2008 Ceramic Workshop Handbook

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2008Ceramic WorkshopHandbook Pottery Too s a d Stud o Re ere ce

Brou t to you by t e pub s ers o


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Clay Tools: FormingSqueeze a d Score

With a little squeeze, this toolautomatically supplies water tothe clay you are scoring to makeattachments. To make it, you willneed an empty glue bottle and a piece o coat hanger or heavy wirethat is 1 inch longer than the heighto the bottle and slightly larger indiameter than the hole in the cap.Sharpen one end o the wire with a fle or grinder and insert it throughthe hole in the cap. You will needto cut o the stopper inside thecap frst. Bend the blunt end o the wire at a 90 angle so it rests againstthe bottom o the bottle (this willprovide stability when scoring). Fillthe bottle with water and squeeze.Drops o water will run down to thetip o the wire wetting the clay thatyou are scoring. I water does notsqueeze out, just move the wire le tand right to make the hole biggerand try again.Paveen Chunhaswasdikul,Gadsden, Alabama

house o d C ay DryDuring my frst year o pottery classes, I ound mysel trying a num-

ber o the available clays to learn o their traits and qualities. I saved my scraps and kept them in separate buckets o water at home. I dont havea plaster sur ace to dry out the recycled clays, so I improvised.

Pictured is a plastic sweater storage box with wood shavings in thebottom. To keep the shavings in place I use an old retired dish towel, orpieces o old sheets. On top o that I have a piece o canvas to containthe wet clay. That makes it very simple to li t the clay and roll it up whenits ready to be bagged or uture use. I the clay is getting ready to bag and I do not have time to deal with it just then, I simply put the lid onthe box or a day or two.

A ter the clay is removed, the shavings underneath dry out and areready or the next batch. I use a clean canvas or each clay type, espe-cially the white ones, to avoid contamination o color or texture. A noteindicating clay type is taped to each bucket, then moved with the clay as it dries so I always know what clay Im working with.

I hose o the canvas outside over a bush or under a thirsty tree.That keeps our plumbing ree o clay. The wood shavings go on thecompost pile. Heather Bartmann, Fort Collins, Colorado

Do t Sweat t e DryI am a part-time teacher and ceramics artist, and part-time home-

maker (or as I like to think, domestic goddess).Sometimes when I have the time to work and need to trim, but

my pots arent dry enough, I will set them on the sweater shel o my

clothes dryer and allow the warm air to circulate around the pots untilthey are leather hard. This usually only takes 1015 minutes and worksper ectly! It results in nice, even drying, and the only limitation is thesize o your dryer.

Ive shared this tip with several potters and they all love it. Mostdryers now come with these shelves (mine is f teen years old!). Hopeit helps others with home studios.Peggy Breidenbach, Indianapolis, Indiana

Qu ck-C a e Art stFor throwing mugs and small bowls, I use a quick-change bat

system. To make one, you need one square plastic bat that attachesto your wheel head with bat pins, PVC molding rom the hardwarestore, PVC cement, and some commercial 6-inch-square terra-cotta tiles. Cut the PVC molding into two 5-inch lengths and two4-inch lengths. Place one o the terra-cotta tiles in the center o the plastic bat and dry-ft the PVC molding around it, leaving twocorners open to make it easy to remove the tiles. Glue down themolding with the cement and let it dry. Remove the tile rom theassembly while it dries or you wont get it out later. Once its dry,mount the plastic bat on your bat pins, insert a terra-cotta tile andthrow your pot. You can quickly remove the tile and insert a resh


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The splash pan that came with my wonder ul new wheel was a little short or the thick bats I use or large platters. This created a lot o problems with slipand trimmings splash-ing everywhere. Out o rustration came this an-swer to my problems:

I cut a piece o I-inchoam pipe insulation

(the kind with a slitall the way down thelength) and a piece o H-inch clear vinyl tub-ing to it the circum er-ence o the splash pan. Iinserted the tubing intothe insulation oam andplaced it on top o thesplash pan rim, working it down gently onto therim, making sure thevinyl tubing stayed ontop o the rim. I tapedthe two ends o theoam insulation tightly together with duct tape. This ring can be removed and replaced when extra height is needed, and it also provides a good deal o cushion or your arms when throwing.Ann Krestensen,Bozman, Maryland

one or your next pot. A terra-cotta tile costs about 30 cents, so itmakes a really cheap bat. Sylvia Shirley, Pittsburg, Kansas

he t a d Com ort

pipeinsulation

vinyltubing

splash pan

Spo e BrusFor making a sponge-

on-a-stick, I use one o those 3-inch-diameterround yellow sponges. Icut o about 1 inch onopposite edges and gluean old paint brush intothe center o the remaining sponge using Superglue.This gives the sponge long,sharp edges that reach allthe way into the corner o a pot. The two pieces thatare cut away are excellentor ettling excess glazerom the bottoms o potsand smoothing rims. Sincethey are triangular at theirends, they can easily getinto tight corners.Eugene Prial, Westfeld,New Jersey

Make a nameor Yourse

Having not yet comeup with a good, clean way to sign my pots, I decidedto try to make a signaturestamp. Using a broad-tipped marker, I signedmy name on plastic wrap,ipped the plastic wrap over to the reverse side and tracedthe outside lines o my signature onto a pad o clay witha needle tool. A ter letting the clay dry until just be ore leather hard, Icarved away the excess clay with small tools and, voila, the signature ap-pears in relie . Create an embossed signature using the same plastic wrapbut this time use a dull pencil to impress and dont carve.Gini James, Silver Spring, Maryland

le tover sections

center section o sponge

C ay Too s: Form


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E trudeA yw ere

In order to make anextruder portable (those o us who have limited studiospace need to make all sortso things portable), purchasean adjustable roller standand a piece o steel tubing

the same size in cross-section as the adjustable tube. Mine is 5 eet long,and that seems to be plenty tall enough. Drill holes in this piece o steeltube to correspond to your extruders mounting holes and attach it.Thats really all there is to it!

The adjustable roller stand is designed to be used with woodworking equipment like a tablesaw or planer, so it can be ound at most placesthat sell woodworking power tools. Fujie Robesky, Fresno, Cali ornia

Temporary Temp ateI have ound that rigid oam-core board, used by artists and ram-

ers, is a handy material or creating templates or repeated shapes to bethrown on the wheel. It can beeasily cut with a single-edgeblade or a mat kni e, and itcan be sanded smooth. Sinceit is paper on both sides, itmust be made waterproo ,and emulsion wax resist works great. Do not use anacrylic spray, because it willmelt the oam in the core.I have used these templatesor as many as 25 duplicate orms. They can be used or interior as wellas exterior shapes.Robert Brown, Miami, Florida

Ser ous P ay A tool that has become an indispensable part o my studio, and

that o several riends, is a simple, economical childs toy. My wi e was watching me work in my studio while I was handbuilding a small piece,attempting to roll out a small coil to caulk a clay joint. She mentionedthat I should use my daughters Play-Doh Fun Factory to orm the coil.How simple.

C ay Too s: Form

Removethis part.

Add this part andattach your extruderat the proper height.

Since then, I use theFun Factory or making various shapes, smallhandles as well as coils.I purchased a at plasticuorescent light coverrom a local hardwarestore and make my owndies to ft into the FunFactory or additionalshapes and designs.

I use it with stonewareand porcelain, and it handles each with ease. The tool has only two parts,

which snap apart or easy cleaningmuch easier than using and cleaning an extruder or a small task. You could donate the Play-Doh that comes

with the item to your avorite tot and everyone wins!Rick Erickson, Green Bay, Virginia

Sp ere Per ect oTo make a hollow clay ball per ectly smooth and spherical, it must beclosed so the air cant escape, but it does not have to look good at frst.

A ter you pinch or throw the ball, rotate it on a table until it is reasonably round. Now you need a rigid plastic hemisphere. I bought a clear plasticsphere made o two halves that come apart (used to hold ornaments) at a cra ts-supply store. You can also use a bowl, but it must be per ectly roundand smooth insideno bottom. The diameter o the bowl should be atleast twice as much as the desired ball. Put your clay ball in the bowl andswirl it around. In a ew seconds, you will have a very smooth ball, per ector creating all kinds o ruits and vegetables. Talli Barr, Nahalal, Israel

Ro AwayUse discarded casters or bed- ramerollers as clay rollers. Even new ones

will work, and they are not that expen-sive. Drill a hole the same diameter asthe caster stem into a piece o woodendowel to create a handle. Caster postscan be glued into this hole i they areloose. The sur ace o some o the so ter

wheels can be carved with designs. Charley Farrero, Meacham,Saskatchewan, Canada

The rolling sur ace o thewheels can be carved.

Drill a hole in thehandle that isthe same diameteras the caster post.


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Dividing Web by Sylvia Shirley

Mak t e WebUse a photocopier to enlarge this wheel to the desired size. Attach it to a wheel head-sized circle o cardboard.

Cover with plastic wrap or have it laminated at an o fce supply store.

T s a dy u de makes t easy to d de t e sur ace o a y rou d pot to as ma y astwe e equa sect o s. W et er your decorat , dart , padd or attac a d esa d spouts, you wa t to keep a ew o t ese arou d t e stud o.


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ideas to getStarted

Accurately markingo divisions on yourorm opens up a worldo potential designwork. Once the desirednumber o marks aremade, decorate asdesired, using sgraftto,trailed slip, brushedoxides, etc.

Us t eD d Web

Center a pot on thewheel. Draw circleson the pot using ared elt-tip pen. Alignthe pointer with theselected line and posi-tion the Popsicle sticksto to pot. Tighten the

wing nuts. Make atic mark at the endo the Popsicle stickusing the red elt pen.Move the pointer tothe next position andrepeat.

T e Po terThe pointer helpsyou trans er marksrom the dividingweb to the pot. Makesure the bottom othe pointer is squareand the ront side isperpendicular.

D d Web


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The potters palette can be just as broad as thepainters. Di erent techniques can be closely equatedto working in any o the two-dimensional media, such

as pencil, pen and ink, pastel, watercolor, oils, encausticsor acrylics. We also have an advantage in that the fredclay object is permanent, unless disposed o with a bluntinstrument! Our works may live or thousands o years-asobering thought.

Because a number o colors can only be achieved atlow temperatures, you need a series o layering tech-niques in order to have the fred strength o stonewareor porcelain and the ull palette range o the painter. Toaccomplish this, low-temperature glazes or overglazesare made to adhere to a higher-fred glazed sur ace, andcan be superimposed over already existing decoration.To gain the ull measure o color, one has to fre progres-sively down the temperature range so as not to burn outheat-sensitive colors that cant be achieved any otherway. Usually the lowest and last fring is or precious met-als: platinum, palladium and gold.

Ceramists looking or di fcult-to-achieve colors mightwant to consider prepared stains, particularly in theyellow, violet and purple ranges. These colors are o tenquite a problem with standard minerals, be they in theorm o oxides, carbonates, nitrates, sul ates, chlorides oreven the basic metal itsel .

The chart should help pinpoint mineral choices or de-sired colors (note that the color bars are or guidance onlyand not representative o the actual colors Ed.). Colorsare listed with the minerals needed to obtain them, ap-proximate temperatures, atmosphere, saturation percent-age needed, and comments on enhancing/inhibitingactors. Because o the widely variable nature o ceramiccolor, there are many generalities here. Where the wordvary occurs in the column under Cone, it signifes thatthe intended results could be expected most o the timeat various points up to Cone 10.

Red to Ora eFor the hot side o the spectrumred, orange, andyellowthere are many commercial body and glazestains, in addition to the usual mineral colorants.

Minerals that give reds, oranges and yellows are cop-per, iron, nickel, chromium, uranium, cadmium-selenium,rutile, antimony, vanadium, and praseodymium. Varia-tions in glaze makeup, temperature and atmospherepro oundly a ect this particular color range. The onlymaterials which produce red at high temperature arecopper, iron and nickel usually muted. Reds in thescarlet to vermilion range can only be achieved at lowtemperatures.

Colorant Chartby Robin Hopper

COLORANT CONE ATMOS. % COMMENTS

Dark Red

Copper Vary Red. 0.5%-5% Best in glazes containing less than 10% clay contand a high alkaline content. Needs good reduction.In low temperatures it can be reduced during cool-ing. Good reds as low as Cone 018.

Iron Vary Both 5%-10% Good in many glaze bases at all temperatures. Cbe improved with the addition o 2%-5% tin oxide.

Nickel 4-10 Ox. 5%-8% Use in barium-saturated glazes.

Burgundy

Iron See Dark Red, Iron.

Copper See Dark Red, Copper. Owing to the unstable nature o copper, this colocan produce a wide range o results. Very controlledreduction ring and cooling are important.

Maroon

Chrome-Tin Stains Vary Ox. 1%-5% Use in glazes with calcium. There should be nin the glaze.

Copper Vary Red. 0.5%-5% Best in high alkaline glazes.

Crimson

Copper + Titanium 8-10 Red. 1%-5% Try various blends o copper (1%-5%) and tita(2%-5%).

Calcium- 010-05 Ox. 0.5-5% Best with special rits.

Indian Red

Iron Vary Both 5%-10% Best in high calcium glazes; small amount o bash helps. Tin addition up to 5% also helps. Alsoworks well in ash glazes.

Brick Red

Iron Vary Both 5%-10% Similar to Indian Red. Tin to 2% helps.

Orange-Brown

Iron + Rutile Vary Both 1%-10% Various mixtures (up to 8% iron and 2% rutilmost glaze bases.

Iron + Tin Vary Both 1%-5% Various mixtures (up to 4% iron and 1% tin) in mglaze bases. Creamier than iron with rutile.

Orange-Red

Cadmium- 012-05 Ox. 1%-4% Best with special rits such as Ferro 3548 or 327both. Helps to opaci y with zirconium.

Orange

Iron Vary Both 1%-5% Use in tin or titanium opaci ed glazes.Rutile Vary Both 5%-15% Many glaze types, particularly alkaline. More

cess ul in oxidation.

Copper 8-10 Both 1%-3% Use in high alumina or magnesia glazes. Additioup to 5% rutile sometimes helps.

Orange-Yellow

Iron Vary Both 2%-5% With tin or titanium opaci ed glazes.

Rutile Vary Ox. 1%-10% Best with alkaline glazes.

Yellow Ocher

Iron Vary Both 1%-10% Use in high barium, strontium or zinc glazes.

Iron + Tin Vary Ox. 1%-5% Various mixtures (up to 3.5% iron and 1.5% tinmany glaze bases.

Iron + Rutile Vary Both 1%-5% Various mixtures (up to 2.5% iron and 2.5% ruin many glaze bases.

Vanadium- Vary Ox. 5%-10%Various mixtures in many Zirconium Sglaze bases.

Lemon Yellow

Praseodymium Stains Vary Both 1%-10% Good in most glazes. Best in oxidation.

Pale/Cream Yellow

Iron + Tin Vary Both 2%-5% Various mixtures (up to 3.5% iron and 1.5% in high barium, strontium or zinc glazes. Titaniumopaci cation helps.

Vanadium Vary Both 2%-5% Use in tin-opaci ed glazes.

Rutile + Tin Vary Ox. 2%-5% Various mixtures (up to 2.5% iron and 2% tinvariety o glaze bases. Titanium opaci cation helps.

Selenium Stains

Zirconian Stains

Selenium Stains

Note: Colors bars are or visual re erence only, and do not represent actual colors.


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The cool side o the glaze spectrum ( rom yellow-green to navy blue) is considerably easier, both toproduce and work with, than the warm. In the main,colorants that control this range create ar ewer prob-

lems than almost any o the red, orange and yellowrange. Some are temperature and atmosphere sensi-tive, but thats nothing compared to the idiosyncrasiespossible with warm colors.

The colorants known or creating cool hues arecopper, chromium, nickel, cobalt, iron and sometimesmolybdenum. For variations, some are modifed bytitanium, rutile, manganese or black stains. The usual

three variables o glaze makeup, temperature andatmosphere still control the outcome, though it is lessobvious in this range.

Ye ow-gree to na y B ue

Yellow Green

Copper + Rutile Vary Both 2%-10% Various mixtures in a wide variety o glazes, particularlythose high in alkaline materials. Almost any yellow glazeto which copper is added will produce yellow green.

Chromium Vary Both 0.5%-3% In yellow glazes without tin or zinc.

Chromium 4-8 Ox. 0.25%-1% In saturated barium glazes.

Chromium 018-015 Ox. 0-2% In high alkaline glazes with no tin.Cobalt Vary Both 0-1% In any yellow glazes.

Light Green

Copper Vary Ox. 0-2.5% In various glazes except those high in barium or mag-nesium. Best in glazes opaci ed with tin or titanium.

Cobalt Vary Both 0-2% In glazes opaci ed with titanium, or containing rutile.

Apple Green

Chromium Vary Both 0-2% In various glazes without zinc or tin. Good in alkalineglazes with zirconium opaci ers. Also use potassium di-chromate.

Copper 1%-2% See Light Green; use in non-opaci ed glazes.

Celadon Green

Iron Vary Red 0.5%-2% Best with high sodium, calcium or potassium glazes.

Do not use with zinc glazes.Copper Vary Ox. 0.5%-2% Good in a wide range o glazes.

Grass Green

Copper 010-2 Ox. 1%-5% In high lead glazes; sometimes with boron.

Chromium 018-04 Ox. 1%-2% In high alkaline glazes.

Olive Green

Nickel Vary Both 1%-5% In high magnesia glazes; matt to shiny olive green.

Iron Vary Red. 3%-5% In high calcium and alkalines, usually clear glazes.

Hookers Green

Copper + Cobalt Vary Ox. 2%-5% In a wide variety o glaze bases.

Cobalt + Vary Both 2%-5% In a wide variety o glaze Chromiumbases: no zinc ortin. Good opaci ed with zirconium or titanium.

Chrome GreenChromium 06-12 Both 2%-5% In most glazes; no zinc or tin.

Dark Green

Copper Vary Ox. 5%-10% Many glaze bases, particularly high barium, stron-tium, zinc or alkaline with a minimum o 10% ka-olin.

Cobalt + Chromium Vary Both 5%-10% Blends o these colorants will give a wide range odark greens.

Cobalt + Rutile Vary Both 5%-10% Dark greens with blue overtones.

Teal Blue

Cobalt + Rutile Vary Both 1%-5% In a wide variety o glazes.

Cobalt + Chromium Vary Both 1%-5% In most glazes without tin or zinc.

Turquoise

Copper Vary Ox. 1%-10% In high alkaline and barium glazes. Bluish witclay content; tends toward greenish tint with addedclay.

Copper + Rutile Vary Both 1%-5% In high alkaline and barium glazes.

Copper + Tin Vary Ox. 1%-10% In high alkaline and barium glazes; usually opa

Light BlueNickel Vary Ox. 1%-2% In high zinc or barium glazes.

Rutile Vary Red. 1%-5% In a wide range o glazes; best with low (10%less) clay content.

Cobalt Vary Both 0.25%-1% Use in most glazes, particularly those opaci ed wtin. Also use mixed with small amounts o iron.

Celadon Blue

Iron 6-10 Red. 0.25%-1% In high alkaline or calcium clear glazes. Black irgenerally pre erable to red iron.

Wedgewood Blue

Cobalt + Iron Vary Both 0.5%-2% In most glazes; small amounts o cobalt with manganese or nickel yield so t blues. Added tin givepastel blue.

Cobalt + Manganese Vary Both 0.5%-2%

Cobalt + Nickel Vary Both 0.5%-2%

Cobalt 4-10 Both 0.5%-3% In high zinc glazes.

Nickel 4-10 Ox. 1%-3% In high barium/zinc glazes; likely to be crystalli

Blue Gray

Nickel Vary Ox. 0.5%-5% In high barium/zinc glazes.

Rutile Vary Red. 2%-5% In a wide variety o glazes, particularly high aluor magnesia recipes.

Cobalt + Manganese Vary Both 0.5%-2% In most opaque glazes.

Cobalt Vary Ox. 0.5%-5% In high zinc glazes.

Ultramarine

Cobalt Vary Both 0.5%-5% In high barium, colemanite and calcium glazeszinc, magnesium or opaci cation.

Cerulean Blue

Cobalt Vary Both 0.5%-5% In glazes containing cryolite o fuorspar.

Cobalt + Chromium Vary Both 2%-5% In most glazes except those containing zinc or

Prussian Blue

Nickel 6-10 Ox. 5%-10% In high barium/zinc glazes.

Cobalt + Manganese Vary Both 5%-10% In most glaze bases.

Cobalt + Manganese Vary Both 5%-10% In most glazes; or example, cobalt 2%, chrom2% and manganese 2%.

Navy Blue

Cobalt Vary Both 5%-10% In most glazes except those high in zinc, bariumagnesium.

COLORANT CONE ATMOS. % COMMENTS COLORANT CONE ATMOS. % COMMENTS


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i d o to Purp eThe indigo-to-purple part o the color wheel is small

but signifcant. The colorants that produce this rangeare nickel, cobalt, manganese, umber, iron, chromium,rutile ilmenite, copper, iron chromate, and black stains.

In short, one could say that the colorants needed include just about the whole group that are used or all theother colors in the spectrum. The only ones I haventtalked about previously in this articles series are umber,ilmenite, iron chromate and black stains.

Black stains Formulated rom a variable mixture oother colorants, black stains are usually rather expen-sive due to their being saturations o colorant materials.Various companies produce black stains usually rom acombination o iron, cobalt, chromium, manganese, ironchromate and sometimes nickel mixed with fllers anduxes such as clay, eldspar and silica. I use the ollowing

recipe:

This mixture is best ball-milled or a minimum o ourhours to limit its tendency toward cobalt specking, andto make sure that the colorants are thoroughly mixed.Because any black stain is a very concentrated mixture,only small amounts are normally needed to cause astrong e ect. In a clear glaze, a maximum o 5% shouldproduce an intense black. In opaque glazes, more stainthan that may be needed. Black stains and white opaci-fers mixed together will produce a range o opaquegrays. Stains, like other ceramic materials, are subject tothe three variables o glaze makeup, temperature andatmosphere.

Outside the color wheel one fnds tones o brown,gray and black. These moderate other colors. A colorwheel could, I suppose, include the range o opaciferssince they also have a strong role in a ecting color.The toning in uence o brown, gray and black is justas much opaci ying in result as are the white opaciferssuch as tin, titanium and zirconium compounds such asZircopax, Opax, Superpax, and Ultrox. Slight additionalincrements o any o these colors will render most glazes,colored or not, progressively darker as they are added.

Excerpted rom Glazes: Materials, Recipes and Techniques. For theull text and complete explanation o these colorant charts, re er toRobin Hoppers book, The Ceramic Spectrum: A Simplifed Approachto Glaze and Color Development, Krause Publications, 2001.


BlACK STAinChromium Oxide . . . . . . . . . . . . . . . . 20 %Cobalt Carbonate or Oxide . . . . . . . . 20Manganese Dioxide . . . . . . . . . . . . . . 20Red Iron Oxide . . . . . . . . . . . . . . . . . . 20Feldspar (any) . . . . . . . . . . . . . . . . . . . 8Kaolin (any) . . . . . . . . . . . . . . . . . . . . 8Flint . . . . . . . . . . . . . . . . . . . . . . . . . . 4

100 %

Indigo

Nickel Vary Ox. 8%-15% Use in high barium/zinc glazes. Also likely to clize.

Cobalt + Manganese Vary Both 5%-10% Various mixtures in most glazes.

Cobalt + Black Stain Vary Both 5%-8% Various mixtures in most glazes.

Violet

Cobalt Vary Both 5%-10% In high magnesium glazes.

Nickel Vary Ox. 1%-10% In some saturated-barium glazes.

Manganese Vary Both 5%-10% In high alkaline glazes.

Copper Vary Ox. 8%-10% In some saturated-barium glazes.

Purple

Copper 6-10 Both 8%-10% In high barium and barium/zinc glazes.

Copper 8-10 Red. 1%-5% In copper red glazes opaci ed with titanium.

Nickel Vary Ox. 5%-10% In some high barium glazes.

Cobalt Vary Both 5%-10% In high magnesium glazes.

Manganese 04-10 Ox. 5%-10% In high alkaline and barium glazes.

Iron 8-10 Red. 8%-10% In high calcium glazes; likely to crystallize.

Copper + Cobalt Vary Red. 2%-8% Various mixtures in many glazes.

Chrome + Tin + Cobalt Vary Ox. 2%-8% Various mixtures in many glazes.

Mauve or Lilac

Cobalt Vary Both 1%-5% In high magnesium glazes.Nickel Vary Ox. 1%-5% In some saturated-barium glazes.

Pink

Cobalt Vary Ox. 1%-3% In high magnesium glazes opaci ed with tin. Alsvery low alumina content glazes.

Copper Vary Red. 0.2%-2% In copper red glazes with titanium.

Copper 6-10 Ox. 0.2%-3% In high magnesium or high alumina glazes.

Copper 8-10 Red. 5%-10% In copper red glazes opaci ed w/min. 5% titanium

Chromium Vary Ox. 1%-2% In calcium glazes opaci ed with 5%-10% tin.

Iron Vary Ox. 1%-5% In calcium glazes opaci ed with tin.

Rutile Vary Both 5%-10% In high calcium and some ash glazes.

Nickel 018-010 Ox. 1%-3% In high barium glazes with some zinc.

Manganese Vary Both 1%-5% In alkaline glazes opaci ed with tin or titanium. Ain high alumina glazes.

Brown

Iron Vary Both 3%-10% In most glazes.

Manganese Vary Both 2%-10% In most glazes.

Nickel Vary Both 2%-5% In high boron, calcium and lead glazes.

Chromium Vary Both 2%-5% In high zinc glazes.

Umber Vary Both 2%-10% In most glazes.

Ilmenite Vary Both 2%-10% In most glazes. High calcium may yield bluish t

Rutile Vary Both 5%-10% In most glazes; golden brown.

Gray

Iron Vary Red. 2%-4% In many glaze bases; gray brown.

Iron Chromate Vary Both 2%-5% In most glaze bases without zinc or tin.

Nickel Vary Both 2%-5% In most glaze bases; gray brown.

Copper 8-10 Both 3%-10% In high magnesium glazes. Warm gray in reductcold gray in oxidation.

Cobalt + Nickel Vary Both 1%-5% Blue gray in most glazes.

Cobalt + Manganese Vary Both 1%-5% Blue gray to purple gray in most glazes.

Black Stain Vary Both 1%-5% Shades o gray in most opaci ed glazes.

Black

Iron Vary Both 8%-12% In high calcium glazesthe temmoku range.

Copper Vary Both 8%-10% In a wide range o glazes.

Cobalt Vary Both 8%-10% Blue black in most glazes except those high in and magnesium.

Black Stain Vary Both 3%-10% In most zinc- ree, nonopaci ed glazes.

COLORANT CONE ATMOS. % COMMENTS

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hands, so they can be more easily maneuvered in a glaze bucket thanregular-sized dipping tongs. Dont orget to round o the sharp teeth with a ile so they wont scratch your bisqueware. Paveen Chunhaswasdikul, Gadsden, Alabama

Pe c Pus When making beads, I use a pencil to push the hole in on one end

until the point o the pencil comes just barely through the bead (1). Ithen remove the pencil and push it in through the small hole made by

the tip on the opposite end o the bead (2). This makes a nice, clean,fnished hole. To glaze the bisque-fred bead, I simply insert the pencil

into the hole again and dip it into the glaze (3). Since the angle o thehole is the same as the pencil, riction keeps it rom alling into the glaze. You can also use small dowels or chopsticks or smaller beads instead o a pencil; just sharpen them in your pencil sharpener.Kathy Sandberg, Plymouth, Michigan

Ro StampsThe simplest method o creating rolling stamps is to wrap a clay

slab around a tubular shape (a cardboard tube, wooden dowel or plastic

Points havebeen fled toavoid scratchingbisqueware

1

2

3

glaze

pipe), which pro-vide a rigid back-ing when applying a texture to theslabs. A piece o

newspaper placedbetween the ormand the clay willprevent sticking

when removing thesupport. Stampsalso can be madeby throwing a cy-lindrical or conicalorm. The center spout is pulled up frst, then the outer wall is then raisedto orm the working sur ace o the stamp, which will be carved when leather

hard. Make sure that the outersur ace is perpendicular to the

wheel head. An extruder canalso produce tubular shapesor rolling stamps. Just capthe ends with slabs, leaving small holes in the center toallow dowels to be used ashandles. Interesting sur acescan be obtained by cutting the cylinders into sectionsand reassembling the partsinto di erent positions.

A ter bisque fring, simply roll the stamps over the sur aceo the clay with the palm o the hand while varying thepressure to correspond to the

width o the stamp. The roll-ing stamp is ideal or quickly

decorating a platter rim. The stamp, held rigidly in a fxed position,quickly prints out the repeated pattern as the wheel spins. Li ting at theright moment can be tricky, but a little practice is all you need.William Shinn, Santa Maria, CA

C ay Too s: Decorat o


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TEMPERATUREC F1400 2552

1300 2372

1200 2192

1100 2012

1000 1832

900 1652

800 1472

700 1292

600 1112

500 932

400 752

300 572

200 392

100 212

COnE(approx.)

141312111098765432

010203

04

05

06070809

010011012013014015016

017

018

019

020

021

022

inCAnDESCEnCE

Brilliant white

White

Yellow-white

Yellow

Yellow-orange

Orange

Red-orange

Cherry red

Dull red

Dark red

Dull red glow

Black

EvEnT End o porcelain range.

End o stoneware range.

End o earthenware (red clay) range.

11001200C: Mullite and cristobalite (two types o silica) orm as clay

begins to convert to glass. Particles start melting together to orm crystals,

and materials shrink as they become more dense. Soaking (holding the

end temperature) increases the amount o used material and the mount

o chemical action between the luxes and the more re ractory materials.

800900C: the beginning o sintering, the stage where clay particles begin

to cement themselves together to create a hard material called bisque.

300800C: Carbonaceous materials (impurities in the clay along with

paper, wax, etc.) burn out. The kiln requires ample air during this stage

since a ter 800C sintering begins and the clay sur ace begins to seal o ,

trapping unburned materials and sul ides, which can cause bloating and

black coring.

573C: Quartz inversion occurs where the quartz crystals change rom an

alpha ( a ) structure to a beta ( b) structure. The inversion is reversed on cool-

ing. This conversion creates stressses in the clay so temperature changes

must be slow to avoid cracking the work.

Between 480700C chemical water (water smoke) is driven o .

Upon cooling, cristobalite, a crystalline orm o silica ound in all clay bod-

ies, shrinks suddenly at 220C. Fast cooling at this temperature causes

ware to crack.

Water boils and converts to steam at 100C. Trapped water causes clay to

explode so keep the kiln below 100C until all water has evaporated.

F r co erts ceram c work rom weak ree ware to a stro , durab e perma e t orm. As t e temperature ak r ses, ma y c a es take p ace at d ere t temperatures a d u dersta d w at appe s dur t e fr cae p you a o d prob ems w t a ar ety o c ay a d aze au ts re ated to fr .

Kiln Firing Chart


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Manual Kilns: Place small cone inkiln sitter in o set position with smallend toward center or place next

lower cone in kiln sitter.Controller Kilns: Decrease smallamounts o hold or soak timei this has been set, or lower yourend setpoint temperature in customprograms.

ho d or Soak T meWhen you soak a kiln, you hold

the kiln at a certain temperature. Asshown here, you can see that it takesa signifcant amount o soaking tocause the next cone to de orm. Soaktime can be used to equalize thetemperature distribution within thekiln and ware.

Pyrometric cones, o ten re erredto simply as cones (or moreormally as witness cones), areused in pottery making to indicatethe amount o heat work (orenergy) needed during a kiln fring.Cones are shaped like elongatedpyramids made o specifed mix-tures o ceramic materials, andthey come in a variety o standardshapes. To get the best results romcones, they must be used correctly.Here are a ew guidelines . . .

Co e Mou tThree cones are typically used

when fring: a warning cone to

indicate that the target fring temper-ature is close; a fring cone, whichindicates that temperature has beenreached; and a guard cone, whichindicates that the maturing tempera-ture has been exceeded.

Large cones should be mountedwith the ace at an 8 angle.

Large cones can be mountedat a height o 2 inches above theplaque or conepack. I you mount atthe 1 inch height, you can use the

temperature or sel -supporting base(SSB) cones.

SSB cones are made to sit at thecorrect mounting height and anglewithout the need to mount them.

Co e P aceme t

Mount cones in a straight line(A), turned to an angle (B) or spaceddiagonally (C). Diagonal placementis handy when viewing SSB conesthrough a peephole.

Place cones at least 6 inches fromthe kilns inner wall to protect the

cones rom the e ects o dra ts.i terpret Co es

The difference between 60 and90 bending angles is usually a smallamount in equivalent temperature.

If your ring cone deforms to alesser bending angle than desired,you may need to increase the fringtime.

Manual Kilns: Place small conein kiln sitter in o set position with

large end toward center or placenext higher cone in kiln sitter i fringcone has hardly moved. (Note: Youcannot adjust a pyrometric bar bymoving it.)

Controller Kilns: Add smallamounts o hold or soak timeor raise your end setpoint tempera-ture in custom programs.

If your ring cone is deformedto a greater bending angle thandesired, you may need to decrease

the fring time.

CAUTIONAlways use proper sa ety glasses when viewingcones during fring.

A.

B.

C.

Using Cones by Tim Frederich


17/25


best, with minimal warping. When making and trimming plates,always make sure that the oot is the same size. The more variationin size, the more warping you will have.Linda C. Klaus, Sandy, Oregon

i t e Soda Zo eInspired by Gail Nichols article Soda, Clay and Fire (Ceramics

Monthly , December 2006) and her book o the same title (AmericanCeramic Society 2006), our iring group conducted an experimentto introduce soda into one segment o a kiln rather than dedicating an entire chamber to it.

We ire a small wood kiln with a 50-cubic- oot cross-dra tchamber. This chamber has an in-chamber irebox in the rontand one stoke hole in the middle that helps ire o the back hal o the kiln.

Two- oot-long pieces o 2-inch tree bark covered with a soda paste were introduced in the rear stoke hole, beginning at Cone 8and continuing every 15 minutes until Cone 10 was reached. Thedra t carried soda vapor through the bottom and rear quarter o

the kiln and then out o the chimney, not a ecting the other partso the kiln. We call this area our soda zone. We gained e ectivedistribution o soda in the zone with excellent traditional iring results in the rest o the chamber.

The placement o the soda-bearing wood must be done withcaution as direct contact between the paste and a pot leaves a per-manent scar. Soda does make a mess o the kiln loor and shelves,so we lay a bed o oyster shells in and around the zone loor, whichseems to help in clean up.

Mark Bollwinkel, Los Altos, Cali ornia

Pot terHandling large pots may be awkward and can even be di fcult, es-

pecially a ter pieces are glazed. A ter glazing, the only sur aces one wantsto touch are unsprayed or unseen areas. This can make pots di fcult totransport and load into the kiln.

When li ting these pots into the kiln, I use a piece o wood cut justa bit shorter than the interior diameter o the pot shoulder. I place the

wood into the pot vertically and, once inside, turn it horizontally andli t the pot into the kiln. To remove the wood, I simply return it to thevertical position and li t out. In a top-loading kiln like mine, the insideo the pot is still accessible, so any unwanted marks le t by the wood canbe touched up be ore closing the kiln.Rick Erickson, Green Bay, Virginia

Co s ste t Wadd When wadding a stack o plates or wood fring, use a template

and pencil eraser to neatly acilitate glaze removal and stacking. Makea triangular templateto mark a consistentconfguration or the wads on the oot . A ter a plate is glazed,use this template anda pencil to trans erthe markings to the

top o the plate. Re-move a -inch area o the dry glaze at each wad mark with thepencil eraser. Knock down the edge o theglaze around theseareas with a dampsponge and proceedto wadding.

Although I havestacked as many as six small plates together,

three or our works

A piece o wood, cut slightly shorter than the interior diameter o a pots shoulder,acts as a handle or carrying and loading the large pot into a kiln.

triangular template based on ootring

trans erred marks with glaze removed

Wads should be placed directly above oneanother to prevent warping.

Clay Tools: Firing


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Choosing a ClayM ost potters use commercially prepared clays, andceramic suppliers have met their needs by o er-ing a vast, though sometimes bewildering, selection oclays to choose rom. I youre using the clay someoneelse just handed you, maybe its not the right one orthe work youre doing. Every clay body is ormulatedor a specifc use, and fnding the right one or yourneeds takes a bit o research and experimentation.There are several decisions to make when fnding aclay body or bodies that meet your skill level, tech-niques and aesthetic.

Supp erNow why would you choose a supplier frst? They

work with amateurs, pro essionals, students, teachers,sculptors, tile makers, etc., and have solved a wide vari-ety o problems. There are three types o suppliers: thosethat manu acture their own clays, those that sell clayrom other manu acturers and those that do both. And,i you have problems a supplier cant answer, either youor the supplier can contact the manu acturer.

App cat oClay bodies are ormulated or di erent applications.

Throwing tableware requires a clay body that is plas-tic (malleable) and smooth, while constructing a largesculpture may require toothier (coarse-grained) clay. Inmany cases, a clay body may be used or several applica-tions, but some are highly specializedraku or oven-ware, or example. Make a list o the things you want todo, and you may end up with several bodies to achievethe best results.

F r Ra eClays are ormulated to fre at specifc temperatures

within three general ranges: low (Cone 062), mid (Cone37) and high (Cone 810). Within a range, the higheryou fre, the greater the shrinkage and the lower theabsorbency o the fred clay. Low-fre clay bodies (earth-enware) are easy to work with and fre, and there is awide range o color ul glazes available. These clay bodiesare also used or raku and pit fring. Mid-range clays aremore durable and include stoneware and some porcelainbodies, but color is more limited. This situation improveseach year as glaze companies improve and expand theiro erings. High-fre clays are very durable and includestoneware and porcelain. Color palettes vary dependingon fring atmosphere (oxidation or reduction).

Co orColor in basic studio clay bodies results mostly rom

naturally occurring iron and/or iron that has been added.Porcelain contains no iron, light bu bodies have some

iron and earthenware bodies may have over 10% iron.

The body color (as well as the glazes) changes basedon the type o fring atmosphere you havereduction( rom uel fring) or oxidation. Reduction fring deepensor darkens an otherwise neutral-colored clay body. Someclay companies have duplicated this e ect by addingmore colorants to their ormulas making it possible toachieve reduction colors rom an electric kiln. Sincethe iron and other colorants in a body color a ect glazecolor, youll need to test your glazes with each body.

Te tureTexture can range rom smooth to rough. Smooth

bodies contain very small particles o clay, which tend toshrink more. These are best suited or small, fne and/ or detailed work. Adding grog (ground-up fred clay) orsand gives the body tooth, and the larger the particlesize, the less water the piece will need (hence less shrink-age). Manu acturers o er a range o bodies that incor-porate fner particles o grog and sand to get a texturebetween smooth and rough.

Buy W se yBuying prepared clay requires a little judgment. First,

try to fnd a supplier that is nearby because shippingcosts can add up and sometimes equal or exceed thecost o the clay body itsel . Next, test a sample be orepurchasing a large quantity. I youre buying severaltypes o clay bodies, suppliers will typically allow you tocombine the weights or a better discount. Finally, buyonly enough clay to last you a year maximum. Clay losesmoisture in storage and becomes sti er, possibly evenunworkable. You can ask your supplier how long theyhave stored the clay. A good supplier will only stockwhat they can sell within a reasonable amount o time.

Buyer BewareAll commercially prepared clay bodies are made rom

naturally occurring elements scooped rom the earth orindustrial users. Studio potters do not purchase enoughmaterials to be a major user, so we have to make do

with a small portion o what the industry uses (brickand tile manu acurers, china companies, steel indus-try, paper mills, pharmaceuticals, etc.). Mother Naturedid not use any quality control when she created claydeposits, so seams o clay vary rom one spot to another.And a mammoth ront loader is not a delicate material-selection tool. The good news is that the industry o tenrequires a degree o consistency in their raw materials,so that clay mines make every e ort possible to providethem with the very best product out there or an intend-ed application. To make sure your clay meets your everyneeds and your own quality standards, always test each

batch everytime.


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20/25


AlABAMA

Mecca Pottery Tools (Florence) South Alabama Ceramic Supply (Montgomery)

ARiZOnAMarjon Ceramics Inc. (Phoenix) www.marjonceramics.comDolan Tools (Scottsdale) www.dolantools.netMarjon Ceramics Inc. (Tucson) www.marjonceramics.com

ARKAnSASFlat Rock Clay Supplies (Fayetteville) www. atrockclay.com

CAliFORniA

Phoenix Ceramic & Fire Supply (Arcata) www.phoenixceramic.comW.P. Dawson Inc. (Brea) www.kiln-sitter.comCreative Paperclay Co. (Camarillo) www.paperclay.comCeramic Services (Chino) www.ceramicservices.comKemper Tools (Chino) www.kempertools.comLaguna Clay Co. (City of Industry) www.lagunaclay.comGrabers Pottery Inc. (Claremont) www.graberspottery.comGordon Brush Mfg. Co. Inc. (Commerce) www.gordonbrush.comSnyder Imports (Comptche) www.donsynderimports.comThe Chinese Clay Art, USA (Cupertino) www.chineseclayart.comCreative Industries (El Cajon) www.creativewheels.comMud in Mind (El Cajon) www.mudinmind.comChris Henley Tools (Encinitas) www.hominid.net/chris.htmDuncan Enterprises (Fresno) www.duncanceramics.comB & W Tile Co. Inc. (Gardena) www.bwtile.comGeil Kilns Co. (Huntington Beach) www.kilns.comArt Decal Corp. (Long Beach) www.artdecalcorp.com (decals)Echo Ceramics (Los Angeles) www.echoceramics.comWest Coast Kiln (Lucerne Valley) www.westcoastkiln.comNasco Arts & Crafts (Modesta) www.enasco.comOlsen Kiln (Mountain Center) www.olsenkilns.comFreeform Clay & Supply (National City) www.freeformclay.comFalcon Company (Olivenhain) Keith Company (Pico Rivera) www.keithcompany.comAftosa (Richmond) www.aftosa.comJiffy Mixer Co. Inc. (Riverside) www.jiffymixer.comIndustrial Minerals Co. (Sacramento) www.clayimco.comHyperGlaze/Richard Burkett (San Diego) www.hyperglaze.com (so tware or glazes)Ceramics & Crafts Supply Co. (San Francisco) www.ceramicssf.comJapan Pottery Tools (San Francisco) www.japanpotterytools.comA&D Weighing (San Jose) www.andweighing.comLily Pond Products (Sanger) www.lilypond.comAardvark Clay & Supplies (Santa Ana) www.aardvarkclay.comMiles Ceramic Color (Santa Ana) Clay Planet (Santa Clara) www.clay-planet.comCalifornia Pot Tools (Santa Paula) Peter Pugger Mfg., Inc. (Ukiah) www.peterpugger.comCeramic ArtSpace (Van Nuys) www.ceramicartspace.comPure & Simple Pottery Products (Willits) www.pureandsimplepottery.com

COlORADO

Herring Designs, LLC (Breckenridge) www.herringdesigns.com

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Manufacturers and SuppliersQu ck y ocat o e o 335 ceram c bus esses s easy w t t s ocator. You be ab e to eas y f d supp ers earby a da t e supp ers o er ar ous products a d ser ces. Compa es are arra ed a p abet ca y by state, t e by c ty.

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Ceramic Design Group Ltd. (Denver) www.jonathankaplanceramics.ocmKillam Gas Burner Co. (Denver) www.killamburner.comMile Hi Ceramics, Inc. (Denver) www.milehiceramics.comThomas Stuart Wheels (Denver) www.thomasstuart.comBluebird Mfg. Inc. (Ft. Collins) www.bluebird-mfg.comRocky Mountain WoodMasters, Ltd. (Highland Ranch)ARC (Lakewood) BNZ Materials Inc. (Littleton) www.bnzmaterials.comGlyptic Modeling Tools (Loveland) www.glyptic.com

COnnECTiCUTRusty Kiln Ceramic Studio (North Windham) www.rustykiln.comR.T. Vanderbilt Co. Inc. (Norwalk) www.rtvanderbilt.comDuralite Inc. (Riverton) www.duralite.com

DElAWAREJ. & J. Ceramic Studio (Dover) Nabertherm, Inc. (New Castle) www.nabertherm.com

FlORiDAAtlantic Pottery Supply Inc. (Atlantic Beach) www.atlanticpotterysupply.comJepson Pottery & World Pottery Institute (Geneva) www.jepsonpottery.comJen-Ken Kilns (Lakeland) www.jenkenkilns.com

Summit Kilns (Land O Lakes) www.swiftweb.com/summitC and R Products, Inc. (Ocala) www.candrproducts.comBennett Pottery Supply (Ocoee) www.bennettpottery.comCalcoworld Ceramic Decals (Orlando) www.calcoworld.com (decals)Axner Co. Inc. ( tradename o Laguna Clay Co. ) (Oviedo) www.axner.comHighwater Clays of Florida (St. Petersburg) www.highwaterclays.com/hwcflorida.htmlSt. Petersburg Clay Company Inc. (St. Petersburg) www.stpeteclay.comThe Arts Center (St. Petersburg) www.theartscenter.orgOTT-LITE Technology (Tampa) www.ott-lite.com

gEORgiADavens Ceramic Center (Atlanta) www.davensceramiccenter.comFort Pottery Co. (Augusta) www.fortpottery.comCreative Glazes (Duluth) www.creativeglazes.com

Olympic Kilns (Flowery Branch) www.greatkilns.comLarkin Refractory Solutions (Lithonia) www.larkinrefractory.comKickwheel Pottery Supply Inc. (Tucker) www.kickwheel.com

iDAhOThe Potters Center (Boise) www.potterscenter.comWendt Pottery (Lewiston) www.wendtpottery.com

illinOiSU.S. Pigment Corp. (Bloomingdale) Great Lakes Clay & Supply (Carpentersville) www.greatclay.comMetomic Corporation (Chicago) www.metomic.com (lamp parts)Paasche Airbrush Co. (Chicago) www.paascheairbrush.comBoothe Mold Company (Dupo) www.boothemold.com (molds)Ceramic Supply Chicago (Evanston) www.ceramicsupplychicago.comBadger Air Brush Co. (Franklin Park) www.badgerairbrush.comDick Blick Art Materials (Galesburg) www.dickblick.comCrystal Productions (Glenview) www.crystalproductions.comShimpo Ceramics ( Nidec-Shimpo America Corp. ) (Itasca) www.shimpoceramics.comMidwest Ceramics (Joliet) www.midwestcas.netInternational Decal Corp. (Northbrook) www.timrg.comArt Clay World, USA (Oak Lawn) www.artclayworld.comDebcor Inc. (South Holland) www.debcor-inc.sbcontract.com

inDiAnAUnited Art & Education (Ft. Wayne) www.unitednow.comAmerican Art Clay Co., Inc. ( Amaco/Brent ) (Indianapolis) www.amaco.comBrickyard Ceramics & Crafts (Indianapolis) www.brickyardceramics.comSugar Creek Industry, Inc. (Linden) www.sugarcreekind.comRoyal and Langnickel Brush Mfg. (Merrillville) www.royalbrush.com

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t eMa u acturers a d Supp ers


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MiSSOURiChristy Minerals Co. (High Hill) www.christyco.comKC Metro Ceramic & Pottery Supplies (Kansas City) www.kcmetroceramic.comL&R Specialties Inc (Nixa) www.claydogs.comKrueger Pottery, Inc. (St. Louis) www.kruegerpottery.com

MOnTAnAArchie Bray Foundation (Helena) www.archiebray.org

nEvADACress Mfg. Co. (Carson City) www.cressmfg.comAardvark Clay & Supplies (Las Vegas) www.aardvarkclay.comBison Studios (Las Vegas) www.bisonstudios.comBigCeramicStore.com (Sparks) www.bigceramicstore.comNevada Dans (Sparks) www.potterywheel.com

nEW hAMPShiREW.K. Hillquist, Inc. (Hudson) www.retaildisplays.comMidlantic Clay (Bellmawr) www.midlanticclay.com

nEW JERSEYInstar Beauti ul Decals (E. Brunswick) www.instardecals.com (decals)Curran Pfeiff Corp. (Edison) www.curranpfeiff.comHobby Colorobbia (Elmowwod Park) www.hobbycolorobbia.comHammill & Gillespie Inc. (Livingston) www.hamgil.comCeramic Supply Inc. (Lodi) www.eceramicsupply.comNew Brunswick Lamp Shade Co. (North Brunswick) www.nbls.com (lamp shades)L&L Kiln Mfg. Inc. (Swedesboro) www.hotkilns.com

nEW MExiCOCoyote Clay & Color (Albuquerque) www.coyoteclay.comNew Mexico Clay, Inc. (Albuquerque) www.nmclay.comTaos Clay (El Prado) www.taosclay.comSanta Fe Clay (Santa Fe) www.santafeclay.com

nEW YORKCharles A. Hones Inc. (Amityville) www.charlesahones.comEast Valley Supply (Andover) www.evsupply.com (ceramics repair epoxy)Studio Sales Pottery Supply (Avon) www.studiosalespottery.comTeka Fine Line Brushes Inc. (Brooklyn) www.tekabrush.comThe Mudpit (Brooklyn) www.mudpitnyc.comVent-A-Kiln Corp. (Buffalo) www.ventakiln.comCeramic Arts Library (Corning) www.ceramicartslibrary.comPCF Studios (Honeoye) www.pcfstudios.comBailey Pottery Equipment (Kingston) www.baileypottery.comAmerican Craft Council (New York) www.craftcouncil.orgArtfxtures (New York) www.artfxtures.com (display stands)Artsystems, Ltd. (New York) www.artsystems.comEagle Zinc Company (New York) Rockland Colloid Corp. (Piermont) www.rockaloid.comClayscapes Pottery Inc. (Syracuse) www.clayscapespottery.comOneida Air Systems, Inc. (Syracuse) www.oneida-air.com

Northeast Ceramic Supply (Troy) Alpine Kilns and Equipment LLC (Warwick) www.alpinekilns.comDoo-Woo Tools LLC (Warwick) www.doowoo.comKiln-Ray Services (Warwick) www.kilnray.comRochester Ceramics, Inc. (Webster) www.rochesterceramics.com

nORTh CAROlinAHighwater Clays, Inc. (Asheville) www.highwaterclays.comLark Books (Asheville) www.larkbooks.comCarolina Clay Connection (Charlotte) www.carolinaclay.comPotterystamp.com (Charlotte) www.potterystamp.comClaymakers (Durham) www.claymakers.comResco Products Inc. (Greensboro) www.rescoproducts.comMudtools (Hendersonville) www.mudtools.com

Williams Supply (Star) www.williamssupplync.com

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Speedball Art Products Co. (Statesville) www.speedballart.comFat Cat Pottery Inc. (Wilmington) www.fatcatpottery.com

OhiONational Artcraft Co. (Aurora) www.nationalartcraft.comA & K Clay Company LLC (Bethel)Laguna Clay Co. (Byesville)) www.lagunaclay.comOlympic Enterprises Inc. (Campbell) www.olympicdecals.comVulcan Kilns (Centerville) www.vulcankiln.comFunke Fired Arts (Cincinnati) www.funke redarts.comMax eld Ceramics Supply Inc (Cincinnati) www.max eldceramics.comAegean Sponge Co. (Cleveland) www.aegeansponge.comBareclay (Columbus) www.bareclay.comColumbus Clay (Columbus) www.columbusclay.comMudmats (Columbus) www.mostlymud.comRAM Products Inc. (Columbus) www.ramprocess.comCornell Studio Supply (Dayton) Wise Screenprint (Dayton) www.wisescreenprint.com (decals)Innovative Ceramic Corp. (East Liverpool) www.innovativeceramic.com (inks/decals)Mason Color Works Inc. (East Liverpool) www.masoncolor.comMayco Colors (Hilliard) www.maycocolors.comMaryland Refractories Co. (Irondale) www.mrcgrog.comOhio Ceramic Supply Inc. (Kent) www.ohioceramic.comHandmade Lampshades (Maumee) (lampshades)Cedar Heights Clay Operation (Oak Hill) www.rescoproducts.comKrumor Inc. (Valley View) (thermocouples and RTDs)Orton Ceramic Foundation (Westerville) www.ortonceramic.comOlympia Enterprises, Inc. (Youngstown) www.olympiadecals.com

OREgOnThe Kiln Elements Co. (Birkenfeld) www.kilnelements.comAim Kiln Mfg. (Corvallis) www.aimkilns.comGeorgies Ceramic & Clay Co. Inc. (Eugene) www.georgies.comGeorgies Ceramic & Clay Co. Inc. (Portland) www.georgies.comMudshark (Portland) www.mudsharkstudios.orgPotteryVideos.com (Portland) www.potteryvideos.comSkutt Ceramic Products (Portland) www.skutt.comSouthern Oregon Pottery Supply (Talent) www.southernoregonpottery.com

PEnnSYlvAniACeramic Services Inc. (Bensalem) www.kilnman.comInsulating Firebrick, Inc. (Butler) www.insulatingfrebrick.comThe Clay Place (Carnegie) www.clayplace.comM&M Pottery Supply (Corry) Del Val Potters Supply Co. (Glenside) www.delvalpotters.comPenn-Mo Fire Brick Co. (Harrisburg) www.penn-mo.comNilfsk-Advance America Inc. (Malvern) www.pa.nilfsk-advance.com (vacuums)Shenango Advanced Ceramics (New Castle) www.shenangoceramics.comCamps Clay Accessories (Philadelphia) www.campsclayaccessories.comThe Ceramic Shop (Philadelphia) www.theceramicshop.comStandard Ceramic Supply Co. (Pittsburgh) www.standardceramic.comFrog Pond Pottery (Pocopson) www.masteringglazes.comPlacid Ceramics (Washington) www.placidceramics.comPetro Mold Co (Waterford) www.petromolds.com

RhODE iSlAnDDew Claw Studios (Pawtucket) www.dewclawstudios.com

SOUTh CAROlinAClay-King.com (Spartanburg) www.clay-king.comeArtWorld.com (Spartanburg) www.eartworld.comCoastal Ceramics (Summerville) www.coastalceramic.com

SOUTh DAKOTAPacer Corp. (Custer) www.pacerminerals.com

Dakota Potters Supply (Sioux Falls) www.dakotapotters.com

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TEnnESSEEWard Burner Systems (Dandridge) www.wardburner.comArrowmont School of Arts & Crafts (Gatlinburg) www.arrowmont.orgThe Clay Lady (Herdersonville) www.theclaylady.comKentucky-Tennessee Clay Co. (Nashville) www.ballclay.comMid-South Ceramic Supply Co. (Nashville) www.midsouthceramics.comH.C. Spinks Clay Co. Inc. (Paris) www.spinksclay.com

TExASArmadillo Clay & Supplies (Austin) www.armadilloclay.comTrinity Ceramic Supply Inc. (Dallas) www.trinityceramic.comAmerican Ceramic Supply Co. (Ft. Worth) www.AmericanCeramics.comTexas Pottery Supply & Clay Co. (Ft. Worth) www.texaspottery.comPMC Connection (Garland) www.pmcconnection.comCeramic Store Inc. (Houston) www.ceramicstoreinc.comBella Bisque, Inc. (Kyle) www.bellabisque.comDisplay Your Art by Glassica (Liberty Hill) www.displayyourart.comParagon Industries, L.P. (Mesquite) www.paragonweb.comOld Farmhouse Pottery (Rusk) www.farmpots.comClayworld Inc. (San Antonio) www.clayworld.comGSM Enterprises (San Antonio) www.gsmkilns-sales-service.comEtc., Etc., Etc. (Wichita Falls)

UTAhCapital Ceramics Inc. (Salt Lake City) www.capitalceramics.com

viRginiASpun Earth Pottery (Forest) www.spunearth.comThe Kiln Doctor Inc. (Front Royal) www.thekilndoctor.comTin Barn Pottery Supply at Manassas Clay (Manassas) www.manassasclay.comCampbells Ceramic Supply Inc. (Richmond) www.claysupply.comClayPeople (Richmond) www.claypeople.net

WAShingTOnNorth Star Equipment Inc. (Cheney) www.northstarequipment.comGif n Tec Inc. (Lummi Island) www.gif ngrip.comCrucible Kilns (Seattle) www.seattlepotterysupply.comNew Century Ceramic Arts Inc. (Seattle) www.paperclayart.comSeattle Pottery Supply (Seattle) www.seattlepotterysupply.comPrecision Terre rma (Spokane) www.precision-terra rma.comRings & Things Wholesale (Spokane) www.rings-things.comClay Art Center (Tacoma) www.clayartcenter.netScott Creek Pottery Inc. (Tacoma) www.scottcreekpottery.comClay In Motion (Walla Walla) www.clayinmotion.com

WiSCOnSinMKM Pottery Tools LLC (Appleton) www.mkmpotterytools.comNasco Arts & Crafts (Ft. Atkinson) www.enasco.comSax Arts & Crafts (New Berlin) www.saxarts.comA.R.T. Studio Clay Co. Inc. (Sturtevant) www.artclay.com

AUSTRAliA

Venco Products (Kelmscott WA ) www.venco.comCAnADA

Plainsman Clay Ltd. (Medicine Hat) www.plainsmanclays.comGreenbarn Potters Supply Ltd. (Surrey) www.greenbarn.comBamboo Tools (Hi Tech Marketing) (Surrey) www.bambootools.comCeramic Arts & Crafts Supply (Burlington) www.ceramicarts.comEuclids Kilns & Elements (Oakville) www.euclids.comEuclids/The Pottery Supply House Ltd. (Oakville) www.pshcanada.comTuckers Pottery Supplies Inc. (Richmond Hill) www.tuckerspottery.comSpectrum Glazes (Toronto) www.spectrumglazes.comMercedes Ceramic Supplies (Woodbridge) Digital re Corp. (Cornwall) www.digital re.com

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2008 Ceramic Workshop Handbook

Documents

Transcript of 2008 Ceramic Workshop Handbook