

There’s always the mystery that accompanies a kiln firing and, in spite of your best effort, a degree of uncertainty always seems to persist.

I’ve been experimenting with ceramic architecture, brick masking, hand-coiled and pinched pottery, and kiln design for the past 15 years. I have evolved through a variety of designs sprinkled with my share of failures and successes. However, since I’ve discovered the use of nature’s intelligence in my design, my success rate has increased. I now incorporate the egg’s form for strength.

The honeycomb-shaped blocks lock together to maximize space and minimize work by taking the guesswork out of where the next block goes. The truss is kept in balance by a plumb bob hanging down from the center. The blocks are woven into the egg shape with a chain compass, imitating the way a spider weaves its web.

Nature’s intelligence appears to function with effortless ease, utilizing a principle of least action and less resistance.

There are many phases in creating a ceramic house. It encompasses art, architecture, sculptural and structural design, carpentry, masonry, grading, and foundation preparation. It requires the proper use of the four elements air, earth, fire, and water, and a lot of physical labor.

Of all the four elements used, fire is the key. By its action, the soft and formless clay is given hardness and permanence, along with a wide range of color.

Throughout the long history of building, the simple fired clay brick has served many functions in many uses. Some of the earliest examples of fired clay brick and kiln construction known to exist in the world date from 2,500 to 2,000 B.C. in India. They are still intact. As basic structural material, the clay is very durable, forgiving, simple to build with, and found almost everywhere.

Its malleability makes it a fine medium for architectural design and decoration.

On the following pages, I have outlined a step-by-step procedure on how to create a fired ceramic house, highlighting what I consider to be most important.

2. Once you are satisfied with the results, a building site needs to be located. A building site should always be on high ground, far from any danger of water flooding. Any future domes, i.e. additional rooms, can be built and fired using your first dome’s downdraft chimney (see #7, page 37).

The home itself is bisque-fired for 13 hours.

3. A special foundation needs to be prepared to carry such a tremendous load. All foundations are filled with sand and gravel, and topped off 6" above ground with flat lava rock and clay mortar, or with any flat stone.

4. To make the clay blocks on site, hydration pits (a supply of water) should be located N, S, E, & W of the project—far enough around the foundation perimeter to work, surrounded with clay blocks. This eliminates carrying of material(s) long distances.

5. To build a perfect egg-shaped dome, make a parabolic pipe truss using a chain link, plastic pipe, and some 2x3s. The chain is hung from the center. It should be high enough to allow it to fall freely, without touching the ground. A plastic pipe is bent to match the shape of the chain and kept in place by using tie wire and 2x3s to create a truss.

6. After the truss is made, it is flipped over and centered—plumbed and level—on the foundation of the stem wall. It is kept in place with string. Before my door plugs go in, I usually lay 2 courses of 4" x 6" x 12" blocks flat to dial the circle in. With the foundation established and the truss in place, four doors must now be located in N, S, E, & W positions and held in place by stakes and the pipe truss. I make mine from ¾" plywood (usually 4' x 4') using the same chain method. Blocks will be layered over the arched doors, creating four fire doors. The brick arches are built with 4" x 6" x 12" blocks in coordination with wall

The main living area features a fireplace and chimney which extend straight up through the roof.

CLAyTIMES·COM n MARCH/APRIL 2007

Building techniques are completely different between concrete and steel, and simple clay and fire. When you are creating a ceramic house, it’s the shape of the dome (egg) and the shape of the block (hexagon) that replace the steel. The fire replaces the cement. The problems of steel rusting and cement cracking are eliminated.

1. The first element is a good vein of clay and sand. This would preferably be onsite; however, I’ve hauled clay in 5-gallon buckets in the back seat of a VW Bug many times. A good brick has 30% sand, 70% clay.

To test clay, simply put it into a glass jar with water, and shake. The clay will sit on top of the rocks, pebbles, and sand, because they sink faster. It’s a good idea to test the clay by first making some small objects and firing them in a pit fire.

35

CLAyTIMES¡COM n MARCH/APRIL 2007

Diliberti poses in front of forms used to support construction of the shell.

36

During the early cooling stages, the fired dome may be used as a sauna.

The kichen features mosaic floor and countertops with built-in shelving and plenty of windows.

construction using 4" x 12" hexagonal blocks.

The blocks are all dialed in using the compass chain. As the walls go up and the dome starts to fill in and get smaller, the size of the blocks is reduced. This reduction usually happens six times, until a small 4" brick is used at the very top.

Since the dome is a piece of pottery, it will disintegrate if rained on.

The dome and the work area must be protected against rainstorms. From experience, I’ve learned to apply a clay-straw plaster to the outer walls as the blocks are being laid. This also adds insulation for firing.

makes for a hotter and more efficient fire. It also provides available light at night.

9. Having more than enough fuel is also a good idea. Fuel is usually made up of scrap construction throwaways and tree trunk rounds. I like to burn hardwood, such as oak, for the first 13 hours to get all the moisture

is for the clay-straw plaster to be mixed with cow dung, Napoli cactus, and ash from the fire. This brew is fermented for 15 days and then applied over a wet dome.

From a technical point of view, the firing of a ceramic house is a very simple process both in construction and operation. We have seen how heat, generated through the combustion of fuel, can be directed into a chamber and confined and controlled to bring about elevated temperatures that are controlled by a few factors. The most important factor is the relationship of heat input to heat loss, and the kiln design as it affects circulation and heat transfer by convection, conduction, and radiation.

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7. Before the dome is enclosed at the top, a Ceramic architecture is a downdraft chimney is very specialized, alternative installed in the center of building technique quite the dome, at least 2' below removed from most the foundation to 3'-4' construction methods. above the roof. There are The ceramic house is not four flue openings at the Additional domes are easily added to expand the size of the home. a disposable house. It is bottom. This allows hot inexpensive to build. It is warm gases to enter the holes at the in the winter and cool in summer. The clay bottom, and in effect is an interior chimney. to evaporate from the structure. Hardwood burns slow and cold, while soft wood can is very forgiving, flexible, and diversified in Since the interior chimney is at the same its application. The materials required—clay, temperature as the interior of the ceramic burn so fast and hot that it almost explodes. sand, and scrap-wood—are inexpensive and house—but opens to the atmosphere above— 10. After 13 hours of bisque firing, I use clay generally available in our area. Clay and sand it creates a tremendous pull similar to that of plugs to shut down all openings except the are the end results of erosion and are found the interior of an updraft kiln. fire doors. After wood is placed in the fire virtually everywhere in the world.

The advantage of locating the chimney inside, doors, a metal cover is placed over the door.

I believe the use of ceramics as a construction versus outside, is that it holds 35% of the total 11. Wood is continuously loaded at a steady medium bears additional analysis. It is heat, which would otherwise be lost. possible that ceramic houses might be of rate, always keeping the temperature rising benefit in certain underdeveloped countries, as much as possible.

As the temperatures The downdraft effect pulls heat up and as they are built from some of the most begin to rise and the glazes melt, hairline through the bag walls located at the back of renewable resources. With ceramics, nothing cracks might appear. It’s good to have a pit of each fire door. Then the flame travels down to the flue openings below the floor. Finally, clay available to stuff into any cracks. I keep can rust or rot. Neither rain, nor fire, nor termites can damage this house. it goes up the chimney and out, consequently steady flames going for three days and two nights, non-stop. getting heat up, down, up again, and out.

It is not a wooden bowl, or even a metal one, that we find preserved in ancient shipwrecks: 12. When the solidification is satisfactorily 8. When the dome is complete, with bag it is clay pottery. In the ruins of age-old completed, and all glazes are melted, all of walls and chimney in place, and the interior cultures we find artifacts and shards of clay— the fire doors are filled to the top with wood. is sculpted to satisfaction, and every space generally, one of the few ancient materials The doors are then closed one at a time with is stacked with pottery, bricks, tiles, etc., left. With ceramic remnants, it is possible pre-made clay block and mortar, and are the next step is to fire. to piece together some of the material and allowed to cool. Cooling time takes from two spiritual records of early human history.

Timing is very important to keep the level of to four days (and in that time, the dome can Perhaps we should follow this clue ... [ heat constant. I do not fire in the rainy season be used as a sauna). and prefer to begin firing three or four days prior to a full moon. As the moon pulls the 13. As previously mentioned, I like to coat For more information regarding workshops and tides from high to low, I believe it also helps the exterior with a clay-straw plaster. My videos, please write to: Joseph Diliberti, P.O. Box particular (and maybe peculiar) preference pull moisture out of the atmosphere, which 2993, El Cajon, California 92021-0890.

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Deanna Ranlett Atlanta, GA

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Stacey Stanhope Alpharetta, GA

Glenn Dair Atlanta, GA

Georgia

the very small town of Watkinsville, GA on the last weekend of August. The event begins on a Friday evening with the Gala Opening Reception, followed by the Preview Sale. Over the next three weekends, the public can visit the gallery and purchase pottery at the exhibit hall.

As part of this event, OCAF also presents a special exhibit. In 2005, they invited noted raku/

STORY By Peggy Albers Photos by Walker Montgomery and Wingate Downs

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T

he long-awaited Georgia “Perspectives 2006,” supported by the Oconee Cultural Arts Foundation (OCAF), arrived graced by a gorgeous fall day filled with sunshine and plenty of humidity. Simply known in this area as OCAF, this annual gigantic exhibit and sale, entering its fifth year in 2007, presents the work of 50 potters from Georgia and lures potters, collectors, artists, and hundreds of others to

perspectives

DeWitt Smith Watkinsville, GA

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Christopher Baumann, Woodstock, GA

salku artists Rick Berman, Tom Zwierlein, and Jerry Maschinot to exhibit their work and conduct a two-day workshop on raku. This year, the special exhibit featured pouring vessels and included such artists as Warren MacKenzie, Ted Saupe, Suze Lindsay, Nick Joerling, and Ellen Shankin.

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On Saturday and Sunday, potters are invited to participate in a two-day workshop.

This year, Sam Chung, a studio potter and teacher at Northern Michigan University in Marquette, Michigan, conducted a workshop on handbuilt pouring pots.

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OCAF is a volunteer non-profit council with the purpose of cultivating and promoting Georgia talent. In just four short years, the group has built a pottery event that continues to grow in reputation. “Perspectives,” aptly named, displays the range of perspectives that Georgia potters bring to their functional ware.

For me, this event is one of the finest. It offers amateur potters like myself an opportunity to see the range of work created by potters

from across the state, to peruse and purchase pottery from the 5,500 pots on sale, and meet and visit with the many talented potters from Georgia.

“Perspectives” celebrates the participating artists by hosting a pre-exhibit party. Under a white tent, artists are treated to a lovely barbeque, complete with wine and all the trimmings. Attendees gather, and talk is vibrant and engaging. “Perspectives” brings potters, pottery, and community together with conversations and endless questions.

At 6:00 p.m., the crowds build and viewers begin their “Perspectives” experience in a gallery walk. The artworks of all 50 artists are displayed on pristinely-painted white podium boxes of varying sizes, each artist with her or his own identifiable space. The OCAF staff knows how to display each artist’s work beautifully and professionally. Recognizing their own influences, each artist presents two pieces of her or his own work, and alongside them is the work of a favorite artist of theirs

who has or continues to inform their own work. One of my own favorite potters, Ron Meyers, invites visitors to enjoy and study two featured pieces: a basket and a lidded jar, both adorned with his signature carvings and sculptures of animals, placed alongside Rudy Autio’s painted pot. Together, they had the power to stop me, to wonder at Autio’s influence on Meyers’s work. At “Perspectives 2005,” Atlanta potters Rick Berman and Glenn Dair brought pieces by Paul Soldner and Peter Voulkos respectively, from their personal collections. For me, the juxtaposition of the artists’ clay works alongside their favorite pieces or influences prompts me to study the relationships among pieces, and affords me the unique opportunity to see artworks from private collections.

The main event of OCAF, the exhibit and sale, is located in Rocket Hall, a historic wooden Works Project Administration gymnasium completed in December of 1933. The modest $5 donation to enter the exhibit hall produces a line of people leading from the front door of

the hall to the other buildings on the complex.

In stark contrast to the gallery, rows of shelves with thousands of pots invite a different aesthetic. When the doors open, the line of people, now extending from Rocket Hall to the gallery, hurries in, everyone attempting to locate their favorite potter’s work. People pick up pieces of pottery and turn them in their hands, looking for just that right feel.

The flurry of activity in the exhibit hall is a shopping spree—buyers choose and carry around pieces of pottery, some quite large, in their hands and arms. Even though there is a table near the checkout line to place pottery to be purchased, buyers stroll down each of the rows, carrying their pots. This time gives them a chance to feel the pot in their hand and study its aesthetics. I noticed one buyer carrying two platters and a covered jar made

by Ron Meyers, while another buyer juggled three small plates, two bowls, and a coffee mug created by several potters.

The buying line is the most challenging part of the sale, but well worth the wait. I spent nearly 30 minutes in line (and I bought within the first hour of the sale), while others waited longer than this to purchase later in the evening. This is all a part of the experience, and over these four years, buyers have come to know the routine. I actually enjoy this time in the check-out line. Each pot yields a question, and thus, a conversation. We strangers talk with each other about our

choices and the artists who made these pieces, and we always share stories of potters’ work that we have seen or collected over time. In line, I had a chance to talk with one of the OCAF volunteers who shared her own efforts in developing this event. Potters themselves volunteer to wrap the pots.

At 9:00 p.m. I left “Perspectives 2006,” relishing such short moments in our busy lives to renew acquaintances, establish contacts, and appreciate the experiences that pottery affords us. My 80-minute drive back to Atlanta presented me with time to reflect on the potters whom I have met, their voices of encouragement, and the community to which I feel grounded and always a part of.

I also considered how, even in our frenetic lives, taking time for such events is essential to our well-being: I am already looking forward to the Gala Opening and Preview Sale of “Perspectives 2007,” which is scheduled to open on Friday, August 31, and to close on September 19. As a pottery student myself at Callanwolde Fine Arts Studio these past ten years, I appreciate the opportunity to meet with fellow potters and encourage each other in our pursuit of what Tom Coleman calls “the soul” in the work that we do. [

Ryan Hancock, Atlanta, GA

To learn more about the annual Georgia Perspectives event, contact: Oconee Cultural Arts Organization (OCAF), 34 School Street, PO Box 631, Watkinsville, GA 30677, telephone (706) 7694565, email: info@ocaf.com, Web site: www. ocaf.com.

Andy Nasisse, Athens, GA

David Posner, Statesboro, GA

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Michael & Peggy Pitts, Watkinsville, GA

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A Group Effort

Sugar Maples Soda Kiln STORY by bruce dehnert & susan beecher â&#x20AC;˘ photos by Kate Missett & Ellen Mulligan

The new soda kiln at Sugar Maples Center for the Arts in Windham, New York: product of a 10-day kiln building/firing workshop.

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A

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fter two years of planning and with great anticipation, Sugar Maples Center for the Arts in Windham, New York hosted a kilnbuilding workshop this past summer.

The Center was established three years ago, and this would be their first gasfired kiln. Discussions regarding kiln location were immensely important as streams, open space, and geographic aesthetics are of ultimate importance in the Catskill region. Also, as the Center develops over time, there is a great deal of care given to decisions on placement of kilns in relation to the studios.

Susan Beecher, head of the ceramics department, wanted this kiln to be fuelefficient, built to last as long as possible, and to be an appropriate size for filling and stacking easily during typical fiveday workshops. Also, there was the expectation that private studio artists might want to rent the kiln, so that issue was also considered. A 35-cubic-foot kiln design using 12" x 24" shelves was chosen.

The instructor for the kiln building workshop, Bruce Dehnert, built his first kilns at age 10 with his father,

an architect/ceramicist in Wyoming.

The design for this kiln was conceived collaboratively with James Lawton, professor of ceramics at the University of Massachusetts Dartmouth, where the prototype was built in 2005 by Dehnert and the UMass kiln building class. This design is a cross-draught, utilizing two burners, one bag wall, and two dampers.

A kiln building workshop with an initial firing is especially challenging because it must be finished before the workshop concludes. There can be no delays. To this end, comprehensive lists of materials,

1. Proper floor and wall layout, with burner ports and chimney flues, is essential.

3. Soda ports are constructed with specially cut bricks.

2. The door jamb and chimney flues are easily recognizable as the kiln grows taller.

Day One. The workshop participants, mostly studio potters or sculptors, met to discuss the schedule, paying particular attention to deadlines for bisquing, welding, plumbing, and finally, firing.

Teams were selected and stages of the building were explained. One immediate challenge everyone faced was the mud: prior to the event, it had rained for three

weeks straight and the kiln site was a sea of ankle-deep ‘gunk.’ But these students were a hardy bunch, refusing to lose their collective sense of humor or purpose.

Dehnert laid out the footprint of the kiln, explaining the plans and how to read them. One team of students began constructing the base of the kiln while the other team worked in the studio.

Team A placed two courses of cinder blocks, crisscrossing them to make a level platform. The safe use of the tilesaw and generator (for electricity) was demonstrated, and brief discussions

4. One of two active dampers.

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tools, plumbing, and burner parts had to be precise so that little time would be lost looking for items, or worse yet, going shopping for specialized refractories in the mountains of upstate New York.

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of types of bricks were held with the students. Emphasis was given to ‘soaps,’ ‘halves,’ ‘quarters,’ and ‘standard straights.’

In the afternoon, Team B installed the sub-floor, or first layer of bricks, using K23 Insulated Firebrick (IFB). Students were taught to square the foundation blocks and floors by measuring corner to corner diagonally and adjusting, if need be, by tapping with wooden 2x4s and rubber mallets. This was a day jammed with information, and toward its end the sun came out. The students went home proud of their new skills at cutting and placing bricks.

5. The wooden arch form is held in place with a car jack.

Day Two. The day began with discussions about wall construction styles, including ‘stretchers,’ ‘headers,’ ‘row locks,’ and ‘soldiers.’ At the kiln site, Team A finished laying the floor with high-density firebrick. Particular attention was paid to laying out a pattern of bricks that could be easily removed or repaired in the future. Half bricks were placed at alternating ends of chamber rows.

This is especially important for soda/ salt kilns, as their floors deteriorate or collect ‘goo’ more quickly than those of typical gas reduction kilns.

The door sash was constructed using 9" straights with butt ends facing out.

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Team B began laying out the first course of walls, forming the shape of the kiln. This first course was laid using a stretcher pattern. Each subsequent course would be started at the left door jam and included 1/8" expansion joints at the corners, keeping in mind that the interior envelope would be constructed of hard brick.

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6. Constructed with hinge bearings and a swinging door, this kiln is designed to be quickly loaded and unloaded: especially desirable during the chilly winter months.

Every brick forming the door must also be high-duty firebrick. A slot, 1" wide by ¾" deep, was cut into each outsidefacing brick of the door jam. This slot is intended to accommodate a Kaowool® seal/gasket for the swinging door. As the walls were constructed, students were taught to use a level to maintain vertical walls. This becomes most important later, when installing the arch, because the interior dimensions must be the same at floor level as at the top of each wall. The teams alternated kiln work with studio work as the walls were constructed.

Day Three. During wall construction, soda ports were installed into alternating courses. These small, hourglass-shaped ports allow soda to be introduced with minimal heat and vapor escape. Inside the chimney, “T” and “L” shaped grooves were cut out of the bricks to accommodate the two active dampers, leaving a space above for passive dampering. This dual-damper design is often used in wood-fired kilns, allowing greater control of draught, vapors, and cooling.

Completion of the walls was greeted with great enthusiasm!

Day Four. Welding of the frame for the kiln walls and door consumed much of this day, with students visiting the site and working in the studio. As the design of the frame included a swinging door, easily closed in winter after a chilly loading, the main elements of the frame needed to be welded rather than bolted. There was mild panic when we discovered that the steel shop had accidentally cut several horizontal pieces too short! Luckily, we found old steel bed frames and were able to scavenge the proper lengths of steel.

Day Five. Meeting students in the studio early that morning, Bruce discussed different types of arches and their histories. Mathematical aspects of determining arches were illustrated on the floor and on paper using chalk, string, and compass. The teams practiced contriving and drawing arches. The arch form for our kiln was constructed out of wood and taken to the kiln site. While this activity was proceeding smoothly, Susan had to deal with the arrival of an underground, 500-gallon propane tank—even though preparations had already been made for an above-ground tank ordered weeks before!

The skewback bricks were cut and placed by Team A, while the arch form was installed by Team B. The form was designed to support the arch using a car jack and block system. During the installation of the hard, high-duty firebrick arch, the ¾" plywood plate above the car jack suddenly broke! Fortunately, the arch was nearly completed and its shape didn’t allow a collapse. Slowly and carefully, the arch was gradually pounded into shape, allowing us all to breathe a collective sigh of relief.

openings in them were put in place. These mounds provide locations for the kiln gods that had been sculpted in the studio.

Day Eight. Randy, our trusted welder, arrived early to help complete the door hinge and frame installation. Careful measurements, drilling, and welding ensured a smooth movement and closure of the door. Immediately upon completing this work, assistants Maureen and Roberta built the brick portion of the door that included peepholes and soda ports. As the kiln was nearly complete, we sprayed Donovan Palmquist’s refractory coating (available from Master Kiln Builders: see ad, p. 71) all over the interior surfaces of the kiln and door. A 2" thick castable layer was installed in the floor of the firebox, allowing for easy cleaning and replacement in this high-abuse area.

Meanwhile, back at the studio, Susan was guiding students through lessons on applying flashing slips and glazes appropriate for soda firing. The propane arrived around noon, and work began immediately on testing the plumbing and function of all pipes, the two venturi burners, and the safety gear.

That night, the students gathered with pots and sculptures and started to stack the maiden load of our completed soda kiln. Each student took a turn placing work and kiln furniture.

Less than 90 minutes later, we fired up the kiln, keeping the flame low—but gaining heat—during the windless night. A month of rain bellowed off the kiln as steam throughout the firing, which lasted until the evening of Day Nine.

7. A soda-resist coating is sprayed onto the interior surfaces and door to extend the life of the kiln.

Day Seven. Though the kiln had the “look” of being near completion, this was to be an intense day of details. Those students who enjoyed working at heights began the day by continuing to build the chimney from various perches on the kiln and temporary

roof trusses. Others measured, cut bricks, and constructed the bag wall, shelf supports, peepholes, and soda port plugs. Another group readied the arch for installation of the castable and ‘kiln god’ mounts (miniature sculptures mounted on the kiln for good luck). This entailed fitting layers of Kaowool and chicken wire, cutting terra-cotta planters for small inserts around the soda ports on top of the arch, and beginning the laborious process of mixing bags of Castolite® in a wheelbarrow. As three students mixed and one student carried the material to the kiln, four others applied the castable to the arch, taking care to not compact it. There was an emphasis placed on keeping edges neat with an overall even thickness of 5". Once the castable was in place, tiny mounds with

Susan Beecher is a noted teacher and potter. Her recent book, Susan Beecher Woodfired Pottery, was recently shortlisted by the Independent Book Sellers Association. Susan lives and works in East Jewitt, New York.

Bruce Dehnert has taught at Universities in New York, Massachusetts, New Zealand, and on the Island of Borneo. He is currently Head of Ceramics at Peters Valley Craft Center in Layton, New Jersey.

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Day Six. The morning began with four students tapping the arch with rubber mallets and 2x4s, giving its interior a smooth and consistent shape. This was done by starting at the bottom or skewback sides of the arch and tapping, in synchronized fashion, each course of bricks until the inside top of the arch was reached. Finally, the interior shape looked truly beautiful.

Once the arch was finished, work continued on the frame welding and final installation of the propane tank.

On Day Ten, we fast-cooled the kiln, unloading it with delight by early afternoon. The results were beautiful with rich, but clean, flashing slips and wonderfully reduced glazes. There were a few customary problems that will, over time, be addressed as students and teachers grow accustomed to the kiln— a welcome addition to this new arts center in the Catskills, high above that hallowed farm near Woodstock. [

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Conner Burns

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Pushing Pots and Career

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BY POLLY BEACH

W

hile attending the recent Alabama Clay Conference in Florence, Alabama, I struck up a conversation with a lovely woman named Margaret. She was drinking from a beautiful, ash-glazed mug, and I couldn’t help but remark on how impressive I found it to be.

Margaret then explained that it wasn’t her mug—it belonged to, and had been created by, Conner Burns, the man who had been operating an exhibitor’s booth next to where we were standing.

So I introduced myself to Conner.

I mentioned how much I liked his work, and that I’d be interested in seeing more of it. To my surprise, he simply reached back behind his booth and handed me a neatly packed manila envelope. Inside was everything an editor could want from a potential feature artist: a CD of several high-resolution, professionally-photographed images of recent claywork; a list of photo captions; his resume; and his artist’s statement. Conner had done my homework for me! As a result, his work is being featured in this issue.

photo caption

Conner Burns is a studio artist in Natchez, Mississippi. In addition to his studio, he owns a gallery, artist studios, and a clay teaching studio there.

Photos, from top: Parfait Triplet, 5½" tall; Cup and Saucer, 3" tall; Pair of Wine Vessels, 7" tall. Wheelthrown, altered, and trimmed. Glazed with Ash and (top) Pier Black glazes.

Opposite page: Pair of Jars. 16" tall.

Wheel-thrown and slab parts. Glazed with Ash and Pier Black glazes.

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Burns was exposed to a variety of visual and performing arts during his childhood. It was not the museums that he visited during his youth, but the art that filled his home which produced his philosophy that art is part of life itself, rather than simply a form of occasional entertainment. One of

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the more obvious influences on Burns’s future was the handmade pottery that he grew up seeing and using.

Although his father made pottery when Burns was a child, he showed little interest in clay until his mid-20s. After a number of years of working clay around his schedule in the health and wellness field, Burns took a year off and spent the time pursuing his new dream.

Conner Burns, at work in his studio.

One year turned to two as Burns served as artist-in-residence for Steven Hill at Red Star Studios in Kansas City, Missouri.

After completing two years at Red Star, he returned to his hometown and established Burns Pottery. It consists of his own studio, a gallery, and a clay teaching studio with space rented out to other artists. The gallery focuses on Burns’s work, but also represents several accomplished clay artists from across the United States. The school offers regular weekly classes and hosts weekend and week-long workshops with nationally recognized clay artists.

Burns makes his work in a manner that brings him satisfaction both during the process of creation, and upon completion.

He prefers to work alone in his studio to fully focus upon each vessel he makes.

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He uses a white porcelaineous stoneware (Laguna B-mix, cone 10) and makes most of his vessels by throwing a bottomless body on the wheel, then altering it in some manner. The absence of the pot’s base allows him to alter the walls without restrictions.

After the body stiffens enough to hold gently, he adds the slab bottom. On some works, he also adds other slab components.

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Vase. 17" tall. Wheel-thrown body and neck with Pier Black over Yellow Condensate glazes sprayed in layers (see recipes, opposite page).

All of his work is glazed ‘green’ (without bisque firing). He generally pours glaze into the interior and sprays glaze onto the exterior, then single-fires the work to cone 10 in a moderate gas reduction environment.

Although he works in a series, nothing is alike, nor is it intended to be: he wants each form to sprout forth and reach out with quiet, dynamic expression. Rich subtleties and organic influences are important to him, Burns says. His intention is for the work to look as if it grew that way, rather than being ‘made.’ Both tactile and visual texture are components that are used to encourage the user to take a closer look—to reach out and touch.

“Vessels … I enjoy vessels that are equally complete standing alone or in use,” he says.

“I enjoy the sand pattern in the bottom of the small creek that I frequent. I enjoy the rugged bark on the trees, the crooked and aged root systems exposed on the edge of the embankments. I enjoy the way a flower emerges from its bud. I enjoy ‘big picture’ things, but joyfully lose myself in the details that make them so unique.

“It is these components that I also appreciate in artwork,” he continues. “I do not desire to replicate anything I see; I do desire for my artwork to evoke feelings consistent with the natural environment with which I am so enamored. [ More about Conner Burns, including his schedule of upcoming instructional workshops and a list of visiting artist workshops scheduled to take place at Burns Pottery, may be found at his Web site at: www. connerburns.com.

Tea for One. Tray is 18" long. Wheel-thrown with slab components, ash glaze.

Great Glazes

share your glaze with us! If it’s published, you’ll earn a FREE Clay Times T-shirt! Send glaze recipes, photo of glaze (if you have one), and your T-shirt size to: Great Glazes, c/o Clay Times, PO Box 365, Waterford, VA 20197.

Traditional Ash Glaze

Pier Black è cone 10-11 reduction

ê cone 10-11 reduction

Screened Wood Ash Redart Clay TOTAL

Custer Feldspar EPK (6 tile) Dolomite Whiting Borax Iron Chromate Cobalt Carbonate

50.0% 50.0 100.0%

Color variations: Blue: add 1% cobalt carbonate Green: add 3-5% copper carb Brown/gold: add 3% nickel oxide Blue/green: add 1% cobalt carb and 0.5% chrome oxide Burns recommends testing as above, then adding more ash or Redart as needed. To stiffen glaze, add more Redart; to gain more rivulets or encourage running, add more ash. The glaze is a nice brown (when thin) to green glaze without colorants. When applied at medium thickness, it offers nice rivulets.

When applied thickly, it can sheet (which can be nice).

Burns received this glaze recipe from Robert Briscoe in 1999.

TOTAL

Creamer by Conner Burns. Wheel-thrown with slab parts.

5" tall. Glazed with Traditional Ash Glaze.

éé Should be suitable for functional and decorative/ sculptural pottery. è Questionable for use on functional pottery. Test thoroughly before using. ê Limit to use on decorative/ sculptural work.

Yellow Streak Potash (Custer) Feldspar Dolomite China Clay/Kaolin Bone Ash (synthetic) Rutile Tin Oxide

Yellow Condensate è cone 9-11 reduction

Potash (Custer) Feldspar Dolomite China Clay/Kaolin Bone Ash Rutile Chrome Oxide

100%

Stable at cone 10 where thin; runs at cone 11 (which can be used at an advantage). But if it runs and pools too much in the bottom of a vessel, it will crack and be dangerous. This glaze may also be layered with Pier Black for bright green surfaces. Glaze from book, The Potter’s Palette, by Constant and Ogden.

To layer Pier Black and Yellow Condensate glazes for “green effect” as pictured on vase, opposite page: • Apply Yellow Condensate first, to medium thickness, followed by a very thin dusting of Pier Black to give a brighter surface

46.4% 18.6 18.6 9.2 7.0 0.2 100%

Stable at cones 9-10; can run at cone 11 (giving it character). But if it runs and pools too much in the bottom of a vessel, it will crack and be dangerous. This glaze may also be layered with Pier Black for a pretty green color. Glaze from book, The Potter’s Palette, by Constant and Ogden.

• This combination will run, so use it with care.

• In oxidation, it is a green with little variation; in reduction, it has a greater depth and variation.

• Experiment with more Pier Black on rims for fading to darker surfaces.

• The mechanism for the two glazes forming green is the combination of rutile and cobalt. Cobalt turns green in the presence of rutile.

All glazes on this page were furnished by Conner Burns.

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TOTAL

44.4% 17.8 17.8 8.9 6.7 4.4

100%

Conner Burns calls this a “great variegated black” (gray and black) satin matte glaze. When applied thickly, it gives more variation.

Due to the large amount of cobalt, application on the insides of vessels is discouraged. Recipe by David Pier.

TOTAL

è cone 9-11 reduction

37.5% 21.0 20.9 4.2 4.8 5.8 5.8

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Glittery Shine for Cones 04 & 5 Electric/Oxidation*

Sparkling New Aventurine Glazes

By Robert and Beatrice Pearson

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venturine glazes contain small crystals that scatter and reflect light, giving the glaze a glittering appearance.

Many metal oxides simply dissolve in a glaze (or refuse to dissolve), but with iron and chromium, it is possible to adjust the metal oxide concentration so that sufficient metal oxide is present to dissolve completely at the maximum temperature of firing. As the glaze cools and the solubility of the oxide decreases, the excess metal oxide separates as tiny crystals suspended in the glaze—hence the appearance of floating “glitter.”

Because the crystals are small, it is necessary to view the glazes in strong, direct light to observe the sparkle. In most cases, the overall glaze composition necessary to produce aventurines is such that the glaze is tightly crazed. Some are very high in sodium and low in both silica and alumina, so they should not be used on functional ware.

All of the glazes listed here are fired in oxidation. Unlike macro zinc silicate crystal glazes, there is no need for a hold period in the firing cycle. Several of the glazes are slightly fluid, however, so it is important to protect shelves from possible glaze drips.

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Many of the glazes contain water-soluble ingredients, so we suggest that they are mixed immediately prior to application, or that the glaze be stored dry and mixed with water only when batches are needed.

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1. Cone 04 Root Beer Sparkle Frit 3819 (Ferro) 90.0% Calcium Carbonate 10.0

TOTAL 100.0 add Macaloid 1.0 Spanish Red Iron Oxide 24.0 This glaze must be applied thickly, or there may be some patches of dull brown or purple.

The fault can be corrected by applying more glaze and refiring.

2. Cone 04 Copper Metal Frit 3819 (Ferro) Gerstley Borate

TOTAL add Spanish Red Iron Oxide

85.0% 15.0 100.0 26.0

Cone 04 Ferro Frit 2 Frit 3269 (Ferro) Boric Acid Calcium Carbonate Lithium Carbonate Silica

TOTAL add Macaloid Spanish Red Iron Oxide

70.0% 15.0 7.0 3.0 5.0 100.0 1.0 20.0

Slight modifications of this glaze are possible with different additives, which produce interesting variations: 3A. “Copper Jewel”—Addition of about 6% barium carbonate makes this glaze slightly red.

3B. “Copper Clouds”—Addition of 6% cerium oxide makes the crystals slightly smaller and more orange.

3C. “Frosty Copper Sparkle”—Addition of neodymium oxide produces patches of a grey-green film that accentuates the aventurine sparkle. Run a test with 4.5% neodymium oxide, then adjust the amount added, to give whatever amount of film coverage seems most desirable.

4. Cone 04 Metallic Copper Gerstley Borate 75.0% Silica 25.0

TOTAL 100.0 add Spanish Red Iron Oxide 24.0 5. Cone 5 Iron Sodium Bicarbonate Bentonite Kona F-4 Feldspar Silica

TOTAL add Spanish Red Iron Oxide

47.0% 20.0 10.0 23.0 100.0 22.0

6. Cone 5 Iron Variation Sodium Bicarbonate 49.0% Bentonite 25.0 Calcium Carbonate 4.0 Silica 22.0

TOTAL 100.0 add Spanish Red Iron Oxide 21.0

7. Cone 5 Circular Dot Nepheline Syenite Sodium Bicarbonate Calcium Carbonate Silica

TOTAL add Macaloid Spanish Red Iron Oxide Fluorspar

24.0% 29.0 11.0 36.0 100.0 1.0 22.0 2.0

So far we have only been successful at producing chromium aventurines at cone 5.

Chromium oxide has a low solubility in most glazes. Glazes in which the chromium oxide is dispersed but not dissolved produce the typical “house paint” green. Glazes high in boron can put small amounts of chromium oxide into true solution, giving transparent greens. Naturally, it is necessary to have the chromium oxide in true solution to allow it to form crystals during the firing process.

The glaze must be saturated with dissolved chromium oxide at the maximum firing temperature so that excess chromium oxide can form crystals as the glaze cools and the solubility of chromium oxide is reduced.

The chromium aventurines tend to be somewhat less spectacular than the iron aventurines. As in the case of iron aventurines, strong light is needed to see the aventurine effect. In some chromium aventurines a slight yellow background develops and we have usually added a small amount of copper carbonate to optically cancel this yellowing and give a truer green.

Some examples of chrome aventurines are:

8. Cone 5 Blue Green Frit F-15 (Fusion) Barium Carbonate TOTAL add Copper Carbonate Chromium Oxide Macaloid

70.0% 30.0 100.0 2.0 1.5 1.0

This is a rare, minimally crazed aventurine, which should be applied thinly. With some other chrome aventurines, it is also possible to reduce crazing by thin application.

9. Cone 5 Apple Green Frit F-15 (Fusion) Barium Carbonate TOTAL add Chromium Oxide Macaloid

70.0% 30.0 100.0 1.8 1.0

10. Cone 5 Metallic Copper Frit F-79 (Fusion) 40.0% Barium Carbonate 48.0 Silica 12.0 TOTAL 100.0 add Copper Carbonate 1.0 Chromium Oxide 1.5 Sodium Bicarbonate 8.0 Macaloid 1.0 11. Cone 5 Sparkling Mint Frit 3278 (Ferro) 52.0% Barium Carbonate 16.0 Kaolin 16.0 Silica 16.0 TOTAL 100.0 add Copper Carbonate 2.0 Chromium Oxide 1.5 Macaloid 1.0

A frit supplied by General Color and Chemical until fairly recently (number 146) was very useful for making both copper red glazes and aventurine glazes. Although new supplies are no longer available, anyone who has this frit may want to try the very nice aventurine with the following composition:

44.0% 16.0 20.0 20.0 100.0 1.2 1.6 1.0

With most glazes when applied by brush we would use three coats, but with the chrome aventurines two coats seem to give good coverage. Rather than using plain water to suspend these glazes, better coverage is obtained by using a 0.75% suspension of CMC gum as the medium. We add one ml of CMC gum suspension for each gram of base glaze.

Iron aventurines are basically brown and chrome aventurines are typically green, but it is possible to make some

color modifications by changing some of the color forming materials. If the black magnetic oxide of iron is substituted for the Spanish red iron oxide, the background color becomes darker, approaching black.

The composition listed below gives a very bluish-green chrome aventurine.

14. Cone 5 Blue-Green Iron Frit F-496 (Fusion) 15.0% Custer Feldspar 21.0 Calcium Carbonate 17.0 Strontium Carbonate 15.0 Kaolin 7.0 Silica 25.0 TOTAL 100.0 add Copper Carbonate 4.5 Chromium Oxide 1.5 *CAUTION! As mentioned in the text, these glazes should NOT be considered food-safe and should only be used on pots which are NOT used to contain food or drink. [

Glitter and Frost Glazes for Cones 04 & 5 (All pictured test samples were fired on white clay. Results will vary depending on your clay body, application thickness, and firing temperature. Always test first!

1. Root Beer Sparkle

2. Copper Metal

3A. Copper Jewel

3B. Copper Clouds

3C. Frosty Copper Sparkle

4. Metallic Copper

5. Cone 5 Iron

6. Iron Variation

7. Circular Dot

8. Blue Green

9. Apple Green

10. Metallic Copper

11. Sparkling Mint

12. Chromium Green

13. GC Frit

14. BlueGreen Iron

CLAyTIMES¡COM n MARCH/APRIL 2007

12. Cone 5 Chromium Green Frit F-245 (Fusion) 52.0% Custer Feldspar 20.0 Barium Carbonate 16.0 Silica 12.0 TOTAL 100.0 add Copper Carbonate 1.5 Chromium Oxide 1.0 Macaloid 1.0

13. Cone 5 GC Frit 146 Frit 146 (General Color) Frit 3134 (Ferro) Custer Feldspar Barium Carbonate TOTAL add Copper Carbonate Chromium Oxide Macaloid

51

the

Bray Effect

In 1952, the Archie Bray Foundation started with a few artists in a brickyard. Now, with a new director and cutting-edge facilities, the Bray is coming into its own while holding onto its history. sTory by chANDrA JohNsoN PhoTos by AshLEy MckEE

S

teven Young Lee walks through the crumbling brick ruins down a shadowy corridor like a wilderness guide. It’s almost like a tunnel leading to the Pharaoh’s chamber in a pyramid.

He stops where a sliver of sun bathes a doorway. Stepping inside, you almost expect to find lost riches or a shrine to a forgotten people. A pillar of light through a circular hole in the ceiling reveals a massive brick dome. Lee’s voice bounces off the handmade walls, explaining that this house-sized beehive kiln was once used to fire brick for the Western Clay Manufacturing Company, the organization that eventually became the Archie Bray Foundation.

“Rudy Autio and Peter Voulkos used to work in the brick factory, and they would fire in these kilns,” Lee says, the air singing with ghosts. “A memorial was held for Peter in here after he passed away.”

You might call the Archie Bray Foundation the breeding ground for modern ceramic art. The foundation came from a passion brick maker Archie Bray had for bringing art to his hometown of Helena, Montana. Slowly, Bray turned his father’s 1864 business into a respected ceramics institute.

CLAyTIMES·COM n MARCH/APRIL 2007

Since its inception in 1951, the Bray, as it is fondly called, has attracted talented caterpillars and released genius butterflies into the art world. Looking around the expansive grounds, it’s easy to see why. Pots, sculptures and tiles line buildings and dot the grounds as nonchalant

52

as wildflowers. It’s as if the ground the Bray sits on produces ceramic art naturally. As the Bray’s new director, Lee accepted the challenge of finding ways to expand the institution without losing that ‘certain something’ that keeps people coming back for more.

“Once you step onto the grounds, that’s our biggest advertisement, Lee says. “You can’t quantify it, but you walk around and realize why this place is so special. I think the new building really sets a precedent for what the potential is here.”

Completed in 2005, the new 12,000 square-foot David and Ann Shaner Resident Artist Studio Complex utilizes sunlight to cut utility costs. It includes five open and five private studios for Bray residents, plus the director’s studio, a new glazing lab, kiln room, and a visiting artist studio named after Bray alumnus Peter Voulkos, who died in 2002.

Despite modern facilities, artists familiar with the Bray say the important things haven’t changed.

“It still hasn’t lost that charm or that humble atmosphere,” says artist Jennifer Allen. “The new facility still has that sense of community that I responded to when I first came here in 1999.”

But the Bray’s history as legend is largely what keeps artists from all over the world coming to this remote Montana hamlet. It’s a quality regulars have trouble articulating: part word-of-mouth, part inexplicable charm. In other words, it’s the Bray effect.

Resident artist Melissa Mencini smiles like a kindergarten teacher from behind horn-rimmed glasses as she digs through

Photos, top to bottom: Portion of wall mural on exterior of Bray building; two views of kiln yard; new 12,000-s.f. artist studio complex featuring 12 studios, glazing lab, and kiln room.

a cardboard box brimming with her collection of antique surgical tools she incorporates into her sculpture. Her studio shelves are lined with books about Civil War injuries and other medical oddities. She opens a small box lined with blue satin to reveal one of her favorites: a pair of sharp, open disks on handles one cringes to imagine a use for. An x-ray of teeth grins from a bulletin board above her desk.

“This is a tonsillotome,” she says. Her fingers work and the two steely rings slide past each other. “It would remove the tonsil without letting it fall down your throat.”

Mencini’s sculpture reflects her curiosity with medical equipment so completely that you’d almost swear the giant versions lining the walls of her studio are metal. Even the movable parts of the sculptures screech like rusty steel, which Mencini marks as a triumph.

“It’s sort of a fascination with the macabre, but I am trying to bring out the beauty of them,” Mencini says, “because they were all meant for good.”

Mencini applied to the Bray three times before she was accepted.

She sums up her reason for choosing the Bray in two words: Peter Voulkos.

“Just to be a part of an amazing legacy of artists and what people consider the movers and shakers in the ceramic world is pretty spectacular to me,” Mencini says.

counter with Hamada irrevocably inspired Voulkos and Autio and gave the Bray a reputation for offering opportunities to work with living art legends.

Voulkos and Autio were two of the artists to attend the first workshop at the foundation in 1952. In the summer of 1951, Autio and Voulkos came to Helena amid rumors of a chance to work in ceramics. The two helped lay brick for the pottery center of founder Archie Bray’s vision by day and practiced art by night, teaching classes along the way.

But Archie Bray was not always pleased with what his potters put out. As writer Rick Newby wrote in his article commemorating the foundation’s 50th anniversary, Bray was stunned by Voulkos’s late working hours and his and Autio’s irreverence in the studio that would later define their styles as ground-breaking artists.

“How often do you get close to a living legend like he was?”Voulkos later said in an interview.

Despite professional differences, it seemed as if Bray’s vision was coming into focus. A visit from some of the most revered names in ceramics would give the foundation the notoriety that still tantalizes artists today.

In 1952, the Bray learned of a U.S. tour of famed British artist Bernard Leach and invited him to visit the facility. To the excitement of Bray artists, Leach agreed and brought with him Japanese potter Shoji Hamada. The en-

Bray died of an embolism in February of 1953, months after Leach and Hamada’s historic visit. He had caught a glimpse of what his passion would ignite in Helena, and the art world, in the coming decades.

For some, it’s the sense of family that brings artists to the Bray. In resident Andrea Marquis’s studio, the room blooms with handbuilt porcelain buds and flowers so unblemished you almost feel dirty or under-dressed in their presence. In the sunlight spilling through the studio window, they glow like Easter candles. On her work table, a series of bundled buds is poised for glazing. Marquis calls the series “Thirteen Bouquets.”

the family she found made her experience unique. Marquis says Hamada’s tour is partially responsible for the variety of perspectives and atmosphere she enjoys there.

“The way Leach and Hamada came through here planted a seed [that] made us look outside America for ceramic art,” Marquis says. “Although the heart and soul is still here, it seems like the face of the Bray has modernized.”

The seed is evident in pictures of the Bray’s international event last summer. The event hosted artists from 10 countries around the world and Marquis speaks of them like kin.

“It’s very much like a family here because you’ve shared this space,” Marquis says. “You never want to leave once you get here.”

That international appeal is something Lee plans to keep alive as the Bray develops.

“I tried to work with earthenware,” Marquis says, stroking one of her bouquets as if it could purr. “But I couldn’t do it. I love porcelain.”

“You can visit places like Japan or Australia and people have heard of the Archie Bray Foundation,” Lee said. “You become invested in the community we create here. In that way, the Bray affects you. It has to.” [

It was the Bray’s mystique that drew Marquis from her native Boston; she chose her Bray residency over grad school. But

For infomation on classes and events at the Archie Bray Foundation, visit www.archiebray.org or call 406-443-3502.

Resident artist Andrea Marquis.

CLAyTIMES·COM n MARCH/APRIL 2007

Bricks from the original Western Clay Manufacturing Company still remain on the Bray grounds.

53

Readers Share I Art Works

The Gallery

Covered Cups. 5" tall. Slipcast in handmade molds.

Red stoneware clay with fritted glaze fired to cone 4 in an electric kiln.

Paul Eshelman, PO Box 455, Elizabeth, IL 61028.

E-mail: eshelman@eshelmanpottery.com.

Untitled. 10" x 6" x 6". Wheel-thrown and altered porcelain with two airbrushed original glazes, fired to cone 6 in oxidation. Robert Lee Reckers, Salt Creek Pottery, 195 N. York, Elmhurst, IL 60126.

E-mail: saltcreekpottery@worldnet.att.net.

CLAyTIMES¡COM n MARCH/APRIL 2007

Afterlife. 21" tall. Handbuilt stoneware fired to cone 6, then refired to cone 06 in a gas kiln to enhance texture and color. Kathy Ruttenberg, PO Box 670, Bearsville, NY 12409. Email: kruttenberg@rcn.com.

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Untitled #9. 31" tall. Handbuilt stoneware with decals.

Joe Pinkelman, 1712 Pelican Ave., San Pedro, CA 90732.

E-mail: joepinkelman@yahoo.com.

Carved Casseroles. 10" diameter. Wheel-thrown porcelain, carved and sculpted, with dipped and sprayed glazes, fired to cone 8 in oxidation.

Paul Jeselskis, 619 Eastwood Road, Michigan City, IN 46360.

E-mail: email@pauljeselskis.com.

To have your work considered for publication in The Gallery, please send a high-quality color print, slide, or 1050 x 1500-pixel digital image to: The Gallery, Clay Times, P.O. Box 365, Waterford, VA 20197. Please include your name, address, telephone number, Web or e-mail address, type of clay, glaze, firing method, and dimensions of the work. (Enclose a self-addressed, stamped envelope for photo/slide return.)

Bowl. 10½" tall. Wheel-thrown porcelain with iron crystalline and copper luster glazes, fired to cone 6 in both oxidation and reduction atmospheres.

Robert Hessler, PO Box 1913, Kingston, NY 12402. Email: rhpottery@lycos.com.

Readers Share I Art Works

The Gallery

Plate. 10" diameter. Wheel-thrown stoneware with slip and wax resist. Wood-fired with salt at Penland School of Craft, Penland, NC. Melissa Wehri, 428 N. 1st W., Missoula, MT 59802.

Email: melissa@theclaystudioofmissoula.org.

CLAyTIMES¡COM n MARCH/APRIL 2007

Home on the Front Range. 18" wide. Cone 04 redware with altered commercial underglazes; glazed interior with added metal roof and salvaged baby buggy wheels. Merry Cox, PO Box 688, Salida, CO 81201. Email: merrycox@msn.com.

55

Professional Studies in Ceramics

T

“ he Buyers Market of American Craft has literally changed the way we live our lives. Over half our year’s schedule was filled at the show, and after the show ended we placed additional new gallery orders.

I feel like I have a ‘real’ business and can have a ‘real’ home life.”

Allan Ditton

Allan Ditton Pottery

www.tntech.edu/craftcenter/ T.J .

Ed w ds ar

,B

C FA la y M ajor

BFA Degree Craft Certificate Artist Residency Workshops 1560 Craft Center Drive Smithville TN 37166 craftcenter@tntech.edu 615.597.6801

Make your living as a full-time artist by exhibiting at the Buyers Market of American Craft, the only choice for spending more time in the studio and less time on the road.

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August 4-6, 2007 4 1 0 . 8 8 9 . 2 9 3 3 www.AmericanCraft.com

Something for all levels K-12

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CLAyTIMES·COM n JANUARY/FEBRUARY 2007

the art education magazine

56

subscribe online 9 issues only $24.95 request a sample issue at davisart.com, or call 800.533.2847

by VINCE PITELKA

A variety of faceting tools are now available from the online store at www.claytimes.com.

T

he phrase “thrown and altered” has become ubiquitous in contemporary ceramics, and much of the most interesting wheel-thrown work today has been altered in some way.

Remember, we are never constrained to using the wheel like a machinist’s lathe to make perfect, symmetrical pots with unaltered form. Such pots can certainly be beautiful, but the form can also be altered in a myriad of ways. It’s a challenge to make altered pots that are successful, but it’s an even greater challenge to make unaltered pots that are original.

Altering the Basic Form Almost any thrown pot can be modified in a variety of ways. You can often use your hands to do the altering, but many people use wood paddles, either flat or curved, and sometimes with relief-patterned or textured surfaces. After throwing a pot, let the surface wetness evaporate, and then try paddling it in different ways.

With almost any volumetric thrown pot, you can simply make the form oblong, or you can paddle flat surfaces to create a more rectilinear form. There’s also the traditional Chinese bottle form called a “pilgrim flask,” a flattened vessel that was carried as a canteen. Small thrown vase or bottle forms can easily be flattened with a paddle to create this shape.

Handles added to the upper shoulder usually enhance the form.

With a closed form thrown from a good plastic clay body, and trimmed at the earliest possible stage, you’ll be amazed how much you can modify it by paddling. I once knew a potter who threw closed spheres and then paddled them to create flattened, elongated forms that became fish-shaped teapots. Once you’ve resolved the form by paddling, you can orient it however you wish, and add a thrown or handbuilt foot, lid, handle(s), spout, or other appendage(s).

A jug finger/throwing stick or other appropriate round-ended tool made of wood or bisque-fired clay can be used to press outward from the inside or inward from the outside, creating a pattern of raised bumps or recessed depressions in the surface. These bumps or recesses can be far more radical than what you would normally create with a bisque stamp, altering the surface significantly to create a sort of “lobed” effect. Impressed lines connecting the recesses can create an unusual “quilted” effect.

Throw a rounded volumetric form and try wrapping once around it with a loop of string or cord, pulling on the ends. If you do this fairly aggressively, the string or cord will start cutting into the clay. In that case, first wrap the outer surface with plastic wrap or thin fabric. Then, when you constrict the form, the string or cord won’t cut into the surface. You can alter the shape significantly with this technique, and with practice, you can maintain a great deal of control over the finished form.

Faceting and Fluting There are at least four popular ways to create facets in the surface of a thrown or handbuilt form. One of the simplest is to paddle the facets in a soft-leather-hard form. Facets can also be made by dragging the straight edge of a wood or metal rib (either smooth, serrated, or modified as a profile rib) vertically or diagonally against the outside of the form, usually with corresponding pressure with two spread fingertips on the inside of the form. Practice this a bit, and you should be able to create fairly clean facets.

Facets are usually cut, and this requires that you initially throw or handbuild the form thicker than usual to leave material to be cut away. Most potters cut facets with a stretched wire, and it takes practice to remove enough clay to create clean, evenly spaced facets in a pot that’s not heavier than necessary.

Facets can be cut with a normal cutoff wire, a twisted wire (for a “wavy” cut), a standard stretched-wire cheese-cutter, or a faceting tool made for this task.

From the online store at www.claytimes. com you can order Bill van Gilder’s tools including a “wiggle wire,” “faceting tool” with crimped wire, and “fluting tool, ” all of which are excellent for this purpose.

Oregon potter Hank Murrow also makes beautiful faceted pots and manufactures a nice faceting tool that comes with a selection of different wavy cutting wires.

Go to http://www.murrow.biz/hank/wiretool.htm for purchase information, and to see how Hank makes his faceted bowls. As you will see from the tutorial, a significant part of the faceting technique used by Hank, Josh DeWeese, Joe Bennion, Bill van Gilder, and many other potters involves stretching and resolving the form after the facets have been cut.

CLAyTIMES·COM n MARCH/APRIL 2007

A thrown closed form can be paddled into all sorts of shapes, and it’s very satisfying to paddle a form with that trapped air inside. Throw a cylinder and close it off completely at the top, run the cutoff wire under it, let it stiffen to soft-leather-hard consistency, invert it on a clay doughnut or trimming chuck, trim all excess clay from the bottom, and start paddling. If you paddle in such

a way that it reduces the volume, such as flattening it significantly, you will need to poke a needle hole to allow air to escape. You can always seal the hole before additional paddling.

Shop Talk I Tool Times

Tools for Altering

57

Introducing the Paragon Iguana cone 10 easy-to-load digital kiln The new Iguana is a smaller, less expensive version of our popular Dragon kiln. The Iguana’s 18” wide, 18” deep, 22 ½” high interior fires rapidly to cone 10.

The front-loading Iguana is easy on the back muscles.

With the optional 22” high stand, the interior floor is a comfortable 34 ½” high.

• Saves electricity with 3” firebricks.

• Proportional power elements for more even heating • Heavy-gauge steel completely covers the bottom under the firebricks.

• 1 ½” air gap between the The Paragon Iguana plugs into a standard switch box and kiln.

6-50R outlet, so you can fire it on the outlet Electrical components stay most studio kilns already use. cool and last longer.

• Sentry 2.0 digital controller with controlled cooling 2011 South Town East Blvd., • Available in 200, 208, 220, Mesquite, Texas 75149-1122 240, 480 volts, 800-876-4328 / 972-288-7557 1 and 3 phase Toll Free Fax 888-222-6450 Call or email for a free www.paragonweb.com catalog. See your local Paraparagonind@att.net gon dealer.

Facets and flutes can be shaved into the surface of a leather-hard pot with a Stanley Surform® tool. Again, initially the pot must be formed thicker than normal. For flat faceting, use the standard Surform Pocket Plane. For curved fluting, as in the work of Jim Connell, use a Stanley Surform #21-299 half-round replacement blade (just the blade alone) or the fluting tool pictured below, available from www.claytimes.com.

Vertical indentations, grooves, or flutes can always be carved at the leather-hard stage with a band-loop trimming tool. But for a more radical alteration of shape, try pressing the edge of a wooden rib into a freshly-thrown form, or dragging a modeling Special fluting tools are also available from tool or throwing stick the online store at www.claytimes.com. against the inside or outside surface of the form. This works best if you simultaneously drag two spread fingers against one surface (inside or outside) while pressing with a rib or dragging a modeling tool against the opposite surface. For example, throw a teabowl with vertical walls, spread your first and second fingers apart, and pull them upward vertically against the inside of the form while simultaneously pressing a wooden rib into the outside of the form so that it creates a vertical indentation in the space between your fingers.

The fingers are pushing out, while the rib is pushing in, accentuating the effect of the rib. Depending on the clay, the wood rib may tend to stick to the surface. You can minimize this by removing all slurry from the surface with a metal rib before altering.

CLAyTIMES·COM n MARCH/APRIL 2007

Cutting and Reassembling

58

Some of the most interesting options for altering involve cutting and reassembling parts of a pot. Inventive potters like Josh DeWeese, Ellen Shankin, and Frank Martin often use the wheel as a tool for making component parts that are then assembled off the wheel. Frank Martin does this with freshly-thrown components, and that can be tricky. A normal pin tool usually works best for cutting freshly-thrown clay, because any kind of a blade will usually drag and stick excessively. But let the clay dry just a bit, and a knife will work better, giving a cleaner cut.

It’s very satisfying to use your potter’s knife to cut sections from a soft leather-hard pot and reshape and reassemble them to change the form or stance. The standard pencil-thin X-Acto® knife with the #11 blade, available at almost any hobby shop or hardware store, and at most stationery stores, is an excellent tool for this application. It’s the thinness of the blade that makes it work so well on clay, and it need not be razor sharp; so do yourself a favor and rub the edge of the blade with a piece of kiln shelf or vitrified clay to dull it a bit so that it won’t cut you.

As with any clay-forming technique, you never have anything to lose by trying some new altering techniques. Remember that the most productive learning comes from taking chances. Start altering those thrown pots and see what happens. [ Vince Pitelka is professor of clay at Tennessee Technological University’s Appalachian Center for Craft, an active participant on the Clayart Internet discussion group, and author of Clay: A Studio Handbook. You can contact Vince through his Web site at http://iweb.tntech.edu/wpitelka.

BY marc ward

A

hh ... Spring has sprung. At least it has here in Tennessee. Along with the ‘sprunging’ of spring comes another event, March 14-17: the annual conference of NCECA (National Council on Education for the Ceramic Arts), to be held in Louisville, Kentucky this year.

If you’ve never been to this event, you owe it to yourself to attend. There are always plenty of great exhibits, demonstrations, panel discussions, and other charge-your-battery things to do and see. If you have any questions about kilns or burners, stop by the corporate exhibits area and fire away!

But for now, our springtime topic for this issue is “Flow Interruption.” No, this has nothing to do with prostate enlargement! Flow interruption pertains to our gas kiln’s little safety friend, the Baso valve. Some Basos have it; some don’t.

Low-pressure Basos have it, while some high-pressure ones don’t. So, what is it?

Valves without flow interruption can use a pilot or not; but most people use pilots because pilot lights hold thermocouples

These non-interrupted valves have another distinction. They are the type of valves where you can clamp the button down and they still work after the thermocouple burns out. Factually, they are not really working properly, but have had their safety function defeated. The burner is firing along just fine without those pesky shutdowns. Then you plan to get a new thermocouple, but hey— everything’s working fine—so you just leave the brick in place that is holding the button down. Complacency leads to sloppiness, and sloppiness can lead to ... well, for our purpose, it leads to two cautionary tales. These reflect actual events. The names have been changed to protect the guilty.

Joe has a big show coming up. It is late.

He is tired. Cone 10 is down and he goes over and turns off the main gas line. The burners and pilots are off; the Baso valve shuts down in 30 seconds or so. Four weeks later, Joe goes to light the kiln, but he doesn’t remember that he previously shut down the main gas without closing the ball valves on each burner. There’s no flow interruption on his Baso valve. He pushes the reset button and is holding it down while looking for his lighter that was just there a second ago. Meanwhile, gas is pouring into the kiln through the main burner at 10 psi because his burner ball valve is wide open. Joe finally finds his lighter in his shirt pocket. He goes to light the pilot. The resulting explosion sends Joe to the emergency room and he rebuilds his arch a week later even though his one hand still hurts from the burns. The lesson: If you have a Baso without flow interruption, make sure you turn off each burner’s ball valve when you turn the kiln off. Then make sure they are off again before you light your pilot burner.

Another case: Jane is a good grad student, helpful and reliable. But as she’s firing the kiln, the cones are not falling as fast as she’d like. Meanwhile, she’s missing a great party! Then two burners shut down. The thermocouples are too hot to touch, and she is really wanting to get to the kegger. She has seen other students clamp down Baso valves, so this one time won’t hurt, right? Two C-clamps and an hour later, she swings the lever on the main gas line and heads out of the kiln room, leaving all the burner ball valves wide open. It’s party time! The beer has the undesired affect of losing that mental note she made to herself about changing the thermocouples and unclamping the Baso valves. A week later, her professor comes in, opens up the main gas in preparation for lighting the kiln that he just loaded. The good part of this tale is that the main gas line ball valve is on the same side of the kiln as the two clamped Baso valves. She hears the high-pressure gas hissing into the kiln, turns off the main valve, and sits down a little shaken while she ponders what would have happened if the clamped burners had been on the far side of the kiln and she hadn’t heard the making of the bomb.

The lesson: See the lesson from the first tale, and never assume things are as they were the last time you looked.

Again, if you have a Baso without flow interruption, make sure you turn off each burner’s ball valve when you turn the kiln off. Then make sure they are off again before you light your pilot burner.

Stay safe. Have fun. See you at NCECA in Louisville! [ Marc Ward is owner and operator of Ward Burner Systems in Dandridge, Tennessee. He can be reached by phone at (865) 397-2914 or through the online catalog and Web site at this address: www.wardburner.com.

CLAyTIMES·COM n MARCH/APRIL 2007

When you push down on the reset button of a Baso valve, it will do one of two things: it will either let gas pass to the main burner and the pilot, or it will let gas pass only to the pilot. When gas passes only to the pilot, this is a valve with flow interruption. The low-pressure Basos—the kind with a red button about the size of a quarter—have this feature.

When you have a valve with this flow interruption, you must have a pilot of some sort to be able to light the main burner. Gas is only flowing to the pilot during the reset cycle, so without a pilot, there’s nothing to light. And with nothing to light, there’s no way to energize the thermocouple and open up the valve to allow gas to pass to the main burner.

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D

o you occasionally lift or move heavy objects when you work in the pottery? Maybe you wrestle with large ceramic pieces, crocks of glaze, firebricks, refractory shelves and dampers, cord wood for firing a wood kiln, and more.

Would dropping any of these on your foot really hurt? If so, you are at risk for foot injuries.

Now take a look at the floor. Are there extension cords, cords from kilns and electric wheels, glaze stirrers, and other sources of electric current on or near the floor? Or at times, is there water on the floors, too? This also can be a combination that results in burns and injuries.

INJURY STATS Foot injuries cause a significant number of lost workdays nationally. The US Bureau of Labor Statistics compiled foot injury data in the middle 1990s. They found that typical foot injuries were caused by objects falling fewer than 4 feet and the median weight of the falling object was about 65 pounds—but some severe injuries are caused by much lighter objects that fall just right. They also found that most workers were injured while performing their normal job activities.

YOUR SHOES

Over the years, I’ve heard people say that the steel-toed shoes are dangerous because a really heavy object could collapse the steel cap, trapping their toes.

Think about that for a moment. A blow with that much force would also be sufficient to crush/amputate that part of your foot if the shoe were not there at all. Forget it. Get the shoes.

OSHA RULES The Occupational Safety and Health Administration instituted a rule requiring workers to wear foot protection in any workplace in which foot injuries are foreseeable. The regulation is in the Code of Federal Regulations at 1910.136, part of which follows: (a) General requirements. Each affected employee shall wear protective footwear when working in areas where there is danger of foot injuries due to falling and rolling objects, or objects piercing the sole, and where such employee’s feet are exposed to electrical hazards. (b) Criteria for protective footwear. (1) Protective footwear purchased before July 5, 1994 shall comply with ANSI Z41-1991, “American National Standard for Personal Protection—Protective Footwear,” ... or shall be demonstrated by the employer to be equally effective.

However, the Z41 standard was withdrawn by ANSI in 2005. So the accepted “equally effective” standards in its place today are two American Society for Testing and Materials International standards: ASTM F 2412-05 and ASTM F 2413-05. There are minor differences between the old standard and the two new ones, but as a purchaser, your only concern is that the seller confirm that

your footwear meets the ASTM standard for the type of work you are doing.

READING THE ASTM LABEL When you are purchasing shoes, it helps to know how to interpret the various parts of the ASTM label: Part #1 reads: ASTM F2413-05 to identify the standard they meet.

Part #2 identifies the gender (M=male, F=female) of the user. This section also identifies the impact resistance with an “I” along with the compression resistance of the toe designated by a “C.” A C/50 means it is rated for resistance of a drop of a 50-pound object. C/75 means the shoe is rated for resistance of a 75-lb. object dropped on your toes.

Part #3 will provide a rating for metatarsal arch compression—if the shoe has this feature. The ratings are for 50 and 75 pounds, identified by an “Mt,” e.g., Mt/75.

Part #4 identifies any of a number of other types of protection offered. Included are: • “Cd” for non-conductive properties (these transfer static electricity from body to ground) • “EH” for electrically insulated properties (I suggest this for potters with electrical hazards) • “SD” for wear designed to reduce the accumulation of excess static electricity • “PR” for puncture resistance • “CS” for chain saw cut resistance

CLAyTIMES·COM n MARCH/APRIL 2007

It is common to see potters wearing ordinary sneakers, sandals, flip-flops, or even going barefoot in the shop. Instead, most potters should be wearing steeltoed shoes that will protect wearers from crushing injuries and from low levels of electric shock. Many of these protective shoes are very comfortable and attractive. They should be part of any professional potter’s equipment.

FOOTWEAR FABLES

Studio I Health & Safety

Fashion Footwear for Potters

61

Studio I Health & Safety

• “DI” for dielectric insulation.

WHERE DO I GET THEM?

For example, a man who only wants to protect his toes from falls of objects limited to 50 pounds and whose pottery has no significant electrical hazards would want a shoe labeled ASTM F2413-05 M I/50 C/50. If he goes to a work shoe manufacturer’s Web site like Wolverine® and types this label into the “search” box, up pop all the shoes that meet that standard.

Most large cities have local outlets for safety equipment, or you can use catalog distributors like Lab Safety (www.labsafety.com). You also can use the Web sites of work shoe manufacturers such as Wolverine®, John Deere®, Carolina®, and Harley Davidson®.

A female working in a pottery where 75 pound objects are often hefted, who wants both her toes and arch protected, and who repairs big electric kilns should look for shoes labeled: ASTM F2413-05 F I/75 C/75 Mt/75 EH.

OSHA requires most types of protective equipment to be purchased by the employer. However, OSHA exempted footwear which can be worn by the individual outside of the workplace. While OSHA requires employers to assure that workers are wearing the right kind of protective footwear, employers may require the workers to pay for the shoes.

OTHER PROTECTION Unless you have an unusual job or work on construction jobs for extra money, you do not need footwear that meets the standards for puncture protection. Instead, we should keep the pottery floors free of nails and other sharp protrusions. (If you wood fire, however, you might want to consider this type of footwear to prevent injuries from nails in scrap wood used for fuel.) If you use a chain saw in your work, footwear that also meets the CS standard is a great idea.

WHO PAYS FOR THEM?

If you are an independent contractor or work alone, then the cost of your safety footwear is just another business expense.

WHAT DO THEY COST? Most run between $75 and $150 depending on your taste. But then, what’s your foot worth? [

CANADIAN STANDARDS If your pottery is in Canada, your steel-toed shoes should meet the Canadian Standard Association’s CSA Z195 Grade 1 (green triangle). These should be worn by anyone working where heavy objects or electrical hazards exist.

Monona Rossol is an industrial hygienist/chemist with an M.F.A. in ceramics/glass. She may be reached at ACTS, 181 Thompson St., #23, New York, NY 10012-2586; telephone (212) 777-0062; e-mail ACTSNYC@cs.com.

Pictured below: One of numerous styles of boots acceptable for use in the potter’s studio.

W03682 - Wolverine DuraShocks® Slip-Resistant Electrical Hazard Steel-Toe 6” Ladies Boot W03682

CLAyTIMES·COM n MARCH/APRIL 2007

Suggested retail: $157.50

62

Features include: Wolverine DuraShocks SR® • 6" Work Boot • Steel-Toe • Assembled in USA • Electrical Hazard • Slip Resistant Genuine full-grain leather upper. Permanent direct-attach molding seals out water. Patented, long-lasting Dri-lex® lining wicks away sweat and keeps skin dry and comfortable. Removable double density footbed adds cushioning and stability. Tough, lightweight polyurethane midsole and outsole. Fiberglass shank stabilizes foot, weighs 75% less than steel and reduces fatigue.

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Resources I Books & Videos

Image Transfer on Clay

Image Transfer on Clay • Paul Andrew Wandless Lark Books • Hardcover $24.95

A

t The Potters Shop we get many requests for books with information about printing methods on clay.

Until now, there have been few references, with Ceramics and Print by Paul Scott being the primary source.

Regardless of how good a particular book is, more is often better. At last, there is another book on the subject.

Image Transfer on Clay fills a void in the subject of printing on clay. Author Paul Andrew Wandless has extensive experience with printing techniques and also calls upon the work and expertise of more than 50 fellow clay artists including Christina Antemann, Dan Anderson, Lenn Dowhie, Douglas Gray, Charlie Cummings, Paul Scott, Richard Burkett, Janice Kluge, Meryle H. Ruth, and Rick Dunn to help illustrate and demonstrate a variety of printing methods and their resulting effects on the clay object.

The author’s teaching and writing style is clear and unencumbered by unnecessary terminology. He speaks in a

If you are looking for instruction on clay printing, Image Transfer on Clay will serve you well. But don’t stop there. If you are looking for decorative ideas, creative approaches, and interesting uses and applications of tools, slips, glazes, and firing, Image Transfer on Clay will appeal you as well. The book is concise, easy to follow, to the point, visually appealing, and informative.

Stuck in a creative rut? A little bored with your work? Looking for some new inspiration? Get cooking ... Image Transfer on Clay may just fill the void. [

Steven Branfman is an accomplished potter, author, and teacher of pottery and ceramics at Thayer Academy in Braintree, Massachusetts. He is the proprietor of The Potters Shop and School and may be reached at (781) 449-7687 or via e-mail at sbranfpots@ aol.com.

CLAyTIMES·COM n MARCH/APRIL 2007

Following a short but informative chapter on the history of printing on clay, the book gets right into the technical details of the subject. There are three main chapters. In “Screen Prints,” instruction is given for making a screen, emulsions, drawing fluid, stencil film, and decals. “Monoprints” covers the use of slips, plaster slabs, casting slip, and more. The chapter on “Direct Prints” presents stencils, relief block prints, stamps, and cylinder seals. Each chapter covers the process in its entirety including necessary tools and materials, methods, and other applicable details that pertain to the particular technique. Fired surfaces, as well as unfired finishes, are discussed. Where appropriate, health and safety issues are covered, and suggestions are given for addressing safety concerns.

down-to-earth manner that is comfortable to read and easy to understand. Image Transfer on Clay is well-organized and carefully designed to showcase the text as well as the color photographs of both demonstrations and art. The images are crisp, laid out well, and detailed. As a potter and teacher with very limited experience (and, admittedly interest,) in printing methods, I found that reading Image Transfer on Clay dispelled some misconceptions I had and opened up a new area for me to investigate. One thing made perfectly clear is that while using photo emulsion techniques is alive and well, there is much more to printing on clay than that! I was intrigued by the decorative possibilities of creating patterns and textures, and of using color in new and exciting ways. I was also fascinated by the technical aspect of the craft.

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Community Pottery Classes Check out these listings to find local programs for wheel-throwing, handbuilding, sculptural techniques, & more …

Listings appear alphabetically and include various classes across the United States and Canada.

ARKANSAS

FLORIDA

Flat Rock Clay Supplies — 2002 South School Avenue (Highway 71), Fayetteville, AR 72701; (479) 521-3181; www.flatrockclay.com; info@flatrockclay.com; wheel-throwing, handbuilding, tile.

Carla’s Clay — 1733 Northgate Blvd, Sarasota, FL 34234; (941) 359-2773; www.Carlasclay.com; cobrien@carlasclay.com; wheel-throwing, handbuilding, sculpture, gallery, tools and supplies.

CALIFORNIA Blossom Hill Crafts Pottery — 15900 Blossom Hill Road, Los Gatos, CA 95032; (408) 356-9035; www.blossomhillcrafts.com; joanne@ blossomhillcrafts.com; wheel-throwing, handbuilding, sculpture.

COLORADO

Fire and Mud Ceramics — 134 NE 1st Avenue, Hallandale, FL 33009; (954) 455-3099; www.fireandmudceramics.com; potter@fireandmudceramics. com; wheel-throwing, handbuilding.

The St. Petersburg Clay Company — 420 22nd Street South, St. Petersburg, FL 33712; (727) 896-2529; www.stpeteclay.com; stpeteclay@ stpeteclay.com; wheel-throwing, handbuilding.

GEORGIA

Northern Colorado Potters’ Guild — 209 Christman Drive, Fort Collins, CO 80524; (970) 416-5979; www.coloradopottery.org; info@coloradopottery.org; wheel-throwing, handbuilding, glazing, fused-glass jewelry.

MudFire — 175 Laredo Drive, Decatur, GA 30030; (404) 377-8033; www.mudfire.com, info@mudfire. com; wheelthrowing, handbuilding, firing, glazing and decoration.

Trails Recreation Center — 16799 East Lake Avenue, Centennial, CO 80015; (303) 269-8400; www.aprd.org; arts@the-trails.org; wheel-throwing, handbuilding, sculpture, glazing.

ILLINOIS

CONNECTICUT

DISTRICT OF COLUMBIA Hinckley Pottery — 1707 Kalorama Road, NW, Washington, DC 20009; (202) 745-7055; www.hinckleypottery.com; info@hinckleypottery.com; wheel-throwing.

LOUISIANA Louisiana Pottery — 6470 Highway 22, Cajun Village, Sorrento, LA 70778; (225) 675-5572; www.louisianapottery.com; lapottery@eatel.net; handbuilding, special focus classes.

MAINE Starflower Farm & Studios — Ceramicsfocused retreat center; 941 Jackson Road, Monroe, ME 04951; (207) 525-3593; www. starflowerstudios.com; squidge@starflowerfarmstudios. com; wheel-throwing, handbuilding, sculpture, private lessons, critiques for advanced students.

Baltimore Clayworks — 5707 Smith Avenue, Baltimore, MD 21209; (410) 578-1919; www. baltimoreclayworks.org; matt.hylek@baltimoreclayworks. org; wheel-throwing, handbuilding, sculpture, tile, mosaic, decorating, printmaking, slipcasting, wood firing, salt firing.

Shiloh Pottery, Inc. — 1027 Brodbeck Road, Hampstead, MD 21074; (410) 239-8888; www.shilohpottery.com; wheel-throwing, handbuilding.

The Frederick Pottery School, Inc.— 5305 Jefferson Pike, Suite C-2, Frederick, MD 21703; (301) 473-8833; www.frederickpotteryschool.com; wheel-throwing, handbuilding, open studio.

Greenbelt Community Center — 15 Crescent Road, Greenbelt, MD 20770; (301) 397-2208; www.greenbeltmd.gov; wheel-throwing, handbuilding, tile.

Glen Echo Pottery — 7300 MacArthur Blvd., Glen Echo, MD 20812; (301) 229-5585; www. glenechopottery.com; wheel-throwing, handbuilding, raku and soda firing.

Chesapeake Arts Center — 194 Hammonds Lane, Brooklyn Park, MD 21225; (410) 636-6597; www.chesapeakearts.org; davidj@chesapeakearts.org; wheel-throwing, handbuilding, fully-equipped, open studio hours.

Jayne Shatz Pottery — 452 Laurel Valley Court, Arnold, MD 21012; (410) 757-6351; www. jayneshatzpottery.com; jesclay@aol.com; wheelthrowing, handbuilding, sculpture, glazing, firing, wall relief and tile, workshops, critiques, marketing strategy, group and private sessions.

MASSACHUSETTS Ancient Echos Arts — 10 Tyngsboro Road, North Chelmsford, MA 01863; (978) 869-2912; www.ancientechosarts.com; ancientechosarts@ gmail.com; wheel-throwing, handbuilding, sculpture.

CLAyTIMES·COM n MARCH/APRIL 2007

Tracy Art Center, Elaine’s Pottery Studio — 56 College Street, Old Saybrook, CT 06475; (860) 388-3599; www.exfpottery.com; exfpottery@yahoo.com; adult & children’s classes in wheel-throwing, handbuilding, sculpture, decorating, glazing, raku.

Lincoln Square Pottery Studio Learning Center —4150 N. Lincoln Avenue, Chicago, IL, 60618-3061; (773) 248-4430; www. comeplaywithclay.com; info@comeplaywithclay.com.

MARYLAND

6

Resources I Classes

Mudflat Pottery School, Inc. — 149 Broadway, Somerville, MA 02145; (617) 628-0589; www.mudflat.org; info@mudflat.org; wheel-throwing, handbuilding, tile.

4000, ext. 4343; www.monmouthcountyparks.com; sliu@monmouthcountyparks.com; wheel-throwing, handbuilding, workshops, raku & electric kilns, beginners-advanced for adults, children, parent/child.

Juliet Rose Gallery & Studio — 191 Reimers Road, Monson, MA 01057; (413) 5969741; www.julietrosegallery.net; julietrosearts@aol. com; wheel-throwing, handbuilding, sculpture, surface design.

Visual Art Center of New Jersey— 68 Elm Street, Summit, NJ 07901; (908) 273-9121; www.artcenternj.org; Deemick@artcenternj.org; All things clay.

MICHIGAN Shiawassee Arts Center — 206 Curwood Castle Drive, Owosso, MI 48867-2723; www.shiawasseearts.org; lindar@shiawasseearts.org; wheel-throwing, handbuilding, sculpture, glazing and decoration.

MINNESOTA Edina Art Center — 4710 West 64th Street, Edina, MN 55435; (612) 915-6604; www.edinaartcenter.com; artcenter@ci.edina.mn.us; wheel-throwing, handbuilding, sculpture, tile.

Northern Clay Center — 2424 Franklin Avenue East, Minneapolis, MN 55406; (612) 339-8007; www.northernclaycenter.org; nccinfo@northernclaycenter.org; wheel-throwing, handbuilding, sculpture, tile.

MISSISSIPPI Bodine Pottery & Art Studio — Rebuilding: New location coming soon in Hattiesburg, MS; (228) 806-3153; www.bodinepottery.com; hukmut@bodinepottery.com; wheel-throwing, handbuilding, PMC (precious metal clay).

MONTANA Clay Arts Guild of Helena — 3025 Bozeman Avenue, Helena, MT 59601; (406) 449-6080; www.helenaclayartsguild.com; wheelthrowing, handbuilding, raku, studios.

CLAyTIMES·COM n MARCH/APRIL 2007

NEVADA

68

Pottery West — 5026 North Pioneer Way, Las Vegas, NV 89149; (702) 987-3023; potterywest@ cox.net; wheel-throwing.

NEW JERSEY The Art School at Old Church — 561 Piermont Road, Demarest, NJ 07627; (201) 7677160; www.tasoc.org; info@tasoc.org; wheel-throwing, handbuilding, sculpture, tile, glazing, raku.

Thompson Park Creative Arts Center — Monmouth County Park System, 805 Newman Springs Road, Lincroft, NJ 07738; (732) 842-

Parker’s Pots and Panes — 1303 Mays Landing Road, Folsom, NJ 08037; (609) 4175182; claywiz2003@yahoo.com; wheel-thowing, handbuilding, sculpture, tile, mosaic, electric and raku firing, glazing and decoration.

NEW YORK Clay Art Center — 40 Beech Street, Port Chester, NY 10562; 914-937-2047; www. clayartcenter.org; mail@ clayartcenter.org; wheelthrowing, handbuilding, sculpture, special topics, kids and adults.

The Painted Pot — 339 Smith Street, Brooklyn, NY 11231; (718) 222-0334; www.paintedpot.com; wheel-throwing, handbuilding, sculpture.

92nd Street Y Art Center — 1395 Lexington Ave, New York, NY 10128; (212) 4155562; www.92Y.org/artclasses; wheel-throwing, handbuilding, sculpture; intensives in plaster, glazing, and complex serving pieces; open studio available.

NORTH CAROLINA Odyssey Center for Ceramic Arts — 236 Clingman Avenue, Asheville, NC 28801; (828) 285-0210; www.highwaterclays.com; odyssey@highwaterclays.com; wheel-throwing, handbuilding, sculpture, tile.

Sawtooth School for Visual Arts — 226 N. Marshall Street, Winston Salem, NC 27171; (336) 723-7395; www.sawtooth.org; ceramics@ sawtooth.org; wheel-throwing, handbuilding, sculpture, tile, classes and workshops in other fine arts and media.

Finch Pottery — 5526 Finch Nursery Lane, Bailey, NC 27807-9492; (252) 235-4664; www.danfinch. com; dan.finch@earthlink.net; wheel-throwing.

OHIO Troy-Hayner Cultural Center — 301 West Main Street, Troy, Ohio; (937)339-0457; www. troyhayner.org; troyhaynercenter@troyhayner.org; wheel-throwing, handbuilding.

PENNSYLVANIA Allen Stoneware Gallery & Pottery Studio Classroom — Colony Plaza, 2602 West 8th Street, Erie, PA 16505; (814) 836-0345; www.allenstoneware.com; pottery@allenstoneware. com; wheel-throwing, handbuilding, sculpture.

Nan Rothwell Studio Pottery — 221 Pottery Lane, Faber, VA 22938 (near Wintergreen); (434) 263-4023; www.nanrothwellpottery.com; wheelthrowing, handbuilding, glazing, firing.

Abington Art Center — 515 Meetinghouse Road, Jenkintown, PA 19046; (215) 887-4882; www.abingtonartcenter.org; studioschool@abingtonartcenter.org; wheel-throwing, handbuilding, sculpture, tile, mosaic, raku and pit firing.

Manassas Clay & Tin Barn Pottery Supply — 9122 Center Street, Manassas, VA 20110; (703) 330-1040; www.manassasclay.com; manassasclay@aol.com; wheel-throwing, handbuilding, sculpture, glazing, raku.

SOUTH CAROLINA

WASHINGTON

Adele’s Pottery Studio & Gallery — 1659 Middle Street, Sullivan’s Island, SC 29482; (843) 883-9545; wheel-throwing, handbuilding for children and teens.

Northwest Ceramic Art Institute (The Clay Zone) — 2727 Westmoor Court, Olympia, WA 98502; (360) 943-7765; www.theclayzone.com; ddurso@theclayzone.com; wheel-throwing, handbuilding, sculpture.

TENNESSEE Mud Puddle Pottery and Supply — 538 Highway 70, Pegram, TN 37143 (20 minutes outside Nashville); (615) 646-6644; www.mudpuddlepottery.com; mudpuddle@bellsouth. net; wheel-throwing, handbuilding, sculpture.

TEXAS Circle in a Square — 3742 County Road 123, Round Rock, TX 78664; (512) 246-3473; www. circleinasquare.com; info@circleinasquare.com; wheelthrowing, handbulding, firing, glazing and decoration.

Resources I Classes

The Clay Studio — 139 North Second Street, Philadelphia, PA 19106; (215) 925-3453; www.theclaystudio.org; info@theclaystudio.org; wheel-throwing, handbuilding, sculpture.

WISCONSIN Blueraku Studios — River Center Shoppes, 133 State Street, Medford, WI 54451; (715) 748-3407; www.bluerakustudios.com; lindsey@ bluerakustudios.com; wheel-throwing, handbuilding, sculpture, mosaic.

Peninsula Art School and Gallery —3900 County Road F, Fish Creek, WI 54212; (920) 868-3455; www.peninsulaartschool.com; staff@ peninsulaartschool.com; wheel-throwing, handbuilding, sculpture, tile, firing, glaze-decorating, raku and pit firing, for kids and adults.

VIRGINIA Creative Clay Studios — 5704 C-E General Washington Drive, Alexandria, VA 22312; (703) 7509480; www.creativeclaypottery.com; daisy_gail@msn. com; wheel-throwing, handbuilding, sculpture, raku.

The Art League School — Located near the Torpedo Factory at 105 North Union Street, Alexandria, VA 22314; (703) 683-2323; www.theartleague.org; school@theartleague.org; wheel-throwing, handbuilding, sculpture, tile, mosaic.

Jacksonville Center for the Arts — 220 Parkway Lane, Floyd, VA 24091; (866) 787-8806; (540) 745-2784; www.jacksonvillecenter.org; info@ jacksonvillecenter.org; wheel-throwing, handbuilding, sculpture, mosaic, raku and pit firing, glazing and decoration.

www.flatrockclay.com

Quality at Great Prices Clay, Glazes Tools, Books Raw Materials Equipment Workshops

LAY C K C O FLAT R PLIES 2oo2 South School SUP Fayetteville, ARkansas

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Think Global Buy Local

Mon-Fri 9-6 Sat 9-1

Clay Design Group Studio/Gallery —170 Brunswick Aveue, Toronto, ON, Canada M5S 2M5; (416) 964-3330; www.claydesign.ca; classes@ claydesign.ca; wheel-throwing, handbuilding, glaze and decoration, kids and adults.

Feats of Clay Pottery Studio — 3505 29th Street, NE, Calgary AB, Cnanda T1Y 5W4; (403) 291-0876; www.featsofclay.ca; wheel-throwing, handbuilding, tile, glaze and decoration. [

A year-round listing of your community pottery class in CT and on our Web site is available for just $99—a real bargain!

To feature your classes, call Karen Freeman at (540) 882-3576 or e-mail: advertising@claytimes.com.

Bill van Gilder 2007 Workshops March 31 & May 5-6 May 21-25

Jun 29-Jul 1

July 23-27

Aug 3-5

Aug 10-12

Aug 17-19

Aug 30-Sept 1

Sept 22-23

Creative Clay Studios, Alexandria, VA www.creativeclaypottery.com Odyssey Center for the Ceramic Arts Asheville, NC - ph. 828.285.0210 odyssey@highwaterclays.com International Ceramics Festival Aberystwyth Arts Center, Wales, U.K. www.internationalceramicsfestival.org Sierra Nevada College, Lake Tahoe, NV www.sierranevada.edu/workshops Sharon Art Studio, San Fransisco, CA www.sharonartstudio.org - ph. 415.753.7004 Clay Planet, Santa Clara, CA www.clayplanet.com - ph. 408.295.3352 Western Colorado Center for the Arts Grand Junction, CO - ph. 970.243.7337 ext.1 www.gjartcenter.org Rehoboth Art Center, Rehoboth, DE ph. 302.227.8408 Rockingham Community College Wentworth, NC (contact information to be announced)

CLAyTIMES·COM n MARCH/APRIL 2007

LibertyTown Arts Center — 916 Liberty Street, Fredericksburg, VA 22401; (540) 371-7255; www.libertytownarts.com; libertytownarts@verizon.net; wheel-throwing, handbuilding, glazing, decorating, tile, raku.

CANADA

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Resources I Classified Marketplace

Classified Marketplace Classes & Workshops

•

Celebrate CERAMICS in SPAIN with SETH CARDEW at the wheel. Weekly residential courses or daily private tuition.

Also, cottage to rent at the pottery. www.cardew-spain.com.

• Spring 2007 Master Workshops at the Lee Arts Center in Arlington, Virginia. We will be hosting a great line-up of workshops: Exploring the Figure in Clay with Debra Fritts, April 21-22; Paper Clay/Mold Techniques with Beth Kendall, April 28-29; Making a Better Pot: Lids, Feet and Handles Workshop with Cynthia Bringle, May 19-20. Please visit www.arlingtonarts.org/ leearts.htm or call (703) 228-0558/0560 for more information.

• Porcelain Workshop with Leah Leitson at Casa De La Cultura 302 Cantu/Plaza Brown, Tel Rio, Texas on April 14 & 15 Fee: $120/non-members; $70/ members; $40/students. Contact Del Rio Potters’ Guild, c/o Elaine Lemp, PO Box 421603, Del Rio, TX 78842. (830) 774-0356 or email: cclacasa@wcsonline.net • Summer Workshops at HUMMINGBIRD in Southern Oregon. June 22-25: Beth Cavener-Stichter/$550; July 27-30: Leslie Lee/$350; August 11-13: Dennis Meiners; August 17-19: Josh DeWeese; September 14-16: Meira Mathison/$285.

Beautiful country environment, small groups, professional instruction, great lunches, camping, 2 B&B rooms available in straw-bale home. Registration/info: www.HummingbirdSouthernOregon.com, (541) 899-7045.

CLAyTIMES·COM n MARCH/APRIL 2007

Events

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•

“The Constancy of Purpose” International Ceramics Conference, Red Deer College, Alberta, Canada. May 24–27, 2007. Presenters include Milon Townsend, USA; Penny Smith & Fergus Stewart, Australia; Sandra Alfoldy, Les Manning, and Carol Epp, Canada. www.rdc.ab.ca/continuing education.

• The 10th Anniversary National K-12 Ceramic Exhibition - March 14-March 16, 2007. Reception: March 14, 4-5:30 pm at the NCECA Conference in Louisville, KY,

Louisville Convention Center Room F149152. 11th Annual Exhibition will be at the 2008 New Orleans NCECA Conference. www.k12clay.org.

Opportunities

•

CERF at NCECA! Join Lana Wilson, Craig Nutt, Brian Nettles, and guests for “From Slab to Rehab: The Katrina CERF Report” on Friday, March 19, 2007 at the NCECA Conference in Louisville, KY. Stop by our booth during the conference. The Craft Emergency Relief Fund – www.craftemergency.org.

• ClayParent - A new internet forum for potters who are parents and their issues.

After many requests for this type of interaction, the Clayworkers’ Guild of Illinois is donating web space to open up this forum to members and non-members alike.

Registration is free. The forum is located at: www.mudmamasandpapas.com.

• JOIN AMERICANPOTTERS.COM TODAY! Be part of a national, searchable database for FREE. Or have an “online gallery” and sell your work ($99.00 a year).

Scholarship Opportunities

• Ceramics Lab Tech Scholarship at Sierra Nevada College, Lake Tahoe. SNC is taking applications for a student lab tech. In exchange for 20 hours per week, student will receive full tuition remission.

Recipient must be a degree-seeking BA or BFA student. For more information, email: sleigh@sierranevada.edu or call Sheri Leigh at (775) 881-7588.

Kiln Repair

• Kiln and Studio Repair Service — Mike Swauger, The Kiln Doctor; licensed and insured; (877) 545-6362; mike@thekilndoctor. com. Equipment sales, delivery & set-up, installations. Most parts and accessories are in stock on my full-service vehicle. Serving VA, MD, WV, DC. Rely on more than 17 years of experience.

•

Kiln Repair. All makes — Washington, DC metro & Northern Virginia. $45/hour (one-hour minimum) plus parts. Larry Safford, The Studio Resource: (703) 283-7458; larrysafford@comcast.net.

Tools for Potters

• Sell your work to GALLERIES and SHOPS. For 25 years we’ve helped thousands of artists grow their careers. You’ll discover more studio time, less travel time, and more profit than ever before. Average sales $25,000. www.AmericanCraft.com or (410) 889-2933.

•

•

•

Twenty-seventh Annual July National Show at Southport, North Carolina. June 23-July 21, 2007. BOS $1,000. Total prizes $6,000. 2D Juror—Rick McClure; 3D Juror—Doug Grey. Slide deadline: 4/01/07.

For prospectus, send an SASE to Associated Artists of Southport, 130 E. West St., Southport, NC 28461, or download at franklinsquaregallery.org.

•

POTTERS FOR PEACE - Offering assistance to developing world potters and low-tech ceramic water filter technology.

Meet us at NCECA—we will have a table in the non-profit area, with an exhibition and benefit sale of Nicaraguan pottery at the Hyatt, and show of water filter receptacles on the Bus Tour. www.pottersforpeace.org

GlazeMaster™ glaze database and calculation software for Windows and Macs. $50.00 + $4.50 shipping in North America. Visit www.masteringglazes.com for a free trial download and more information. Or send your check or VISA/MC information to Frog Pond Pottery, PO Box 88, Pocopson, PA 19366.

AWESOME! Bill van Gilder’s Professional Hand Tools. 12 very functional tools for handbuilding and wheel work: classroom and studio-tested! Visit store at www. claytimes.com to view and order tools.

Travel

•

Pottery Tour to England & Wales, June 17-July 1, 2007. Studio visits, Aberystwyth International Ceramics Festival, Museum & gallery tours, and Rufford Park Pottery Fair with Josie Walter, author, studio potter, and lecturer from England and Trudy Golley, ceramic artist and lecturer at Red Deer College, Alberta, Canada. www. rdc.ab.ca/continuingeducation.

• Mata Ortiz, Mexico Pottery Workshop.

March 31-April 8, 2007. Hands-on learning and uncommon, small-group travel into the potter’s world of deep Mexico.

Pot forming, decoration and burnish with Michael Wisner and Jorge Quintana. www. traditionsmexico.com; traditionsmexico@ yahoo.com.

resources I Classified Marketplace

Travel, cont.

Place your ad in the Clay Times classifieds for as little as $50! For complete details, visit the Web site at www.claytimes.com or call ad manager Karen Freeman at 540-882-3576.

Videos & Books

• SAVE $14.95 NOW when you order Great Glazes for just $15 (reg. $29.95) at the Clay Times online store at www. claytimes.com. This popular hands-on studio handbook features dozens of favorite glaze recipes for all firing temperatures and atmospheres. NOW AVAILABLE: Bill van Gilder’s new book of DIY television pottery projects, Wheel-Thrown Pottery, from Lark Books. Visit www.claytimes.com to order autographed copies!

•

TOM TURNER TWO-DAY WORKSHOP 4-DISC DVD. Participant’s questions bring out a tremendous amount of information. Almost 6 hours of throwing, trimming, and discussion, along with 34 of his favorite pots from 1970-2004. This 4-disc set is available from www.tom turnerporcelain.com for $97.30, priority mailed and insured.

• EXTRUDE IT! Getting the Most From Your Clay Extruder, new instructional DVD 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). (903) 795-3779; www. farmpots.com.

•

New Release: Handbuilding with Mitch Lyons. 2-part DVD: step-by-step instructions making seamless vessels using unique “broomstick” method and “handbuilding on the wheel.” 60 minutes. $39.95 plus shipping. To order, phone (302) 545-4839; email clayprint@yahoo. com; www.mitchlyons.com. Also available on DVD: The Art of Clay Printing with Artist Mitch Lyons. [

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CLAyTIMES·COM n MARCH/APRIL 2007

your clay question_

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New INCLUSION Pigments Christmas Red, Bright Red, Fire Red, Blood Red, Soft Red Orange, Tangerine & Yellow..$25/lb Chemicals Bismuth Subnitrate $40/lb.

Cobalt Carbonate $20/lb.

Cobalt Oxide $30/lb.

Cobalt Sulfate $14/lb.

CMC & V-Gum T $8/lb.

Erbium Oxide $35/lb.

High Purity Red Iron Ox. $3/lb.

Nickel Ox. & Carb. $22/lb.

Silver Nitrate $350/lb. Or 25g for $25 Selenium $45/lb.

Stannous Chloride $22/lb.

Tin Oxide $12/lb.

Vanadium Pentoxide $25/lb.

Looking for helpful studio tips? Got some to share?

This is the place...

Easy Clay Gun Dies I recently discovered an easy solution for making custom shapes without cutting new dies for my clay gun extruder:

Readers Share I Tips & Techniques

The Slurry Bucket

Extruder Die

Sometimes it’s hard to use regular-sized glazing tongs when glazing platters in a shallow container of glaze. A pair of staple removers make good mini glazing tongs.

Don’t forget to file down the sharp teeth, so they don’t scratch your bisque pots.

Hole in center of die

U

Mini Glazing Tongs

Piece of wire laid over hole

Paveen “Beer” Chunhaswasdikul Gadsden, Alabama

Trim Scraps Contained For trimming, I use cheap plastic place mats (from the dollar store) propped up in the splash pan to keep trimmings from flying everywhere. They are stiff enough to stand up, but flexible enough to wrap around the wheel. Two or three overlapped place mats cover the area pretty well.

The potential for shape variation is almost infinite.

Pete Halladay Hotchkiss, Colorado [

Debbie Fraker East Point, Georgia

FREE CLAY TIMES T-SHIRT! Send us your useful clay tip or technique to share with our readers. If it’s published, we’ll send you a Clay Times T-shirt. Mail your tips (and T-shirt size) to: The Slurry Bucket, c/o Clay Times, PO Box 365, Waterford, VA 20197.

CLAyTIMES·COM n MARCH/APRIL 2007

I use a Giffin Grip® to serve as a brace, since it decreases the space between the wheel and the wall of the splash pan. Without that, you may need some other spacer on the wheel side of the pan.

To make a groove in a circular extrusion for platter and bowl rims, I placed a small piece of wire in the desired shape over part of the circular die hole. A small wad of clay will hold it in place while putting the die into the gun. After extruding, simply discard the clay that was cut out by the wire: the grooved piece now attaches easily and quickly to the rim of a bowl.

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Opinion I Around the Firebox

Never Say Never After years of refusing to incorporate technology into his pottery business, David Hendley is now discovering the advantages of answering machines, cell phones, credit card processing, and more...

bY DAVID HENDLEY

I

’ve been a potter for a long time now, and one of the things I like about it is the familiarity of a process that remains the same. But a curious confluence of events occurred last fall that made me realize just how much things have changed, in a seemingly ever-accelerating way, in the last few years. One by one, I am now doing things I thought I would never do.

kiln. I haven’t changed the way I actually make things, but by now I’ve given up the romantic notion that I have much in common with a 19th-Century potter. As with every other area of modern life, technology has infiltrated just about every facet of a potter’s work. It seems like I spend hours every day staring at electrons dancing on

interrupt conversations and disturb classes, performances, and shows. How many times have you been talking with someone, their cell phone rings, and you hear the following, “Oh nothing, what are you doing?” Thanks a lot. I’m glad to know that talking with me is “nothing.”

Well, I’ve officially changed my opinion: a potter needs a cell phone. It’s another expense and another thing to keep up with, but a necessity for anyone who travels to teach and/or attend workshops, or to display and sell at shows. Just try to find a pay phone these days anywhere other than an airport. I still have an aversion to owning a cell phone, and use it only occasionally. Only five people know my super-secret cell phone number.

“I’ve given up the romantic notion that I have much in common with a 19th-Century potter...”

CLAyTIMES·COM n MARCH/APRIL 2007

Not too long ago, I used to tell visitors to my shop that, with a few exceptions, such as plastic glaze buckets and the electric motor on my wheel, my pottery shop looked and functioned pretty much the same as a pottery shop from 100 or even 200 years ago.

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If asked, I would tell those visitors who were touring my “100-year-old” pottery shop that I was able to make a living with handmade pottery by making sure my expenses were minimal. That meant the pots were fired with free wood in a homemade wood kiln, and I spent time every few months mixing batches of clay in my homemade clay mixer. I hired no helpers.

The dilapidated building that became my shop was free with the purchase of the land; and once I restored it to usable condition, I had a rent-free studio. Customers paid with cash and got their purchases wrapped in newspaper.

I’m really a Luddite at heart. After all, I make pottery by hand and fire it in a wood

a computer monitor. I calculate glazes and keep business records on the computer, sell pots via the Internet, correspond through e-mail, and work with digital photographs. I did none of these things ten years ago. I have to admit that my pottery, my business, and my life are better thanks to technology, but I’m also quick to harshly judge and slow to embrace new technology.

So what else is new around here? To the immense amusement of my friends, I now have a cell phone. See, I hate cell phones. I hate them with a passion and have always been vocal about it. Half the time, out here in rural America, they fade in and out or don’t work at all. They are expensive, with numerous taxes making them more so. But most importantly, I dislike their often-rude intrusions that

Equally amusing to those who know me well is the sight of the new credit card machine in my pottery shop. Remember my feelings about cell phones? I hate the intrusion of credit cards even more. I operated my pottery shop for 15 years without accepting payments by credit card, and I advised new potters starting out that it was not necessary, as well. Virtually everyone at my shop who asked if they could pay with a credit card pulled out a check or cash when told it was not possible.

Finally, I chalked up another “first” last October when I actually paid for a load of firewood for my kiln. It started off innocently enough when I arrived at the pallet factory to gather a pickup load of wood scraps for the kiln. “Yeah,” the foreman said, “some women came and bought some wood for a pottery kiln last week.” “Bought?” I asked, since I had always gotten my wood for free. He showed me some neatly stacked five-foot tall pallets of boards. “These are number two boards, $30 a pallet.” I quickly calculated what my time is worth. I could spend two or three hours digging through the scrap pile and loading the truck or I could pay $30, have a forklift load the pallet on the truck, and be gone in ten minutes. I paid the $30.

David Hendley operates Old Farmhouse Pottery in Maydelle, Texas. Please visit his Web site at www.farm pots.com, or send an e-mail to: david@farmpots.com.

Aftosa AMACO Anderson Ranch Art Center Appalachian Center for Crafts Arrowmont School of Arts & Crafts Arts and Activities Axner Pottery Supply Bailey Pottery Equipment Beryl’s Cake Decorating & Pastry Supplies BigCeramicStore.com Bracker’s Good Earth Clays Buyers Market of American Craft Carolina Clay Connection Cash Solutions Ceramic Supply Chicago Clayworks Supplies Clay Times Online Store Continental Clay Co. The Cookie Cutter Shop Dan Finch Pottery Del Val Potter’s Supply Dolan Tools Easy-on Respirator Euclid’s Elements Flat Rock Clay Supplies Georgie’s Ceramic & Clay Center Giffin Tec Goggle Works Center for the Arts Great Lakes Clay & Supply Co. Guild Sourcebooks Herring Designs Hood College Jane Cullum How-to Videos John C. Campbell Folk School Keramix The Kiln Doctor L & L Kilns La Meridiana Laguna Clay Co. Larkin Refractory Solutions Master Kiln Builders Metchosin School Mid-South Ceramic Supply Mile-Hi Ceramics Miracle Bat MKM Pottery Tools Muddy Elbow Mfg./Soldner Wheels Odyssey Center for the Arts Olympic Kilns Ox-bow School of Art Paragon Industries PCF Studios Peter Pugger Peters Valley Craft Center Piedmont Technical College Plainsman Clays Limited Potteryvideos.com Pottery West School Arts Magazine Scott Creek/Clay Art Center Sheffield Pottery Shimpo Sierra Nevada College Skutt Ceramic Products Spectrum Glazes Standard Ceramic Supply Co. Tin Barn Pottery/The Kiln Doctor Trinity Ceramic Supply Tucker’s Cone Art Kilns U.S. Pigment Corp. van Gilder 2007 Workshops Ward Burner Systems Wise Screenprint

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Dan Finch Pottery presents the Autumn ‘07 Weekend Workshop

Peter King: Architectural Ceramics for the Studio Potter November 3-4, 2007 Registration Fee: $175 • professional artist demonstrations • inspirational slide presentations • meals & lodging available to register, please visit

www.danfinch.com call (252) 235-4664 or e-mail dan.finch@earthlink.net

CLAYTIMES·COM n MARCH/APRIL 2007

I may sound like I’m complaining, but I’m not. All these time savers and modern conveniences simply allow me to operate more efficiently. That means I actually have more time to make pots, and that process remains uncompromised. Meanwhile, at home, my wife just bought a telephone answering machine.

Now when I’m off buying wood for the kiln at the pallet factory, I can call my own number with my cell phone and find out what calls I missed. What would a 19th-Century potter think about that? [

Index to Advertisers

Resources I Ad Index

Those days are gone. Bankers are smart people. Even if they aren’t able to tack on interest to a transaction, they offer consumers a token percentage of their purchases back as a rebate, and then charge the merchants three times that amount to process the transaction. Even people who have ready cash will opt for paying by plastic so they can earn some “miles,” and the bankers take a cut with every swipe. So, it’s another expense and bookkeeping hassle, but a potter hoping to make a go of a pottery business should have a credit card merchant account.

Throw in sales from the Internet (and every potter needs to have a Web site) and the need is undeniable. It can be a big expense: unless I’ve fired my electric kiln several times, the monthly charges are more than my electric bill.

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