Atelier Magazine

the studio experience

Helen Levi

Page 24 | Inside the life of Instagram's rising ceramic artist

Clay Bodies

Page 16 | A look at the human history of clay

the makeup of clay bodies used around the world

Page 32 | Tools to know to start your own home studio

Kiln Mechanics

Page 36 | Understanding all of the purposes of wedging clay

workings of mechanical and gas kilns explained

Page 42 | The beauty and techniques of Raku firing

Page 8 | A compilation of

Page 50 | The inner

Volume 12 |  $19.99 2020 Ceramics Issue

clay bodies

features

8 artist spotlight

8

Clay Bodies world look:

all you need to know

24

Artist Spotlight

the masters: all

50

Kiln Mechanics

technology: a look at

about the different

about the studio,

the inner workings

clay bodies used

work, creative

of a kiln. Also, learn

by ceramic artists

process, and booming

about different types

around the world

success of Helen

and uses for kilns as

Levi, Instagrams top

well as the meaning

ceramic artist

behind all different cone firings

24 kiln mechanics

50 Cover photography courtesy of unsplash 2  |  atelier 2020

C O N T E N T S

departments

4

To t h e R e a de rs editor’s letter:

words from the editor

10

Pets and Pottery

history: about the

32

To o ls t o Know

tools: how to start

42

Raku Firing

techniques: the fun,

who molded this

ceramics surrounding

a studio and an

surprises, and safety

magazine

our canine friends

infographic of basic

behind this beautiful

studio tools

Japanese firing

6

viewer's letter: a nice

16

showcase of reader

the history of human

submissions

use of clay

Fe a t u re s From Our Readers

Humans and Pottery

history: a look into

36

technique

Clay We d g i n g

skills: understanding the several purposes

58

Oxide Glazing

techniques: breaking

o f w e d g i n g, w e t t i n g,

down the chemical

and preparing clay

makeup and science

before throwing

behind a glazes' glass formation when fired

6

36

42

the studio experience

President | Jake Geiger Vice President | Elaine Cunfer Lead Editor | Morgan Nadin Managing Editor | Karen Kresge Senior Copy Editor | Poppy Mitchell Assistant Editor | Julianna LoMonaco Article Editor | Kaleigh Moran Project Manager | Sophia Tornay General Assistant | Allison Kostaras Photographer | Madison Woodruff Assistant Photographer | Eirene Hoover Marketing Director | Noah Walker Sponsor Manager | Helen Kerschner Sponsor | Dr. Lynda Runyon Distribution Manager | Eve Piper

PUBLISHED BY Naseef Publications 181 Redwood Grove Daytona, Florida 29183 407.430.9240 naseefpub.com

4  |  atelier 2020

T H E

dear readers

T

here are so many things outside

been able to have a hand in the creation

of my field of work of design and

of Atelier, the beginners deep dive into

editing that excite me; Traveling

learning about and creating ceramic

and learning about the world around me

pieces. Clay and ceramics are an part of

hands on is something that makes my

nearly all ancient human societies and

heart beat a little faster. So when I heard

continue to be an important part of daily

that the annual topic for Atelier was

life, despite the fact that most people

ceramics, I couldn’t have been happier.

don’t have to create their own ceramics

The act of creating pieces by hand from natural materials is thrilling, and the idea that the items could be functional in a home or workspace is a bonus. While working on this edition, I got to dig my

by scratch anymore. However, ceramic creation is an art that been experiencing a revival in America despite the great prevalence of technology in society and the ability to mass produce all things clay.

hands into the nuanced elements of

Pottery is not a craft that is required for

ceramics, from picking clay, to throwing

human societies to thrive, but is one that

on the wheel, to mixing glazes, and

makes it more pleasant to do live each day

all things in between. The process

even more thoughtfully.

was interesting at every step and was even more of an impact as a learning

best wishes,

experience after I dove into the history of clay at its roots. I am honored to have

Photography courtesy of unsplash.com

Morgan Nadin Lead Editor

E D I T O R

Photography courtesy of steemkr.com

Pottery in East Asia In early Japan, pots may have been buried in the ground for storage, largely to preserve fish. Pottery also may have been used to store grains like millet.

Pottery in the Americas People began to create pottery early in the Americas for the same reason, storage and food preservation, several thousand years after the practice began in East Asia.

H I S T O R Y

humans and pottery digging up our ancient past

P

eople first started making pottery

North Africa, around 6000 BC, near

out of clay in East Asia, in both

the beginning of the Neolithic period

China and Japan, around 14,000

there. West Asian people may have

BC, long before they started farming.

started to make pottery as a way to store

Probably people had always known how

grain when they started farming. They

to make pottery, but just hadn’t done it

also used their pots to make fermented

much. This early pottery was made by just

fish sauces for eating.

pushing a hole into a ball of clay, or by making a long snake of clay and coiling it up into a pot shape. It may have gotten started by making baskets and coating them with clay. In Japan, early pots might be buried in the ground for storage. One reason for starting to make pottery was likely to preserve fish. Another reason

Someone begins to knead raw clay, likely to find any large imperfections

by professor karen carr

The Slow Wheel By around 3000 BC, at the beginning of the Bronze Age, people in West Asia had begun to use the slow potter’s wheel. This is a little platform made of wood that you build the pot on. You can turn the round platform around so that instead of having

may have been to store grains like millet.

to walk around your pot you can sit still

Pottery in the Americas

someone who is good at using it, the slow

People probably began to make pottery in

wheel makes potting a lot faster. At

the Americas for the same reason, several

the same time, Central American people

thousand years later. People who ate a lot

invented the slow wheel. The Zapotec

of fish and shellfish were making pottery

were using it to make pottery, around 100

in Brazil about 5500 BC. Maybe they also

BC. The Zapotec kept right on using

used pottery jars to preserve fish by fer-

the slow wheel, but by 2000 BC, almost all

menting it. From Brazil, people gradually

potters in Europe, Asia, and North Africa

began using pottery further north. The

were using the fast wheel instead.

fish-eating ancestors of the Cherokee and other Mississippians knew how to

and turn the pot around. In the hands of

The Fast Wheel

make pottery by about 4500 BC.

The fast wheel is also a platform, but one

West Asian people may have started to

Pottery in West Asia and Europe

start it spinning with a push or a kick,

make pottery as a way to store grain when

The use of pottery also spread west from

and then draw the pot gradually out

they started farming. They also used their

East Asia, reaching Mesopotamia and the Eastern Mediterranean, and then

Continued on page 70

pots to make fermented fish sauces.

Pottery in West Asia

which spins on an axle, like a top. You can

atelier 2020 | 17

Photography courtesy of Helen Levi

T H E

Helen Levi Helen Levi @Helen Levi Helen Levi

M A S T E R S

Instagram's Rising Ceramicist by format.com

atelier 2020  |  25

T H E

M A S T E R S

H

elen Levi is a New York native

it is tied to the general trend of conscien-

that went from juggling four

tious shopping on a wider scale: people

jobs at once to being a ceramic

caring about where their food comes from,

art powerhouse, in only a few short years.

wanting to buy clothing that is ethically

After being enlisted to make some pieces

made, wanting to cook with meat that was

to sell at Steven Alan’s boutique store, she

ethically sourced. There’s a trickle down,

decided to take the leap, ditch the side

in my opinion, to the objects we use in

jobs and commit full-time to her craft and

our home. People seem just more curious

her budding new business.

to have a connection with all the objects

Since that pivotal moment, Levi has completed large orders of artisan tableware for restaurants, been featured on almost every “best of ceramic artist” list, and gained an impressive 128k of Instagram followers. The busy Brooklyn

they surround themselves with, whether it’s a sweater or a mug. Obviously it’s a lot more expensive to buy handmade so it’s not accessible to every person. I was so grateful to finally have the continuity of one job.

artist and entrepreneur took some time

I always struggled with balancing

out to tell us what she’s learned about

the different part-time commitments

running a creative business. I sold my

I had. Now I feel successful in the sense

first piece when I met Steven Alan at

that my work supports me and I love what

a pop-up shop.

I do but it’s been a really gradual growth—

After chatting a bit, he asked me to send him some photos of my work. I had never photographed my work before because it had always just been a hobby.

But once I made that connection, I got really excited by the idea of doing that hobby as a job, and I put everything I had into making it work.

The timing of that decision probably had something to do with the current popularity of handmade ceramics. I think

there wasn’t one specific moment when everything totally clicked. I would say that in the last year I have made a real effort to make sure I take a day or two off every week, because I was in a phase of working so hard that I forgot how important a little time off was.

"Since I am the only wheel thrower in my studio I spend a lot of time on the wheel."

I tend to do the business/computer tasks in the morning or evening and spend the majority of the day making things.

It’s really important to me to keep the parts of my job that bring me joy at the forefront of my day. My favorite part Continued on page 40

Helen Levi working in her Brooklyn studio

Photography courtesy of Helen Levi via Instagram

“Just because a thousand people like something on Instagram doesn’t mean anyone will buy it.”

atelier 2020 | 27

T O O L S

the tools to know everything you need to start your own studio

S

by jenni fritzlan

etting up a pottery studio will

and some tools on. For a wheel throwing

require some investments, but

studio, you will need a space large enough

once you have the equipment, with

to have a wheel, a work table, a clay stor-

minimal maintenance, it will last for many

age area, (ideally under the work table),

years. For the hobbyist, setting up shop

shelves to keep your work on, a sink

could be as simple as acquiring a wheel, a work table and a small shelf unit to store your work in progress.

But for the serious potter, setting up shop will require quite a bit more. Before you begin purchasing equipment and tools, you will need to determine where you will be able to set up your new shop.

Some questions to consider would be: Do I want to make wheel thrown pots or just do hand building? Do I have a place to put a kiln and if so, is there an adequate power supply to the location? Will I glaze my pots in my studio, or will I need to take them somewhere else to glaze and fire them?

If hand building is the only thing you want to do, an extra room in your house or a corner of the garage would be an ideal place to set up a small studio.

All that would be required would be enough space for a work table (a 40 x 80 inch table is ideal), a small electric kiln and a shelf to keep your work in progress 32 | atelier 2020

Continued on page 50

Wire Clay Cutter | This tool is usually used to remove a piece from a table or wheel after being thrown.

Clay Roller | A roller can be used in many different ways, such as to smooth a piece of clay to find large

carving tools

imperfections, but is typically used to roll new clay flat.

Ribbon Tool | The ribbon tool is used to

for what needs to be carved. Usually these

carve or sculpt small areas of a piece. The

tools have a wooden or plastic handle,

metal top comes in many different shapes

making them light and easily transported

and sizes, so an artist must be careful and

as well as cleaned after use.

thoughtful about picking the correct size

Potter's Rib | The potter's rib (left) is primarily used to sculpt and shape a piece; this is very helpful when throwing on a wheel.

Smoothing or carving tool, generally for sculpting.

Needle Tool | The needle tool (right) Photography courtesy of unsplash.com

is good for fine details and is one of the best tools for signing the bottom of a piece before firing or bisque.

Loop Tools | Loop cutting tools come in a myriad of sizes, just like the ribbon carving tools. The loop tools are characterized by their large looped cutting top. Generally, this tool is used to carve of large pieces of clay off of a piece. atelier 2020  |  33

A colorful raku piece that

T E C H N I Q U E S

has cooled after firing

raku ceramics

the basics of the traditional Japanese technique

R

by beth peterson

aku is a Japanese word that can

Chijiro (or possibly his son) by the ruler

removed from the kiln. Raku requires

be translated as enjoyment, hap-

Hideyoshi. This seal was engraved with

preparation before you take on this form

piness, or comfort. In 1580, the

the ideograph for ​raku. Raku thus became

of firing. First, you need to use a clay body

potter Chijiro is thought to be the first to

Chijiro’s family title. In 1940, British potter

that can withstand the thermal shocks it

produce this form of ware. He developed

Bernard Leach published A Potter’s Book

will go through. Second, you will need

a low-fire pottery process in which he

in which he described his very first intro-

placed ware directly into a red-hot

duction to the process of raku.

kiln, then once the glazes had melted, removing the ware from the still red-hot kiln and allowing the pottery to compltely cool outside of the kiln.

American potter Hal Riegger began experimenting with the process and subsequently, beginning in 1958, to include it in classes and workshops he

This direct process was well received,

taught. Somewhere in that milieu of trial

especially by enthusiasts of the tea cere-

and experimentation, pieces began to be

mony. In 1598 a gold seal was presented to

reduced in combustible material once

a kiln that is appropriate for the process of raku firing. Third, you need to have the proper equipment.

Clay bodies, for raku, tend to contain 30% to 50% non-plastic material, such as grog, sand, organic materials, or kyanite.

Stoneware bodies do well in raku, with additions. Even though the clay body may mature at cone 5 to 10, for raku it should be bisqued, as usual, no higher than cone 04. Kiln firing like this leaves the clay open and less likely to suffer damage during the extreme temperature changes.

In 1960, American potter Paul Soldner also began experimenting with raku ware.

Paul Solder has been quoted, saying:

“In the spirit of raku, there is the necessity to embrace the element of surprise.”

Raku kilns should be small; they also must be easily opened, with the opening large and safe enough for the ware to be removed from the kiln while still incandescently hot. There is any number of styles that can be used for raku, but in my Continued on page 64 A raku piece being pulled out of an open-air kiln

Photography courtesy of Robert Couse-Baker

atelier 2020 | 43

for educational use only morgan nadin | 2019