Electric Firing

Electric Firing

Creative Techniques

Ceramic Arts Handbook Series

Edited by  Anderson Turner

Electric Firing

i

Creative Techniques

Electric Firing

Ceramic Arts Handbook Series Edited by Anderson Turner 

The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, Ohio 43082 www.CeramicArtsDaily.org

Ceramic Arts Handbook

The American Ceramic Society 600 N. Cleveland Ave., Suite 210 Westerville, OH 43082 © 2008, 2011 by The American Ceramic Society, All All rights reserved. ISBN: 978-1-57498-294-7 (Paperback) ISBN: 978-1-57498-527-6 (PDF) No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, microlming, microlming, recording or otherwise, without written permission from the publisher, except by a reviewer, who may quote brief passages in review.  Authorization to photocopy photocopy for internal or personal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923 U.S.A., www.copyright.com. www.copyright.com. Prior  to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc. This consent does not extend to copyright items for general distribution or for advertising or promotional purposes or to republishing items in whole or in part in any work in any format. Requests for special photocopying permission and reprint requests should be directed to Director, Publications, The  American Ceramic Society, Society, 600 N. Cleveland Ave., Westerville, Westerville, Ohio 43082 USA. USA. Every effort has been made to ensure that all the information in this book is accurate. Due to differing conditions, equipment, tools, and individual skills, the publisher  cannot be responsible for any injuries, losses, and other damages that may result from the use of the information in this book. Final determination of the suitability of  any information, procedure or product for use contemplated by any user, and the manner of that use, is the sole responsibility of the user. This book is intended for  informational purposes only. The views, opinions and ndings contained in this book are those of the author. The publishers, editors, reviewers and author assume no responsibility or liability for  errors or any consequences arising from the use of the information contained herein. Registered names and trademarks, etc., used in this publication, even without specic indication thereof, are not to be considered unprotected by the law. Mention of trade names of commercial products does not constitute endorsement or recommendation for use by the publishers, editors or authors. Publisher: Charles Spahr, President, Ceramic Publications Company, Company, a wholly owned subsidiary of The American Ceramic Society  Art Book Program Manager: Bill Jones Series Editor: Anderson Turner  Ebook Manager: Steve Hecker  Graphic Design and Production: Melissa Bury, Bury Design, Westerville, Ohio Cover Images: “Spaghetti Jar” by Richard Busch; (top right) “Alligator Plate” by Jayne Shatz; (bottom right) “Birds and Bones” by Kelly King. Frontispiece: Stoneware platter by Daryn Lowman

iv

Contents Low-Fire Electric Reds

1

 David L. Gamble

Low-Fire Surface Decoration

5

Gail Kendall

DaNisha Sculpture: Beauty in Simplicity

8

Eleanor Piazza

Using Majolica Glazes

14

 David L. Gamble

Jitka Palmer: Narrative Vessels

16

Jim Weaver

Using Colorful Underglazes

18

 David L. Gamble

Kesl and Tilton: A Collaboration

23

 Don Pilcher

Scott Bennett: Craft on Craft

29

Glen R. Brown

V’Lou Oliveira: Iconoclasm and Wit

35

 Andrew Phelan

Pennsylvania Redware

40

 Denise Wilz

China Paint: How Low Can You Go?

45

 Paul Lewing 

Joan Takayama-Ogawa: China Paint and Lusters

49

Judy Seckler

Versatile Recipes: Engobes, Slips, Glazes, and Self-Glazing Clays

55

Gerald Rowan

Homage to Palissy

61

John McCuistion

Kelly King: Surface and Form Jennifer Graff 

63

Creating Neriage Blocks

69

Faith Rahill

Laura Kukkee: Slip Decoration

75

 Anderson Turner

Testing Your Clay C lay

83

 Paul Andrew Wandless

Building a Gas/Electric Kiln

88

Mel Jacobson

An Anagama and an Electric Kiln

93

 Daryn Lowman

Converting an Electric Kiln for Wood Wood and Gas Firing 96  Bruce Bowers

Ten Basics of Firing

103

 Bill Jones

Kiln Checkup

107

 Bill Jones

The Oxidation Reverberation

109

Jayne Shatz

Color and Texture

115

Jonathan Kaplan

Designing with Wax Resist

117

Marj Peeler

Wood-Ash Glazing at Cone 6

120

Harry Spring 

A Wood-Fired Look

123

Richard Busch

Transitions and Transformation

127

Geoffrey Wheeler

Adding Depth to Your Glazes

131

Lisa Bare Culp

Kiln Firing Chart

133

Electric Firing

Preface Electric kilns are a wonderful thing! They’re so readi ly available and relatively simple to install that any artist can t ake advantage of the incredible potential this tool has to offer. Nearly every ceramic artist I know uses an electric kiln to some extent in their studio to assist them in creating work. They appreciate the control and dependability this type of ring offers in helping them to achieve their desired results.  As the popularity of electric kilns increased within the past few years, studio potters and manufacturers made this tool even more versatile. Here are a few examples of what has been happening: Electronic controllers: If you don’t have one get one. Case closed. Electric ring is about consistency and control and these devices take that advantage much further. They work extremely well and also save energy. Crystalline glazes for example were once the domain of a select few, but now they are simple because of these devices. Refractory coatings: ITC, a refractory coating material, can be applied to elements and the insides of kilns to give electr ic kilns even better durability and economy. ITC coated elements can last many times longer and they can withstand reduction ring. I coated the inside of one of my Skutt kilns 10 years ago and it’s still going! And Nils Lou, author of The Art of Firing, has done hundreds of rings using a simple bunsen burner under his ITC-coated electric kiln. It works and it works well. Materials and products: Manufacturers now produce literally thousands of  products developed for use in electric kilns. Prepared clays and glazes for all ring temperatures and tastes make it possible to get most any type ceramic body with your choice of color or glaze effect. In this book we’ve included information on all these topics and more. Further, we’ve also included some inspirational stories from artists who are pushing the envelope on how to use readily available materials. By bringing technical sophistication to the masses, the electric kiln has opened a window to creativity and innovation from unexpected sources and has led to the “democratization” of the ceramic medium. I hope you’ll nd this book informative and inspiring in your own work.

 Anderson Turner

vii

Electric Firing

Low-Fire Electric Reds by David L. Gamble

I

Above: Plate, by David Gamble. Cross is glazed with red underglaze.

’ll start by explaining there are two different types of commercial red glazes that I nor-

Let: Untitled, by Scott Bennett. Amaco LM series Coral glaze with wax and Black overspray. As the wax melts in the kiln, the black moves.

mally use. One type is an extremely bright color and harder to achieve and the other is a newer tomato red color that is AP (Approved Product of the Arts and Creative Materials Institute) nontoxic and dinnerware

Bright reds are not dinnerware

safe. The latter is formulated with

safe and are extremely sensitive to

inclusion stains, which are continu-

variations in ring conditions. There

ing to be improved. The color is en-

have been many times that an art

cased in zircon, which makes them

teacher has asked me about the use

safe to use even in the classroom.

of these types of red glazes. I under-

The AP nontoxic reds are extreme-

stand the space and time challenges

ly stable and were used to create red

that teachers face, but you cannot

red velvet underglazes that can be  red

put these glazes in with your normal

from cone 05 to as high as cone 10— 

glaze rings and expect good results.

only salt seems to blush them out.

They are affected by how tight the

The success of underglazes has al-

load is stacked, other glazes (mostly

lowed the development of gloss and

copper greens), and temperature. If 

matt red glazes that have been formufor mu-

you’re ring to cone 05, I can almost

lated to work well at the low-re low-re cone

guarantee there will be problems.

05 range and other glazes formulated

The glaze will most likely have varia-

for the cone 4–6 range. These are ex-

tions from clear to gray to black, and

tremely reliable. Three brushed coats

if you’re lucky, a spot or two of red.

will usually be enough of an applica-

Note: Amaco glazes were used in the

tion and you get nice tomato color

pieces shown here, however, many

reds at both temperatures.

companies produce similar glazes.

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Ceramic Arts Handbook

Platter, by David Gamble, glazed with red glaze and blue brush strokes on top.

Process Here are my suggestions of what you

thicker than the normal three coats.

need to know and do to achieve the

Four coats will usually work, but too

bright reds!

heavy an application may cause the

Bisque your clay body slowly to cone 04 (12 hours to get all the gases

2

Using a brush, apply the glaze

glaze to run. Glaze application may need experimentation and practice.

out). Although these glazes are not

Load the kiln very loosely. There

considered translucent, the clay

is a need for lots of space between

body color does affect them slightly.

the pieces for air circulation. I leave

White bodies will make the glaze ap-

the peephole plugs out during the

pear brighter in color than darker

ring, thus allowing extra oxygen to

bodies.

enter the kiln chamber.

Electric Firing

“Redhot Chilli Pepper Diner,” by Jerry Berta. Glazed with red underglazes.

Do not re above cone 06 (1828°F),

re that evenly. This can cause cold

preferably using witness cones for

spots and hot spots. There can be a

observation. I have been ring at

difference in temperature equal to a

cone 07 (1789°F) with great results.

couple of cones from top to bottom— 

These glazes seem to like the cooler

depending where the kiln sitter or

temperatures.

thermocouple is located. This vari-

Fire as quickly as you can, four

ability can really affect bright red

hours is ideal. If your pieces are

glazes. Newer kilns with zone con-

larger, an example being my 22-inch

trol and multiple thermocouples

platters, take them up slowly to

tend to re more evenly. If you have

about 1200°F. This may help to

an older kiln, place cones in the top,

eliminate cracking problems. Then

middle and bottom of the kiln so you

turn the kiln on high to fast re to

can keep a record of what happens

the end of the ring.

in the ring. They can help provide

More Observations

answers if problems do occur.

If your kiln is vented through the

Now that you know the process,

bottom with a system that draws

I will describe my experimentation

air through the top of the kiln, this

with red glazes. I’ve been placing

will help give you more oxygen in

them on different color clay bodies,

the kiln and better red results.

layering over glazed red pieces and

Remember that kilns, depending

layering one coat of gold glaze over

on how they are stacked, may not

the top.

3

Ceramic Arts Handbook

Platter, by David Gamble, glazed with red glaze, blue brush strokes and one coat o gold used or accents.

I then place the pieces next to

make them your own. Years ago, I

peep holes to brighten the color or

was asked to be a glaze doctor at the

place shelves over the edges to deep-

National Council on Education for

en and take away the color. This is

the Ceramic Arts (NCECA) in Las

what is exciting to me—not getting

 Vegas. I agreed, but told them to la-

it perfect, but having the surface

bel me a glaze deviate instead of a

color change and vary while having

glaze doctor.

some control over what the changes

Don’t be afraid to experiment.

will be. I am an extreme advocate of 

Don’t be afraid to sacrice a few

using commercial glazes the way a

pieces on the way to discovering

painter would use his tubes of paint.

something more exciting.

Experiment, test to the “max” and

4

Low-Fire Surface Decoration

Electric Firing

by Gail Kendall

Finished plates, approximately approximately 8 inches in diameter, with glazes and luster, red to cone 03.

B

ack in the 1960s, only the

bors could not invest huge amounts

low-re

afforded

of time in their work. It’s likely that

access to a broad range of 

more basic and less controlled ring

saturated colors. With various en-

technologies also contributed drips,

capsulated stains that have come

splotches, blurring and other varia-

onto the market, a whole range of 

tions that add to the overall feeling

reds and oranges have become re-

of freedom that I admire.

liable at high temperatures. I still

Process

process

work with low-temperature mate-

First, greenware is painted with

rials for philosophical reasons as

White Slip (gure 1). I use brushes

much as anything else. My goal is

with either coarse or soft bristles, de-

to align my work aesthetically to its

pending on the desired surface tex-

peasantware ancestors from Europe

ture. Small areas missed are allowed

and Great Britain. One of the as-

to remain. Next, I draw through the

pects of peasant pots that I love is

slip on the surface (gure 2). I use a

the casualness of construction and

sharp knife to cut through the slip to

glazing that is common to the nn -

trace the shape of an edge, or create

ished object. Village potters collect-

a design or texture. I also may use

ing scant remuneration for their la-

sgrafto techniques to texture areas

5

Ceramic Arts Handbook

6

1

2

3

4

with a stick or pencil, or draw other

Fashionable or not, I am pleased

patterns onto the surface, revealing

with my work when it displays a

the red clay under the slip (gure 3).

lustrous gloss of just the right thick-

Once the pot is bisque red to cone

ness and juiciness.

03, I paint the entire surface with

I apply four or ve coats of Gerstley

a black underglaze—watered down

Borate Base Glaze in the remaining

as much as possible but still opaque

unglazed areas (gure 5). I enjoy the

when applied. After it dries briey,

subtlety of commercial gloss next to

I wash it off with clean water and

my own gloss glazes, which have a

a sponge, retaining the black in the

softer appearance. I then re these

recessed details. I let the piece dry

pieces to cone 03. After the work

thoroughly and then begin applying

comes out of the glaze ring, I may

elds of small, black underglaze dots

add some 24K burnished gold luster

(gure 4).

to handles, small buttons of clay, or

I always use a food safe commer-

other details (gure 6). This luster

cial clear glaze on the interior of all

is formulated with small amounts

soup tureens and teapots, or any

of yellow ochre that rises to the sur-

other form that may hold liquid.

face during the nal ring to cone

Electric Firing

5

017. Finally, The luster is then burbur -

6

Recipes

nished with extra ne steel wool to

White Slip

reveal the beautiful shine of 24K 

Cone 06–10

gold (gure 7). The nal appearance of any pot is affected by every stage of the creation process, beginning with forming. I allow joins, scrapes, scratches and other imperfections resulting from handbuilding to remain on the surface of the nished greenware.

7

Feldspar                    250 % Ball Clay                    250 Kaolin                      22550 Silica                       22550 1000 % This slip is easy to mix, can be applied on greenware andbisque, and works rom cone 06 to cone 10 The black stain I apply to bisque cleanly wipes o this slip slip

Prior to the bisque ring, I carecare fully brush or smooth away the little

Gerstley Borate Base Glaze

bits of piled up slip that build up on

Cone 03

can become sharp enough to cut or

Gerstly Borate                550 % EPK Kaolin                  300 Silica                       11550 1000 %

scratch the user.

Blue 

the surface from the sgrafto techtechniques. Tiny bits of slip, if allowed to remain through all the rings,

In my work, I want to counter the tendency low-re gloss glazes to look like plastic or patent leather. Even though the surface is shiny, the transparency of glaze allows one to see through the layers and down to the red-brown clay and black stain. Even the brushstrokes, which sometimes show in certain glaze combinations, add to this feeling of depth.

Cobalt Oxide            

20 %

Rich Green  Copp Copper er Carb Carbon onat ate e        6–80 –80 %

Rich Yellow  Rutile                  6– 6–80 % This glaze is a slight variant o a Wayne Higby 1-2-3 raku glaze I mix up 5-gallon buckets o clear, Rich Green and RichYellow I have on hand ½ gallon o Blue The rest o the colors I use come rom mixing these glazes together: Yellow Green: three parts Rich Yellow to one part Rich Green

7

DaNisha Sculpture Beauty in Simplicity by Eleanor Piazza

“Esther,” 11 inches in height, slip-cast earthenware, with underglazes, red to cone 04.

N

ot

the

types

to

spend days driving

to a special site to

mine a particular clay, or fan a wood-red kiln, nor to disrespect those who do, Nisha and Dan Ferguson get right to the

8

heart of their art form: a union of 

were trying to impress upon us as

sculpture and painting. Two artists

the most important.”

and two art forms integrated in one

Dan creates the base, a sculp-

seamless unit: DaNisha Sculpture.

ture, which supports the bowl,

“It is the love of art that excites us:

designed and painted by his wife

not the process and production, not

Nisha, partner in both life and art

the clay or the glaze, but the result-

for years. Dan, who apprenticed

ing sculpture. We respect process

with Canadian sculptor William

and spend long hours in the details

McElceran, stresses that “Sculpture

of creation,” declares Dan, “but our

doesn’t have to be bronze or stone

passion for what we do lies in the

to be art.” Dan creates the original

image, in the end result.”

sculpture from plastelina, and then

“Our work consists of sculpture,

plaster piece molds are made around

drawing and painting, and design,”

the sculpture, and the original model

Dan tells us. “Over the years we have

is discarded. The plaster piece molds

found ourselves drawn to re-study-

take much longer to make than the

ing and reviewing the fundamental

actual sculpture itself. Never one to

principles of these three things. In

sacrice sacrice the intricacy of the form for

fact, we realized that these funda-

production’s sake, Dan’s molds have

mentals were all the things we ig-

anywhere from 12 to 30 pieces. In

nored or deemed too boring to pay

contrast, most molds for commercial

attention to in art school. They are

ceramics are composed of only one or

precisely the things the teachers

two pieces.

Electric Firing

“I have learned, and am continu-

spends painting and drawing, and

ously learning, how to edit the forms

has an array of glaze jars around

of life so as to describe the gure

her, in her very own vibrant pal-

elegantly and without clutter. Real

ette. Her long brush twitches with

life contains an innite amount of 

creative force as she works her way

detail. It is my job to nd just the

around the belly of a frog, the inside

right amount of detail in order to

of a bowl full of  of  owers, or each spot

create something beautiful. As in all

on a cheetah’s coat.

things, there is beauty in simplicity.

In the “Redondo” edition, three

This is the art of sculpture. I also am

hefty elephants, in magnicent circir -

continuously improving the tech-

cus harness, steadfastly balance

nical side of sculpture: proportion,

a bowl that spills over with stars

anatomy and form.”

and crescents. Overseeing all of 

The base of each sculpture is cast

this, in bovine benevolence, is good

in an edition of 44, but Nisha draws

old “Esther” the cow—a force unto

and paints the bowls differently

herself.

each time. Each sculpture is unique;

Possessing an intimate relation-

despite being a number in the edi-

ship with their environment and a

tion. They sign each piece individu-

keen sensitivity to the immediacy of 

ally, Nisha her bowl and Dan his

their surroundings, the Fergusons

sculpture.

have

developed

through

various

 An old warehouse comfortably

external inuences. First, bustling

settled into a hillside overlooking

Toronto, where Dan and Nisha met

the city of San Miguel de Allende,

as students at the Central Technical

Mexico, serves as an expansive stu-

School’s Art Centre in Toronto. Next,

dio. To wander around this studio,

the pastoral retreat of their studio in

where there is always music play-

southern Ontario. They moved there

ing, is an intoxicating experience.

soon after graduation, and that is

Not often is one surrounded by such

where their rst-born son arrived. It

an exotic menagerie; animals from

was there, in a moment of inspira-

zoos, the circus, jungles and the

tion that was to become their desti-

farmer’s eld mix it up happily with

ny, that they mounted one of Nisha’s

humans and angels.

bowls onto one of Dan’s sculpted bas-

Nisha presides over a long, narrow table laden with bowls. Some

es that their collaboration as artists took shape in earnest.

she has just drawn on and they wait,

 A few years later, the couple re-

full of promise, but still nude of color.

turned to Toronto and this time lived

Some are partially painted, and othoth -

in a community, surrounded by other

ers, just nished, gleam with fresh

artists, performers and musicians.

underglaze and vitality. She sits

Nisha’s fascination for the renowned

easily in a comfortable ofce chair;

Canadian aerial acrobatic troupe,

necessary due to the long hours she

Cirque de Soleil, spurred by her love

9

Ceramic Arts Handbook

   e    r    r    o    t    a    l    e    d    n    a    u    j   :    s    o    t    o    h    p

“Triple Elephant,” 13 inches in height, slip-cast earthenware, with underglazes, red to cone 04.

10

Electric Firing

“Guardian Angel,” 11 inches in height, slip-cast earthenware, with underglazes, red to cone 04. of dance and being a practicing gym-

in GravityWorks South. This meant

nast herself, accounts for the circus

that Dan’s beloved Esther literally

theme so prevalent in their work.

ran away with the circus and joined

Nisha developed her own trapeze

up with other elephants, zebras, ac-

troupe at this time, GravityWorks

robats and camels, which made their

Canada, whose routines she choreo-

way into the work.

graphed and took on the road. They

The angel, one of the subjects to

started out in Canada, then travelled

emerge from the Ferguson’s work

to the United States, and eventually

after moving to Mexico, once again

to Mexico where she took to the air

reects their immersion into, and

11

Ceramic Arts Handbook

“Zebra Dance,” 17 inches in height, slip-cast earthenware, with underglazes, red to cone 04, by DaNisha Sculpture.

12

Electric Firing

love for, a new geography and cul-

since watching a kid let loose at an

ture. Angels are omnipresent in the

easel in kindergarten will you nd

architecture and art of Mexico, and

houses all in a row painted yellow,

this is where they established their

cobalt, fuchsia and orchid. Around

new home and studio, following the

the arched windows and doorways

birth of their second child. “After

are found further ornamentation:

moving to Mexico,” Nisha relates,

stencils, tiles and trim colors that en-

“the rst thing that inltrated my

rapture the senses. It is like stepping

work was the colors of this beautiful

back into the unedited innocence of a

country. I nd that I am feeling freer

rainy day, armed with a new box of 

to experiment with color in more un-

crayons and lots of paper.

usual ways.” And that may explain

The culture and landscape of 

why “Esther” now has a bright yel-

Mexico has provided so much inspi-

low sister. “Line, color and composi-

ration for the Fergusons, and yet an-

tion are my playground,” Nisha con-

other source of energy has come in

tinues, “and I use them to express

the form of liberation. In the nearby

everything I feel and see inside my

town of Dolores Hidalgo, an impor-

head. Over the years my drawing

tant center of Talavera pottery in

skills have improved so much, and

Mexico, Dan discovered a master

with each year they continue to im-

craftsman, part of a multigenera-

prove. It is such a pleasure to be able

tional family mold making business.

to render what you feel. I’m always

He agreed to produce the complicat-

discovering new things and learn-

ed, time consuming and demanding

ing more about how to really see.

plaster piece molds for Dan. How

My work is continually evolving and

appropriate that the experience of a

changing.

skilled, competent, Mexican artisan

For an artist having a love affair with brilliant colors, it is difcult

lend a hand to DaNisha Sculpture. “Sculpture

is

my

department;

to imagine a better place to be than

drawing and painting is Nisha’s de-

in an old colonial gem of a town in

partment. However,” Dan reminds

the central highlands of Mexico.

us, “design is what unites us. The

San Miguel de Allende exudes colcol -

overall design of a piece is where

or—color in the most surprising of 

we collaborate most and it is here

combinations. Just dashing out the

that we have had to feel around the

door on a routine errand can be an

most in order to nd a purchase with

otherworldly experience. All year

which to climb. It has been slow

long, aubergine, copper, peach and

sometimes, but we feel now that we

scarlet blossoms carpet the streets

are beginning to understand the sub-

and form kaleidoscopic drifts along

tle, yet profoundly important rules

the sides of the road. In the spring-

of elegant design which will help us

time, towering jacaranda trees burst

create something very beautiful and

into lavender canopies of shade. Not

very pleasing to the eye.”

13

Using Majolica Glazes by David L. Gamble

T

he recent surge of interest

When faced with hundreds of glaz-

in majolica decorating by

ing choices in catalogs, it can be very

contemporary

artists

confusing to decide which products

has prompted the development of 

will be suitable to the task at hand.

specialized commercial glazes for

The distinguishing features of these

schools and artists. In the tradi-

products are that they will not move

tional majolica technique, coloring

and they create a colorful surface

oxides are brushed over an opaque

ideal for detail work.

clay

unred white tin glaze and red so that the colors fuse into the opaque

Using Majolica Glazes

glaze without distorting the decora-

Commercial majolica products are

tion. Today, glaze manufacturers

formulated to be painted onto an

achieve the same effect of this col-

opaque base glaze, and typically

orful technique with their own ver-

meant to be red in the cone 04–06

sions of products, many of which are

low-re range, although many prodprod -

marketed under different names.

ucts will also work on top of a cone

Manuacturer’s Chart This chart, though not comprehensive, provides you with an idea o the wide variety o majolica glazes that are available Studio suppliers oten carry several brands, so they are a good source o inormation about not only the brands listed below but also similar products rom other manuacturers manuacturers Sample kits comprised o 2 oz oz bottles are usually available available—a —a great way way to test glazes without a major investment Manuacturer

Brand

Colors

Cone

Size

AMACO

GDC’s

36 colors

Cone 05–5

2 oz and pints

Glazewerks Majolica

35 colors

Cone 05–04

4 oz and pints

Duncan

Concepts

162 colors

Cone 06–5

2 oz, 8 oz

Laguna

Creatable Colors

19 colors

Cone 06

pints

Versa 5

21 colors

Cone 05

pints

Stroke and Coats

64 colors

Cone 06–5

2 oz, 8 oz, pints

Majolica/Ultraglazes Majolica/Ultraglazes

66 colors

Cone 06–6

2 oz, 4 oz, 2 oz Super Writers

ART ART

Mayco Spectrum

14

Electric Firing

5 base glaze on a cone 5 clay body.

The key to successul majolica glazing is to test what you’re doing beore working on a piece. Remember that a glaze on a white clay body may look quite dierent on a red clay body or a dark slip.

Even though a white base glaze seems to be ne at higher temperatemperatures, problems can arise with black and other colored base glazes because they can cause an the decoration to bubble up. While the commercial products work best on an unred base glaze, some also work ne when applied didi rectly on bisqueware, although they may be slightly less glossy without the base glaze underneath. Majolica glazes can be treated like paints, but there are some differences. Like paint, you can lighten any of them with white, and colors that are close to one another on the color wheel (blue and green, yellow and red) will mix. You can also darken colors. Glazes, however, do not mix like paint in that yellow and blue will not make a nice green. Only through testing will you be able to discover which colors mix and what the results will be. Also most majolica glazes are opaque and are made

matt, with great results. One series

to stay put—so they do not blend

or manufacturer is not necessarily

well when layered. If you mix any

better than another, and your tastes

glazes, do it while the glaze is liquid

will differ from other potters. Con-

instead of trying to blend them on

sider also convenience and what’s

the surface of your work.

available nearby. I’ve been able to

Testing is important before applying any glazes, Experiment with different base glazes, mixtures of 

Paper color charts are not that accurate, though they will give you an idea. Actual ceramic chip charts are better but they are usually not on your clay body. These decorated sushi plate tests are two coats o majolica glaze rom the each o the manuacturers in the chart. They all become opaque with three coats, so I tried two coats to see how strong the colors were.

use all the glazes I’ve tested on my pieces successfully. Each manufacturer provides in-

glazes, and different thicknesses as

structions on the container and

well as thin coats over and under

on their websites for proper use of 

other colors and glazes to help you

their products. Some may have rere-

understand the possibilities and

strictions on food safety, but gener-

limitations. I’ve tried using black,

ally most should be dinnerware safe

blue, red and other colors as the

when applied and red according to

base, glaze including both gloss and

the instructions.

15

Jitka Palmer Narrative Vessels by Jim Weaver

“Hackney Downs,” 15 inches in height, coiled and pinched red earthenware with slips, stains, oxides and clear glaze.

J

itka

Palmer

was

destined from an early age to be an artist.

Had she not discovered clay as a schoolgirl, she would certainly have found another outlet. She grew up in Czechoslovakia during the

University, Brno, in 1984.” The folfol -

1960s and ’70s. When it came time

lowing academic year, she taught

to enter a university, she needed to

human anatomy there. “A year lat-

make a career choice. “My parents

er,” Palmer explained, “I married an

wanted me to pursue medical stud-

Englishman, moved to London and

ies,” she said, “so I did, qualifying

left medicine behind to become a ce-

as a doctor of medicine at Masaryk

ramics artist.” She completed the ceceramics program at Croydon College of Art and Design in 1987 and re re-ceived a British Craft Council grant in 1990 to set up a studio. Her

small

vessels

are

wheel

thrown, while the larger ones are coil built. She works in red earthearth enware, because she likes the effect she achieves when the color of clay shows in her work. Palmer’s pieces are narratives based on stories and themes, and she prefers to work on a series of pieces linked by a central theme. “I draw on my personal experiences, past and present, to capture the spontaneity of ordinary human life.” “Florence,” 17 inches in height, coiled and pinched red earthenware with slips, stains, oxides and clear glaze, by Jitka Palmer.

16

Electric Firing

Her narratives generally begin on the outside of the vessel and are

clear glaze and red again to proproduce a high gloss.

completed on the inside, and she at-

Palmer keeps a sketchbook where

tempts to create a visual tension be-

she records images of people she sees

tween the two surfaces. “Sometimes

while going about her daily activi-

the outside depicts the real world

ties. She uses the sketches to help

while the inside is an imaginary

her remember particular faces and

world,” she said.

situations. “I look at them when I

Palmer’s gures are painted in

need a spark,” she explains. “I like

quick, broad strokes with ner dede-

to sketch people at work, using their

tails left to the viewer’s imagination.

tools.” When preparing images for

She uses colored slips mixed with oxox -

her vessels, Palmer draws and paints

ides and stains to achieve the desired

on large sheets of paper using ink,

effect. Before the pieces are initially

dry pastel and watercolor. She somesome-

red, she outlines the gures and

times makes clay “sketch bowls,”

other important elements using the

where she experiments with ways

pointed end of a paintbrush. This

to convert at images to curved sursur -

results in a raised surface along the

faces. “I enjoy painting on the curved

edges of the outlines and exposure of 

surfaces,” she says, “since I believe it

the red clay beneath the slip. Once

is more challenging and the images

red, her works are covered with a

are often more dramatic.”

   M    a    r    G    n    I    n    o    s    a    j   :    s    o    t    o    h    p

“Slavonic Dances,” 16 inches in height, coiled and pinched red earthenware with slips, stains, oxides and clear glaze.

17

Using Colorful Underglazes by David L. Gamble

“Teapots” by Jim Kemp. Jim uses a low-re red clay body and airbrushes underglazes onto the greenware. The last color he applies is black, which is sprayed across the piece to highlight the variations in heights o the surace decoration. The pieces are once-red to cone 02.

18

ommercial underglazes are

C

them ideal for detailed decoration.

basically clay slips contain-

While most underglazes were origi-

ing colorants, and they’re a

nally formulated for use at low-re

great way to add color to your work

temperatures, most, maintain their

using a variety of application meth-

color in the mid range and some even

ods. And since they’re formulated to

as high as cone 9 or 10.

have low drying shrinkage, they can

Simple Application

be applied to bone-dry greenware or

Underglazes can be applied by

to bisque-red surfaces. In addition

brushing, pouring, dipping, spray-

to being able to change the surface

ing, sponging—pretty much anyany -

color of your clay body, underglazes

thing goes. Each application method

can also be used to change the tex-

has different requirements. If an un-

ture of the body.

derglaze is too thick for spraying or

When used to add color to surfac-

using as a wash, just add water to

es, underglazes have an advantage

thin it down. If it’s too thin for silk

in that they are composed mostly of 

screening or monoprinting, leave the

clay with very little ux, so they’ll

container exposed to air to evaporate

stay put and won’t run, which makes

some of the liquid.

Electric Firing

Underglazes work best with a clear overglaze, although other glazes of varying opacity and color may also be used. I’ve had success with whites and very light-colored glazes, but darker glazes seem to muddy or absorb the color of the underglaze. The overglaze can be anywhere from matt to glossy. You’ll nd the clear deepens the value of the colors regardless of application method. If  you’re sealing the surface of work that will come in contact with food, be sure to use the appropriate foodsafe clear that matches your clay body and ring range.  Applying an overglaze can be tricky. If you’ve applied underglazes on bisque, you’ll nd that they’ll smear when brushing on a clear overglaze because moist glaze moistens the underglaze. Use a fan brush and oat the rst coat on without gogo ing over the same area twice. Wait for the rst coat to dry completely before brushing on a second coat. I’ve recently used underglazes to

“3 Women Praying” by Debra Fritts. Debra sculpts in terra cotta clay and bisque res to cone 02. She then covers the piece with black stain and then underglazes are applied, wiped and scraped, then red to cone 04. She continues with nal additions and does a nal ring at cone 05.

create a watercolor effect by thinning them down and painting them onto a semi-white glaze that is layered over another colored glaze underneath. The colored glaze (sometimes gloss, sometimes matt) melts through the white and gives it a richer off-white look. The clay body is a red terra cotta that can handle a number of multiple rings if needed. I’ve been crecre ating pieces from my travel sketches to permanently document places I’ve traveled to in a sketchbook-like

In this example rom my “Sketch Book Travels,” series, I bisque red a clay slab to cone 03 then layered base glazes—3 coats o key lime with white, and 3 coats o low-re white on top. The sketch is then executed with thinned out underglaze washes and red to cone 04.

manner.

19

Ceramic Arts Handbook

Rimas VisGirda slab builds his plate orms rom a terra cotta body Following a pencil outline, he brushes on underglazes then applies wax to the entire surace He redraws the gure and the outer border by scratching through the wax and into the clay surace and then inlays liquid black underglaze into the scratched lines Ater bisque ring to cone 05, he waxes the gure portion and outer edge again but leaves the background alone Ater sketching in fowers with w ith a pencil, he applies underglazes to the fowers, leaves and stems and urther denes them with black underglaze He applies wax wax over the fower stems and leaves then sponges blue underglaze onto the backgroundAter background Ater ring to cone 5, he adds shading with an underglaze pencil then re to cone 3

20

Testing the limits

cone 5 ring, usually resulting in a

Through their testing, clay artists

more vitreous surface, always test

have been very inuential in the in -

before using them on your artwork.

creased use and relabeling of under-

Through the years, my friends and

glazes. When they successfully ex-

I have done many tests, taking un-

perimented with ring underglazes

derglazes to cone 10 in different atat -

above the recommended cone 06 to

mospheres. Many of the underglazes

a cone 5 with little or no change in

change color and most become very

color, manufacturers relabeled their

vitreous, even glossy, without a

products to reect the change. The

clear glaze over top. I’ve even red

hobby industry also helped promote

some underglazes at cone 11 and 12

higher ranges by developing a line

in Europe with nice results.

of cone 5 casting porcelain, meaning

 At the University of Indianapo-

more potters were working at higher

lis, Dee Schaad mixed some of the

temperatures. Even though the ma-

new bright red and yellow under-

 jority of underglazes can survive a

glazes into a cone 10 clear glaze in

Electric Firing

Paul Wandless Wandless paints under glazes on plaster in reverse, painting the oreground rst and the background last He then pours a low-re white slip on the plaster This picks up the underglaze image and inlays it into the clay Ater bisque ring to cone 02, he applies a thin clear glaze then glaze res to cone 04

Tom Meunick uses white stoneware or porce-

Steve Howell uses a body made rom hal porcelain and hal

lain then bisque res to cone 06 He then uses

raku clay Ater the initial bisque ring, he adds underglazes

underglaze pencils to draw on the surace A-

and bisque res again Because a higher bisque absorbs less

ter drawing, he atomizes it lightly with water

smoke, he bisque res cool colors to cone 06 and warm col-

then applies a glaze by dipping or spraying

ors to cone 04 Ater the bisque, he places the piece upside down in a 2×4-oot brick pit in sawdust layered with copper carbonate, salt and bits o sticks and wood, then covered with a Kaowool blanket blanket

21

Ceramic Arts Handbook

a ratio of three parts clear to 1 part

Ron Korczyski bisque

liquid underglaze. He then brushed

res a white low-re

the mixture on top of various cone

clay to cone 04 then

10 reduction glazes, including a

applies underglaze by

temmoku, with great results—the

brush on the bisque

bright colors stayed bright. When

piece He uses many underglaze colors in didi-

potters told me that the new bright reds that re to cone 10 blush out to white, it made me wonder if mix-

erent size applicators that

ing them in a clear glaze would help

he can squirt out and draw

protect them from the salt when salt

line details and dots o color color The

ring. Experimenting with all these

nal piece is red to cone 05 05

colors allows you to nd new and ununexpected results when testing in, on and under anything you have on the glaze shelf. One thing to remember, however, is that if you’re using underglazes at a higher temperature than recommended, things can change. One clay artist using a black underglaze at cone 10 noticed that the next pint she opened looked the same in the  jar but had a very greenish cast when red. The company told her

Scott Rench silk screens images he creates on his comput-

they had to reformulate because of 

er er Images are screened onto the clay while it is still wet so

government regulations and materi-

it can later be shaped Ater bisque ring to cone 04, Scott airbrushes a clear glaze and res again to cone 04

al availability and reformulated the color to t their cone 06 to 5 suggestsuggested ring temperatures. The higher cone 10 temperature was overlooked and not taken into consideration.

22

Kesl and Tilt Tilton on

Electric Firing

A Collaboration by Don Pilcher

E

ach winter, John Tilton and Lennie Kesl have put aside their usual studio pursuits,

and turned their minds and imaginations toward a compelling collaboration. The product is a large group of painted plates, cups and jars. The appeal of this work reveals itself at several levels, as does the content. This is the work of two serious artists making the most of their talents and experiences, in concert. As it

art professor. He and Tilton began

turns out, each is also a musician

their collaboration while both were

and, in both endeavors, they cook.

teaching at Santa Fe Community

Tilton has been a well-known pot-

Plate, 11 inches in diameter, wheelthrown earthenware, with commercial glazes and underglazes, red to cone 06.

College in Gainesville, Florida

ter for a long time. His most widely

The pots they make employ the

recognized work features organic

techniques of commercial ceramic

porcelain forms with unbelievably

production but they also utilize the

beautiful glazes, many of them of a

methods and sensibilities of ne stustu -

unique macrocrystalline variety.

dio pottery. The colors, glazes and

Kesl is irrepressible and inexinex -

kilns are exactly what you’d nd

haustible; in the course of his life he

at the local greenware/paint-your-

has been many things: a member of 

own-pottery shop. But the clay is

the 30th Infantry Division that inin -

custom blended by Tilton, who also

vaded Germany in World War II, a

throws all the “blank” forms that

Fuller Brush salesman, a drummer,

Kesl paints. Like his own work in

a recording vocalist on three LPs and

porcelain, Tilton’s blank pots hide

a CD, a painter, a sculptor, and an

his hand. The vessels are smooth,

23

Ceramic Arts Handbook

symmetrical,

uncomplicated

and

Kesl was born in Edwardsville,

perfectly suited to carry Kesl’s imim-

Illinois, in 1926—the same year as

ages. Unless you know about under-

Miles Davis and Marilyn Monroe.

cuts and wall thickness, you wouldn’t

 As a young man, he met and was

know that these pieces aren’t cast or

befriended by the sculptor, David

 jiggered. The yearly collaborations between

Cornell. But in the main, Kesl’s inin -

the two last up to six weeks and the

sights about art are informed by his

product is divided equally. For the

knowledge of music. Pitch equals

most part they keep the work in their

value and volume equals intensity.

own collections, occasionally loaning

In his world, the black hair on his

a group to be exhibited locally. Tilton

gures is chosen because black sets

will sell a piece once in a great while.

the pitch for the orchestration of all

Kesl’s are not for sale.

the other colors. When discussing

While both these men claim to be

his compositions, he recommends

somewhat reclusive, you can’t go

we consider the interstices, the in-

anywhere in Gainesville with them

tervals. Look closely at the color and

and not be greeted by well wishers.

textural modulations that separate

Their fame as artists and musicians

his shapes. His color mixing and

precedes them. Tilton is part of the

application are a kind of phrasing,

Hot Club de Ville, which plays a

sometimes subtle and sometimes

monthly gig in town. Kesl sometimes

impetuously exaggerated. There is

 joins them as a vocalist. But their

nothing postmodern, academic or

love of music is not limited to public

pedantic about his commentary or

performances.

his painting. All of his images, pro-

In preparing the studio for this col-

cesses and theories are uid and

laboration many years ago, the rst

afrmative. This day, Kesl is paintpaint -

thing Tilton installed was a rst-

ing thirteen plates, the largest being

rate sound system. The music plays

24 inches in diameter. Each carries

for long stretches. The selections

the face of a young woman. Each

are an eclectic mix but favor Django

face is viewed straight on, each head

Reinhardt, Stephane Grappelli, and

selectively proportional and comfort-

the composers and lyricists of the

ably composed within the circle. The

great American standards.

exactness of the plate’s rim comple-

While the music plays, Kesl offers a captivating, free-association dialog on all matters: art, music, friends,

24

Smith, and box/collage artist, Joseph

ments the nuanced irregularities of  the hair. He

paints

slowly,

precisely,

foreign languages, world history and

reectively. As he paints he recites

gems from his personal experiences.

a line from Henry David Thoreau,

Today Kesl is wearing one of his fafa -

“Man is a tool of his tools” and then

ther’s dress shirts. Consider that for

he turns a phrase about the nature of 

a moment.

his subjects, the young girls, nding

Electric Firing

them to be “virtue on the hoof.” One of Kesl’s signature moves is the use of the underglaze bottle caps to impress cheeks and, sometimes, teeth. We are left to decide if this is a droll improvisation with the tools at hand—Thoreau—or a kind of shortshorthand not seen anywhere else in the work. It’s hard to know, but good art always raises a few questions.  And in these t hese pots we are reminded of the difference between talent and art. Talent applies itself and lls some space. Art, as seen here, goes in through our eyes and informs our minds. If it’s really good, then it lives in our hearts. This investment of talent, time and money raises the question “Why?” For each of these men, it’s the art. Tilton believes that this is

“Elephant Bowl,” 14½ inches in diameter, wheel-thrown stoneware, with commercial glazes, red to cone 06.

work that should get made. And it needn’t be burdened by the demands of the marketplace. There is no rush to product. While he is in the business of being a potter year round, he also is wise enough to know that some of the best parts of life aren’t bought or sold. Kesl simply loves to work. And he loves to work with Tilton, in the hope of making magic. As mentioned before, Kesl keeps his share of what he makes. He is a true collector—of  many things: drawings, paintings, books, ceramics, LPs, correspondence and photos. Yet he is quick to note that we won’t be pulling the material world up through a hole in the clouds to heaven. The greatest truth is that the two of them, to use the old jazz expression, “really cook.”

Plate, 10¼ inches in diameter, wheel-thrown earthenware, with commercial glazes and underglazes, red to cone 06.

25

Ceramic Arts Handbook

Kesl says that working with Tilton

Kesl’s brush moves in ballad time

is like making sure-re fudge. By

and he lifts it to sustain a phrase.

his own admission, he doesn’t know

The song ends with, “safe in my

that much about ceramics—but he

arms, here in my heart.”

doesn’t need to. This is a seamless

Moments later, his thoughts turn

team effort; no duplication of skills,

to the long-ago death of a friend. As

no necessary steps avoided.

he shares their story, his eyes tear

There are serendipitous moments

and his voice hesitates. He stills his

in this partnership and they occur

brush for just a moment and looks

with such frequency that it’s difcult

down at the thirteen young faces on

to choose just one to retell. But here

his plates, each looking back at him.

it is, and it stands for many others,

He collects himself and resumes the

all equally moving.

process of painting life into each

 As a storyteller, either in song, prose or paint, Kesl has a legitimate

those moments when intellect and

gravity in his delivery. His voice is

intuition appear at the same time. It

a seasoned baritone; some notes

seems like a little bit of magic. Kesl

round, some thin, some with a little

nishes his story with a gentle but

sand, some with a little gravel. His

penetrating stare. Then he reminds

diction and phrasing are poetry, pe-

all around, “You can’t be a passive

riod. This afternoon he is playing his

listener.”

own CD, Mood Swings, and singing

Nor should we be passive viewers.

along with himself as he paints. The

It is not often that we come across a

rst cut is “You Stepped Out of a

full body of mature work that has re-

Dream” (Herb Brown and Gus Kahn,

mained relatively unknown; especial-

Leo Feist, Inc.) and the lyrics ask:

ly work made for over twenty years.

Could there be eyes like yours,

This partnership and these pots pro-

Could there be hair like yours,

vide us with a rare look at a sustained

Could there be teeth like yours,

involvement of like-minded, knowing

 Honest and truly? 

26

countenance. Perhaps this is one of 

and passionate individuals.

Electric Firing

The Depth and Complexity o Underglazes In addition to Kesl’s composition and imagery, there is a good deal about the underg laze and glaze application that accounts or the Unlike the gurative cesuccess o these pots pots Unlike ramic works o Picasso or the village potter s in Mexico, whose work is primarily primari ly single stroke, Kesl builds the color over days o patient application In this particular series, series, he has incised the eatures and then added as many as twenty layers o color over a spattered ground, not unlike stucco stucco Sometimes he thins the color, color, other times he applies it like cake batter batter In two instances, instances, he applied dried out and crushed underglaze like chopped nuts to a reshly painted pool o contrasting con trasting color The result is a complex and vibrant pastiche that responds with satisying intensity to the later application o glazes glazes This is not an inexpensive undertaking; Tilton has assembled an amazing quantity o

pigments pigments Including underglazes and glazes (a clear, and several brilliant yellows, oranges and reds), they have nearly 500 jars o color on hand They go through the catalogs together and Kesl decides how many o each color he wants wants And there are new ones yet to try try Tilton brushes three coats o clear or the glaze ring Each piece is red at least twice and as many as our or ve times until the image is right A word about the rings: Tilton brings a commitment to detail that might never occur to some o us us For For example, when using selsupporting cones, he uses a bubble level to set the shel so that the cone is always true to level or each ring—tight-is-right And he res the cones by visual observation so that the potentially ugitive cadmium-selenium hues don’t escape This seems like a throwback in this age o programmed rings, but it’s a practice typical with labors o love love

Plate, 14½ inches in diameter, wheel-thrown earthenware, with commercial glazes and underglazes, red to cone 06. All pieces are wheel-thrown by John Tilton, and glazed by Lennie Kesl.

27

Ceramic Arts Handbook

Collaborative Escape by Anne Tilton 

28

Central to making sense o the John Tilton-Lennie

across a plate, the birds’ beaks nearly touching Point-

Kesl collaboration is the act that their temperaments

ing at the nearly-touching beaks, he turned around

are complementary On the ace o it, they are op-

and said, “That’s God touching the hand o Adam on

posites John is reserved; Lennie is famboyant John

the ceiling o the Sistine Chapel” Chapel”

makes pots that don’t show the hand; Lennie, as a

One reason or the lack o commerce may be that

courtesy to the viewer, makes rudimentary eorts to

their sessions together serve as an escape rom their

conceal his hand, but actually wants the viewer to

normal lives Lennie is “cocooned” with us He is ed

see where he has been (to see, as he told John once,

good ood, sleeps in quiet and beautiul surroundings

“how you’ve suered”) Musically, Musically, John preers to

here, is shielded rom interlopers and is shepherded

be in the background, playing rhythm guitar; Lennie

through the fow o the pottery-making process by

likes to be in the oreground as a vocalist vocalist When they

John (who truly lls the Good Shepherd role) Thus

divide up the pots ater a working session, John and

insulated rom the concerns that normally invade his

Lennie oten want completely dierent pieces pieces These

lie, Lennie can live or a short, suspended time revel-

complementary inclinations help their partnership

ing in pure claywork I Lennie’s Lennie’s experience is perhaps

unction smoothly

more tranquil than his day-to-day lie, John’s is more

Less obviously, they have strong simil arities Artisti-

stimulating Used to working alone in porcelain, John

cally, both men are strategists John, with his math-

switches to working in red earthenware, giving Len-

ematical background and love o solving problems, is

nie the run o the studio, and being bombarded with

a more obvious strategist, and the desire to conceal

ear-blasting music and running commentary all day

his hand in the collaborative pieces demonstrates this this

long long He comes away away rom their collaborative sessions

Lennie’s Lennie’s painting, which at initial impression might

eeling that (although his eardrums may have been

appear careree and spontaneous, is deeply and stra-

damaged) his right brain has been stimulated and his

tegically considered, with the composition paramount

horizons have broadened broadened I their working together

and each mark made with great deliberation and con-

ent erprise, the “escape “escape were to become a commercial enterprise,

centration Both men also have a strong work ethic

rom daily lie” actor would be lost lost

Ater a short conversational period when Lennie rst

Incidentally, Incidentally, the Gypsy Jazz music that they love,

arrives or a session, they plunge into their work or

which was popular during WWII, may play a part in

days on end end Both revere historical works and reer-

the “escape” “escape” In the 1940s, with the War grimly rag-

obliquely ence them in their own work, i somewhat obliquely

ing, people would leave their cares behind and dance

John’s John’s pottery “blanks” have their roots in great unc-

It’s possible to this music in the dance halls o Paris Paris It’s

tional pottery, and Lennie constantly uses specic specic re-

that Gypsy Jazz music, which is experiencing a resur-

erences in his work I remember one instance in which

gence in popularity today, promotes that eeling o

he was was painting two birds fying toward one another

reedom rom boundaries

Electric Firing

Scott Bennett Craft on Craft by Glen R. Brown

D

espite

their

common

of handbuilding,

classication under the ruru-

throwing and glaz-

bric of craft, the professions

ing with a focus on issues of 

of ceramics and jewelry-making

display that are generally of great-

have rarely been coaxed into rela-

er concern to the jeweler than the

tionships more profound than polite

ceramist.

cordiality, the mutual well-wishing

Bennett’s intention is decidedly

of disciplines with common goals yet

not to produce ceramic jewelry.

markedly different constitutions and

The inated scale of his works is

personalities. In the eld of contemcontem -

suf ciently ciently daunting to disqualify

porary jewelry, clay is regarded as a

them as anything even remotely

rather ignominious material—one

intended

that generally requires the support,

body. Nor could his sculptures be

literally and guratively, guratively, of a more

said to represent standard forms

enduring metal. In contemporary ce-

of jewelry in more than the most

ramics, jewelry rarely exercises any

abstract manner. The pieces of his

kind of persuasion over form or tech-

“Big Jewelry” series are indeed vi-

nique, let alone conceptual concerns.

sual disquisitions on rings, brooches

In contrast to the inuences exerted

and pendants—jewelry types that in

by sculpture or even painting, that

their ubiquity and ancient lineage

of jewelry on claywork is nearly nil.

could be compared to the ceramist’s

The paradox of this situation—that

primal form, the vessel—but they

two canonical craft disciplines might

display an obvious interest in the

be less conversant with and sympa-

conceptual nature of these types,

thetic to one another’s central con-

rather than the utilitarian aspects

cerns than either is with those of 

of their construction or even the for-

the supposedly more distant eld

mal problems that they present to

of art—has provided sculptor Scott

the designer. Bennett is intrigued

Bennett with the impetus for a se-

by the symbolic aspect of rings, es-

ries of work that combines the skills

pecially in the context of certain

for

adornment

of

“Harelip Platter,” 13 inches in diameter, thrown and altered earthenware, with commercial glazes.

the

29

Ceramic Arts Handbook

human emotional relationships and the standard social practices, such as engagement and marriage, that circumscribe them. His organically suggestive sculptures are inspired by the libidinal dimension of the body, and are intended to convey through their form something of the instinctual drives that, at an obscure level of the psyche, exert their inuences over some traditions of  exchanging jewelry as gifts between the sexes.  Above all, Bennett’s colossal ceramic jewelry forms are committed to exploring the practice of display, in particular those aspects of display that are conveyed by the word “frame.” To frame something in a conceptual sense—an argument, for example—is to ready it for presentapresentation by imposing upon it certain recognizable conventions of form. The frame as a physical object, as in the “Two-Prong Pearl,” 9 inches in height, earthenware, with commercial glazes and gold luster.

context of a painting, is as much a signier of the interpretive system through which the framed object can be read as it is a more mundane device for protecting that object from potential knocks, abrasions and other pernicious consequences of its material existence. Bennett’s works, however, suggest that the concept of the picture frame—which insinuates itself in the experience of all paintings, whether their inclination is to simulate the depth of eld eld glimpsed through a winwin dow, to deny that eld by assuming an ineluctable atness, or to break completely from the limitations of a eld by escaping the frame—is less

“Four-Prong Pearl,” 6 inches in diameter, earthenware, with commercial glazes and luster.

30

Electric Firing

relevant to the aspect of display in ceramics than is the framing function of the bezels, channels, prongs or other settings in jewelry. It is telling that Bennett’s “Big Jewelry” evolved out of a narrower focus on the gemlike properties of  translucent glazes and the sense of  preciousness that they can bestow on objects fashioned from common clay. Several years ago he began a series of “Double-Lipped Bowls” in which these characteristics would come to the fore and establish a precedent for the framed elements of his later abstract jewelry sculptures. A potter by training, but a sculptor by inclination, he arrived at the grommetlike form of the “Double-Lipped Bowl” by throwing a vessel on the wheel and experimenting with extreme disproportion between the three principal elements of foot (which diminished considerably), body (which nearly disappeared) and lip (which came to dominate the vessel to the degree that it effectively inverted the essence of that form, making it more about mass and surface than containment). “To make one of those forms,” he explains, “I started with a large container, pulled the wall up, necked it in, then brought the lip back out.  After cutting it off the wheel, wheel, I would ip it over and drop it onto a plasplaster dome form I’d made. That gave it a concave upper surface. It also

“Jewel,” 20 inches in height, thrown, altered and assembled earthenware, with brushed and sprayed commercial glazes.

trapped air, almost like an inner tube, although it wouldn’t always actually be sealed.” The lip would then be drawn down

31

Ceramic Arts Handbook

over the form and ared out. What

pendants and rings that he encoun-

made the nal shape so signicant

tered seemed more properly diminu-

was the fact that the majority of its

tive examples of relief sculpture.

surface, like that of a low bowl, end-

What might happen if one were to

ed up moving laterally away from

expand the scale of these forms? The

the vessel’s center, but did so while

question was particularly intrigu-

creating the impression of convex-

ing because the glazes with which

ity as much as concavity. The result

he was then experimenting had al-

was an unexpected afnity with

ready begun to suggest to him the

cabochons as well as containers, a

polished surfaces of gemstones.

condition that would eventually lead Bennett to treat his forms as huge gems to be situated within gigantic  jewelry settings. In part, this shift in orientation away from the vessel and toward a more purely sculptural format was inuenced by frequent encounters with jewelry at the art

Bennett’s glazing method in the “Double-Lipped Bowls” series entailed covering the terra-cotta surfaces with a white engobe, then brushing on as many as ve coats of low-re commercial glazes. Over these, he sprayed a thin layer of 

fairs where he sold his work. “The shapes were made to sit as

magnesium carbonate to achieve a

a bowl would sit,” he explains. “I

matt effect, plus a variety of other

started hanging them on the wall

glazes to produce haloes and blushes.

because when you show your work

Finally, as in “Fat-Lip Bowl,” he gen-

at art fairs you get a lot of questions

erally brushed a wax resist onto the

like, ‘What do I do with it? What’s

entirety, then sprayed the surface

it for?’ They were just decorative

with a glossy black glaze that tended

shapes that happened to be thrown

to bead up yet cling to the wax as it

on the wheel. By putting them on

dried. During ring, ring, the black glaze

the wall I did get people away from

pitted through the matt glaze below,

looking at them as bowls. Then I got

creating a spotted effect as well as a

inspired to make pieces that were

palpable texture. “It’s like a bleeding

specically wall pieces, like reliefs.”

crater,” Bennett observes. “Clay peo-

in

ple think that I’m using stoneware

which the method of presentation

and doing some heavy iron reduc-

inuenced inuenced the experience of the

tion, but it’s just the result of experi-

work, Bennett began looking more

menting with glazes.”

Contemplating

32

Process

the

ways

intently at the jewelry on display in

In a variation of this technique— 

the booths near his own. Arranged

notable in “Harelip Platter,” —he

on presentation boards rather than

added several coats of clear glaze to

worn on the body—removed, in

the surface before applying the wax

other words, from their utilitarian

and spraying on the glossy black.

context as ornament—the brooches,

During the ring, the clear glaze

Electric Firing

“Fat-Lip Bowl,” 18 inches in diameter, thrown and altered earthenware, with commercial glazes, by Scott Bennett. caused the black to run, producing a

larger scale in clay, he began to situ-

streaky effect similar to the veining

ate his double-lipped forms within

in semiprecious stones.

open compositions vaguely sugges-

End Process

tive of rings, brooches and pendants.

Bennett’s burgeoning interest in

Duplication of the visual aspects of 

 jewelry led him to embark upon a

 jewelry was not so important to him

systematic analysis of those basic el-

as approximation of the impression

ements composing the objects of the

that certain jewelry creates on the

 jeweler’s craft. Imitating these on a

viewer. Focusing on the psychol-

33

Ceramic Arts Handbook

34

ogy inherent in the display of gem-

maddening. There’s something that

stones, he began to extrapolate from

may be just outside your reach, but

this a content of human signicance

you’ve got to have it. It could be a

that transcended the narrower con-

number of things. Who knows?

text of jewelry. “As I looked at more

That’s a large part of what my works

and more jewelry,” he remembers,

are about.”

“I started noticing that the setting

Clearly, Bennett could have ex-

sometimes rivals the stone, and it’s

plored this theme without drawing

almost unclear which is more impor-

inspiration from jewelry making,

tant. Some jewelry seems to reect a

but the fact that his references to

lust, an obsession with a really pre-

this sister craft are so unexpected

cious object. Showcasing that object

in ceramic sculpture adds an impor-

becomes the primary aim, and the

tant dimension to his exploration

setting becomes really lavish. The

of desire. The perception of hierar-

whole thing ends up as a fetish. It

chy between art and craft is gener-

verges on greed.”

ally irritating to ceramists, but the

The cynicism of this conclusion is

anomalous character of Bennett’s

not, of course, directed at jewelry per

sculptures suggests that, in part,

se, but rather at a general human

the foundations of this hierarchy

weakness that tends to infect the ex-

can be uncovered in attitudes within

perience of preciousness and render

the crafts themselves—in the aspiaspi -

it inseparable from an irrational de-

rations that each craft discipline has

sire. For this reason, Bennett has en-

for achieving the status of art and

deavored to make his “Big Jewelry”

the relative lack of interest that it

pieces simultaneously alluring and

displays in emulating the concerns

somewhat

“elegant

and practices of other crafts. The

and almost ugly at the same time,”

very strangeness of Bennett’s “Big

like the conicted elements in the

Jewelry” is its strength. Craft imi-

obsession with preciousness itself.

tating craft is nothing new, but it

unattractive,

This contradiction, the tensions

has become much rarer in a contem-

between the beauty of an object and

porary context in which desire for

the corruptive power of the impulse

treatment as art is so often the driv-

to possess it, is the true content of 

ing force behind the work. Bennett’s

his sculptures. The image of jewel-

work suggests that true risk-taking

ry is merely a heuristic device, and

and the consequent discoveries it of-

Bennett could easily exchange it

fers are perhaps more readily avail-

for another. “I’ve thought,” he says,

able to the ceramist, not in casting off 

“about making a piece that’s a really

the mantle of craft, but in precisely

elaborate button, a magic button

the opposite strategy—in seeking inin-

that you could push but that you’re

spiration in the conceptual concerns

not supposed to touch. It would be

of the fellow craft disciplines.

Electric Firing

V’Lou Oliveira Iconoclasm and Wit by Andrew Phelan

photos: sanctuary FIne art studIo

O

klahoma is a young state,

 American representation. representation. More re-

less than a century old,

cently, these have combined with

but it has a long tradition

still another, very contemporary tra-

of excellent ceramics artists. Native

dition of nonfunctional ceramics. For

 Americans, populating the area pri-

the past quarter century, there has

or to statehood, had a rich ceramics

been a strong presence in the state

tradition stretching back to approxi-

emanating from the direction of the

mately A.D. 1000, and examples of 

West Coast.

that period found in sites such as the

That presence is embodied in

Spiro Mound in eastern Oklahoma

California

give eloquent testimony to the rich

Oklahoma resident, V’Lou Oliveira.

and varied wares produced under a

Oliveira is one of those artists who

highly developed, sophisticated so-

maintain traditions by expanding

cial structure. However, within a few

them. She has signicantly shifted

decades of the opening of the Indian

the focus of ceramics in Oklahoma

Territories in 1880, European setset -

toward the West Coast clay tradi-

tlers began to appear in what would

tion. With her longtime commit-

soon become the state of Oklahoma.

ment to pop art and popular culture,

 Among the early 20th-century ceramceram-

dating back to her time in graduate

ics artists who became inuential

school, Oliveira’s work has consis-

were John Frank and Roger Corsaw.

tently focused on the iconographic

Their impact on the state and the re-

imagery of popular culture. She has

gion was remarkable, and the state

varied her focus during her career,

developed a thriving group of potters

but has always come back to seek-

and ceramics artists working in a va-

ing and nding her inspiration in

riety of styles and traditions, combin-

objects of popular culture, such as

ing functional pottery in the English

pink amingo lawn decorations,

tradition

Chia Pets and other forms of kitsch.

with

a

strong

Native

“Teapot Cutout,” 12 inches in height, slab-built white earthenware, with underglaze pencil and glazes, red to cone 06.

native,

but

longtime

35

Ceramic Arts Handbook

Educated

at

California

State

University, Humboldt (B.A.) and the University of Washington (M.F.A.), Oliveira came to Oklahoma in 1977, following a short stay in Texas. She has been teaching at the University of Oklahoma ever since, and has built a reputation in the region as both a teacher and artist. Oliveira’s

witty,

nonfunctional

pieces reect her California heritage and her education under Howard Kottler, Patti Warashina and Robert Sperry. She began breaking away from the functional tradition in ceramics early in her career. “While I started out as a potter, I was never very good at it. I did some slip castV’Lou Oliveira prepares to glaze a plate in her studio.

ing as an undergraduate, and then

“The Lonestar State,” 14 eet in length, slip-cast white earthenware, with cast and altered edge bricks, red to cone 06.

36

Electric Firing

slab building in graduate school.” One of the rst shows she entered was an invitational exhibition of  teapots, where she decided to submit an entry that would poke fun at the concept—a “Teapot Cutout.” For a few years, she explored this and other equally outrageous interpretations of teapots. Following the teapot series, still working within the connes of a at plane, she emem barked on a series that investigated various states in ceramic format. Shifting gears in the late ’90s, Oliveira began a series of nonfunctional vessels and brightly decorated plates and platters. When one of  her dogs died, she made a crematory urn in the dog’s image and then embarked on making a series of these

“Robo Dog,” 20 inches square, drape-molded and carved terra cotta with glaze.

urns that doubled as containers for dog biscuits. Decorated with scenes from the happy life that faithful Fido led, these containers were designed to bring back the happy memories. She sent the resulting works to the “Art Show at the Dog Show” in Wichita, Kansas. However, these failed to elicit much interest. “Everyone thought the idea was sick,” Oliveira recalled. Nonetheless, drawing on the dog concept, she began working with dog motifs. Following the urn series, she began a series of plates and platters also using dog imagery. These met with a more favorable response and she received an award for “Robo Dog.” The iconoclastic, witty, sardonic approach that has become a hallmark of Oliveira’s career continues to be reected in her current work and is

“Deco Japan Terrier” with commercial dog gurines, 19 inches in diameter, drape-molded and carved terra cotta with glaze.

37

Ceramic Arts Handbook

not only a result of her own creative

ramics from the pre–World War II

personality, but also reects her aesaes -

era. These “trinkets,” individually

thetic heritage.

decorated in bright, painterly glaz-

Oliveira worked as Kottler’s gradugradu -

es, are slip-cast dogs, cats, bunnies,

ate assistant shortly after he moved

etc., and are displayed by the dozens

into the “funk” scene. While the tradi-

on numerous shelves.

tion he had learned at the Ohio State

She says the three dogs she shares

University and Cranbrook did not

her house are “insane,” but her pas-

completely disappear, it manifested

sion for the dogs, as well as for the

itself through the use of unorthodox

Japanese pop-culture motifs, are

images,

reected in many of her new plates.

nontraditional

materials

and a distinct lack of functionality.

She traces her interest in the pre– 

Oliveira embraced that vision and it

World War II Japanese-export ce-

has continued to be a fundamental

ramics to Kottler. “He would drag

motivating factor in her work.

me along when he went antiquing.

She begins with a sketch or drawdraw -

He was always looking for pieces

ing and plans the design of each piece

to add to his now-famous art-deco

prior to beginning work on the nal

Noritake collection. He was quite ob-

piece. “I did a lot of printmaking and

sessive about collecting, so we went

drawing in undergraduate school, so

out looking very often.” Not only has

I feel most comfortable in making

Oliveira been collecting these pieces

my images on paper and then trans-

for years, but she has devoted consid-

ferring them to clay.” Describing

erable time to researching them. She

herself as “nontechnically oriented,”

recently gave a presentation on the

Oliveira is much more interested in

topic at a conference on popular cul-

the end result, and will appropriate

ture in Albuquerque, New Mexico. In

techniques from nonceramic elds.

this age of appropriation, it is inter-

This attitude was reinforced by both

esting to note that the Japanese, in

Warashina and Kottler.

producing this export ware, adapted

For the last few years, her work

images from Czechoslovakian and

has focused on brightly decorated

German ceramics and then exported

wall pieces with painted and incised

them back to the West.

decorations and similarly decorat-

38

Oliveira’s

time

studying

with

ed large platters. The platters are

Warashina and Kottler coincided

rolled out on a slab roller, draped

with a period of great fecundity and

over a mold, then put on a potter’s

rethinking of the ceramics tradition.

wheel for the addition of a thrown

However, while the connection to a

foot. These results have references

long tradition appears tenuous, it

to mid-20th-century popular culture.

does survive. Warashina studied

 Visit her house and you will discover

(albeit briey) briey) with Shoji Hamada,

the source for her current work— 

the legendary Japanese traditional

mass-produced Japanese-export ce-

ceramist, during his ve-week visit

Electric Firing

to the University of Washington in 1963. That same year, however, Warashina drew greater inspiration from her exposure to Rudy Autio, who lled in for Sperry while he was on sabbatical in Japan. Autio’s inuence is more easily discernable in her work and Warashina began exhibiting “funky” pottery shortly after Autio’s stint. Oliveira’s work is usually made with one of two clay bodies—Trinibodies—Trini ty Ceramics’ White Modeling Clay or Armadillo Clay’s Longhorn Red. These bodies give her the ability to achieve the bright luscious colors she uses. Consistent with the iconoclastic approach that has characterized her entire career, she uses commercial glazes. She res her bisqueware to cone 05, then keeps her glaze rings in the cone 06–07 range, in order to keep the brilliance of the colors. She ruefully mentioned that, with

“La Petite Chien, Fi,” 20 inches square, drape-molded and carved terra cotta with glaze, by V’Lou Oliveira.

some of the new health and safety concerns, she has been having problems getting colors she likes and, unfortunately, a number of her favorite colors have disappeared. However, she has proven to be enormously resourceful in the past and it seems certain that she will  nd nd the means vi necessary to fulll fulll her creative visions as they develop. What lies in the future for Oliveira is unclear, but almost certainly her incisive wit and appreciation for underappreciated aspects of popular culture will lead her in directions uniquely personal. We will be richer for her efforts.

39

Pennsylvania Redware by Denise Wilz

Pennsylvania Redware platter, 12 inches in length. The design was created using a sgrato technique then bisque red to cone 04. Selected areas were then glazed with a green copper oxide glaze then overglazed with a commercial clear glaze and red to cone 06.

photos by lIsa short

P

ennsylvania German folk art

decorative arts, such as antique red-

found me when I was search-

ware, fraktur and painted furniture

ing for a different direction

to name just a few sources.

to take my clay work. To me this art embodies the spirit of a people who loved life, with their oft-used representations of hearts, tulips, birds and the ower urn. And while the Pennsylvania German potters made

40

Sgrafto Ware Sgrafto ware is simply red earthenearthen ware decorated with a layer of white slip that is then scratched away to reveal the red clay underneath. To

mostly plain functional ware with

begin, roll out a slab of clay large

local red earthenware clay, I fell in

enough for your mold (gure 1). For

love with the slip-decorated pieces

this plate I rolled the clay ³/ 8 inch

with their beautiful rich red-and-

thick using ³/ 8-inch dowel rods on

yellow coloring.

each side of the clay as a guide.

There are basically two styles of 

To create different-size circles, use

decorated Pennsylvania Redware:

a disc cutter that has an arm with

sgrafto ware and slipware. For ideas

multiple holes. Place a needle tool in

to use for decoration, I nd inspirainspira-

the appropriate hole, then swing the

tion in the Pennsylvania German

arm in a circle to cut the clay (g(g -

Electric Firing

1

2

3

4

5

6

ure 2). Lightly wipe the clay with a

made of bisque-red earthenware

damp sponge to smooth the surface.

and I use commercially made serv-

Center the mold upside-down on

ing bowls as slump molds.

the clay circle (gure 3) and carecare -

Remove from the platter mold

fully ip everything over, using the

when it is leather hard and place it

interfacing or a ware board to aid

upright on your work surface or band-

you. Avoid bending the clay in the

ing wheel. Apply slip with a 2-inch

opposite direction. Press the clay

hake brush (gure 6). Brush on two

Roll

to the mold with your hands (gure

or three thin even coats of slip, mak-

heavy-duty

4); and paddle the clay down as well

ing sure the red clay cannot be seen

ing rather than can-

(gure 5). Smooth and press the clay

through the surface. Clean the edge

vas as it avoids hav-

to the mold by wiping the surface

of excess slip and use a coggle wheel

ing to remove the

with a damp sponge, then allow to

to decorate the edge (gure 7).

canvas marks. Even

dry to leather-hard.

 Allow the slip to dry to leather-

TIP out

though

slabs

on

intefac-

interfacing

The Pennsylvania German pot-

hard before you begin the sgrafto

has a much shorter

ters used upside down bowl-shaped

process. I use a calligraphy pen with

lifespan, I consider it

molds carved from wood with a

a rounded scratch nib and a sty-

a good trade-off.

foot underneath, which resembled

lus for my sgrafto work. Deciding

a mushroom. My drape molds are

when to sgrafto the piece depends

41

Ceramic Arts Handbook

7

8

9

10

11

12

on how wet you like the slip. I prefer

indentation in the slip as a guide.

a leather-hard surface but some pot-

Then use the sgrafto tool you prepre-

ters prefer to sgrafto right after the

fer to scratch the design into the

slip has been applied and others like

slip’ revealing the red earthenware

to sgrafto when the slip is bone dry.

beneath (gure 9). The Pennsylvania German potters applied the glaze directly to the green ware and once-red the work in a wood-red kiln. I bisque re to cone 04, apply a commercial clear

 You can use other tools, like a wire-loop tool, sharpened stick or even a pencil in a pinch. As for getting the design onto the plate, it can be freehanded with your sgraf-

glaze then glaze re to cone 06.

with a pencil or transferred using

Slip Trailing

tracing paper. To use tracing paper,

 Another form of Pennsylvania red-

rst draw the design onto the papa -

ware consists of red earthenware

Use a high-quality brush

per, making sure it will t the size

decorated with lines and dots of slip.

to avoid losing bristles

of the plate you are making. Center

Create a form using the same tech-

in the slip, which can

the design on the plate and lightly

niques as described above. To make

mar the work.

draw over the design with a stylus

a smooth surface to work on, lightly

or pencil (gure 8) to leave a slight

wipe the clay with a damp sponge

TIP

42

to tool, drawn directly on the slip

Electric Firing

13

14

(gure 10). Use a slip cup to draw

the mold upside-down on the clay

the design onto the plate (gure 11).

circle and carefully ip everything

Of course you can use as many

over. Press the clay to the mold with

straws as you want in your slip cup.

your hands; use a batter to tamp the

The Pennsylvania German potters

clay down as well. Wipe the surface

made their slip cups from small

with a damp sponge to smooth and

pots that were thrown or pinched

press the clay to the mold. Remove

with quills inserted as the straws.

the plate from the mold when it is

I’ve tried making my own clay slip

leather-hard.

cups but have yet to successfully get the slip to ow out of the quills well evenly enough to look nice, but I’ll keep trying. For dots and single

Glazing The leaded glazes the Pennsylvania German potters used gave the slip

lines, I use a plastic squeeze bottle

a warm tint that ranged from al-

(gure 12).

most white to a deep yellow/orange.

I nd that standing to decorate

Instead of using toxic leaded glazes,

slipware allows me to move my en-

you can safely emulate the yel-

tire body with the motion of the slip

lowish tint by staining the

cup across the plate resulting in nice

slip, or by tinting a trans-

smooth owing lines.

parent glaze with rutile,

 Allow the slip to t o dry to the touch

iron oxide or stains.

then press the slip into the red

 And there are potters

earthenware with the batter or roll-

today who continue

ing pin, wiping the tool after each

the tradition of wood-

use in case some slip remained on

ring

it (gure 13). Clean the edge of the

ware. You’ll need to

plate to remove any slip that has

experiment to get the

dripped over the side and then deco-

look you like. An example o slip-trailed redware done in the Pennsylvania Pennsylvania German pottery tradition.

rate the edge with the coggle wheel (gure 14). Next, mold the clay by centering

lead-glazed

43

Ceramic Arts Handbook

The Tools Tools or making Pennsylvania Redware haven’t changed much over the centuries They consisted o a rolling pin, disc cutter and nail, brushes, a sharpened stick or sgrato, slip cup or slip-trailing, slip-trailing , batter, batter, coggle wheel, wooden molds, lead glaze and a wood-red kiln Additional glaze colorants included copper oxide or green and manganese or brown/black brown/black And those procient with throwing used a potter’s wheel to create complementary ware and both thrown and handbuilt pi eces could be decorated using the same techniques In today’s world, we use lead-ree glazes, electric kilns and plaster or bisque molds And the availability o commercial glazes, clays and stains makes it possible to get consistent results results

The Slip Cup For multiple lines I use a small plastic container with a tight tting lid I cut three small-diameter drinking straws to about 2 inches in length, and insert them in a straight line approximately 1 inch rom the top, with about ¼ inch o the straw inside the container container I apply glue around each hole to seal it and tape the straws together on the outside so they are always the same distance apart, otherwise they’ll move while you’re using it Trim the outside straw ends so they’re all the same length Fill the container with slip that is thin enough to pour rom the straws but not too ast Replace the lid and test the consistency consistency Make Make straight and/or wavy lines since both o these designs have been ound on antique plates plates

44

Electric Firing

China Paint How Low Can You Go? by Paul Lewing 

T

here are four temperature ranges

clay

artists

typi-

cally re to: high-re (cone

8-12), mid-range (cone 4-6), low-re (cone 06-04), and china paint (cone 018-015). Materials designed for the lowest ring range—china paints, overglaze enamels and lusters—  behave more like paint than any other ceramic medium. For clay artists like me, who came to clay from

“Wallace Falls,” 3 eet in width.

painting, however, using china paint specically is a real treat.

A Few Facts

One of the advantages of china paint is that the colors are the same

 You can think of china paint as es-

before ring as after, unlike many

sentially a very thin, very low-tem-

glazes. The biggest difference is that

perature glaze that’s almost always

there are three groups of china paint

applied over a red glazed surface.

colors, and they’re not intermixable.

In fact, it’s so thin that it takes on

One group includes the cadmium

the surface characteristics of the

reds, oranges, and some of the yel-

glaze it’s put over; for example, ap-

lows; the second includes the gold,

plied on a glossy glaze, it will be

purples, pinks and lavenders; and

shinier than over a matte glaze.

the last includes all the other colors.

Some people make a distinction

If you try to mix, for instance, a cad-

between china paint and overglaze

mium red with a non-cadmium yel-

enamel, stating that china paints

low, you won’t get orange. You get a

are transparent while overglaze

bubbly ugly brown.

enamels are opaque. But they’re ba-

Traditionally, these color groups

sically the same things and are both

are red to different temperatures.

red at the same temperatures.

The gold group is usually red rst,

45

Ceramic Arts Handbook

plied using a mineral oil medium. They can be bought already mixed with oil, or as a dry powder. Amaco also makes an overglaze enamel called Versacolor, which is available as either oil- or water-based.

Using China Paints I never had any lessons in china painting or read any books on it, so I  just made up my own technology, and I do a number of things that would horrify a traditional china painter who follows the guidelines. For one “Dinner,” 22 inches high by 58 inches long.

thing, I use water as a medium. This would be a problem if I worked on vertical surfaces, but since I only paint tile, I can pile on a much thicker coat without it running. Second, I re all the colors to cone 016. This seems to work ne, and I  just can’t think about ring all the purples in a mural in one ring and the reds in another. Lastly, I don’t have time to do the dozens of rings on each piece that a traditionalist would do. On a typical tile mural, I do three rings. The

“Hopi Pattern,” 6-inch-square tiles, silk screen printed china painted or tub surround. to cone 015, then the everythingelse group to cone 017 or 016, and the cadmium group last, to cone 018.

colors, the second adds intensity and shading, and the third adds black outlines. Some people do the outlines rst, but I think it makes crisper outlines to do them last.

Colors are often applied in layers, in

I use all the brushes and tech-

multiple rings at each temperature,

niques I learned for watercolor to

to build up intensity. Sometimes you

apply china paint. I start by dump-

can re a color from one group then

ing some dry powder onto a palette

add a color from another group in a

and mixing in water a drop at a time

subsequent ring, but it depends on

with a rubber bulb. I can make thin

which color is rst.

washes or a thick paste. If I decide

China paints are traditionally ap-

46

rst establishes the background

I don’t want the brush marks, I

Electric Firing

1

Here is the rst coat on a tile mural project. Care has been taken to keep colors rom overlapping since most china paints are not intermixable.

2

One o the advantages o china paints is that the colors are the same beore ring as ater.

blot with a stencil brush or a small

I also silk-screen china paint. You

piece of foam rubber. Traditional

can silk-screen any substance that

china painters use a wad of cotton

will go through your screen as long

in a piece of silk. Another technique,

as it will not dry quickly and if you

called pouncing (used to get intense,

can mix it to a consistency similar

even color), is done by coating the

to mayonnaise. You can’t print one

area to be painted with a sticky oil,

color over another without ring in

and dumping dry powder on with a

between, but you can print colors

shaker or mop brush. The excess is

next to each other. To do this, you

then knocked or blown off.

will need a medium that will dry

Painting on a slick surface is quite

fairly hard in a reasonable time,

different from painting on absorbent

but will still wash out of your screen

bisque or raw glaze, but one big ad-

when it’s dry. Potterycraft used to

vantage is that you can wipe it off 

make a product in a tube that was

and start over. Tools made of foam,

perfect for this, and I’ve tried many

rubber or wood work well to remove

other substances as a substitute. For

color in selected areas.

single colors, ethylene glycol works

Some Advanced Techniques

well, but it never dries, so you can’t

When I need to spray china paint for

put a screen down on it for a second

a large, even color area, the water-

color. I’m now using a mixture of wa-

based medium on a slick surface is

ter and gum arabic, about half-and-

a problem. So I rst spray the area

half, and then I mix in dry powder to

with a fairly thick solution of corn-

get the right consistency.

starch and water, then dry it with a

Silk-screening must be done on a

hair dryer. When a solution of color

at surface, but printing on tile is

and water is sprayed over this, it

 just like printing on paper, except

stays without beading up.

for the substance you put through

47

Ceramic Arts Handbook

3

Colors are oten applied in layers. Here the mural has had more china paints applied to add intensity and shading then red a second time.

4

“Ree,” Humuhumu detail.

5

chemicals, and it makes screens that are usable with either water or oil. I use 12XX mesh screen, which is a medium mesh size. WARNING: Since china paints melt at such a low temperature, there is much less silica and alumina in them than in low-re glazes. This means that harmful things like cadmium and lead are less bound up in the glaze, so china paints are de nitely not for food-contact surfaces.  All the precautions for ventilation and dust are doubly important, and

“Ree,” 6½ eet in height by 14 eet in length. China-painted China-painted tile.

they are not for children. There are lead-free china paints available, but

the screen. Take a class or buy a kit

most do contain lead. Some even

to learn how. For printing on non-

contain arsenic.

at surfaces, you need to make dede -

Under heavy daily use, china

cals. Commercial ceramic decals are

paints will wear off, as they have

made using china paints.

on your grandmother’s everyday

I use a process for making screens that’s

48

manufactured

by

china, but for decorative objects and

Hun-

tile, even in showers, the durability

Speedball, and available in art supsup -

is ne. If you want faster, cheaper

ply stores. It’s a light-based system,

rings, brighter colors, and more

but doesn’t require a darkroom or

painterly effects than even low-re

careful control of water tempera-

glazes or underglazes produce, go as

tures. Instructions come with the

low as you can go—try china paints.

Joan Joan Takay Takayamaama-Ogawa Ogawa

Electric Firing

China Paint Paint and Lusters Lu sters by Judy Seckler

“Rose Parade Float: Tea Time at Great Aunt Tillie’s,” 9¼ inches in height, slab-built and wheel-thrown whiteware, with china paints and lusters, red multiple times.

W

hen

Joan

Ogawa,

Takayama-

then

dean

earned reputations as noted potters

of 

in their time. One such ancestor,

studies at the Crossroads

Jumon I, had a reputation for mak-

School in Santa Monica, California,

ing red clay teapots and became re-

rst signed up for a ceramics class on

nowned in several cities for it. This

summer vacation, she had no idea it

talent for claywork lay dormant in

would reconnect her with her past.

her genes until it was given a chance

What she discovered that sum-

to bubble up to the surface and lay

mer was that her father’s family

the groundwork for her new life as

had a role to play in her newfound

a clay artist.

creativity. Her ancestors produced

When Takayama-Ogawa swapped

ceramics in Tokoname, Japan, for

the life of a middle-school admin-

six generations, and several had

istrator for ceramist, she chose the

49

Ceramic Arts Handbook

the complexly autobiographical, to political and to social commentary. One of Takayama-Ogawa’s earlier pieces, “Rose Parade Float: Tea Time at Great Aunt Tilly’s,” consists of a homey English cottage and intricate ower-garden ower-garden images that overshadow the actual teapot function. With some of the artist’s other works; however, the teapot form is instantly recognizable. Takayama-Ogawa is known for scholarly explanations of what she does. Despite this, she thinks of her art or an emotional level as well, describing it as “beauty and humor holding one another in check.” Her teapot ideas start with the writing process. Often working from 5 A.M. to 8 A.M., ideas start to ow on paper. Then she takes time to walk the dog. Back at her journal, she edits her thoughts into a concrete idea for a ceramic piece. Her eye often sets out to create provocative pieces in which tension between the forms brings out the most visual interest. “Tea Totem #1,” 22 inches in height, wheel-thrown whiteware, with china paints and lusters, red multiple times.

Over time, Takayama-Ogawa has interwoven Japanese and women’s themes and even political events

50

teapot as her vehicle. It’s a familiar

into her work. In her “Sea Urchin”

cultural symbol that allows her to

teapot series, she covered the pieces

express wit with texture and color.

with recognizably spiny forms by

Much of the appeal of teapot art,

squirting glaze out of a condiment

given its associations with hearth

squirt bottle. The sea urchin texture

and home, is that it’s accessible to

gave the teapot and its matching

the public, who, disarmed by the

teacup new visual interest.

functionality of the form, are recep-

Other series have explored wom-

tive to the message an object con-

en’s domestic role in the kitchen

tains. Exhibition curators suggest

and

that these messages can range from

Takayama-Ogawa calls tea towers.

included

stacked

tea

sets

Electric Firing

“Coral Tea Set,” 12 inches in height, wheel-thrown whiteware with pencil texture, china paints and lusters, red multiple times, with slab base.

If the tea towers remind the viewer

acters would wear. The objects fall

of something, it is because the art-

into three subgroups—trophy, beadbead-

ist was inspired by the daily chore

ed and oral.

of stacking dishes in the sink. “Tea

The trophy handbag “Blue Gator

Totem I” exists as a largely vertical

Tea Bag” evokes the character of 

piece that begins at the base with a

Miranda through the classical alliga-

teapot, followed by a plate, a smaller

tor textures and the whimsical use of 

teapot and another plate, with three

the reptile’s gold metallic head and

teacups balanced on top.

tail. A successful, witty corporate

In one of her series, Takayama-

lawyer who dresses conservatively

Ogawa looked to the world of pop

on the job, Miranda waits until after

culture

fashion-

business hours to express her unique

ing teapots in the style of women’s

fashion spirit. Shades of red, orange,

handbags. These “Teabags,” as she

blue and purple, as well as exotic

calls them, were inspired by the

 jewelry and accessories express her

popular television show “Sex and

character’s duality. The teabag’s al-

the City.” As a devoted fan of the

ligator theme is a reminder of hunt-

show, she has designed the teapots

ing (a sport popular with the power-

to reect handbags the show’s charchar -

ful set Miranda works among) and

for

inspiration,

51

Ceramic Arts Handbook

“Ark o Paradise,” 27 inches in width, handbuilt whiteware, with china paints and lusters, red multiple times, with semiprecious stones and gold beads.

52

a sly reference to the skin that once

like fun and inspire her lust for life in

provided women with so many ele-

the bedroom and the boardroom. It is

gant and luxurious accessories.

no accident that some of the beaded

The beaded teabags recollect the

teabags have gold metallic lipsticks,

days of glamorous evening wear, be-

combs and Mont Blanc pens protrud-

decked with multicolored crystals off-

ing from the clasp. And the teabag

set by constellations of color. These

itself looks as though it has enough

have the character of Samantha

room for an extra pair of Samantha’s

written all over them. A public-rela-

panties and a toothbrush. Takayama-

tions consultant, Samantha has an

Ogawa doesn’t mind if her audience

appetite for men that oozes from her

also connects with the piece’s under-

every pore. By day, she dresses in

lying sexual messages.

sleek power suits; by night, her ward-

The surfaces of the oral teabags

robe becomes sultry. In Samantha’s

have lush tropical owers spilling

world, most one-night stands look

over their surfaces or used as ac-

Electric Firing

cents fanning out from them. The powerful female sexuality expressed in these works speaks to preppy Charlotte’s character. She is a forformer art dealer now involved in public service and charity work, and is always classically polished, poised and perfect. Her outts are always feminine and often accompanied by a classic strand of pearls. The character of Carrie is represented by some of the smaller evening teabags, with gold accents and a eld of miniature rosettes covercovering the surfaces. She’s a columnist covering New York City’s night life. There’s a saucy edge to her clothing that mirrors the singles scene she follows. Whether she’s decked in spiky heels, a feather boa or vintage wear, she’s out to attract attention. Like the television program that inspired

this

work,

“Blue Gator Tea Bag,” 18 inches in height, handbuilt and cast whiteware, with china paints and lusters.

Takayama-

Ogawa takes her audiences on a  journey, exploring social issues and cultural identity. However, beyond the beautifully textured surfaces of her teapots lie other messages. “Japanese American Cultural Baggage” shows the artist’s cultural leanings and contains symbols of her ethnic identity. A teabag fashioned with a bamboo handle, a gold lid in the shape of a stylized fan and a horizontal clasp, patterned after eaves from a Japanese temple, sit serenely on a lacquered tray. The teabag’s surface draws its inspiration from the constellation of stars seen in the foothills of Pasadena, California. The tray is lled with objects like a Medal of Honor commemo-

“Japanese American Cultural Baggage,” 28 inches in width, slab-built whiteware, with china paints and lusters, red multiple times.

53

Ceramic Arts Handbook

rating the Japanese American 442

geta, the wooden sandals that were

Regimental Combat Team and 100 th

part of traditional Japanese dress.

Battalion (the most decorated mili-

Takayama-Ogawa has cleverly ar-

tary units in U.S. history), cherry

ranged many objects and managed

blossoms, rice balls and fans. Also

to squeeze in a short history lesson

displayed are an origami gold crane;

in the process. Meanwhile, the joy

sh to represent those who earned

of creation has never left her.

their living by shing; ginko leaves

“Opening the kiln after a ring is

to represent those who became gar-

better than any Christmas morn-

deners to support themselves; and

ing,” she said.

Low-Temperature Multi-fring Ater rolling slabs, Takayama-Ogawa slams them on the ground to release moisture It pools along the outer edges where it can be easily removed She uses patterns to duplicate orms, a trick she borrowed rom the ashion department at Otis College o Art and Design, where she teaches English and speech classes classes It takes takes between eight and nine rings to create a nished piece piece She begins with the highest glaze ring at cone 05 and works down to the lowest at cone 019 019 She mixes her own glazes, glazes, and makes hundreds o test tiles to obtain the color combinations needed Her teapots have an air o elegance due to her liberal use o gold The metallic nish is usually the last ring and the most tricky t ricky “You either get gits and kisses rom the kiln or clay breaks your heart,” she said said About 50% o her pieces are damaged or ruined beore they make it through the entire process process “Deco Beaded Tea Bag,” 9 inches in height, slab-built whiteware, with china paints and lusters, red multiple times, with semiprecious stones and pearls, by Joan Takayama-Ogawa.

54

Versatile Recipes

Electric Firing

Engobes, Slips, Glazes, Self-Glazing Clays by Gerald Rowan

W

ith my work equally divided between sculpture, painting and clay ves-

sels, I thought it would be best to standardize my kiln rings to two cone levels: cone 06 and cone 6. This would allow me to bisque earthenware and stoneware as well as glaze re earthenware all at the same time—an efcient use of both kiln space and energy. My preference is to work with vitreous engobes rather than glazes, primarily because engobes can be applied much like paint. Usually two coats applied with a soft brush yields good coverage. I also nd I have a greater degree of control with a brush, as opposed to dipping or pouring; however, the recipes here could easily be dipped or poured to meet others’ working habits or individual tastes. I found that the following engobes work well over a wide range of temperatures and are forgiving enough to be used for large vessels and sculpture

55

Ceramic Arts Handbook

Versatile Cone 06–6 Engobes

Recipes Glossy Engobe 200 Cone 06–04

Whiting                     89 % Custer Feldspar               111 Pemco Frit 25                500 Kaolin 90 Silica 210 1000 % Add: Bentonite               CMC                  

30 % 10 %

Enamel White  Tin Oxide               Zircopax               

50 % 75 %

Majolica White  Tin Oxide               100 %

Off White  Titani anium Diox ioxide          100 %

Medium Blue 

Matt Engobe 201 Cone 06–04

Ball Clay                    160 % Whiting                     90 Pemco Frit 25                150 Kona F-4 Feldspar             502 Kaolin 98 1000 % Add: Bentonite               30 % CMC                  

Color variations o the engobes are possible with the addition o 10–15% commercial stain or the ollowing oxide/stain combinations:

10 %

For each engobe recipe, dry mix all ingredients; add water and allow to stand overnight I necessary, readjust water content beore using

Tin Oxide               Cobalt Oxide            

40 % 20 %

Opaque Blue  Tin Oxide              

50 %

Cobalt Oxide            

25 %

Blue Gray  Tin Oxide               Cobalt Oxide             Iron Chromate           

10 % 05 % 30 %

Blue Green  Tin Oxide               Blac Blackk Copp Copper er Oxid Oxide e       Chrome Oxide           

40 % 20 20 % 30 %

Turquoise  Coba Cobalt lt Carbo arbona nate te         Copp opper Carbon rbonaate       

05 05 % 30 %

Fluorspar              

50 %

Warm Gray  Cobalt Oxide             Manga Manganes nesee Carbo Carbona nate te     Pink Stain              

05 % 04 04 % 15 %

Dark Brown  Tin Oxide               Mang Mangan anes esee Diox Dioxid ide e       Red Iron Oxide          

56

20 % 30 30 % 50 %

Electric Firing

Cone 6 Oxidation Slips and Glazes With electric kilns, one method of 

surface and color. Capable of affect-

obtaining the subtle nuances and

ing surface results through texture,

breaks in color associated with other

intense (oxide-saturated) color, and

atmospheres is through the use of 

uxing the glaze to cause it to run off 

various slips. Applied in combina-

high spots and pool in depressions,

tion, even with simple glazes, they

the following cone 6 oxidation slips

can dramatically alter the typical

are designed to be applied on bisque.

Recipes Vitreous Black Slip

Glassy Slip

Glassy Iron Slip 2

Cone 6

Cone 6

Cone 6

Borax                      91 % Lithium Carbonate             945 % Magn Magnes esiu ium m Carb Carbon onat atee         900 900 % Nepheline Syenite             227 Bentonite                   55 Bentonite                   100 Georgia Kaolin               227 1000 % To yield runs, apply thinly under or over a glaze; Kentu entuck ckyy OM 4 Ball Ball Clay Clay        227 227 works well with sti opaque glazes glazes Color Silica                       228 variations may be achieved with the ollowing 1000 % additions: Add: Cobalt Oxide             09 % Blue  Copper Oxide            45 % Coba Cobalt lt Carb Carbon onat atee         15 15 % Red Iron Oxide           45 % Green  Copper per Carbon bonate ate        50 % Without glaze, this recipe produces a slight sheen at cone 6; as a raku slip at cone 06, it produces a “ghost” because o the borax content

Redart Slip

Tan 

1000 % Add: Tin Oxide               500 % Red Iron Oxide           500 % Both Glassy Iron Slips should be applied thinly under or over a glaze to yield running; they also are good with sti opaque glazes

Glassy Rutile Slip Cone 6

Red Iron Oxide          

Opaque Tan  Rutile                 

Cone 6

70 % Pemco Frit 25                818 % Kentu entuck ckyy OM 4 Ball Ball Clay Clay        182 182 100 % 1000 % Add: Rutile                  818 % CMC Gum               55 %

Lithium Carbonate             100 % Glassy Iron Slip 1 Spodumene                  1 0 00 Cone 6 Thin applications o this slip under or over a glaze Ceda Cedarr Heig Height htss Reda Redart rt Clay Clay      800 800 Gerstley Borate               905 % will cause running; it is particularly good with sti 1000 % Bentonite                   95 opaque glazes Add: Red Iron ron Oxide           20 % 1000 % Add: dd: Red Iron Iron Oxid xide           905 % Blackbird Slip 3

Blackbird Slip 1 Cone 6

Blackbird Slip 2

Cone 6

Borax                      Barnard Clay                 500 % Cone 6 ood Ash Ash (unw (unwas ashe hed) d)         Ceda Cedarr Heig Height htss Reda Redart rt Clay Clay      500 500 Wollastonite                 100 % Wood Barnard Clay                 1000 % Barnard Clay                 900 1000 % Blackbird Slips 1 and 2 may also be employed as a stain without a glaze

340 % 330 330 330 1000 %

Apply on raw clay as a stain, as well as on bisqueware as a slip

57

Ceramic Arts Handbook

Recipes Rutile Slip

Boiling Slip

Off the Shelf Slip

Cone 6

Cone 6

Cone 6

Whiting                     231 % Cryolite                     241 % Cornwall Stone               428 % Kona F-4 Feldspar             154 Lithium Carbonate             241 Ferro Frit 3110               286 Ceda Cedarr Heig Height htss Reda Redart rt Clay Clay      538 538 Wood ood Ash Ash (unw (unwas ashe hed) d)         241 241 Kentu entuck ckyy OM 4 Ball Ball Clay Clay        286 286 Kentu entuck ckyy OM 4 Ball Ball Clay Clay       

77 77 Bentonite                   36 1000 % Kentu entuck ckyy OM 4 Ball Ball Clay Clay        241 241 Add: Rutile                  77 % 1000 % Add: Granular Granular Manganese Dioxide or Gritty Terra-cotta Terra-cotta Slip Ilmenite                12 % Cone 6 Rutile                  241 % AP Green Fireclay            800 % Spring Hill Slip Ceda Cedarr Heig Height htss Reda Redart rt Clay Clay      200 200 Cone 6 1000 % Add: Chrome Oxide            10 % Dolomite                    105 % Red Iron Oxide           40 % Ferro Frit 3124               105 For more texture, 10% ne grog may be added to the recipe

Gritty Yellow Slip Cone 6

1000 % Add: Add: Any Any Comm Commerc ercial ial Stain Stain     428 428 % The ollowing two simple glazes work well in combination with the preceding slips:

Fat Glaze Cone 6

Fluorspar                    112 % Cornwall Stone               888 1000 %

Opaque White 

Tin Oxide               Nepheline Syenite             221 Green  EPK Kaolin                  379 Coppe pper Carbona bonatte        Silica                       190 1000 % Wally Glaze Add: Tin Oxide               53 % Cone 6

60 % 30 %

Cornwall Stone               20 % For color variations, add the ollowing oxides: Wollastonite                 353 % AP Green Fireclay            400 Kona F-4 Feldspar             353 Blue  Ceda Cedarr Heigh Heights ts Bondin Bondingg Clay Clay     390 390 Kentu entuck ckyy OM 4 Ball Ball Clay Clay        294 294 Chrome Oxide            11 % Ceda Cedarr Heig Height htss Reda Redart rt Clay Clay      130 130 1000 % C o b a l t O x i d e             3  2 % Kentu entuck ckyy OM 4 Ball Ball Clay Clay        60 60 Add: Zinc Oxide               141 % 1000 % Green  Color variations are possible with the ollowing Chrome Oxide            84% additions: To increase texture, add 10% ne grog Cobalt Oxide             11% Blue 

Medium Brown Slip Cone 6

Gray  Chrome Oxide            Cobalt Oxide             Red Iron Oxide          

Whiting                     48 % Albany Slip                  672 Orange  Cornwall Stone               280 Red Iron Oxide           1000 % Rutile                  Add: dd: Red Iron Iron Oxide           56 %

58

Cobalt Oxide            

24 %

21 % Green  11 % Copper Oxide            32 % Tan 

24 %

Rutile                 

59 %

84 % Opaque  52 % Tin Oxide              

35 %

Electric Firing

Cone 08-6 Sel-Glazing Clays Self-glazing

clays,

among

them

glazing and fuming. Also, when clay

Egyptian paste, are mixtures that

bodies of this type are used in com-

incorporate soluble glaze-forming

bination with other clays, a portion

materials in a porous, open, refrac-

of the soluble material penetrates

tory body. As an object made from

the surrounding clay and produces

self-glazing clay dries, the soluble

a “ghost” when red, which in itself 

glaze materials migrate to the sur-

can be attractive.

face as water evaporates from the

When mixing self-glazing clay

clay. On ring, these materials, visvis -

bodies, add 25-30% (by weight) hot

ible as a surface scum, melt into a

water to a lidded plastic container.

glaze. with the evaporation of the

 Add the soluble materials and the

clay body’s water.

colorants and mix well to dissolve;

Because the migration of soluble

then add the rest of the materials

materials is important to this type

and mix in the container. Any dry-

glaze formation, the colorants added

ing that occurs in storage will cause

should also be water soluble, when

the soluble materials to migrate to

possible, to enhance color intensity.

the top of the container and form a

(Soluble materials may be toxic, so

scum that may be difcult to remix

avoid skin contact by wearing rub-

with the clay body. Allow self-glaz-

ber gloves.)

ing clays to sit for several days after

White Egyptian pastes usually

mixing to maximize their plasticity.

re from cones 08 to 05, self-glazing

Because the materials in self-

clay bodies can be formulated to re

glazing clay bodies are water sol-

roughly between cones 08 and 6.

uble, they cannot be wedged on an

Near or above cone 6, these clay bod-

absorbent surface without losing a

ies tend to melt into a glaze, depend-

portion of the glaze formers to the

ing on the length of the ring cycle.

wedging block. If wedging is neces-

When self-glazing clay bodies are red at mid-range temperatures,

sary, wedge on a nonporous surface such as a Formica countertop.

the resulting colors from metal ox-

When handling dry greenware, be

ides, carbonates and chlorides are

careful not to chip or rub off the sur-

increasingly more muted and sub-

face scum that has formed, for this

dued. At higher temperatures, com-

is what will become glaze. If self-

mercial stains produce better color

glazing clay is allowed to dry on a

than do raw metal colorants, and

nonporous surface, no evaporation

can be used in quantities up to 12%.

will take place through this surface;

Self-glazing clays are typically short

therefore, the bottoms of forms dried

(low in plasticity) and therefore are

in this manner should not have de-

best formed by either handbuilding

posits on them and will not need to

or molding; but they lend themselves

be sponged or scraped.

well to a variety of ring methods: raku, pit, saggar, reduction, salt

The following recipes (next page) are suitable for experimentation.

59

Ceramic Arts Handbook

.......................

Recipes Self-Glazing Clay

Self-Glazing Clay B

Egyptian Paste

Cone 06-2

Cone 2-6

Cone 08-06

Bicarbona bonatte o Soda oda           Soda Ash                    Ferro Frit 3195              

40 % Bica icarbona onate o Soda           40 Borax                      80 Dolomite                   

Cedar Cedar Heights Heights Bonding Bonding Clay Clay     520 520 Soda Ash                    Silica (200 mesh)              240 Whiting                     No 1 Silica Sand              80 Ceda Cedarr Heigh Heights ts Golda Goldart rt Clay Clay      1000 % Kentu entuck ckyy OM OM 4 Ball Ball Clay Clay        Add: Bentonite               30 % Silica (2 (200 me mesh)              No No 1 Silica Sand             

Self-Glazing Clay A

Whiting                     Cedar Cedar Heig Heights hts Gold Goldart art Clay Clay      6 Tile Clay                   Silica (2 (200 me mesh)              No 1 Silica Sand              Add: Bentonite              

40 30 240 240 240 260 100

83 % 5 5 1 4 1

Custer Feldspar               392 Kaopaque 20                155 Kentu entuck ckyy OM 4 Ball Ball Clay Clay        51 51 Silica (2 (200 me mesh)              186 No 1 Silica Sand              41 1000 %

1000 % Add: Bentonite               31 % Add: Bentonite               30 % Colorant additions achieve the ollowing results

Cone 2-6

Bicarbona bonatte o Soda oda           Dolomite                    Soda Ash                   

40 % Bicarbon rbonaate o Soda           10 Dolomite                    4 40 Soda Ash                   

40 % Color variations o the preceding midrange reci4 40 pes are possible with the ollowing additions: 40 40 250 250 230 260

Purple/Blue  Coba Cobalt lt Carb Carbon onat atee        

07 07 %

Turquoise/Green 

in heavy reduction or raku:

Copper Luster  Copp Copper er Chlo Chlori ride de         05-1 5-10 0 % Tin Chlor hloriide de           05-075 % Mang Mangan anes esee Dio Dioxide xide        025 25 %

Copp Copper er Carb Carbon onat ate e       25 25-30 -30 % Yellow/Gold Iridescence 

Light Green  100 Coppe pper Carbona bonatte        1000 %

05 %

Iron Chloride             Bism Bismut uthh Subn Subnit itra rate te       

10 % 05 05 %

Blue/Silver Iridescence  30 % Yellow Green  Chrome Ox Oxide           10-30 % Coba Cobalt lt Chlo Chlori ride de         02 025 % Brown/Purple  Bism Bismut uthh Subn Subnit itra rate te        05 05 % Mang Mangan anes esee Diox Dioxid ide e       3-5 3-500 % Black Luster 

Lemon Yellow  Vanad anadiu ium m Pen Pento toxi xide de       5-7 5-755 %

Blue  Cobal balt Oxide ide          025-10 %

Tan/Brown 

Coba Cobalt lt Carb Carbon onat atee         Coppe pper Carbona bonatte        Iron Oxide               Mang Mangan anes esee Dio Dioxide xide      

10 10 30 50 40 40

% % % %

All colors are progressively subdued as temperature increases Iridescent colors are ugitive at Iron Oxide              30-70 % about cone 01

60

Electric Firing

Homage to Palissy by John McCuistion    n    e    s    u    a    h    l    u    M    s    s    o    r   :    o    t    o    h    p

everal years ago while visit-

S

of his artistic se-

ing the Getty Center in Los

crets with him to the

tune to see a ceramic basin attrib-

taining

uted to the French artist, Bernard

him and his family. During his life-

Palissy. I came upon this piece quite

time, his artwork was sought after

by chance, and its beauty and time-

and valued by royalty and the rul-

less qualities stunned me. Seeing

ing elite, but as a Protestant living

that piece had a profound effect on

in a Catholic country he feared for

me. I needed to know more and be-

his life. He was imprisoned on three

gan to look for any published mate-

different occasions for his religious

rial on Palissy’s work and life.

beliefs and died in the Bastille.

 Angeles, I had the good for-

grave.

Perhaps secrecy

mainprotected

 After reading an excellent book

Scholarly debate continues on

titled Bernard Palissy, written by

how many surviving Palissy pieces

Leonard N. Amico, I was motivat-

are authentic. There is consider-

ed to further study so I traveled to

able dif culty, culty, and it may be imim -

England and France to see Palissy’s

possible to ever know, what pieces

work rsthand. This direct observaobserva-

Palissy actually worked on. It was

tion was critical in understanding

common practice at the time not to

how he worked with surface, color

sign ceramic works. All of the works

and form. On an artistic level, the

on display at the Victoria & Albert

work of Palissy has much to offer.

Museum, British Museum and the

There is a timeless quality to his

Wallace Collection, for instance,

work, and I personally believe him

catalog the work in the following

to be one of the most important and

manner: “attributed to Palissy and

inuential ceramics artists of all time.

“Hidden Light,” 18 inches in diameter, slip-cast low-re clay; above is a detailed view o the screen print and layered glazes.

 Atelier or close follower.”  After studying Palissy’s work, I

How Palissy made his pieces re-

made a radical change in the direc-

mains a mystery. When he died at

tion of my artistic work. I became

about the age of 80, he took many

less involved with the form. This

61

Ceramic Arts Handbook

work is about surface, color and recognizable imagery to develop the content. It pays homage to Palissy’s rustic ceramics. The themes in this work deal with air, land, water and the magical natural world around us. Through my work I am able to contribute to the long tradition of the artist as teacher, recorder and seer. The life of an artist is as important and meaningful as any in society. “Trials and Tribulations,” 18 inches in diameter, slip-cast low-re clay, by John McCuistion.

A Modern Twist on an Old Idea Here are the steps involved in the process I developed using contemporary materials I create a slip-cast platter using lo w-re clay Ater it is thorou ghly dry, I wipe the surace with a wet cloth, chamois or sponge This creates a texture that traps color residues during the washing o the underglaze It is worth noting that even ligh tly wiped suraces can yield dramatic results Dry the work thoroughly beore starting to decorate decorate Ater bisque ring, cover the ront side o the platter with one coat o underglaze (usually black) Fill the piece with water and agitate agi tate as i panning or gold The The underglaze will settl e into the abraded areas and highlight the texture texture My choice o underglaze is Duncan Concepts The piece is decorated using silk-screen images and allowed to dry dry Underglazes are applied over the images—as many as three coats are required per color and I use up to ve colors (though there is no limit) limit) Thorough drying is required between each coat o color and the piece must be completely dry prior to washing The platter is then completely lled with water, and washed, scraped scraped and wiped to reveal the desired results results Ater drying, additional color is applied to the surace and the piece is touched up as needed On the rim and back, I apply three coats o underglaze, allowing time or drying between each coat Finish with three coats o clear glaze applied to the ront and back back The nished, dried piece is then red to cone 04 with a 15-minute soak I allow the kiln to cool or two days beore opening

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Electric Firing

Kelly King Surface and Form by Jennifer Graff 

K 

elly King is an artist concon cerned with fusing unique functional forms with per-

sonal content. Her recent covered  jars, platters and other vessels serve as familiar utilitarian objects as well as canvases for her innermost ideas. Images of dogs, bundles of birds and sinewy intestines intermingle on the surfaces and ask us to unravel their technical and symbolic mysteries. King’s utilitarian forms are remiremi niscent of traditional works in clay, yet they achieve a personal and contemporary sense of design. Though the forms initially read as functional pitchers, vases and covered jars, they

“Nestle, Nuzzle, Run or Cover,” 9 inches in height, slab-built cone 10 porcelain, red to cone 6, china paints.

also easily refer to architectural elements due to their slab construction

shift where they want to. She is at

and vertically stacked components.

ease with clay as she allows her

The forms become metaphors them-

building process to be revealed. The

selves as they gently make reference

pots show seams, slight imperfec-

to the dwellings of the gures and

tions and the presence of her hands.

animals that inhabit them. For ex-

King’s carefully crafted slab vessels

ample, a covered jar can suggest a

are made with a creamy white cone

house for the dogs pictured on the

10 porcelain clay body. They are inin -

pot while a platter can suggest a

tentionally underred underred to cone 6. The

nest for a bird. Though often archi-

cation clay is not brought to vitri vitrication

tectural, King’s slab work remains

in order to achieve a stonier clay

uid as she lets the forms slightly

surface, which provides contrast to

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Ceramic Arts Handbook

the glossy glazes. This process also allows for multiple rings with less danger of cracks forming and prevents the porcelain from warping. Being able to re repeatedly is imimportant to King because she will of ten spontaneously draw or add glaze around components of previously red pieces. The delicate and calligraphic images of dogs, birds and bones are born out of a love for drawing. King’s style of line is condent condent yet relaxed, as if she were drawing privately in a sketchbook no one would ever see. In addition to linear drawings, King uses the technique of stippling. This employs the use of a small brush that places hundreds of dots in a given space. What is interesting about King’s use of the technique is that she creates the positive shapes, or the focal areas, with the absence of  dots. These stippled surfaces create an amazing sense of energy. The drawings of various images are imposed on the surface with a black “ink” made of cobalt-free Mason stain and ux.  ux. King uses this on the bare clay surface as well as on a satin white glaze. The black drawings on white clay read like words on a page, and strategic splashes of  glossy red, mustard yellow and olive green commercial glazes vibrate on the surface. The glazes, along with “Dig and Drag,” 12 inches in height, slab-built cone 10 porcelain, red to cone 6, china paints.

the “ink,” are red to cone 6. China paints and gold luster are used in later low-temperature rings for more intense areas of color. King credits her subconscious for the mix of imagery on her pots. She

64

Electric Firing

“Bounty,” 15 inches in width, slab-built cone 10 porcelain, red to cone 6, china paints.

65

Ceramic Arts Handbook

is an intuitive artist who has devel-

with the home and childbearing.

oped the ability to let go and allow

She is the mother of two small chil -

what is in her subconscious to come

dren and describes the presence of 

to the surface. She doesn’t question

birds as representing the archetypal

where the work is coming from, she

wren; a small nonpredatory songbird

 just makes it. This uncommon ability allows for a truly personal point

The images are not exclusive to

of view in her work. Images of dogs,

dogs and birds and often include

birds, gures, intestines and bones

domesticated animals and animals

appear because they have real

raised primarily for consumption.

meaning for her; they live in her

They are all found interacting with

subconscious. King believes she has

the occasional gure, gure, which may

come to understand the meaning in

only be introduced in the form of a

the images by processing them long

bending arm or the bust of an am-

after making them.

biguous female. However, there are

Dogs have frequently appeared in King’s work throughout the years.

subtle questions raised about the relationship of animals to humans.

She has a deep reverence for dogs

The cast of characters curiously

and has kept them as pets her en-

pose with images of intestines, rep-

tire life. Canines were rst used in

etitions of cell-like forms, and oozing

the work out of a general fascina-

patches of glaze. These almost gro-

tion for their bodies. She was preocpreoc -

tesque elements, juxtaposed against

cupied with their postures and how

the

this emphasized their joints. Over

metaphorically speak about King’s

time, the dogs would transform from

idea of beauty; that the beauty of a

mere anatomical studies into wolf-

rose could not exist without the rot-

like creatures that symbolized the

ten compost from which it grows.

subconscious. King learned that

Presenting both the beautiful and

the presence of dogs insinuates that

the horrible at once is a quality that

there is something untamable and

King wants in her work. She says in

inherently wild in all of us.

the end, the opposite forces become

Birds are another type of animal that grace the surfaces of King’s

66

that primarily nests and feeds.

exquisitely

drawn

animals,

a metaphor for the self. King credits all things baroque in

work. They are ever present in many

inuencing the architectural style of 

of the pieces although they are often

the slab-built forms, as well as the

small, obscured and drawn in convo-

decorative nature of the surfaces.

luted clusters. This serves to make

In both architecture and painting,

them subordinate to other drawings

the Baroque era was everything

and to appear as decorative ele-

dynamic, ornate, theatrical and ex-

ments. Birds have become symbols

travagant. She was greatly affected

of beauty and domesticity for King

by once stumbling upon a book of 

as they have strong associations

Baroque knives and daggers where

Electric Firing

“Birds and Bones,” 7 inches in height, slab-built cone 10 porcelain, red to cone 6, china paints, by Kelly King.

67

Ceramic Arts Handbook

carvings of animals were woven into the handles of the weapons.

Draw, Paint, Fire, Repeat

King feels motherhood is a strong

by Kelly King 

inuence in the work as well, be -

I use various techniques that combine

cause the pots became more utilitar-

painterly suraces with more tightly ren-

ian and intimate after the arrival of 

dered images and designs With each ring,

her children. King initially focused on drawing

the composition is slowly built upon

as a student in the art education pro-

I begin by drawing on leather-hard clay

gram at the University of Georgia in

with black mason stain using a ne-tipped brush I nd that drawing on the clay at this stage allows or a more fuid, calligraphic line Ater the bisque, a palette o several commercial glazes that combine well with

King begins the drawing process on one o her pots. She uses Mason stains, commercial glazes and china paints to create her dynamic suraces.

 Athens. Being around the likes of  Ron Meyers, Michael Simon, Ted Saupe and Andy Nasisse prompted King to take a ceramics course near the end of her program. King would

Satin White is applied in layers These These glazes are applied using a fat sot brush or

soon complete her art education

wider coverage and a round bamboo brush to create more o a linear eect and

degree, but as any clay enthusiast

spontaneous drips I oten scrape scrape away exterior layers to reveal areas o pure color

would understand, she instantly

beore ring the pi ece to cone 6 The The glazing process may be repeat ed, depending

connected with the material of clay.

upon the desired eect

Her immediate facility with the ma-

I consider the drips and splatters that occur in both the glazing and ring

terial gained her acceptance into the

processes to be an opportunity or urther drawing drawing Using low-re china paints

University of Georgia’s graduate

(Hobby Colorobbia Third Firing Color) and a very small round brush, I apply tiny dots to create both the linear designs and the stippled areas I initially used this linear stippling technique as a solution to creating a solid line with water-based china paints, which tend to clump and separate The Third Third Firing Color “medium” is also helpul in achieving a more uniorm consistency with china paints, espeFinally, the piece is red to cone 015 cially when painting broader areas areas Finally,

program in ceramics the next year. King’s work is interesting and pertinent contemporary ceramic art. It inspires us to interact with it because it is not oppressively strange, nor is it so ordinarily beautiful that it becomes incidental. We embrace the pots because they are accessible forms. We are challenged by the pots

Recipes

content. The work draws familiar parallels to every human life, and

Val Cushing Satin White

therefore it becomes eternal. The

Cone 6

rare gift of this work is that it com-

Talc                        Whiting                     Ferro Frit 3124               Custer Feldspar               EPK Kaolin                  Silica                      

90 % 160 9 0 400 100 11660 1000 % Add: Bentonite               10 %

68

because they carry sophisticated

pletes a cycle of creativity between artist and viewer. The artist gives us a unique vision that we bring to life by truly seeing it.

Electric Firing

Creating Neriage Blocks by Faith Rahill

N

eriage is a decorative process used in Japan that involves of stacking colored

clays then slicing through the cross section to reveal a pattern, which can then be used as an applied decoration. Neriage designs provide a great way to work three dimensionally with patterns and images. The results reect a combination of carecareful planning and accidental surprise, plus it’s exciting work for those who love patterns and are drawn to the wet-clay stage of pottery making. My work with colored clays is slow, exacting and fraught with technical challenges. Along with my love of handbuilding, what keeps me hooked on neriage is the pleasure of  conceiving a design, followed by the creative challenge of building it in cross section. Slicing through a new block you’ve been working on for awhile has the same exciting quality of unloading a kiln of new work.

Square plate, 11½ inches in width, white stoneware. From the rst time Faith Rahill saw a pot made using the neriage technique as an undergraduate, undergraduate, she has ocused exclusively on pursuing and perecting methods or creating design and pattern using colored clays. and add your colorants. When working with stacked colored clays, they must be very wet in order for the clay to blend smoothly without seams or cracks. To make the clay wet enough for this technique, add water to new bags of clay and let them sit for a week or more. The uncolored base clay

Clay Preparation

then needs either “sloppy plugging”

Some clays work better than others

or to be wedged up with your hands.

when it comes to slicing cleanly and

(My old Bluebird mixer works, but

not dragging the color. Find white

I do have to clean out the de-airing

clay you like at any temperature

box often.)

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Ceramic Arts Handbook

Colorants

work. I use Kerodex®, which comes

Measured colorants can be added to

from the pharmacist.

any white clay. Since I periodically

Two different clays, such as a

change my mind about the intensi-

brown and a white stoneware, can

ties of color, over time percentages

be used together if they shrink com-

can change. Combining two differ-

patibly. With all the colorants and

ent colors in a test sometimes yields

clays available, experimentation is a

nice results. Ten percent means, for

great way to discover what you like

instance, 5 pounds of wet clay mixed

and to create your own colors.

with ½ pound of dry colorant. The

Making a Block

colors in this list are Mason stains.  You can also use oxides. Years ago I bought 5 and 10 pound batches not knowing that it was a lifetime supply. If you choose to re at lower temperatures, there are more colors available to you, as some colors burn out at higher temperatures. Here’s a list to use as a guideline.

Mason Stains Black 6600                 50 % Peacoc acockk Blue lue 6396           75 % Lavender 6319              100 % Manganese Alumina Pink 6020 100%* 100%* Avocado 6280               90 %* Titan itaniu ium m Yello ellow w 6485 6485         100 100% % Mazerine rine Blue lue 6300          1–30 1–30% % * or less

For this neriage design, slice thin slabs of uncolored and black-colored clay blocks using 4 lb. shing line. Roll the slabs together from both ends to form a double spiral (gure 1). Work on plastic or a wet canvas surface to keep everything as wet as possible. To create the center of the block, press two of the double spirals together back to back (gure 2). To create the stripes, stack thin, alternating black and white slabs together (gure 3). Use 2 lb. shing line to cut the block in half (gure 4). Cut each half again to create four sections. Since the shing line is hard to see, tie one end of the line to a button so that it’s easier to nd when you need it. Slam the double-spiral square on

70

Blending

the table to make it at on all sides,

To add color, create a well in a pre-

then place the stripe blocks against

weighed lump of wet clay and spoon

it (gure 5). Squish the block into a

the weighed dry material into the

square, forcing the corners to meet,

well. Add just enough water to make

then slam the block again to make it

a paste, then slowly mix it together

a square (gure 6).

until well blended and wedged. There

Wrap a thin slice of green-colored

are hand cream products that can

clay around the block to give it a

help protect your skin while wedging

border (gure 7), then gently slam

colors into clay. I recommend buying

it once more to create a good bond.

one and applying it before getting to

Place the block on a clean, wet can-

Electric Firing

1

2

3

4

vas surface and slice it with 2 lb. shing line across the bottom. Use mat-board slats as guides (gure 8). Carefully peel the slice off of the block (gure 9). Slice all the pieces you’re going to need for the next day, and store them between wet handiwipes or wet pieces of cloth under plastic. The slices need to be soggy all the way through in order for them

71

Ceramic Arts Handbook

5

6

7

8

to roll seamlessly into a slab of clay.  Arrange t he slices on a rolled out slab that is sitting on plastic (gure 10). To keep the clay from sticking to the rolling pin, use a piece of cloth between the pin and the clay (g(gure 11). Slats keep the rolling even.  You’ll see a print of the design when you remove the cloth. Note: An important part of my routine consists of washing my cloths out at the end of the day and draping them across my studio.

72

9

Electric Firing

10

11

12

13

Once the surface of the slab seems

the edge to form the sides (gure

dry enough that the rolling pin won’t

13), I always cover the piece and alal-

drag the color around, roll without

low it to dry slowly on a bat (until

the cloth (gure 12). Wipe the rollroll-

there’s lots of lovely black mold un-

ing pin off after each pass, otherwise

der it). Slow drying reduces warping

you might have to sand at the bisque

and allows the moisture to equalize

stage to clean up stray colored clay.

among all the combined clays so

Use a cardboard template to cut the

they dry uniformly.

nal shape of the plate. After lifting

73

Ceramic Arts Handbook

Rectangular plate, 9¼ inches in length. The creative challenge o building a design in cross section in a block keeps Rahill hooked on this process.

Chicken plate, 8¼ inches in diameter. This plate shows how several patterns can be successully incorporated into a single piece.

74

Electric Firing

Laura Kukkee Slip Decoration by Anderson Turner

Untitled, 23 inches in diameter, monoprinted (paint, slip trail, silk screen) slips on sot slabs, glazes and sand then multired. t is often taught that artists must

I

Oakville, Ontario and developed

strive to be wholly original. We

this technique in the craft studios

must envision something great

at Harbour Front Centre in Toronto.

and new and then apply it to our art,

Utilizing slip or engobe in the deco-

thus astounding all who happen by

ration of clay has been happening

the work we’ve made. This is a tall

for thousands of years. From the

order to say the least. Many a great

 Ancient Greeks and Chinese to the

idea has fallen by the way side be-

17th century country English potpot-

cause the artist is unsure of how to

ter, the use of colored slip has been

execute the desired result. Often, it

an important part of the decorative

is the subtle change in a technique

arsenal of nearly every clay artist.

that can lead to impressive results.

Laura is currently working with

One example of that type of change is

ideas surrounding the notion of a

in the work of artist Laura Kukkee.

fragment. “This fragment is in the

Laura a native of Toronto, Canada

form of an image or a pattern which

did her undergraduate studies with

is divorced from its original mean-

Bruce Cochrane at The Sheridan

ing. By pulling fragments outside

School of Crafts and Design in

of their traditional contexts and

75

Ceramic Arts Handbook

Slip Trailing Trailing Appliqué Appli qué

76

1

2

3

4

5

6

restructuring the way in which they

She uses different proportions of 

are presented, meanings become

water and a small amount of Dar-

more elastic.” Her results in the re-

van #7 to get the “ow” of the slip

search are both exciting and new,

she desires. It’s a good idea to test

and they offer a chance for individu-

all slips, engobes and glazes before

ality that every artist strives for.

using them on your own work.

Notes on Slip

Slip Trailed Appliqué

Slip, as dened by Vince Pitelka in

What you’ll need: ball syringe, news-

his book Clay: A Studio Handbook, Handbook,

print, spray bottle and plaster slab

is clay suspended in water, usually

(optional). Laura sets the plaster on

the consistency of thick cream. It

two pieces of wood to keep slab well

may be colored and used to decorate

ventilated, thus discouraging mold.

surfaces, or may be cast into p laster

 You will also need the colored slips

molds to create ceramic forms. For

of your choice.

her artwork, Laura uses slip the

Wet a piece of newsprint using a

consistency of a thick cream as well

spray bottle so that it is damp but

as slip that is substantially thinner.

not soaked. Smooth the paper out

Electric Firing

7

8

9

10

11

12

onto the plaster slab, so you don’t

paper before beginning (gure 3).

get ridges—smoothing helps the papa-

Slip trail pattern or image of your

per absorb water (gure 1).

choice onto paper. Pick the paper up

Remember, whatever color you

by the edges carefully and hold it up

use rst is going to be the outline of 

to light so you can see your pattern

the pattern you’re making. You’re

better (gure 4). Set the paper aside

building color and pattern from the

and allow slip to dry until the shine

top layer down with the background

goes away, then start laying color in

color applied last, which is the op-

and around the pattern (gure 5).

posite direction one normally works.

I like to apply bands of color to-

For this demo I’m using black slip,

gether behind the pattern. Set aside

though I have often used other col-

the paper and let dry until gloss dis-

ors. It’s a good idea to mix and sieve

appears (gure 6).

slip thoroughly beforehand to blend all the materials.

TIP I store clay slabs I’ve already made by wrapping them in plastic. I usually have 20 of these sheets

going

at

one

time, so I can work with them like I’m making a collage or quilt.

 Again, once gloss is gone, gone, cover the colored slip with a white slip made

Dip the syringe in the slip and ll

of the same ingredients as your clay

it (gure 2). To get the bulb owing,

body, with roughly 3% Darvan #7

try practicing on an extra sheet of 

added to the mixture. Make sure the

77

Ceramic Arts Handbook

13

14

15

16

17

slip is really owing. Set aside and

Take another piece of paper and

allow to dry until the gloss goes away

place it over the pattern. Make sure

or you’re ready to use. I often make

to smooth it out, as this helps remove

Clay Body

up to four applications of white slip

moisture (gure 12). Flip the slab

Cone 6

depending on how thick I want the

over and remove the paper (gure

6 Tile Clay             50 50 lb lb EPK Kaolin            25 Kentucky Kentucky OM4 OM4 Ball Clay Clay  25

slab to be. Usually though, one ap-

13). Now you’re ready to cut shapes

plication is enough (gure 7).

to apply to your pot, based upon your

G200 Feldspar par         45 45 Ferro Fr Frit 31 3124        10 Silica 45 Whiting 4 Bentonite*            3 Plus 2 handuls o Epsom salts

cover with paper, then smooth (g(g -

Remove excess clay from around

ure 8). Flip the slab over, keeping

the shapes (gure 15). Gently peel

the new sheet of paper in place.

up one of your shapes. Brush slip

Spray the paper with water until

onto the white side of the piece us-

damp. Flatten the paper so that wa-

ing the same white slip. Because of 

ter spreads evenly (gure 9). Begin

the Darvan #7, there is no need to

* soak bentonite overnight

peeling the corner of the paper, be-

score (gure 16). Gently press the

ing careful not to rip the clay sheet

piece onto the pot or sculpture you’ve

(gure 10). This will reveal the slip-

made. The pot should be soft leather

trailed pattern (gure 11).

hard (gure 17).

Recipes Sheridan Studio Colored Slip Cone 6-10

Groll rolleeg Kaoli olin        458% Kona ona F4 Felds eldspa par r     246 246 Pyrophyllite          82 Bentonite           51 Silica               163 1000% Plus 15% stain o your choice

78

Take the slip-trailed sheet and

design (gure 14).

Electric Firing

Inlaying Slip Appliqué

Inlaying Slip Appliqué

1

2

3

4

When the gloss has dissappeared

Begin this process in exactly the

from the white slip, carve shapes in

same way as the slip trailing. Brush

the slip. Be careful not to cut through

the slips in a design covering the pa-

the newspaper (gure 3).

per. In this example Rahill is using

When you nish the pattern you

a large pattern and bold colors. Set

should be able to see light through

the paper aside to dry (gure 1).

the design. Cover entire sheet with

Once the gloss is gone, cover the

black slip. Set aside to dry. When the

design with the white slip made

gloss is gone, cover entire piece with

from your clay body with approxi-

white slip (gure 4).

mately 3% Darvan #7 added to the mixture. Set aside (gure 2).

Smooth a sheet of newspaper over the slab, ip it over and carefully

79

Ceramic Arts Handbook

5

6

7

8

remove the paper from the pattern

Once the excess clay is removed

side, and spray with water, if neces-

from between the shapes, begin to

sary, to keep from tearing the slab

gently peel up the cut out patterns

(gure 5).

(gure 7).

Place fresh paper over the slab,

Paint white slip onto the white

smooth and ip the slab again. Peel

side of each piece and gently apply

the paper off the back of the slab.

the shape to the pot (gure 8).

The slab can now be cut into shapes for appliqué (gure 6).

80

Electric Firing

Silk-Screening Slip Appliqué

1

2

3

4

5

6

Silk Screening Appliqué Items you need: squeegee, spatula,

 After the pattern is screened onto

metal rib, small pitcher, brushes,

the paper, let it dry until the gloss

a pointed tool and various colored

is gone (gure 7). Apply colored slip

slips. Prepare paper the same way

over the design and allow to dry (g(g -

as in the previous examples (gure

ure 8). After the slip loses its gloss,

1). Position the silk screen on top of 

cover the entire sheet with white slip

the prepared paper (gure 2). Pour

and set aside to dry (gure 9). Flip

a bead of black slip on the screen at

and add fresh newspaper. When this

one end only (gure 3). Squeegee slip

process is completed, begin to cut

across the screen with steady, even

out the shapes (gure 10) Once the

pressure (gure 4). Use a metal rib

excess clay is removed, gently peel

to remove excess slip from the silk

up the cut out shapes (gure 11).

screen (gure 5). Carefully remove

Paint white slip onto the white side

the paper from the silk screen to

of the shape and apply it to the pot

avoid tearing the pattern (gure 6).

(gure 12).

81

Ceramic Arts Handbook

Three completed orms with applied slip decoration.

82

7

8

9

10

11

12

Electric Firing

Testin estingg You Yourr Clay Clay by Paul Andrew Wandless

 A 

t some point we all change clay bodies for one reason or another. Whether you want

a body that shrinks less, has more absorption/less absorption, a lower/ higher maturation point or just a different color, there are hundreds of commercial clays to choose from. While most clays have pretty good general catalog descriptions of what they are and what they can do, once we apply our specic working and ring processes, other issues can arise. A combination of tests can give you plenty of information that makes choosing and learning about a clay body a little easier.

The more you know about the materials you use the better o you’ll be. These tests are valuable in revealing general qualities about a clay body at dierent temperatures. This kind o inormation goes a long way in helping you decide i a clay body is really matching your needs in the studio.

Why Test?

What to t o Test Test

Testing clay bodies provides you with

Tests should be done at multiple

information that you can observe,

temperatures to yield the widest

touch and feel rst hand in your own

range of information on the clay

environment. While a catalog photo

body. You need to understand the

shows what a clay may look like red

same general characteristics at ev-

at one or several cones, it may not

ery temperature you re to, and

tell you what it will do at the cone

even at temperatures you may want

you’re ring to. Basic clay bar tests

to re to in the future. I test at every

give you information more specic to

potential cone I may re to and keep

your needs, and a 25-pound sample

records of all the results.

is usually enough to complete all the tests you need.

The

three

important

general

characteristics to take note of are

83

Ceramic Arts Handbook

1

Prepare test trays rom high re clay.

2

Prepare triangular stilts to support bar.

Four test bars with 10 cm. line.

shrinkage, absorption and warping/

enough to span the width of the clay

slumping. Other important qualities

bar (gure 2). All stilts must be the

to note are color, texture, plasticity

same height.

and hardness. Some results are dede -

Clay Bars

termined with visual and touch tests while others require simple formulas. All require consistency of procedure so the results you achieve are created under the same conditions.

84

3

 You’ll need three clay bars for each body you’re testing. For consistency and accuracy of results, use the same dimensions for all your clay bars. While some tests yield correct

Firing Box and Stilts

results regardless of the bar dimen-

When ring above a recommended

sions, you can always rule out size

temperature—either

purpose

and dimension as variables that

or by mistake—clay bodies start to

could cause any irregularities. I

melt and fuse or stick to the shelves.

make ¼-inch-thick bars measuring 2

To test clay bars, you’ll need a shal-

inches wide by 6 inches long. If your

low ring box to protect your kiln

work is thicker, make bars to match,

shelves and to make handling and

but don’t exceed ½ inches in thick-

transportation easier. You’ll also

ness. After cutting the bars to size,

need clay stilts for the warping test.

draw a 10-cm-long line on one of 

on

Using a high-re clay, make a

them with a hash mark at each end.

simple clay box that’s 8–10 inches

This will be used for a shrinkage test

square with a 1-inch wall. Make sevsev -

later (gure 3).

eral boxes at the same time so you

For the tests here, I’ve selected

can test multiple bodies in the same

four bodies to test: two white bodies

rings or just have them on hand for

from Standard (#257 Grolleg PorPor-

future use (gure 1).

celain Cone 8–10 and #181 White

Make triangle stilts about the

Stoneware Cone 6–10) and two from

thickness of your pinky and long

 Amaco (#29 Brown Stone EarthEarth-

Electric Firing

4

Dry trays and bars slowly and evenly.

5

Place one bar on stilts and two o them fat in the tray.

6

Ater each ring, measure the amount o defection.

enware Cone 06–04 and #77 Terra

The stilts should be placed about

Cotta Clay Cone 5). All four bodies

¼- to ½-inch in from the ends of the

have different characteristics at the

bar. If the stilts are too close, the bar

temperatures to which I’m interest-

may not warp or slump to its fullest

ed in ring them, and testing several

potential. The shrinkage bar and the

bodies at the same time takes better

other regular bar are simply placed

advantage of each ring. Remember

in the bottom of the box.

to write the clay number on the back of each tile. Once all bars are cut and rr ing boxes are built, let them dry to bone dry. They can be stacked with newspaper layered in between and a board on top for a little weight to

Firing While the test ring can be done in any kiln, the results are most applicable if done in the same kiln used for your work. Indicate in your notebook or worksheet if it’s an electric or

keep them from warping. It’s impor-

gas kiln, oxidation or reduction r r--

tant that the ring boxes and clay

ing, salt, wood, soda, etc. For best re-

bars stay at while drying to assure

sults, start rings at the lowest cone

accurate test results (gure 4).

temperature and then progressively

Beore the Bisque  At the bone dry stage, visually examine the bars for a color change if  any. Use a ruler to measure in centimeters the shrinkage line to see if it

rere the bars at higher cones until the highest desired cone is reached. A  sample for progressive test rings for a cone 10 clay body would be cone 06, cone 01, cone 6 then nally cone 10.

has changed from its original 10 cm

Clay Bar Tests

length. Record the results.

The following traditional tests give a

For each ring, place the bars side

good range of basic information that

by side in the ring box, and place

helps you to better understand your

one of them on the triangle stilts.

clay body. Keep good records in your

85

Ceramic Arts Handbook

7

8

Soak bars in water and weigh them ater 24 hours.

Measure the 10 cm line to determine shrinkage.

notebook so you’ll have the results for future reference. If there are other specic qualities, such as glaze t or color effect, test for these also.

Warping/Slumping  Visually examine for any warping or sagging movement in the center. Remove the bar from the stilts, turn

Note the color o the clay ater each ring. Here are our clays red to cone 04 (top) and cone 7 (bottom).

it over and place it on a at surface

86

so the gap (if any) can be measured

Shrinkage Test

(gure 6). This test informs you at

Measure the length of the line in

what temperature the walls may

centimeters on the shrinkage bar

start to warp or deform or a plate

(gure 7), and subtract it from 10

may begin to slump. The informa-

(based on the original 10 cm line).

tion can be applied to the sculptural

For example, 10 cm – 8.5 cm = 1.5

or structural applications of the clay

cm. An easy way to convert this re-

body. An exact percentage for this

sult to a percentage is to move the

is not as important as just knowing

decimal to the right one place, so 1.5

when the clay body starts to move.

cm means 15% shrinkage. Knowing

Electric Firing

the shrinkage rate helps in determining which glazes will t the body

Color Test  Visually examine a bar to see if 

and even which two bodies can be

there has been a color change (gure

used together.

9). The color change can sometimes

Absorption Test

be dramatic depending on the cone

There are two types of tests that

it was red and is important for aesaes -

can determine the absorption of a

thetic purposes. It can also help you

clay body. One is a simple visual t est

determine the best glazes to work vi-

and the other is a weight calculation.

sually on the surface.

For the visual test, place a few d rops

Surace/Texture

of a liquid (like ink) on the surface

 Visually examine the bar to deter-

of the bar to create a stain. Let it

mine if the surface has changed. Run

soak in for an hour then wash off the

your ngers across the bar to see if 

surface with water. The darker the

it’s the same, smoother or coarser.

stain, the more absorbent the clay.

This information is important aes-

This is not an exact test, but it gives

thetically and helps you determine

a quick and useful general result.

if it meets your visual and tactile

The weight calculation test is more specic. Weigh the red bar on a gram scale and record the result (gure 8). Soak the bar in water for 24 hours, pat dry, then weigh again and record the result. Subtract the rst weight (dry bar) from the secsec ond weight (water soaked bar) to get

needs.

Hardness Using a nail, see if you can scratch the surface to see how hard or soft it is at the red temperature. This test helps determine the surface durability at different temperatures.

the weight of the absorbed water. Divide the weight of the absorbed water by the original dry weight and move the decimal two places to the right to nd the absorption rate. Example: Original bar weight of  4.2 grams is subtracted from soaked bar weight of 4.6 grams giving you an absorbed water weight of .4 grams. Divide .4 by 4.2 which equals .095 making absorption 9.5%.

87

Building a Gas/Electric Kiln by Mel Jacobson

Finished Pieces: Nice reds, Shinos, and good body color achieved in ring.

T

88

o get a reducing atmosphere

that followed the Nils Lou method

in an electric kiln, one must

for creating one of these small gas/

add some type of reducing

electric hybrid kilns.

agent, such as gas. Normally, electric

Take an electric kiln completely

kilns are red in a neutral or oxidizoxidiz-

apart, and remove all elements,

ing atmosphere, and the elements

wires and switches. Drill a 1¼-inch

develop a somewhat protective coat-

hole in the center of the top and bot-

ing of oxidized alumina. During re-

tom (gure 1). Thoroughly clean the

duction, this coating reverts to the

kiln. While a vacuum cleaner works,

metal and the elements can get

using compressed air does a great

smaller, and layers of the element

 job, but because of the dust, work

can even spall. While elements can

outside and wear a mask (gure 2).

be reoxidized in subsequent rings,

New elements have a thin manufac-

both their efciency and life expecexpec-

turing lm on them so clean them

tancy are greatly reduced.

well in household bleach using a

To preserve metal elements, they

small brush. Rinse them well and

need to be protected from the kiln

hang to dry (gure 3). Mix 3 parts

atmosphere, and ITC (International

of ITC 213 with 1 part water in a

Technical Ceramics, Inc.) produces

blender. Estimate what you need,

a nonconductive coating that does

and make more if necessary or store

 just that. In the following photos,

excess in an airtight container (g(g-

Mel leads a hands-on demonstration

ure 4). Thoroughly coat the coils by

Electric Firing

dipping them. Use a sheet-rock mud pan or a 5-gallon bucket. Hang the

MATERIALS

coils up to dry (gure 5). Lightly

n

spray the inside of the kiln with water. This allows the ITC to form a more even coating (gure 6). Add 2 parts of ITC 100 to 1 part water and

n

mix thoroughly with a power mixer. The ITC settles fast so you will

Kiln—new or good used one (Note: I your kiln is under warranty, this procedure may void it Contact the manuacturer to check the details or your kiln) New electric elements (we ordered ours rom Euclids)

n

Bleach (household)

n

ITC 213 Ceramic Coating or Metals

n

ITC 100 Ceramic Coating

n

ITC 296A Ceramic Top Coating

n

Bunsen burner (Frey Scientic)

kiln with an even coat of about ¹/ 32

n

Propane hose and ttings

to ¹/16 inch thick (gure 8). After the

n

25 lb Propane cylinder (like the kind

have to keep agitating (stirring the bucket) as you work. It helps to have two people (gure 7). Using 90 l bs. of  pressure in the air compressor and a sandblaster/spray gun, spray the

ITC dries, install the coils; use origi-

used or a barbecue)

nal instructions that came with the kiln (gure 9). Reinstall and check

SUPPLIES

all Kiln Sitter parts. Reconnect all

n

5-gallon bucket

wires after you make sure all ttings

n

Glaze mixer

are tight and clean and the connec-

n

Blender

n

1¼-inch hole saw/drill bit

n

Compressor capable o 90 psi

n

Sandblasting gun and hose

tions have been sandpapered. Note the overspray that came out of the peep holes. This does no harm, but you can clean it off if you wish (g(g ure 10). Now spray the entire interiinteri or—coils and all—with a second coat

SOURCES

of ITC 100. Make sure it is all well

Reractory Coating

covered (gure 11). Buy a nice highheat Bunsen burner (propane). We used one from Frey Scientic (gure 12). Connect the hose to a 25-pound propane cylinder with a regulator. Fittings are available from gas sup-

ITC (International Technical Ceramics, Inc) Available at wwwaxnercom wwwaxnercom

Elements Euclid Elements (The Pottery Supply House) www wwweuclids euclidscom

pliers (gure 13). Load the kiln. To enhance air ow, and to promote even reduction, use half shelves and stagger them. Full shelves will sim-

Bunsen Burner Frey Scientic www wwwreyscienticcom

ply divert the ame to the outside edge of the kiln (gure 14).

89

Ceramic Arts Handbook

90

1

2

3

4

5

6

Electric Firing

7

8

9

CAUTION

10

11

OPTIONAL

To avoid having the reduc-

To obtain a higher degree of pu-

ing

leaking

rity when ring porcelain, jewjew -

out of the kiln and harm-

elry and other ne items, spray

ing electrical components,

the entire kiln with a coat of 

make sure you plug (with

ITC 296A Top Coat. To 2 parts

ITC) the holes where your

of ITC 296A, add 1 part water

element wires go to the

and mix well. Note: ITC 296A 

outside of the kiln. Allow

is applied AFTER ITC 100 has

the kiln to dry then re it

been applied and red.

atmosphere

to cone 08 or so.

91

Ceramic Arts Handbook

12

14

FIRING INSTRUCTIONS

TIPS

1 Fire with electricity only until you reach 1750ºF

1 Never coat old elements with wi th ITC It will not work Always buy new elements

2 Leaving the electricity on, turn on the gas, light and place Bunsen burner under kiln so that the fame goes up the hole in the bottom 3 Adjust the reducing atmosphere by partially covering the hole in the lid with a piece o kiln shel Move it until you get an inch or more fame rom the spy hole on the side o the kiln 4 Fire until KilnSitter trips and/or witwitness cones all all 5 Turn o the gas and electricity electricity Plug holes in top and bottom o kiln with Kaowool plugs 6 Optional: I ring a lot o copper reds, soak the kiln (when the kiln cools to 1750ºF) by turning the gas back on or about an hour 7 Allow kiln to cool completely (well, 250ºF anyway) beore opening WARNING: This kiln must be well ventilated!

92

13

2 Use a decent used kiln, not a beater b eater You want a clean, tight sot brick surace to coat with ITC 3 I the lid doesn’t t tight, make a gasket rom thin sheets o Kaowool 4 Place a piece o Kaowool over the hose under the kiln so it won’t be aected by the heat 5 Kiln shelves may also be coated with ITC 100 to improve resistance to defection (see photo below) below)

Electric Firing

An Anagama and an Electric Kiln by Daryn Lowman

Lowman likes to use organic qualities in conjunction with hard lines, or linear architecture, as shown in this stoneware platter, which is 17 inches square. The piece was initially wood red, then low-re glazes were brushed on, and it was rered in an electric kiln.

W

ood-red

ceramics

has

It has been years since my intro-

gained momentum in the

duction to kiln construction at the

United States, where the

University

of

Alaska

Fairbanks

ceramics department at any given

(UAF). The ceramics department

college or university not only boasts

there was an energizing place.

about the quality of its facilities in

People gathered there because pots

terms of the number of electric kilns

are social; they gathered because it

or the size of car kiln, but also the

was cold; but mostly they gathered

representative atmospheric kiln. The

because it was fun to make pots.

emergence of outdoor kilns—whethkilns—wheth-

 As happens when most individuals

er they are wood, salt or soda—in cece -

become entranced with the processes

ramics programs is continuing and

of making ceramics, wood ring has

these processes maintain an evolu-

a way of taking over all your time.

tionary course.

In graduate school this commitment

93

Ceramic Arts Handbook

Teapot, 9 inches in height, stoneware, with low-re glazes, wood red, by Daryn Lowman.

to a specic process can be absorbed,

including unmelted ash, uneven

but in life, time is gobbled up by so

temperatures within the kiln and in-

many tasks. Spending months stackstack -

effective ame patterns. That’s wood

ing wood, making work, loading and

ring for you.

ring kilns puts a lot of pressure on the work produced. When considering the quality of 

94

Sometimes pieces that don’t apap pear successful at rst can become the “desirables” upon later encoun-

wood ring, what is the standard

ters. Most often, however, the work

that establishes success? For me

that simply does not make the cut

a successful wood-red pot emits

will sit around and maybe nd its

a certain energy. It may be the ef-

way back into the tumultuous en-

fect of ferocious ames, heat and

vironment of ame and ash for an -

labor on the surface of a simple cof-

other go around.

fee cup, or the interior of a platter.

When I found it difcult to let go of 

However, there are pieces that this

the “undesirable” or wait for the next

labor-intensive process creates that

kiln load, I inadvertently began con-

have qualities that are not desirable

sidering the idea of continuing the

Electric Firing

process, but this time without ame

anagama and taking notice of the

and with a different application.

incredible layers of ash and color it

While in graduate school at the

becomes apparent that showing re-

University of Minnesota, I became

straint is sometimes the right deci-

increasingly

mid-

sion. In many cases, the drawings

century design and also the work

on the pots were enough of a sepa-

of English painter Ben Nicholson.

ration from the loose forms and the

His colors were straight out of the

active surface. However, there also

bucket, the lines crisp and clean,

re and ash were pieces on which  re

but also, the surface—referencing

had not sufciently left their marks,

weathering, touch and time—was

and these pieces forced me to con-

intriguing. The surfaces drew me

sider another layer.

interested

in

back to rural architecture and the

nd cercerIt became interesting to  nd

aging qualities of wood and paint;

tain lines and shapes drawn on the

surfaces that contained stories. In

surfaces, remaining intact and sus-

the evolution of developing form in

taining their crisp freshness. In oth-

my work, I looked toward Korean Yi

ers the drawings were intact, but

and Shilla Dynasty wares, American

only as a residual marking, subtle

folk pottery, and to landscapes of ru-

and ghostly.

ral Minnesota.

Taking these pieces back into the

Integrating these values of pro-

studio meant the process continued.

cess into my own work created many

I included another layer, created

prototypes and discoveries. Initially

using marks made by tiny brushes,

using soda/salt kilns to play with

and employing color from like con-

the mixture of temperatures and to

tainers of commercial glazes; a layer

create the rst melted layer of inin -

with a completely different sensibil-

formation, I quickly found that the

ity and touch than the pot had seen

glassy uniformity on these surfaces

thus far. In the electric kiln, earthy

did not develop the desired tensions

colors become more crisp, the Shinos

in textures.

richer and the commercial glazes

In formulating my work habits,

brighter! The wood-red pot that is

I used the soft, organic qualities

rered in an oxidized atmosphere

of clay, slip and glazes along with

still emits the energy of  ame and

crisp, hard lines drawn into the sur-

wood, but also is enhanced by the

face. In a sense, I began wrapping

oxygen-rich atmosphere.

the pots with a linear architecture,

The additional layer to this pro-

and utilizing iconographic drawings

cess allows the surfaces of old and

and shapes to break up the surface.

new, used and cherished to coexist.

Within the commitment to any

By combining retro with mingei and

idea or vision there exist levels of 

a touch of art deco with wabi-sabi,

restraint and thoughts of reconsid-

my intention has been to further

ering. In removing a pot from an

consider the nality of a work.

95

Converting an Electric Kiln for Wood Wood or Gas Firing by Bruce Bowers

Vase, 11 inches in height, thrown and altered stoneware, with Green Crackle Glaze, Orange and Black Slip, soda/wood red to cone 11.

96

Covered jar, 11 inches in height, thrown, altered and carved stoneware, with Green Crackle Glaze, soda/wood red to cone 11.

hose of us living in urban

T

When I taught at Hiram College

areas have limited access

in Hiram, Ohio, I could re my pots

to ring in a fuel-burning

in the college’s gas kiln. This al-

kiln, because stringent zoning and

lowed me to experience all of the

re regulations place severe limitalimita -

excitement, surprise and mystery

tions on our ability to build outdoor

of reduction ring. Later, when I

kilns near our homes. While many

moved to an urban area just outside

potters nd a community college or

of Washington, D.C., my only means

local ceramics organization that has

of ring of  ring was in an electric kiln, and

a gas or wood kiln, this situation of-

my work changed accordingly. Al-

ten means turning your work over to

though this held my interest for a

someone else who is in strict control

long time, I came to miss the ad-

of this crucial part of the creative

venture and the unexpected results

process. For more serious students,

that can come from ring in a fuel-

this situation can be less than satis-

burning kiln. Electric kilns are won-

factory, but easily remedied.

derful tools, but my creative needs

Electric Firing

Bowl, 6½ inches in diameter, thrown and altered stoneware, with Shino Glaze and Black Slip, soda/wood red to cone 11, by Bruce Bowers.

demanded another ring method. It

were beyond redemption. With en-

was frustrating to think that my op-

couragement from the pottery’s di-

tions were limited.

rector, we converted one of these old

I started teaching at Glen Echo

kilns to gas and added a stoke hole

Pottery in Maryland. I am able

for wood. The entire conversion took

to re in a gas kiln again, and we

about three hours. In my wildest

also rent various wood kilns in ru-

dreams, I never thought the nished

ral areas. After becoming absolutely

kiln would produce the results it has.

hooked on the wood-ring process,

We are able to get terri terric c ashing,

I began to think about how I could

ash buildup and, by adding a small

achieve some of the same effects on

amount of soda, a richness of surface

my own and with my students. students. As

that is usually reserved for pots pro-

it turned out, the answer was right

duced in large, wood-red kilns. As a

under my nose.

matter of fact, I just had a group of 

There were several old electric

pots red in a big three-chambered

kilns in storage that we thought

wood kiln and, when I put these side

97

Ceramic Arts Handbook

insulating firebrick chimney

6×6×1-inch firebrick damper

4½-inch-diameter 4½-inch-diameter fue 10×10×1-inch cover shel, centered 2 inches below fue peep hole

5-inch-diameter 5-inch-diameter burner port 1×10-inch strips o silicon carbide kiln shel layer o kiln-shel scraps and fiber insulation, coated with alumina hydrate

double-layer foor

stack o bricks under center o kiln foor or support

by side with my pots red in the concon -

Our classes run in six-week ses-

version kiln, I could hardly tell the

sions and we always re our converconver -

difference.

sion kiln on the last day of the course.

The kiln conversion was virtu-

Each student is assigned a 20-min20-min -

ally free. We used old silicon carbide

ute stoking shift, and the entire class

shelves (sometimes broken ones), old

observes and participates in each

posts and an existing propane burn-

phase of the ring. They cut and prepre -

er on a exible hose. Our only cost

pare the wood, prepare and stack the

was a few dollars for kiln wash and

kiln, re, re, and then unload and clean

clay to ll the old element grooves.

up. Students feel very much in touch

Further, the kiln operates very

with their nished pots, since they’ve

ciently, on less than 5 pounds ef ciently,

paid careful attention to each part of 

of propane pressure, so the cost per

the creative process.

ring is quite low. This is an easy classroom project

98

3-inch-diameter stoke hole

Converting the Kiln

that involves students in the actual

The bottom of the kiln was composed

sim ring process. To get started, a sim-

of two electric kiln bottoms sand-

ple ad placed in the newspaper or

wiched together. Broken shelves

a yer posted at your local pottery

were then installed on top of this

supplier could yield an old “beater”

and the chinks between the shelves

kiln just taking up room in some-

were lled with ber insulation. This

one’s garage.

entire oor was then liberally sprinsprin -

Electric Firing

kled with alumina hydrate. Makeshift hobs, made of broken silicon carbide kiln shelves, were placed on the oor and braced by brick fragfrag ments. These keep the wood above the oor of the kiln to allow better air circulation and, as a result, better combustion. The rebox, theretherefore, occupies the bottom 5 inches of the kiln. Both gas and wood are introduced through the rebox.  All elements and electrical components were removed from the kiln, and the element grooves were lled with a very open clay body, composed of 50% reclay and 50% sawdust by volume. Two holes were cut in the jacket and bricks, using a drill bit and a reciprocating saw. One hole is at six o’clock (burner port) and the other is at about one o’clock (stoke hole). A hole about 4 inches wide was cut in the lid, and a rudimentary chimney was made by placing four K23 insulating re

The burner or the conversion kiln is braced with brick on one side o the kiln, while the stoke hole or salt-soaked wood is on the other.

bricks on end to form an open rectangle. The outside of the lid and the

was coated with this same kiln-wash

area around the chimney were then

mixture.

ber insulainsulacovered with scraps of  ber

It is important to emphasize that

tion to inhibit excessive heat loss. A 

the shelves used in a kiln of this type

damper was made by simply placing

should not be full rounds. We used

two thin sections of insulating brick

sections of old broken silicon car-

on top of the chimney.

bide shelves, leaving plenty of room

 All shelves, and the tops and bottoms of all posts, were liberally coat-

for ame circulation around and up through the center of the setting.

ed with a high-alumina kiln wash of 

It is also very important to place

50 parts alumina hydrate, 25 parts

a “cover shelf” about 2 inches bebe -

silica and 25 parts EPK Kaolin. For

low the inside of the lid, above the

wadding, we used 50 parts alumina

stacked ware. This helps prevent a

hydrate and 50 parts EPK (all above

cold top section and also helps create

measurements are by weight). The

thorough circulation of the ame.

interior of the kiln, including the lid,

 A 9×9-inch piece of silicon carbide

99

Ceramic Arts Handbook

100

shelf works well. We were able to

Firing schedule

get a temperature differential of less

9 A.M. Open damper fully, turn gas

than one cone between the top and

to 1 pound of pressure and open pripri -

bottom of the kiln.

mary air ange to produce a short,

Gas and Wood

oxidizing ame.

Our kiln is red with propane gas

10 A.M. The rst blush of color

using a model S-22 atmospheric

is seen in the kiln atmosphere. The

 Venturi burner, made by the Hauck

damper is still fully open and the gas

Manufacturing Company in Leba-

is turned to 2.5 pounds of pressure.

non, Pennsylvania. A  exible hose

Primary air is opened slightly to

allows the burner to be used for our

continue with fully oxidizing ame.

conversion kiln as well as for our

11:30 A.M. cone 08 is down. The

main gas kiln. The converted kiln

damper is closed slightly. The gas

is red with gas pressure from one

pressure is turned up to about 4

pound to slightly over four pounds.

pounds. Primary air is cut back

The gas burner is augmented by

slightly. No blowback of  of ame at the

the inclusion of about 100 running

burner port is visible at any point in

feet of 1×2-inch pine (#2 pine). The

the ring cycle. (We have had our

wood is sawed into 1-foot lengths

best results when we forego a ame-

and soaked in a super-saturated so-

deecting brick inside of the burner

lution of 1 pound of soda bicarbonate

port.) A distinctly orange ame

(baking soda) and one pound of so-

about 6 inches long is consistently

dium carbonate (soda ash) for about

visible at the damper during this

ve days. By slowly adding these two

stage of clay body reduction. There

chemicals to boiling water, it is easy

is also slight backpressure at the

to create a super-saturated solution.

bottom stoke hole and a lazy, hazy

The wood is then dried in the sun.

ame is traveling throughout the

When done properly, a thin white

kiln. No smoke is visible.

residue will be visible on the surface

12:30 P.M. The damper is almost

of the boards. This technique allows

fully open. Gas pressure is turned

the soda to be introduced very slowly

up to slightly less than 5 pounds.

and to naturally follow the direction

Primary air is opened a bit to cre-

of the ame and ash.

ate a neutral atmosphere. A short

 Also, 8 ounces (total) of fully satusatu-

ame is visible at the damper (light

rated salt water is sprayed onto the

orange with a slight greenish tinge).

last 25 lengths of wood, to be stoked

 At this point, wood is added, one

after cone 9 is bending. This helps

piece at a time, through the stoke

prevent totally dry areas on the pots.

hole. This activity immediately cre-

Electric Firing

ates a reducing atmosphere and the

P.M., the same stoking frequency

stoke hole is quickly plugged with a

is maintained, but 8 ounces of fully

piece of soft brick after each addi-

saturated salt water is sprayed, us-

tion of wood. Pine burns with a long,

ing a plant mister, directly onto the

somewhat lazy ame and its effects

pine just before stoking. This is re-

are immediately apparent in the

peated with each stoke cycle using

kiln atmosphere. The kiln is allowed

only a small volume of the solution

to clear completely to neutral before

each time. The water vapor and the

the next stoking. Cone 2 is reached

burning wood help distribute the

at about 1 P.M.

salt along the path of the ame. Due

1:30 P.M. cone 8 is just starting to

to the high vapor pressure of salt, it

bend. From this point on, we make

migrates throughout the kiln very

virtually no adjustments to the gas

well. At 4:30, cone 10 is down and

pressure, the damper setting or the

the main propane tank is turned off,

amount of primary air. We are sim-

the line to the burner is bled and the

ply ring with a neutral atmosphere

kiln is closed.

(as far as the gas is concerned), and

The temperature climb slows quite

are falling into a pattern of alter-

a bit during the last two hours. It is

nating neutral and reducing atmo-

very easy to get to cone 8, but harder

spheres similar to those that one

to get to cones 9 and 10. This is parpar -

would achieve in a normal wood-red

tially due to the increase in stoking

kiln. Stoking of the soda-soaked (but

and the accompanying reduction. It

dried) pine is increased to two pieces

is also the result of ring in a kiln

at a time. A moderate orange ame

that was originally rated for cone

appears at the damper after each

6–8. We are, therefore, pushing

stoking. After letting the kiln atmo-

the insulating properties of the re-

sphere clear for about ve minutes,

fractory bricks and are losing a lot

we repeat the process.

of heat through the walls and lid.

2:30–4:30 P.M. All settings remain

We estimate that, with proper care

the same, except stoking increases

and religious kiln washing, this kiln

to the rate of three pieces of pine

should be able to withstand about 40

about every ve to seven minutes.

rings. Luckily, we have a few more

This creates moderately heavy re-

abandoned kilns waiting for conver-

duction with no smoke but with a

sion and several offers of future do-

strong orange ame about 12 inches

nations. For people who love wood

high at the damper. The kiln clears

ring, but don’t have ready access to

to neutral and then is stoked again.

a wood kiln, this project is a wonder-

cone 9 is down by 3 P.M. After 3

ful adventure.

101

Ceramic Arts Handbook

Recipes In our conversion kiln, we have our best results with light-colored, low-iron stoneware clay bodies Porcelain also works very well, and can yield very handsome carbon trapping when hit directly by the soda We nd that higher-iron bodies tend to look muddy and exhibit very little fashing, unless covered with a white slip

Orange Slip

Shino Glaze

Cone 10

Cone 10

Kentu entuck ckyy OM 4 Ball Ball Clay Clay        420 420 %

Soda Ash                   

Avery Kaolin                 420 Borax                      54 Zircopax                    106 1000 %

Nepheline Syenite             Soda Feldspar                Spodumene                  Ball Clay                    EPK Kaolin                 

This slip fashes nicely on light clay bodies and produces color in the orange, red and tan range It needs some soda or salt to look its best Apply to leather-hard clay or bisqueware bisqueware

40 % 450 184 15 1 5 2 150 2 4 1000 %

This bleaches to a warm o-white when hit by soda or salt It can be enhanced by siting mixed hardwood ash over the damp glaze

Shino Slip Cone 10

Soda Ash                    32 % Nepheline Syenite             360 Soda Feldspar                86 Spodumene                  12 1 2 2 Avery Kaolin                 280 Kentu entuck ckyy OM OM 4 Ball Ball Clay Clay        120 1000 % This fashes well on light-colored clay bodies, and produces colors in the white, tan and pink range Apply to leather-hard clay or thinly t o bisqueware

Black Slip Alberta Slip                  606 % Kentu entuck ckyy OM 4 Ball Ball Clay Clay        227 227 Chrome Oxide                75 Cobalt Carbonate             42 Red Iron Oxide               50 1000 % This is an excellent decorating slip or brush work over bare clay or the Orange or Shino Slips above It is very dark and looks best when used sparingly Apply to leather-hard clay or thinly to bisqueware bisqueware

Green Crackle Glaze Cone 10

Barium Carbonate             42 % Whiting                     130 Custer Feldspar               518 EPK Kaolin                  42 Yellow Ocher                 42 Silica                      226 1000 % Add: Bentonite               20 % Epsom Salt              11 % Mix Epsom salt in water beore adding other materials This is a dark waxy celadon that turns brilliant blue green when hit directly by heavy soda or salt

Hamada Glaze Cone 10

Red Iron Oxide              

89 %

Whiting Zinc Oxide                   Custer Feldspar               EPK Kaolin                  Silica                      

155 2 0 411 120 22006 1000 %

Add: Bentonite              

16 %

This glaze ranges rom dark brown to black when used as a liner, and turns a runny amber when used on the exterior and directly hit by the soda

102

Electric Firing

Ten Basics of Firing by Bill Jones

1

F

iring is the most critical part of the ceramics process because it is the one thing that

makes clay durable, hence ceramic. Here are some of the principles of  ring and getting the best results

2

with electric kilns.

From Mud to Ceramic Firing converts ceramic work from weak clay into a strong, durable, crystalline glasslike form. Ceramic work is typically red twice: it is bisque red and then glaze red. The goal of bisque ring is to concon vert greenware to a durable, semivitried porous stage where it can be safely handled during the glazing and decorating process. It also burns out carbonaceous materials (organic

n

materials in the clay, paper, etc.).  As the temperature in a kiln rises, many changes take place in the clay. The Firing Chart (page 135) shows what happens to clay as it heats up.

convection–heat rising through the air (2)

n

radiation–heat emanating from all the kiln elements (3). Electricity passing through coiled

heating elements (made especially

More Science

for high temperatures) generates

Heat in an electric kiln is transferred

radiant heat, which rises and is ab-

in three ways (gure 1):

sorbed by everything in the kiln.

n

conduction–heat transferred through physical contact (1)

103

Ceramic Arts Handbook

3

made from various oxide mixtures and bend at known temperatures (gure 2). In general, the following cones are used in the pottery studio: bisque re (cone 08–05), low re (cone 06–04), mid-range (cone 4–7) and high re (cone 8–10).

Using Cones Cones are used in every ring. Typically, a three-cone system (either

4

large or self-supporting), consisting of a guide cone that is one cone below the target temperature, the ring cone and a guard cone (g(g ure 3) provides the best informainformation about the ring. Bar cones and small cones are used in a properly adjusted Kiln-Sitter®, an automatic shut-off device (gure 4). While the three large cones are not required

How Hot  All cl ays and glazes are formulated to mature at certain temperatures. Firing clay too high can cause it to

for kilns equipped with a KilnSitter or an automatic controller, they do provide a second point of reference for how a kiln is operating.

deform or even melt, too low and it

Get Ready

will not be durable. Firing glazes too

Before ring any kiln, vacuum it

high can cause run-off on the pot, too

out if necessary—bottom, sides, eleele -

low and they will be dry and rough.

ment channels and lid. Check the el-

To re to the right temperature, pypy rometric cones are used. Cones are

4

104

Electric Firing

5

6

7

ements for breaks, and chisel off any

couple and KilnSitter (gure 6). UnUn-

glaze drips on the shelves. Visually

glazed pieces may touch each other.

Kiln Controllers

check the electrical cords and con-

Place a small cone in the KilnSit -

Many electric kilns are now

nections. Make any repairs required

ter and/or a cone pad on the middle

equipped with kiln controllers

(see owners manual or call your lo-

shelf. Fire to cone 08–05, depending

cal supplier for service).

on the type of clay and amount of po-

Kiln Furniture

rosity you want for glazing.

 An assortment of kiln furniture (g(g-

The Bisque Fire

Kiln controllers use a signal rom a thermocouple (a sensing device that detects tempertemp erature) that’s located in the kiln

ure 5) is needed to hold and support

During the bisque ring a lot of damdam -

ware during a ring. Furniture concon-

age can take place. Thicker pieces

sists of shelves, posts, stilts and tile

with moisture or air bubbles create

setters made from refractory mate-

the biggest problem. Clay needs to

rials. Kiln furniture is designed to

dry evenly through its entire thick-

program that tells the relays to

withstand the repeated heating and

ness. If the outside dries faster, it

turn on or o r o The relays control

cooling to high temperatures with-

seals off the escape route for the inte-

current going to the elements

out deforming.

rior moisture. The interior moisture

Controllers take the guesswork

The Bisque Load

turns to steam and forces its way

out o when and how high to

Loading a bisque kiln is a fairly sim-

out (explodes) during the bisque.

turn up the heat on the kiln

ple task, but there are some basic

To avoid this, start off slowly when

rules. Fire full loads to take advan-

ring a bisque kiln. Turn on one elel -

tage of conduction heating and also

ement to low. If you do not have a

save electricity. All work should be

downdraft exhaust system, prop the

bone dry . If the work is cool or cold to

lid open, take the peephole plugs

the touch, it is not bone dry. Handle

out and keep the temperature below

set programs, or you can even

all work very carefully because it is

212°F until all the moisture is gone.

easily input programs to adjust

extremely fragile at this stage. Place

Close the lid and check for moisture

to special ring requirements

the bottom shelf on 1-inch stilts to

(hold a mirror or piece of glass up to

aid circulation, and keep ware 1 inch

the top peephole to see if it fogs up).

away from elements, walls, thermo-

Turn on all elements to low for at

When the controller senses the temperature, it compares this inormation with a computer

Because they are accurate accurate at sensing temperature, they are more ecient than manuallyred kilns kilns They come with pre-

105

Ceramic Arts Handbook

least an hour then to medium for an

Saety

hour before turning all elements on

Firing is a potentially hazardous hazardo us activity and all students must obey saety rul es to

to high. The ring is done when the

avoid injury Instructors must read and understand all the saety inormation that

ring cone falls.

came with the kiln, and assure that the kiln is proper ly installed and maintained I

The Glaze Fire

a manual is not available, many companies post them onlin e or you can request a replacement copy rom the manuacturer For operating the kiln, students must: n

Turn o kiln prior to loading or unloading Disconnect the kiln or any servicing or when kiln is not in use

 Vacuum the kiln, especially if any pieces exploded during the bisque. When ring glazed pieces, make sure there is a thin coating of kiln wash (available from suppliers) on the

n

Do not touch heating elements with anything since they carry high voltage

shelves (gure 7). You do not need

n

Do not place any combustibles within 12 inches o any surace o the kiln

a fresh coat for each ring, but any

n

Do not leave kiln unattended while ring

bare spots should be coated. Built-

n

n

n

n

n

n

n

n

n

n

n

n

Never look into a hot kiln without properly tinted saety glasses (eg, welder’s glasses) Sunglasses only block ultraviolet light Make sure the ventilation system is working properly

up kiln wash becomes bumpy and should be cleaned off with a chisel.  All glazed pieces must be checked checked to make sure there is no glaze touch-

Never add extra insulation around a kiln to conserve energy Extra insulation can cause the wiring and the steel case to overheat

ing the shelf. Coat with wax at least

Remove all tripping hazards Keep the power cord out o the way

Sort work by height and place on

Do not re with cracked shelves They can break during ring, which could damage the ware inside the kiln Store kiln shelves in a dry area I you smell burning plastic, turn the kiln o Examine the wall outlet and power cord or signs o burning Never wear loose-tting clothing around a hot kiln

½inch from the bottom of the piece. shelves with a minimum of ½ inch between pieces and 1 inch from the walls, elements and KilnSitter. Turn the kiln on low for about an hour and then medium for about an hour before turning on to high. The

Do not open a kiln until it has cooled to room temperature Pots may break rom thermal shock

higher the cone you are going to, the

Keep the kiln closed when not in use, and never place anything on the kiln lid, even when the kiln is idle—you may orget

What’ss That Smell? What’

Always keep unsupervised children away rom the kiln

their chemistry when red. Carbon-

Do not place any objects under or around the kiln stand Blocking airfow changes the kiln’s heating characteristics

aceous materials burn out between

Remove all fammable materials rom the kiln room

als in electric and gas kilns produces

longer it will take to re.

Clay and ceramic materials change

500°F–1450°F. Firing clay materimatericarbon

monoxide,

formaldehyde,

sulfur dioxide gases and more. Some of the byproducts are harmful so vent kilns to the outside. A downdraft vent system works best, but an updraft or crossdraft system is better than nothing. All kilns must be vented to the outdoors.

106

Electric Firing

Kiln Checkup by Bill Jones

ith the beginning of fall,

W

ing pyrometric cones on the shelf.

ceramic activities reach a

For kilns with a Dawson KilnSitter,

heightened pace: schools

inspect and clean the tube assembly

are back in session, art centers are

and replace the sensing rod if worn,

gearing up and studios are moving

then calibrate the weight and claw

into full production for the holiday

adjustment. For computer control-

season. Jeopardizing your ring

lers, check thermocouple screw con-

schedule due to a preventable prob-

nections at the porcelain block.

lem will provide you with a regret-

Switches and Relays

table head-slapping “doh” moment. Since wear and tear on a kiln is asas sociated more with the level of use rather than any span of time, a yearly checkup is the least you can do to set your mind at ease. If you’re ring more than a few times a month, more frequent checkups are necessary.

Basically, there are two types of kiln controllers used to control the temperature in a kiln. Kilns with kiln sitters use switches and those with controllers use relays. Since it’s dif cult to predict when a switch will need to be replaced, always keep a spare on hand. For relays, they

Temperature Control Devices

need to be replaced every year un-

Temperature control devices are one

der heavy use, and less often for

of the most important parts of the

lighter use. Inspect connections and

kiln. While no kiln should be red

tighten screws that hold the tabs.

unattended, assurance that your

If the connectors are loose, replace

control devices are in good working

them, do not pinch them to make

order should be a top priority. Always

them tighter as this can distort the

monitor your kiln’s accuracy by us-

contact area.

107

Ceramic Arts Handbook

Plug and Receptacle

Bands and Lid

Check the plug and receptacle. If the

Inspect the stainless steel bands

prongs are bright brass color, you’re

that compress the bricks in your

in good shape. If they appear brown

kiln. Tighten the hose clamp connec-

or black, have a qualied electrician

tors at least once a year. This will

replace both the plug and receptacle.

prevent excessive movement of the

Elements Brick dust and glaze particles can settle in the element grooves causing elements to wear out faster. Vacuum the elements before each ring to increase their lifespan. As elements wear, rings take longer and eventueventu ally your kiln will stall out. Keeping a log of how long it takes to re a kiln will provide an indication of element wear. When replacing elements, replace all of them at once.

bricks against each other as the kiln expands and contracts with heating and cooling. Also, check that the lid mounting screws are snug but be careful since the threads will strip if  overtightened.

Need Maintenance Inormation? For maintenance, begin with your owners manual. Since these have often been lost or misplaced, you’ll be able to nd help on the websites of the kiln manufacturers. Many of  them have owner’s manuals that are

Venting System

downloadable in PDF format, and

Test downdraft venting systems by

using the search functions on their

holding a match or stick of incense

sites will get you where you need to

 just above the intake holes in the

go. If you can’t nd what you need

lid. The smoke or ame should be

by searching, contact the manufac-

drawn down through the holes. If it

turer by email and be sure to include

isn’t, then there may be a problem

the make and model number of your

with the ductwork or the vent itself.

kiln, along with any other identify-

Inspect the ductwork for possible

ing information such as the type of 

leaks or obstructions, especially if 

KilnSitter or controller. Many times,

you smell fumes during the ring.

you’ll nd the personnel at your local

Patch any leaks with duct tape.

ceramics supply store are capable of  diagnosing, maintaining and repairing any type of kiln.

108

The Oxidation Reverberation by Jayne Shatz

Electric Firing    d    r    a    h    c    n    a    l    b    y    e    l    n    a    t    s   :    s    o    t    o    h    p

 A 

society’s identity is distinguished by its art. The po litical, economical and envi-

ronmental climate inuences daily life. Consequently, the artistic milieu of a culture is echoed through the shared thoughts and visions of  its people embracing the arts. I embarked upon my career dur“Barcelona,” 4 eet in height, porcelain, with Clear, Blue Matt, Costello Carbonate and Rutile Matt glazes.

ing a time of tumultuous dissent. It was the early 1970s and the U.S. was embroiled in Vietnam. Everyone was protesting something. All the rules were changing, and I was striving to grow up. I moved into a commune with three people I had met at the State University of New York at Albany and began my long love affair with clay. We built an 80-cu80-cu bic-foot gas kiln, furnished a studio

thing changed. In October of 1973,

and enthusiastically launched the

the Organization of the Petroleum

Kilnhaus Pottery. We sold cone 10

Exporting Countries (OPEC) stopped

reduction-red stoneware and porpor-

exporting oil to the United States

celain from home, from a shopping

and other Western nations. Gasoline

mall gallery, as well as wholesale.

prices quadrupled. One week during

We were making a living, and living

the crisis, up to 20% of the country’s

off our art!

gas stations had no fuel.

When we were students, our uni-

My friends and I were middle-

versity had wonderful equipment

class baby boomers from Long Island

and funding. We turned the burners

and Queens. We came from com-

on and out came gas! Then every-

fortable homes, never experiencing

109

Ceramic Arts Handbook

craft and sought additional means of nancial support. We opened our studio to the public and held classes. The increased exposure to the community elevated our pottery sales and

Kilnhaus

Pottery

remained

successful. When I moved into the city in 1976, I was forced to “go electric. ” At that time, my contemporaries looked down on electric kilns and oxidation glazes. After all, we were hurlyburly, brick-and-burner, reductionred gas guzzlers! But all that was changing. I had to make my way in a strange new world. Having built three large outdoor brick kilns, I felt I was committing a despicable act by purchasing an electric kiln. It was

“Zen Plate,” 22 inches in height, stoneware, with Matt Black and Blue Matt glazes.

stainless steel, shiny and t into a corner of my basement studio. I had no clay bodies, glazes or low-temperature experience. I bought this kiln “need,” but the energy crisis ltered

because it had the potential of  of  ring

down into almost everything we did.

up to cone 10. But I soon asked mymy -

Thermostats plummeted, roadway

self, “Why bother ring up to cone

speed limits were lowered and small

10 when cone 6 would be more cost

economy cars were produced by the

effective?” After all, it wasn’t the

automobile industry. The cost of pro-

temperature range that was so cat-

pane for ring our kiln skyrocketed.

aclysmic; it was the fact that I was

Gasoline prices made travel prob-

switching over from reduction to oxi-

lematic, and we became very selec-

dation. That was the whole ballgame.

tive of the shows in which we par-

Ultimately, I committed to working

ticipated. We made crucial decisions

at cone 6 in oxidation, and recreat-

about heating a large studio during

ing the glazes I was accustomed to

nonworking hours. We had clays and

using at cone 10 in reduction.

glazes that would freeze during the

110

I surveyed this problem in it s most

harsh winters, so we moved them

rudimentary

into our house at night and brought

speaking, a reduction clay body de-

them back into the studio the next

velops its toasty warm color when the

day. Fortunately, we were young and

oxygen entering the kiln is reduced

strong. We continued working in our

by closing down the kiln’s dampers.

components.

Simply

Electric Firing

“Pedestal Bowl,” 12 inches in height, stoneware, Glossy Black over Blue Matt glaze. This reduction of oxygen and in-

By the time I started on adjusting

crease in carbon creates the autum-

my porcelain, I was quite knowledge-

nal colors of reduction stoneware.

able about cone 6 oxidation chemi-

I read everything I could on clay

cals and atmospheric conditions.

bodies and clay chemistry. I nally

However, trying to learn about mid-

developed a cone 6 clay body that was

range porcelain was like beating my

rich in iron and would develop into a

head against a stone wall. No one

toasty warm color in oxidation.

knew anything about it. There was

Then I began bringing down the

very little information. I felt as if I

melting temperatures of my glazes

were back in the ninth century, try-

to cone 6. I delved further into chem-

ing to sieze the precious secret of the

istry, learning the various effects ox-

Chinese porcelains!

ides produced in an oxidizing atmo-

Painstakingly, I developed a white

sphere. Very slowly, and with many

porcelain clay body with which I was

glaze tests, I began to obtain the col-

satised. It was not translucent, but

ors I was seeking. My rst success

that was not a quality I was pursu-

was to duplicate an iron saturated

ing. Because of this characteristic,

glaze from my college days, Ketchup

and

Red. I then continued down my pal-

there is some debate over whether

ette of glazes. This process took two

or not it is truly porcelain. For me,

years. I continued selling pottery

it is a clay body that is beautifully

during this time, which meant that,

white, dense, nonbrittle and throws

for a long time, I was working with

fantastically.

only one glaze. Fortunately, people

bentonite, enabling it to be plastic

were buying my pots.

and very strong. It even can be once

the

midrange

The

temperature,

body

contains

111

Ceramic Arts Handbook

Robineau. If you look closely at that pot, the pooled areas are a lovely soft blue. This realization hit me like a thunderbolt! What I should have done so many years ago was research the glazes of American Art Pottery. Ironically, many of those potteries worked in oxidation. The answers were there; I just didn’t know where to look. I discovered that, by layering glazes, I could achieve certain cone 10 reduction effects. I learned to work with base glazes, varying the oxides to make additional glazes. The

“Alligator Plate,” 12 inches, stoneware, with Matt Black, Costello Carbonate and Alligator Green glazes.

years

progressed

and

it

seemed the entire country was ring electric. Kilns got better, clay and glaze recipes lled books and publipubli cations, and the Internet was born. Oxidation ring in American ceramceramics ourished. Developing a cone 6 palette was an enormous struggle, but I learned

112

red. I found out years after I develdevel-

a great deal about clay and glazes. I

oped the body that my clay distribu-

extended that knowledge into a life-

tor believed it to be one of the best

time of teaching and have derived

slip-casting bodies he had ever used.

great pleasure in sharing my reci-

It is now used by several tile and

pes. During my thirty-odd years in

slip-casting companies for industry.

clay, wonderful people have shared

I can be very casual with it, due to

with me their time, glazes, studios

its plasticity and strength, and it is

and hearts.

fabulous for large sculptural pieces.

Just as majolica was born out of 

With the addition of sand, it becomes

Europe’s quest for Chinese porce-

an excellent white raku body.

lain, America’s energy crisis birthed

 After much work, I produced a

a method that has made an indelible

wonderful clear glaze for my porce-

mark on the landscape of contempo-

lain. It was very clean on the surface

rary ceramics. This voyage reinforc-

and pooled into crevices, where it

es our responsibility as ceramists to

transformed into a lovely robin’s egg

broaden the American ceramics tra-

blue. It reminded me of the beauti-

dition and preserve its voice in the

ful “Scarab Vase” by Adelaide Alsop

vast continuum of ceramics history.

Electric Firing

Recipes Shatz Stoneware Cone 6

AP Green Fire Clay            Ceda Cedarr Heig Height htss Reda Redart rt          Jordan Clay                  Tenne enness ssee ee Ball Ball Clay Clay #5         Silica

250 % 60 60 400 210 210 80 1000 %

Add: Burnt Umber            

40 %

Gorgeous, dark chocolate brown An excellent throwing body body

“Goblet,” 12 inches in height, stoneware, with Ketchup Red under Glossy Black to create a hare’s ur pattern, by Jayne Shatz.

Shatz Porcelain Cone 6

Nephe pheline ine Syenit nite             260 % EPK Kaolin                  380 Jackson Ball Clay              100 Silica                       22660 1000 % Add: Bentonite               40 % Fantastic strong body, good or large-scale work It is not translucent, but is excellent or throwing Add white sand or a raku body

Rutile Matt Cone 6

Blue Matt Cone 6

Dolomite                    72 % Gerstley Borate               113 Talc                       139 Nepheline Syenite             391 EPK Kaolin                  95 Silica                       11990 1000 % Add: Cobalt Carbonate         10 % Cobalt Oxide             10 % Rutile                  60 %

Whiting                     200 % Nepheline Syenite             560

Ketchup Red

EPK Kaolin                 180 Silica 60 1000 % Add: Rutile                  70 % Zinc Oxide               90 %

Gerstley Borate               310 % Talc                        140

A beautiul, sot, tan matt, this glaze pools creamy white where thick

Cone 6

Custer Feldspar               200 EPK Kaolin                  50 Silica                       33000 1000 % Add: Add: Spa Spanis nishh Red Red Iron Iron Oxide Oxide     150 150 %

113

Ceramic Arts Handbook

Recipes Glossy Black

Clear Base Glaze

Cone 6

Cone 6

Gerstley Borate               107 % Whiting                     55 Custer Feldspar               789 EPK Kaolin                 49 1000 % Add: dd: Coba obalt Oxide ide            21 % Copp Copper er Carb Carbon onat atee       41 41 % Manga angane nesse Diox Dioxid ide e       41 % Rich black with silvery highlights where thick For hare’s ur pattern, layer over Ketchup Red

Barium Carbonate            87 % Gerstley Borate              250 Whiting                    87 Custer Feldspar               380 Silica                      196 1000 % Add: Bentonite              87 %

Glossy White (great liner glaze)  Zircopax                130 %

 Apple Green Green Celadon  Coppe pper Carbona bonatte       

Matt Black

 Jade Green  Green  Coppe pper Carbona bonatte       

Cone 6

Barium Carbonate             184 Gerstley Borate              80 Custer Feldspar               368 Barnard Clay                184 EPK Kaolin                  92 Silica                      92 1000 Add: Cobalt Oxide             23 Copper Oxide            34 Iron O x i d e               23 Zinc Oxide               92

%

32 %

Costello Carbonate Cone 6

% % % % %

Alligator Green Cone 6

Barium Carbonate             76 % Gerstley Borate               185 Talc                        6 65 W h i t i n g                     21 Custer Feldspar               413 Silica                       240 1000 % Add: Add: Coppe opperr Carb Carbon onat ate e        68 % Zinc Oxide               87 % Zircopax                869 869 %

114

10 %

Barium Carbonate            60 % Gerstley Borate               200 Whiting                   20 Custer Feldspar               450 Tennessee Ball Clay            20 S i l i c a                       250 1000 % Add: Add: Copp Copper er Carb Carbon onat ate e        60 60 % This is beautiul when used with Rutile Matt as a decorative addition

Electric Firing

Color Color and Text Texture ure by Jonathan Kaplan

olor and texture in cone 6

C

any glaze along with other

glazes are the result of three

ceramic

variables: First, selecting

small, suspended crystals in

proper glazes; second, learning how

the glaze when cooled in a con-

to layer and combine different glaz-

trolled manner.

es by pouring, dipping and spraying; and third, using a controlled cooling cycle to further enhance the color and texture. This slow cooling not only creates a visual dialog in thick and thin areas of glaze application, but also helps with the crystallization of certain materials, which adds depth and interest to the glaze.

materials,

form

Glaze Application I spray or dip glazes over each other. My experience is that no single glaze can provide a visually interesting surface in an electric kiln, although there may certainly be exceptions. My layering technique allows the many differing glaze materials to

Glaze Selection

combine and melt in unique ways

With so many cone 6 glazes, how do

providing a visually interesting sur-

you know which glazes will work for

face with depth. All of this is caused

you? It’s impossible to look at a writ-

by the interactions of multiple mate-

ten glaze formula and know how it

rials applied over each other. Apply-

will look when it’s red and cooled.

ing glazes over textures in the clay

However, there are some things to

allows the melted glaze to pool. A 

look for that may provide some in-

thicker concentration of glaze mate-

sight as to the surface texture. I

rials in these areas yields different

like to use glazes that have a strong

areas of color.

presence of calcium, provided by

When mixing and testing glazes

whiting and wollastonite in the for-

for future use on your pottery, it is

mula. Dolomite, which is a combina-

useful to try different methods of 

tion in equal parts of both calcium

combining glazes. For example, if 

and magnesium is also very helpful.

you mix up a few small test batches

“Vase with Circular Attributes and Stand” 15 inches in height, with Edgy Green glaze. This glaze contains barium, which helps in the ormation o small suspended crystals giving it a satin matt nish.

NOTE  Always test new glazes before committing them to your nished work!

These materials, when included in

115

Ceramic Arts Handbook

Recipes PV Base Cone 6

Gerstl rstleey Borate           30 300 % Whiting 100 PV Clay                 15 150 Custe usterr Fe Feldspar           350 Silica                   100 1000 %

Black liner glaze  Add:M Add:Mason 6600          60 % An excellent gloss base Spray or dip over Blue/Green/Purple This This glaze is very receptive to commercial stains Again, with encapsulated stains, an opacier is not necessary necessary I a more opaque surace is desired, add between 6–10% opacier such as Zircopax

VC Glaze Cone 6

Whiting                 Gerst rstley Borate           Titan itaniu ium m Diox Dioxid idee          Nephe epheliline ne Syen Syenit itee         Kaolin                  Silica                  

6 69 % 11 116 69 69 468 468 139 139 1000 %

Blue/Green/Purple variation  Add: Add: Cobal obaltt Oxide xide        11 11% An excellent base glaze to spray or dip other glazes on top

Edgy Green Cone 6

Bari Barium um Carbo arbona nate te        15 156 % Gerst rstley Borate           10 104 Wollastonite             15 156 Nephe epheliline ne Syen Syenit itee         397 397 Kaolin                  104 S i l i c a                   83 1000 % Add: Black Black Copper Copper Oxide Oxide   31 %

116

“Disk Vase,” 18 inches in height, with Blue/ Green/Purple Green/Purple variation o VC Glaze with PV Black sprayed over. The detail shows the cooling crystals that developed during a controlled slow cooling.

of different glazes, try dipping one

have a single zone kiln and wish to

glaze over the other on the top rim

try to even out the ring from top

of your test tile. Then reverse the

to bottom. With the introduction

order. For instance, if you dip glaze

of multiple zone controls on many

 A over glaze B, then do another tile

of the new kilns, a soak at the end

with glaze B dipped over glaze A.

Firing Most glazes have a range of several cones. I re my cone 6 glazes to cone 7 using a programmable controller with the following heating and cooling cycle:

1st 1st segm segmen entt        50°F/ 50°F/ho hour ur to to 220° 220°FF 2nd se segment         250°F/hour to 2167°F 3rd se segment         150°F/hour to 1500°F

is not really necessary. If you don’t have a computer-controlled kiln, use the innite switches to “re down” the kiln. With the addition of a pyrometer and a decent thermocouple, you can achieve a reasonable controlled cooling cycle.

Record Keeping Keep accurate records so you can rere peat pleasing results. In an electric kiln this is easy, especially if it is

I have found that this provides a

equipped with a programmable con-

better melt and allows a good min min--

troller. There is no substitute for ex-

gling of the many layers of glaze. It’s

perimenting. It takes time and per-

necessary to experiment and test

sistence to achieve the surfaces that

your glazes to determine their range.

are pleasing to you. No one glaze or

Using kiln wash on the shelves or

method will work. It is a combina-

stilts under your ware is a necessity!

tion of glazes and applications, fol-

 You can program a “hold” into the

lowed by the proper ring with a

end of the second segment if you

controlled cooling cycle.

Designing with Wax Resist Resist

Electric Firing

by Marj Peeler

Round pot, white low-re clay with wax-resist design, red to cone 05. laze and wax don’t mix— 

G

brushes—a brush with long, narrow

how fortunate for potters!

bristles that works well for painting

Wax resist serves a variety

thin lines, and others of varying size

of practical purposes—from keeping

and thickness, depending on your

the bottom of a pot from sticking to

design and the size of the lines.

the kiln shelf to allowing you to re

 Your design can be simple, com-

the bottom and lid of a covered pot

plex, abstract or realistic, all de-

together—anywhere you want to rere-

pending on your ability, inspiration

pel glaze.

and the surface you’re covering (g(g -

 You can use wax resist for artistic

ure 2). The geometric design used

purposes, too. Some potters like to

for this project was based on a circle

splatter wax on the bisque before dip-

divided into eight equal parts. You’ll

ping it into the glaze, hoping an ap-

improve your chance of success by

pealing, free form design will emerge

planning and sketching before plac-

from the kiln. Others like to use a

ing your design on the pot.

well-thought-out design when deco-

Place your pot on a banding wheel

rating with wax resist. This process

and carefully draw your design with

will leave bare clay lines contrasting

a pencil (gure 3). The pencil lines

with the glazed areas, which can be

will burn out during ring. Divide

spectacular with the right combina-

the design into eight parts and draw

tion of clay and glaze color. The range

lines from the center to each of the

of designs is practically unlimited.

eight points. Draw in the other lines

The Process

needed to complete the design.

 You’ll need a few basic materials to

Slowly and carefully, using the

place the design on the pot (gure 1).

narrow pointed brush, paint the wax

Since wax resist that’s clear when

resist over the pencil lines (gure

dry is hard to see when applied to

4). You may need some practice to

bisque, add a few drops of food color-

gain control over this technique. Try

ing to the wax to help solve this prob-

working on some blank paper before

lem. You’ll also need a selection of 

attempting it on the pot.

117

Ceramic Arts Handbook

TIP

TIP

 You can use hot water and

If small particles of glaze ad-

liquid soap to remove most of 

here to the waxed areas, care-

the wax from your brushes.

fully remove them using the

I’ve found that using a little

end of a wooden tool or tooth-

lacquer thinner on the brush

pick. You might try using a Q-

after washing it in water re-

Tip to clean these areas. I usu-

moves any remaining residue.

ally wet the cotton tip slightly when doing this step.

1

A sample o the materials needed or the waxresist technique.

Plan and sketch your design beore starting a project.

3

Using a banding wheel, draw the design on the pot with a pencil.

118

2

4

Careully cover the pencil lines with the wax resist.

Electric Firing

 After the wax resist has dried, apply the glaze by dipping, brushing or spraying. You may need to apply several coats to obtain the correct thickness for the glaze surface, depending on the density of your bisqueware. Fire the pot to the appropriate temperature for your clay and glazes. Glazes that tend to ow when red should be avoided when using this wax-resist technique.

CAUTION If you make a mistake, you need to re-bisque the pot and start over. The wax soaks into the surface of the ware and can only be removed by ring it again. If you do not want to rere, you might try to work the mistake into the design.

5

Ater glazing the pot, clean away the excess glaze with a tool.

119

Wood-Ash Wood-Ash Glazing at Cone 6 by Harry Spring 

Round vase, 9 inches in height, white stoneware, with slip trailing, blue Wood Ash Glaze over Green Dragon Matt Glaze, red to cone 6 in oxidation.

H

igh ring in

a gas kiln for many

years

does have a downside.  You can come to depend upon the kiln to give you the wonderful, serendipitous effects that are part of  the magic of reduction. Of course, we all know that wonderful glazes can also be achieved without reducing the kiln’s atmosphere. Several years ago, I was forced through circumstances to use an electric kiln as my only ring source for my line of 

ing small- to medium-sized pieces,

production stoneware. Since then, I

weighing 1 to 10 pounds.

have not only come to “put up” with

120

I then experimented with ways to

electric ring and the challenges of 

develop more interesting surfaces. I

a static kiln atmosphere, but also to

tried carving patterns into the clay to

appreciate the convenience of elec-

create places where the glaze could

tronically controlled kilns and the

ow and pool. Another technique

challenge of discovering ways of de-

that I learned from a friend in Cali-

veloping interesting and even excit-

fornia was to take the slurry from

ing glaze effects.

my throwing bucket, run it through

I began by testing several com-

a 60- to 80-mesh sieve and apply it

mercial clays, and settled on a white

with an ear syringe for trailed-slip

stoneware (Miller 65) that was

patterning.

both durable and totally vitried at

Next, I tried overlapping two and

cone 6. Available through Laguna

three glazes to create some move-

Clay Company, it is good for throw-

ment on the surface. This worked

Electric Firing

Vase, 9 inches in height, white stoneware, with blue Wood Ash Glaze over Green Dragon Matt Glaze, red to cone 6 in oxidation.

Small round vase, 6 inches in height, with wood ash sieved on Green Wood Ash Glaze over Green Dragon Matt Glaze, red to cone 6 in oxidation, by Harry Spring.

121

Ceramic Arts Handbook

wonderfully, but caused some irreg-

has just been sprayed with Wood

ularities where the glaze saturated

 Ash Glaze over a dipped or sprayed

the bisqueware, and some running

base glaze, such as Green Dragon

onto the kiln shelves when the glaze

Matt Glaze.

application was too thick. I found I

Wood ash contains a good deal of 

could control the application thick-

calcium, as well as potassium, phos-

ness more easily and avoid running

phorus, magnesium and sodium—all

by spraying the second and third

rather active uxes in a glaze—so

coats of glaze.

I limit the application of Wood Ash

Most recently, I have begun us-

Glaze to the top fourth of the pot.

ing wood ash in and over my cone 6 glazes to create visual interest. The results have been very exciting. I was fortunate to nd a recipe that does not require washing the ash before adding it to the glaze. Of c ourse, this makes a glaze that is somewhat caustic, but I wear surgical gloves when I glaze anyway, so this has not been a problem. I have found that this recipe works best if it is dipped or sprayed over another glaze; alone, it is a little too dry to the touch. I like using Wood  Ash Glaze over a matt glaze rather than a gloss glaze.

Recipes Green Dragon Matt Glaze Cone 6

Whiting                     177 % Zinc Oxide                   80 Cornwall Stone               220 Soda Feldspar                441 Bentonite                   32 EPK Kaolin                  50 1000 % Add: Add: Titan itaniu ium m Dioxi ioxide de         Coppe opperr Carbon rbonaate te       

To prepare the wood ash, screen

Frasca Wood Ash Glaze

the dry ash (any wood will do) through a 60- to 80-mesh sieve and add it to the glaze batch.  Another way to achieve interesting effects is to simply sieve wood ash over the damp, newly glazed surface. I do this over a trash barrel. (Remember: ash is caustic, so always wear a mask.) For the most dramatic effects, do both. Sieve the dry wood ash over the rim and shoulder of a pot that

122

40 % 43 %

Cone 6

Whiting                     114 % Wood Ash (un (unwashed)         Potash Feldspar               Ball Clay                    Silica                      

546 113 113 114 1000 %

Green  Add: Add: Coppe opperr Carbo arbona nate te       

40 %

Blue  Add: Add: Cobal obaltt Carbo arbona nate te        

20 %

Electric Firing

A Wood-Fired Wood-Fired Look by Richard Busch

Bowl, 2½ inches in height, thrown and aceted stoneware, with brushed stain and layered glazes, red to cone 6. Like most people who take up pot-

ring

tery, I was limited at the beginning

Smith

of my career to ring my pots to cone

Out of that kiln—which we red to

6 in an electric kiln. This was at the

cone 10 in about 14 hours, throwing

local community center where I lived

in some salt around cone 8—came

in northern Virginia. I say limited,

some of the warmest, toastiest, most

but for the rst year or so it didn’t

wonderfully earthy and handsome

seem like a limitation. Just learning

pots I’d ever seen. It was inspiring.

to center, make simple forms and di-

It changed my outlook. I was hooked

gest a lot of basic information about

on the whole idea. But then, not see-

the pottery process was enough to

ing any possibility of doing wood/

keep my focus pretty narrow. But it

salt myself on a regular basis, I grew

wasn’t too long before I began to no-

frustrated.

tice the differences between oxidation- and reduction-red reduction-red pottery.  A few years later, I took a wood-

workshop at

with

Baltimore

McKenzie Clayworks.

If, as they say, necessity is the mother of invention, I would suggest that frustration can also be that

123

Ceramic Arts Handbook

mother. At least it was for me. Out

White Satin Matt to about one-quarone-quar-

of that sense of frustration came the

ter or less.

desire to develop a cone 6 oxidation

On many of these pots, I also add-

glaze that would yield the wood/salt-

ed some black brushwork. An oxide

red look that had become somesome -

stain was applied with a long, thin

thing of an obsession.

brush made from deer bristles. This

So I started playing around with

recipe was passed along to me by

glaze recipes and, after awhile, came

my former teacher, mentor and good

up with something that lled the

friend, Sybil West.

bill—until I nally built the salt kiln I’d been planing for a long time. Not only did my ersatz wood/salt-

CAUTION Health risks are associated with metal oxides, particularly manganese. Handle

carefully

and

re in a well-ventilated kiln.

124

To enhance the look of the black brushmarks, I rst applied a fairly thick—roughly the consistency of 

glazing technique keep me happy

heavy cream—swash of White Satin

for years of electric-kiln ring, it

Matt over the main glaze combo, us-

also fooled a lot of people, including

ing a wide brush. This lightened the

some pretty experienced potters—at

area behind the black, and made the

least at rst rst glance. Of course, when

brushwork really pop out.

they picked up a pot and looked at

I also discovered that I could alter

the bottom, they could see that the

the surface texture by varying the

unglazed clay body had not been

kiln temperature. Pots red to about

reduced. Nevertheless, the illusion

cone 5 tended to produce a drier sursur -

was good enough for me. And over

face, while those red to cone 7, or

the years, I’ve had a number of peo-

even a little higher, came out with a

ple ask me for the recipe, which I’ve

shinier, more salted appearance.

always been happy to give.

I would encourage anyone who

The recipe is actually a combina-

wants a wood/salt look from cone 6

tion of two glazes that I mix in dif-

oxidation rings to experiment a bit

ferent proportions, depending on the

with kiln temperatures and with lay-

result I want. One of them is called

ered glazes. With a few tweaks here

White Satin Matt, and the other is

and there to adjust for your own kiln

the one is called Nutmeg:

and ring techniques, you’ll likely

Most of the time, I mix the two

nd a combination of color and textex -

glazes together in a ratio of two-

ture that suits your taste to perfec-

thirds Nutmeg to one-third White

tion. And who knows, you might

Satin Matt. This gives me a light

even wind up fooling your friends

toasty color. For a darker, more

in to thinking you’re actually ring

quintessential wood-red appearappear-

with wood and salt—at least at rst

ance, I decrease the proportion of 

glance.

Electric Firing

“Spaghetti Jar,” 11¾ inches in height, stoneware, with stain and glazes, red to cone 6.

125

Ceramic Arts Handbook

Recipes White Satin Matt Glaze Cone 6

Gerstley Borate               316 % Talc                        140 Kona F-4 Feldspar             198 EPK Kaolin                  50 Silica                       22996 1000 % Add: Zircopax                51 % Bentonite               20 %

Nutmeg Glaze Cone 6

Dolomite                    233 % Spodumene                  23 2 33 Ferro Frit 3134               68 Kentu entuck ckyy OM 4 Ball Ball Clay Clay        233 233 Silica                       22333 1000 % Add: Red Iron Iron Oxide           11 % Yellow Ocher             32 % Tin Oxide               48 % Bentonite               20 %

Sybil’s Black Stain Blac lack Coppe pper Oxide           240 % Cobalt Oxide                 20 Manganese Dioxide            490 Nickel Oxide                 50 Red Iron Oxide               200 1000 %

Vase, 9 inches in height, aceted stoneware, with brush decoration on glaze, red to cone 6 in an electric kiln, by Richard Busch.

126

Transitions and Transformations

Electric Firing

by Geoffrey Wheeler

 Y 

ears ago, I attended a workshop

given

by

Warren

MacKenzie, during which

he identied himself as a “mud and water” potter (as opposed to a “glaze and re” potter). This was a differdifferentiation that I remember strongly

was a challenge that I avoided, rath-

identifying with. It is the tactile

er than accepted.

quality of clay that drew me to be-

My critical thinking ended when

coming a potter. Glazing and ring

the work was leather hard. I simply

were a necessary part of the process,

dipped the pots in clears, celadons,

but they were not what excited me.

temmokus and Shinos. They were

While in school, I never glazed

the easy answer, classic tried-and-

more than ten pots at one time. I

true solutions, but they did nothing

attended Kansas City Art Institute,

to further the work. I saw the glazes

and in a program with 70 ceramceram-

as extraneous, hiding the pots under

ics majors, you only red your very

a skin of glass that clouded my origi-

best. The concept of using glazes to

nal ideas.

take the work a step further was not

When I headed to the Archie Bray

something I was ready to deal with.

Foundation in Helena, Montana,

 All I wanted was to keep from ruin-

for a summer residency, I was posi-

ing my precious few.

Teapot, 5 inches in height, thrown, altered and assembled mid-range porcelain, porcelain, multired in an electric kiln.

tive that access to the wide array of 

Soon after graduation, I set up

atmospheric kilns would solve my

a pottery and built a 75-cubic-foot

glazing problems. Early American

reduction kiln. The rst time I

salt-glazed stoneware and wood-

faced 200 bisqued pots, I was overover-

red Japanese tea ceremony ware

whelmed. Over the next few years, I

had been favorites of mine for years.

became more comfortable with glaz-

viThe ring ring actively continues the vi-

ing; however, it remained my biggest

sual record of process; instead of a

challenge. In hindsight, I see that it

covering skin, the rich, juicy surfac-

127

Ceramic Arts Handbook

   e    e    l    r    e    t    e    p   :    s    o    t    o    h    p

es interact directly with the clay. I spent three months working with salt-, soda- and wood-red kilns. During that time of intensive exploration, I produced the strongest work I had ever made, but I soon began to question whether these surfaces were right for my pots. They were becoming too much of a conversation with the past. I realized that the process and history sounded by these surfaces was louder than my own voice as an artist. I decided that, for me, wood- and salt-red surfaces were  just another another easy answer, answer, simply simply another way not to take full responsibility for my nished work. I had been considering graduate school for a number of years and my experience as a resident at the Bray was the kick in the pants I needed.

Condiment bowls, to 5 inches in height, thrown and altered mid-range porcelain, with cone 6 glazes, multired.

It was time for me to reassess my work and my life, so I quit my ad junct faculty position, sold off my studio equipment and moved to Minneapolis to work with Curtis Hoard and Mark Pharis at the University of Minnesota. Grad school is a time for questions. It is not a time for easy answers. I decided to not only “come out” as a gay man, but to come out in my work. I reasoned that coming out was as much about taking responsibility as sexuality. This meant making work that was open and honest. My forms could speak to the relationships of  esh and bones and breath. Color, which is so psychologically charged,

Bowl, 15 inches in diameter, thrown and altered porcelain, with encapsulated-stain glaze, red to cone 6, then rered to cone 04 in an electric kiln.

could be used to express a sense of   joyful exuberance and playful sensuality. I wanted to use glazes to ex-

128

Electric Firing

tend the content of the work beyond historical reference, process and utility. I made hundreds of cone 10 oxidaoxidation glaze tests, developing a palette that alludes to the lush tropical colors that I associate with joy, freedom and transformation. My original plan was to use these glazes in a soda atmosphere to add depth and variation to the surfaces; however, most of my testing was in an electric kiln. I began to wonder if it was possible to get the results I wanted without the hellish experience of loading outdoor kilns in subzero weather. (Yeah, I know, I’m a sissy.) Bright colors and electric kilns sounded like easy answers, but they weren’t. The great pots of history, to which I had always looked for answers, were not red in electric kilns. I had to work out the problems myself. My previous encounters with hightemperature electric kiln glazes were

Vase, 12 inches in height, by Georey Wheeler.

with colors that were at and lifelife less, not the lush, rich surfaces that

they developed unexpected color and

I wanted for my work. The happy ac-

surface variations. Turquoise and

cidents that happen in other kinds

purples emerged in areas that had

of rings are not likely to happen in

previously been green (from copper

electric kilns. Electricity doesn’t car-

and nickel). Some of the commercial

ry the magic kiss of the ame. But

stains that start to fade out at cone

I found that by using similar colo-

10 reasserted themselves during the

rants in both matt and glossy glazes,

second ring.

and by spraying and overlapping the

In the past year, I have reformu-

two, I could build surfaces with the

lated my cone 10 base glazes to ma -

kind of visual depth and variation I

ture at cone 6. I am getting almost

was looking for.

identical results, while reducing the

In addition, I discovered that

wear and tear on the kiln. I leave

while some of my glazes had the

some of the exterior areas of the pots

typical at quality of electric ring

unglazed during the initial cone 6

at cone 10, when rered to cone 04

ring and apply cone 04 glazes that

129

Ceramic Arts Handbook

differ in surface quality and color

Whether they are viewed in terms

intensity for the second ring. MulMul-

of function and physical interaction

tiple rings, using a variety of types

or in terms of symbol and metaphor,

of glazes, can come together to build

we identify with them as extensions

a palette of extraordinary richness

and representations of ourselves.

and depth. Glazes with chrome

While I used to think that glazes

sometimes ash onto other surfaces,

distracted from the essence of the

giving a taste of serendipity in an

pots, hiding the primal forms under-

otherwise controlled atmosphere.

neath, I now feel able to use them

What most interests me about

to continue the ideas, reinforce the

working within the vessel tradition

forms, further the content and per-

is how we perceive these volumi-

haps transform them from reality to

nous forms in relation to ourselves.

symbol and back.

Recipes The ollowing glazes are used on pots made rom a Grolleg porcelain produced by Standard Ceramics o Pittsburgh

Glassy Alkaline Glaze Cone 6

Gerstley ley Bora orate            12 % Lithiu thium m Carb arbona onate        34 Stron tronti tium um Carb Carbon onat atee        93 93 Ferro Fr Frit 3110            211 Kona ona F-4 Felds eldspa parr          463 63 S i l i c a                    187 1000 % Add: Bentonite            30 % This glaze begins to fux at cone 04, but I have used it as high as cone 10 It runs easily at the higher temperatures and tends to craze badly when thick

Water-Blue  Copp Copper er Carb Carbon onat atee       10 10 %

Yellow (A)  Zirconiu Zirconium m Yellow ellow Stain Stain    50 %

Yellow (B)  Vanadi Vanadium um Yellow ellow Stain Stain   50 %

130

Rob’s/G.A. Blend Glaze

Matt “B” Glaze

Cone 6

Cone 6

Gerstley ley Bora orate            29 % Lithiu thium m Carb arbona onate        17 Stron tronti tium um Carb Carbon onat atee        93 93

Lith Lithiu ium m Carb Carbon onat ate e         27 27 % Stro Stront ntiu ium m Car Carbo bona nate te       265 65 Nephe epheliline ne Syen Syenit itee          575 75

Whiting 84 Cornwall Stone            346 Ferro Frit 3110            10 106 Kona ona F-4 F-4 Feldsp ldspar ar          232 Silica 93 1000 % Add: Bentonite            30 %

Kentuc Kentucky ky OM 4 Ball Ball Clay Clay     62 Silica 71 1000 % Add: Benton ntoniite            30 %

A waxy, semitransparent glaze

Dark Green 

Deep blue  Coba Cobalt lt Carb Carbon onat atee       20 % Mangane Manganese se Carbona Carbonate te   40 %

Warm pink  Coral Stain             50 % Rutile                3 30 %

 Apple Green  Green  Green Stain            50 %

The matt quality o this glaze is easily aected by colorants, so variations have dierent surace qualities as well as colors

Copp Copper er Carb Carbon onat atee       30 30 % Nickel Oxide           20 %

Orange  Encapsulated Orange Stain 50 % Zirconiu Zirconium m Yellow ellow Stain Stain    50 %

Maroon  Coral Stain             50 % Mangane Manganese se Carbona Carbonate te   30 % I use Degussa encapsulated stains; to be considered ood sae, these must be prepared/ used in accordance with the manuacturer’ manuacturer’ss instructions

Adding Depth to Your Your Glazes Glazes

Electric Firing

by Lisa Bare Culp

 A 

s a potter and in-home instructor for many years, I’ve always mixed my own glazes,

or relied on other professionals who mix dry glazes to my specications. Recently, an idea for a single pot challenged me to experiment with commercially-made glazes. The outcome has been succesful with vibrant new color selections, time savings and the convenience of readily available glazes screened for toxicity—all this without compromising my workspace or my standards. What changed my thinking on commercially prepared glazes was my desire to introduce bold new colors into my work. I envisioned a piece with contrasting matt black-andwhite slip surfaces offset against a single area glazed in vibrant red. My local supplier recommended a foodsafe, nontoxic red glaze, Mayco’s Stroke & Coat Cone 06.

highlight areas of bisqueware. In

“Fish Bowl,” matt white glaze over commercial glazes, red to cone 6.

another, I used SC-74 Hot Tamale. Sometimes I applied the glaze with a big brush in a single, expressive stroke. Other times, I squeezed the colors from a slip trailer and a turkey baster.  After these loose applications, I dipped the entire piece in my usual cone 6 glazes. Because of their gum content, the commercial glazes resisted my glazes slightly, making the bold strokes of color come through vividly. Stroke edges were blended and their colors softly striking against the cone 6 palette. The

Early Experiments

outcome was as satisfying techni-

Early tests resulted in pieces with

cally as it was aesthetically; I was

dramatic and beautiful contrasts

satised satised with the melt (Stroke &

between my porcelain slips and the

Coat is a glaze, not an underglaze),

red glaze. In one test, I used Stroke

the color and the absence of pinhol-

& Coat SC-73 Candy Apple Red, to

ing or other major aws at cone 6.

131

Ceramic Arts Handbook

A New Ne w Tool Tool Further experiments with sgrafto,

If you’d like to experiment with

layering, mixing with slip and stone-

commercially prepared glazes, I’ve

ware glazes, and multiple rings

included three of my projects for you

have opened up commercial glazes as

to try. Mixing my own recipes will

a new artistic tool—albeit an unexunex-

always be an important part of un-

pected one—to share with students.

derstanding the science behind the

They have learned the importance

art of pottery making. But success-

of experimenting with new surfaces,

fully integrating commercial glazes

new materials, combining techniques

in the mix is just one more way to

and achieving balance with different

pursue the function and beauty of 

kinds of material.

ceramics.

Asparagus Tray Pouring Squeeze a large amount o Stroke & Coat SC-73 Candy Apple Red across the interior o a bisque-red bowl Use a 2-inch brush to apply a thin coat o Mayco’s Elements Chunkies EL 203 Coal Dust (this is a low-re eect glaze with crystals) over the Candy Apple Red A nice eathered edge is created when the piece is dipped into a cone 6 black glossy glaze

132

Electric Firing

Carving

Fish Bowl

Apply a thick coat o Mayco Stroke & Coat SC-71 Purple-Licious and SC-74 Hot Tamale Tamale with a large brush to the interior surace o a leather-hard bowl Once the colors are slightly dry, the design is carved through the glaze with a loop tool, then bisque red to cone 08 Dip the entire piece twice in a cone 6 matt white glaze and re to cone 6 in oxidation The commercial colors show well through the white matt Note: I the carved lines are too ne they may ll in when the glaze melts melts

133

Ceramic Arts Handbook

Gear Dish

Layering On a heavily textured, bisque-red piece, apply a cone 6 porcelain black slip as a stain, wiping o the high spots with a damp sponge Use a 2-inch brush to apply Stroke & Coat SC-71 PurpleLicious to the high spots with a dry brush technique Next, dry brush Mayco’s Stroke & Coat Red SC-74 Hot Tamale and SC-27 Sour Apple onto the interior Apply a thick coat o the red glaze in isolated areas to obtain a bright color Apply wax wax resist to the interior surace o the piece and allow to dry dry Dip the entire piece in a cone 6 blue glaze

“Gear Dish,” slab-built stoneware.

134

Electric Firing

Kiln Firing Chart Firing converts ceramic work from weak greenware into a stro ng, durable permanent form. As the temperature in a kiln rises, many changes tak e place at different temperatures and understanding what happens during the rng can help you avoid problems with a variety of clay and glaze faults related to ring.

Temperature °C °F 1400

2552

1300

2372

1200

2192

1100

2012

Cone

Incandescence

(approx.) 14 13 12 11 10 9 8 7 6 5 4 3 2 01 02

Brilliant white

End of porcelain range.

White

End of stoneware range.

03

Yellow-orange

Yellow-white

End of earthenware (red clay) range. Yellow

Red-orange

1100–1200˚C: Mullite and cristobalite (two types of silica) form as clay begins to convert to glass. Particles start melting together to form crystals, and materials shrink as they become more dense. Soaking (holding the end temperature) increases the amount of fused material and the amount of chemical action between the fluxes and the more refractory materials.

Cherry red

800–900˚C: the beginning of sintering, the stage where clay particles begin to cement themselves together to create a hard material called bisque.

04 05

1000

900

800

1832

1652

1472

06 07 08 09 010 011 012 013 014 015 016

Orange

017 018

700

1292

Dull red

019 020 021

600

1112

Event

300–800˚C: Carbonaceous materials (impurities in the clay along with paper, wax, etc.) burn out. The kiln requires ample air during this stage since after 800˚C sintering begins and the clay surface begins to seal off, trapping unburned materials and sulfides, which can cause bloating and black coring.

Dark red

022

Dull red glow

573˚C: Quartz inversion occurs where the quartz crystals change from an alpha (α) structure to a beta ( β) structure. The inversion is reversed on cooling. This conversion creates stressses in the clay so temperature changes must be slow to avoid cracking the work.

500

932

400

752

300

572

200

392

Upon cooling, cristobalite, a crystalline form of silica found in all clay bodies, shrinks suddenly at 220ºC. Fast cooling at this temperature temperature causes ware to crack.

100

212

Water boils and converts to steam at 100ºC. Trapped water causes clay to explode so keep the kiln below 100ºC until all water has evaporated.

Black

Between 480–700ºC chemical water (“water smoke”) is driven off.

135

Anderson Turner received a BFA in ceramic art rom the University o Arizona and went on to earn an MFA rom Kent State University (Ohio). A ormer assistant editor o Ceramics Monthly magazine, he has also edited numerous handbooks or The American Ceramic Society. He currently serves as the director o galleries or the Kent State University School o Art.

Electric kilns are a wonderul thing! They’re so readily available and relatively simple to install that any artist can take advantage o the incredible potential this tool has to oer. oer. Nearly every ceramic artist now uses an electric kiln in some capacity in their studio because electric fring oers a control and dependability not ound in any other type o fring. As the popularity o electric kilns has increased over the past ew decades,, manuacturers and suppliers decades suppliers made this tool even more versatile.. Advances in controllers, energy efciency and kiln materials versatile makes it possible or studio potters to take advantage o this tool or relatively little investment in both money and time. And suppliers have developed and oer a vast array o thousands o products developed specifcally or use in the electric kiln. Creat ive Techniques, you’ll discover the In Electric Firing: Creative contributions o studio artists who use electric kilns. They eagerly share their experimentations, their research and their artistic successes so you can build on what they’ve learned. You’ll You’ll fnd up-todate inormation on processes, glazes, tools, materials and techniques. I you have an electric kiln, you know some o the benefts o Creat ive Techniques you’ll discover owning one. In Electric Firing: Creative some o its many possibilities.

The American Ceramic Society www.CeramicArtsDaily.org