Fg Clay Workshop Handbook

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knowledge andtechniques for

the studio

clay workshop

handbook

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Scaling It Down Liz Zlot Summerfield

The size of a pot can be determined by things beyond its intended use, including one’s body size and the thingsyou surround yourself with. Take a closer look and make a connection.

Trimming with a Chuck Mike Jabbur

Tall, narrow chucks can make trimming easier because they actually fit inside the pot, saving rims from globs of

smashed clay.

Inspired by Cloth and Clay Adero Willard

Use a variety of techniques and tools on the same piece to add contrast and complexity—similar to sewing a

patchwork quilt.

The Oribe-Inspired Decorated Jar Ben Krupka

Reinvent a historical style to create surfaces that inspire you and creatively engage your forms.

The Print Duality Martina Lantin

Using monoprinting and toner-resist transfer to create layers of surface decoration.

Cone 6–10 Glazes Kimberlee Joy Roth

Roth shares the glazes she uses on her functional wall sculptures.

Workshop GlazesMetchosin International Summer School of the Arts, Peters Valley School of Art, Odyssey Center for the Ceramic

Arts, Ox-Bow School of Art, Northern Clay Center share some of their tried and true shop glazes.

Rhubarb Crisp Baker Sumi von Dassow

Learn to make both your own baking dish and a great rhubarb crisp.

Clay Workshop Handbook

Knowledge and Techniques for the Studio

Welcome to your workshop! Whether you enjoy throwing, handbuilding, glaze testing or all of the above, we’ve pulled

together several things for you to try out once you get back to your studio.

If you’re familiar with Pottery Making Illustrated and Ceramics Monthly , then you already know they’re packed full of practi-

cal information, projects, and techniques you can use. The articles in this 2015 Clay Workshop Handbook provide a sampling of

some of the great content you’ll discover in each issue.

In addition to our magazines, you’ll also find a wealth of information on our website www.ceramicartsdaily.org. Check

out hundreds of free posts filled with tips and techniques and scores of videos providing demos from truly talented pot-

ters, as well as our magazine, book, and DVD selections.

Enjoy your workshop!



How do you journey from a draw-

ing in your sketch book to a paperpattern? Start with a clay sketch that

will become the rough draft of your

pattern. Make a cylinder (either by

pinching, coiling or from a slab) and

attach a bottom. The cylinder should

be similar in scale to the intended final

piece. Draw lines on the surface of the

cylinder anywhere you intend to cre-

ate a seam. Cut along the lines and lay

the sections out flat, creating a two-

dimensional shape (1). Trace the flat

clay sketch onto a malleable material,such as construction paper. Cut out the

paper pattern. You now have a rough

draft of your pattern. To ensure proper

measurements, fold the paper pattern,

as you would in making a paper snow-

flake, and cut off any uneven edges.

To test your pattern, roll out a slab

and trace the pattern. Fold the slab to

create the basic form, then take note

where the pattern needs adjusting. Alter

the pattern and continue the back and

forth between clay and paper until youare satisfied with your pattern. Trace

the pattern onto a more durable material to create a master

pattern. Paper patterns can easily be rescaled on a photocopi-

er to create larger or smaller sizes of your original design.

Rolling and TracingRoll out a ¼-inch-thick slab large enough to fit your pattern.

Run a rubber rib along the surface of both sides of the slab

to compress the clay particles and remove any canvas texture.

Place the pattern on the slab, and first trace it with a needle

tool before cutting it out with a knife—the needle tool line

creates a valley for the knife to follow. Hold the knife perpen-

dicular to the slab and cut in one even motion (2).

Beveling, Folding, and ShapingThe slab is ready to bevel and fold once it has lost its sticki-

ness but it is still very soft to touch. To create a greater surface

area for the slabs to connect, you will need to bevel the edges.

Before you begin, here are a few simple hints to beveling.

Hold the knife as you would a pencil and remind yourself

that your wrist should not be contorted or uncomfortable dur-

ing the beveling process. If you are right handed, you will al-

ways work on the left-hand side of the piece. In order to accom

plish this, you need to turn your board to orient the piece as

you cut all of the bevels. One common problem with beveling

is being too tentative. The knife should cut through the clay at

an angle with the tip running along the surface of the board.

The following beveling instructions set the pot up in a geo

metric fashion; creating four equal sides. To begin, start from

the top of the piece and run your knife along the edge at a

45° angle until you finish cutting one side. Repeat this step

on all four sides, remembering to turn the board after each

cut. Once you bevel the first half of all joins, flip the slab over

and bevel the side of the seam adjacent to the first bevel. Note

(with the arrows in the image) that you are always beveling on

the opposite side of the slab (3) to create each join.

To prepare for folding up the sides, brush the beveled edges

with slip (there is no need to score due to the wetness of the

slab). Lift two adjoining sides and begin to overlap the bev-

eled edges starting from the bottom of the pot (4). Gently join

the slabs together, working your way around all four sides of

the pot. Once the pot is standing on its own, take a rubber

brayer and roll the edges together to create a firm connection

Scaling it downby Liz Zlot Summerfield

Lidded pitcher on brick, handbuilt earthenware, slip-trailed patterns, terra

sigillata, underglaze, glaze, 2014.



1 Handbuild a cylinder to make a pattern. Cut it apart to give a visual from the 3-D form to the 2-D paper pat-tern. 2 Trace the pattern and cut along the valley created by the needle tool with an X-Acto knife.3 Bevel theedges to create more area for the join. Flip the slab over and do the same bevels on the sides adjacent to thefirst bevels on the back side of the slab.4 Gently tack the slabs together from bottom to top all around the pot.Use a rubber brayer or rib to secure the slabs.5 Tap all four edges between the side and bottom of the pot tocreate both feet and a concave bottom.

1 2

4 5

The brayer connects the seams, leaving a visible line, whereas

a rib will smooth them together, eliminating the seam line.

Make these decisions based on your own personal aesthetic.

There is no need to add coils to the inside seams due to the

wetness of the clay. You have now created your cylinder. Al-

low the pot to firm up to soft leather hard in order to addressthe bottom and add volume.

Adding VolumeSet the pot on a banding wheel, wet your fingers, and gently

push out the inside walls. This stretches the slab and adds

a curved, volumetric surface. Work around the pot until all

four sides are addressed.

To form the feet, the pot must still be at the soft leather-

hard stage and hold its shape. If the clay is too wet when

forming the feet, the bottom will sag, and if it is too dry it will

crack along the bottom. Using the fatty part of your thumb,

gently tap between the seams on all four undersides of the pot(5). This forces the bottom to become concave and simultane-

ously creates four feet for the piece to sit on. Once the feet are

formed, place the pot on a level surface and bend the feet to

eliminate any wobbling.

If you choose to stamp into the clay surface, now is the

appropriate time while the clay is a soft leather hard and can

accept the texture (6).

Constructing the Lid, Flange, and SpoutOnce the pot is a stiff leather hard, you are ready to create

the lid. Prepare the pot by leveling the rim. This is easily

done with a Surform. Roll a small ¼-inch slab about the

size of the opening of the pot. Place the pot upside down on

the slab and trace around the opening. Remove the pot and

cut along the traced line, then soften the cut edges, taking

care not to stretch or deform the traced slab. Hold the slab

in the palm of your hand and rub it with your thumb or arib to create volume. Score and slip the pot and adhere the

volumetric slab to the pot with the rubber brayer. The po

is now an enclosed, hollow form. Create a line where you

intend to cut the lid away from the pot. Insert your knife

perpendicular to the pot and cut an even line (do not saw

back and forth) (7). Slowly spin the banding wheel while

you cut the lid away from the pot. Rest a finger or part o

your hand against the banding wheel as you work to stabi

lize your hand and encourage an even cut.

It is appropriate to adhere the flange to the inside of the po

when the lid and pot are no longer in danger of being distorted

from movement. Roll a thin slab (about1

⁄ 8 inch thick and3

⁄inch in height) from soft clay. Score and slip the top inside rim

of the pot. Finger tack the flange to the inside of the pot leav-

ing just a small overhang which will eventually catch the lid

from sliding (8). Clean up the seam between the pot and flange

with a rubber-tipped tool and avoid using any water on the

flange. Adjust the flange slightly inward with wet fingertips, so

that the lid easily slips back into place on the pot. The lid wil

need to dry and fire on the pot to ensure a proper fit.

To create the spout pattern, start from a rounded triangle

or ice-cream cone shape. Alter the shape of the spout by

elongating or rounding the edges. Once the shape is cut from

3



the pattern, gently squeeze the slab in half to create a trough

where the liquid will flow. Add a decorative cap by attach-

ing a small slab of clay onto the top of the spout. Mock the

spout up on the pot and make sure it is centered. Once it is

placed, trace the spout and cut just inside the trace line leav-

ing enough clay for the spout to attach to the pot. Score and

slip the pot and attach the spout to the pot (9). Clean up the

connections with a rubber-tipped tool. If you applied a deco-

rative cap, once the piece is leather hard drill a hole through

the front of the spout to allow liquid to flow.

Building Up the SurfaceAt leather hard, the pot is at the appropriate stage to slip

trail and add any additional decorative clay components. Slip

trailing with your clay body creates a subtle, raised surface

without a change in color. To prepare the slip, slake down

your clay body to a yogurt-like consistency and run the pre-pared slip through a sieve to eliminate any large particles.

Practice dispensing the slip through a slip trailer on paper

to make sure the line quality is what you desire. The size of

the metal tip and the consistency of the slip will determine

the quality of line (10). After the slip’s sheen has disappeared,

loosely cover the pot under plastic until it becomes complete-

ly bone dry.

At the bone-dry stage, brush three coats of terra sigillata

onto the slip-trailed portions of the pot. The terra sigillata will

thin out over the raised areas and pool in recessed areas. It is

the perfect solution for textured surfaces located on the out-

side of the pot. It is used primarily on outside surfaces as it is

not a glaze surface that seals the clay and may soak up mois-

ture. Burnish the terra sigillata until you see a waxy sheen.

In addition to terra sigillata, I apply AMACO Velvet un

derglaze to any portion of the pot that requires color (11)

The Velvet line of underglazes are versatile because they offer

you the choice to leave the surface unglazed (raw and dry) or

glazed (shiny and slick). Although underglazes may be applied

at the leather-hard, bone-dry, or bisque stage, I prefer to apply

them at bone dry, which leaves me the option to carve back

through to reveal the clay body.

After the bisque firing, clean the pot inside and out with a

lightly damp sponge. Wax the lid flange (for easier clean up

and pour or brush a liner glaze inside the pot. Wait until the

surfaces are completely dry before applying any additional

glazes to the outside of the pot. To create stripes on the lid,

draw pencil lines as a guide. Apply glaze (I prefer commerciaglazes due to their brushability) with a small brush, and clean

up any runs with an X-Acto knife before glaze firing.

the author Liz Zlot Summerfield is a studio artist and ceramics instructor living in Bakersville, North Carolina. She exhibits her work andteaches nationwide. To learn more visit www.lzspottery.com.

6 Push a carved bisque stamp into the outside surface of the pot, while holding one hand on the inside of thepot. 7 At the leather-hard stage, cut the lid away from the pot holding your X-Acto knife horizontal to the pot.

This should be done in one motion. 8 Finger tack a thin slab around the inside rim of the pot. The flange onlyneeds to be slightly higher than the top of the pot to hold the lid in place.9 Cut away clay from the pot just in-side the traced line of the spout, so that there is enough surface area to attach the spout.10 Use slip made fromyour clay body to decorate the exterior of the pot. The consistency of the slip along with the pressure used willdetermine the quality of line you create.11 Underglaze is one solution to add color to the pot whether it i sused for large blocks of color or small impact areas.

9

87

10 11

6

This article originally appeared in the February 2015 issue

of Ceramics Monthly. Visit www.ceramicsmonthly.org to

subscribe.



I started trimming pots on a chuck back in graduate school.

A fellow graduate student, Joe Davis, introduced me to the

technique. Honestly, I hated the process at first. The pot be-

ing trimmed needs to be not only centered, but also leveled.

The clay has to be the perfect stage of leather hard. If it is too

wet, it sticks. And if it is too dry, it pops loose. Also, the pot

you are trimming is elevated off the wheel head higher than

usual, so there is a different feel to it. The chuck can also

leave a scar on the inside of the pot, although a little clean up

with a sponge or rib after trimming easily takes care of that

problem. The big catch is that the chuck must fit completely

inside your pot. For some potters, making a variety of chucksmay be necessary. But once you get used to the process, you

won’t want to turn back.

The advantages are many. You can trim pots that are not

level, whether wavy-rimmed or leaning to the side. The chuck

connects to the inside of the pot, which is almost always cen-

tered. You are also taking the pressure off the rim of the pot

when you trim, which helps prevent cracking and damage to

the edge. It is great for trimming lidded pots, because you do

not have to disrupt the flange. And it makes trimming tall,

narrow forms much easier. Finally, it puts an end to mashing

coils of wet clay up against the rim of your pots, which often

distorts the form and destroys the surface.

Making the Chuck I recommend throwing your chuck as a simple form, similar

to a spout. It should have a wide, low base for stability, and

a narrow neck that is flared at the rim to make attaching wet

clay easier (see figure 1). If necessary, trim the chuck when it

is leather hard to make the base of the cylinder as narrow as

possible (providing more versatility for tall, narrow forms),

and trim the edge of the base to make sure that there are no

burrs or brittle edges. Dry the chuck slowly, as these forms

tend to lean to the side as they dry. After bisque-firing the

chuck, store it in a bucket of water, because it has to be com-pletely saturated when you use it.

Using the Chuck Stick the chuck down to a bat as you would any other pot

and then add a generous coil of clay to the rim (1). You can

center this coil with water or let it stiffen to leather-hard and

trim it (2). I do a bit of both. Then air dry or blowtorch the

coil until it is leather hard. It is helpful to match the shape of

the coil to the inside shape of the pot you are trimming and

make sure that the widest part of the coil is also the highest.

If the inside edge of the coil is the highest point, your pot will

Trimming with a Chuck

not sit correctly on the chuck. The shape of the coil I add var

ies from one pottery form to another, and sometimes I trim

the coil a little between pots to improve the fit for a given

piece. Because of this, I always trim pots with the narrowes

opening last. You may need to add a fresh coil or re-soak th

chuck if you are trimming for several hours or working in a

drafty studio.

Center your pot on the chuck—making sure it is both centered and level might take some practice—and give it a little

downward pressure with a subtle twisting motion. Applying

pressure will help your pot adhere to the chuck. Then trim

your pot as you normally would. Although the pot is stuck

to the chuck, it is still important to apply downward pressur

as you trim.

I always begin by defining the outside diameter of the foo

ring (3). I do not trim inside the foot ring until later, which

allows me to push down on the bottom of the pot while I trim

and it helps to keep the pot stuck to the chuck. I trim away

all of the excess clay between the foot ring and the waist o

by Mike Jabbur

Tumbler, 4½ in. (11 cm), wheel-thrown porcelain, glaze, firedto cone 9 in oxidation, 2014.



belly of the pot, focusing more on wall thickness than on

the surface of the trimmed area (4). I stop trimming outside

the foot ring when I am about 90% done—before doing anydetail work. Then I trim inside the foot ring, because these

trimmings can easily damage the detail work outside the foot

as the scraps fall. Once the foot is how I want it, I finish it

by trimming the outside area (5). I like the final trim marks

to have a rhythm and gesture that compliment my throwing.

Finally, I use a smaller trimming tool around the waist of the

pot and the edge of the foot and clear away any trimming

scraps with compressed air. I make a single pass over all the

edges with a cosmetic sponge so that they retain their crisp-

ness but are not sharp to the touch (6).

1 Center and stick the saturated, bisque-fired chuck to the wheel head with clay, then and add another coil ofclay at the top. 2 Center the coil with water or let it stiffen to leather hard and trim it.3 Place the cup onto thechuck and begin trimming by defining the outside diameter of the foot ring. 4 Trim away about 90% of the excessclay between the foot ring and the waist or belly of the pot before trimming the inside of the foot ring.5 Aftertrimming the inside of the foot ring, finish trimming the outside area until the rhythm and gesture complimentsthe throwing. 6 Use a smaller trimming tool to clear away any trimming scraps and then use a cosmetic spongeto smooth the foot. 7 Use a sponge on a stick to clean up any scars left from the chuck. 8 The finished cup aftertrimming. 1–8 Photos: Eliot Dudik.

1 2 3

4 5 6

7 8

This article originally appeared in the March 2015 issue

of Ceramics Monthly. Visit www.ceramicsmonthly.org

to subscribe.

When I am done trimming, a little twist helps the piece pop

loose from the chuck. I use a sponge on a stick to clean up the

scar on the inside of the pot left by the chuck (7). Of coursechucks are only needed for certain forms. Experiment. Solu-

tions for pottery making are rarely one-size-fits-all.

the author Mike Jabbur is an assistant professor of ceramics at TheCollege of William and Mary in Williamsburg, Virginia. To learn more,visit www.mikejabbur.com.



A primary creative idea

behind my decorationtechniques is manipulat-

ing real or illusory depth

through relationships be-

tween different textures, pat-

terns, colors, and proportions.

Using different techniques and

tools on the same piece adds to the

contrast. Quilts are one of the many

inspirations I draw from. Separate patch-

es create repeating patterns that ultimately

become a complete and unified form. Translated to clay and

glazes, the patchwork appearance and depth comes from

layering of underglazes and the revealing of layers through

masking (using wax resist). Using underglazes gives one the

immediacy of working with color in painterly ways.

Platter PlanningA larger form like a platter allows more surface for con-

trasting decoration to inhabit. I create a double lip, and

then alter the shape of the form by pulling and stretching

the edge to vary the degree to which the two conjoin. Con-

sideration of how these alterations affect the character of

the form helps inspire the mapping out of the decoration:which areas of decoration will be contained inside the form,

which will extend to some, but not all edges, and so on.

Using an X-Acto blade, I map out areas so contrasting pat-

terns will collide, intersect, and overlap. It may be helpful to

make a separate sketch on paper and keep it nearby in case

you lose track of the order of the layers during the applica-

tion of underglazes.

Layers and MaskingI apply a layer of black underglaze once the form is leather

hard. I leave the clay body exposed in specific places based

on my decoration map. The

next step is to introduce the

first wax-resist element once

the underglaze is dry to the

touch (figure 1). Here, lea

shapes are painted onto the sur

face using wax. If you haven’t

worked with masking, you may

find it helpful to think of applying

wax as preserving whatever is directly

underneath it, even as more underglaze is ap-

plied. The first pattern I create uses relatively large

shapes, which will appear as black-on-clay-body. When thewax is dry, the entire surface is covered in white under-

glaze (figure 2). When that layer is dry to the touch, I use a

dry sponge to remove the underglaze that beads up on the

waxed areas in order to prevent glaze defects (repeat this

after every application of underglaze to a waxed area).

Creating Patterns with SgraffitoAt this point I use the X-Acto blade to retrace the lines of

my map, as the underglaze may obscure them. The next dec

oration I apply using sgraffito. I use the side edge of the tip

of the blade, carving away the upper white layer to reveal

the black layer beneath. In some areas, I create a vine pat-

tern, which sweeps and loops around itself and between the

mapped-out areas, echoing the waved edge of the altered

form (figure 3). I also use sgraffito to begin a pattern of

a contrasting geometric style in adjoining areas (figure 4 )

Note: Clear away the dust created by the carved underglaze

with a dry brush; don’t clear it by blowing it away, as it’s

harmful to inhale. I like to create contrasting dimension in

a piece by alternating between carving the positive shape o

the vine in some areas, and carving away the negative space

in others (figures 5 and 6 ).

by Adero Willard

Inspired by Clothand Clay



Variations on TechniqueRecall that some areas had no black underneath the white

underglaze: these will show as white-on-clay-body, wherethe rest will show as white-over-black. (The thickness of

the white layer determines how dark or light the resulting

combination will be.) In the area with white-on-clay-body,

I use a slip-trailing bottle to create decoration that is sug-

gestive of writing without being overly literal (figure 7 ).

This black design element contrasts with the larger black

leaf shapes created by the initial wax application.

Second Resist LayerWith the sgraffito and slip-trail decoration complete, I ap-

ply the next wax decoration to preserve elements at this

level before applying more colors of underglaze. Between

the large leaf shapes preserved by the first layer of resist, I

add a second vine-like pattern using wax (figure 8 ). Over

the grid, I introduce a corresponding geometric element of

wax circles that accentuates the curvilinear aspects of the

form (figure 9). The wax also serves purely as a mask to

preserve areas where the decoration is complete.

Expanding the PaletteI introduce other colors at this point; areas masked by wax

will not be affected. Note: Using wax as a mask protects

against the brush slipping or drips. As with the very first ap-

plication, use a dry sponge to remove the underglaze that

beads up on the wax after every step. The geometric area has

Leaving areas bare, apply black underglaze as back-ground color. Paint shapes with wax resist to create thefirst layer of pattern.

Using the side edge of an X-Acto blade, create sgraffitodecoration. The ivy pattern accentuates the platter’s ir-regular edges.

Apply white underglaze to the entire surface. Once dry,retrace your decoration map.

Create a contrasting, geometrical sgraffito pattern inadjoining areas, per your map. Clear away shavings witha dry brush.

1

3

Use a slip-trailing bottle to decoratethe bare area, contrasting delicatestrokes against larger bold elements.

In one area of the ivy pattern, usecross-hatching to make the ivy pat-tern dark-on-light (positive space).

In the other areas, cross-hatch aroundthe ivy pattern to create a light-on-dark decoration (negative space).

5 6 7

2

4



two layers of color; the first is yellow-over-white, with the

wax circles showing through the yellow (figure 10). Then, I

apply a third level of resist over parts of the yellow, introduc-ing a spiral that relates geometrically but contrasts in scale

and gesture (figure 11 ). The organic area will have red-over-

white, with the brush-applied vine showing through the red

(figure 12). Once the wax spirals dry, the white-over-yellow

layer, with the spirals showing through the white, completes

the geometric area (figure 13).

Two FiringsThe platter must be bisque fired before glazing—I bisque

fire to cone 06. After the initial firing, I use a non-stick-pan

scrubbing pad to sand off the flaky residue that the wax

leaves behind, then I dunk the entire piece in glaze to sea

the decoration and make the colors more vivid. I glaze fireto cone 03 in an electric kiln.

Adero Willard lives in western Massachusetts, where she is a studio potter and instructor of ceramics at Holyoke Community College. Shehas shown in a number of galleries and craft shows nationally, includ-ing the Society of Arts & Crafts, Craft Boston, and the SmithsonianCraft Show in Washington, DC.

Apply yellow underglaze in the gridded areas. Removeany underglaze that beads up on the waxed areas with adry sponge.

A second wax pattern, also geometric but similar in char-acter to the ivy, is applied over the yellow underglaze.

10 11

Apply red underglaze to the second ivy area. The waxdecoration will show through. Remove any underglazethat beads up on the waxed areas with a dry sponge.

Apply a layer of white underglaze over the yellow.Masking adjoining decoration with wax helps preventerrors. Remove any underglaze that beads up on thewaxed areas with a dry sponge.

12

13

Apply a second ivy pattern with wax resist. Althoughconstrained within the map, this creates the appearanceof endless flow.

The second wax pattern contrasts by its geometric na-ture, as well as contrasting circles against the sgraffitogrid.

8 9

This article originally appeared in the September/October

2014 issue of Pottery Making Illustrated.

Visit www.potterymaking.org to subscribe.



by Ben Krupka

The Oribe-InspiredDecorated Jar

Ben Krupka carves through

wax-resist-covered slips tocreate a playful Oribe-inspiredsurface on his porcelain jar.

As a maker, I remain dedicated to the evolving conversa-

tion with material, aesthetic ideals, and function. I work

within the parameters of aesthetic functionalism while

striving to build pots that feel full of volume, look soft

and fresh, and tell a story, while maintaining a historical

reference. The work shown here references the experimen-

tal and playful feel of Oribe-style ceramics, but through acontemporary lens, both in pattern and narrative themes

as well as in form, which is influenced by how I eat and

drink. The work uses abstract cloud forms to reference an

intangible dream state and fuzzy communication that are

depicted in unframed floating spaces. Pattern is used to

define place and divide space.

The majority of my work begins on the wheel. I find

this tool to be the simplest way to connect curves and cre-

ate not only physical volume, but also a visually suggested

sense of volume.

ThrowingStart by throwing a straight-walled cylinder with the bot-

tom third resembling a bowl on the interior rather than a

cylinder, which would have evenly thick walls. This will

give the stability necessary to slightly swell out the belly

of the pot in the throwing stage without compromising its

vertical, wet structural strength. It also will come into play

later when trimming.

Leave the top quarter of the pot about twice as thick as

the walls so it maintains its structure as you use downward

pressure to create the lid seating.

After the cylinder is thrown, smoothed, and the lid seat-

ing is roughly formed, begin at the top, working downward

to swell out the walls, creating more volume (figure 1). It’s

important to begin widening the form from the top as this al

lows the bottom half of the pot, which is still thick, to main-

tain structure and keeps the pot from getting too thin early

on, causing it to slump. Once the pot is formed, delicately rib



down the entire pot removing all throwing lines that would

eventually act as a visual distraction to the applied surface

treatment (figure 2). Remove the pot from the wheel and al-

low it to become leather hard.

Next, center a substantial amount of clay as a hump.

This allows you to throw multiple lids more quickly in the

event that one does not fit. While ignoring the majority of

clay that is already centered, focus on a portion of clay that

comfortably fits in your hand, and center it as though it’s a

separate entity from the remainder of the clay on the wheel.

Rather than creating a hole, which one would normally do

when opening, form the knob in the center of the ball ofclay (figure 3).

After the knob is formed, throw walls around the knob

and, using a stiff rib, push down and level out the top of

the lid (figure 4 ). Once you are happy with the shape of the

lid, use calipers to measure the exact lid diameter and cut

it to size with a needle tool. Smooth out the cut edge, then

remove the lid and allow it to become leather hard.

TrimmingNext, re-center the pot (before trimming it) so it can be used

as a chuck, or holder, for trimming the lid (figure 5). Trim the

lid until the walls are an even thickness throughout (figure 6).

Flip the pot over, center it, and begin trimming. This is

where the distinction between physical and visual volume is

created. Because the interior of this vessel is shaped like a

bowl, it affords the flexibility to trim heavily, exposing the

bowl shape within. After the bulk of the trimming is com-

plete, use the metal rib as a trimming tool to remove un-

wanted trimming lines. Sponge down the surface and use a

soft rib to unify the thrown and trimmed surface (figure 7 ).

Slip DecorationIt’s important to have a vision for the finished piece in or-der grasp the steps and work backward. I find it helpful

to sketch my ideas on paper prior to applying slip to the

surface of the pot. Once the pot is on the dry side of leather

hard, begin to apply colored slips by starting with the dark

est color, in this case black. After allowing the black slip to

dry, apply the next color of slip—I used AMACO Velvet

Underglaze V-388 Radiant Red.

Once the slips are dry, cover the entire pot with wax resist

and allow it to sit overnight so the wax hardens (figure 8)

The longer you let the wax dry, the easier it will be to draw

clean lines.

Swell out the walls from the topdownward. Keep the walls an eventhickness.

Use the rib to push down the wallscreating a flat lid.

Use the rib to remove all throwinglines and refine the surface of the pot.

Center the pot so it can be used tohold the lid while trimming.

Form the knob prior to opening thewalls of the lid.

Trim the bottom of the lid until thewalls are evenly thick throughout.

1

4

2

5

3

6



Incising and InlayingUse a tool with a point that gives the line quality you de-

sire—anything from a ballpoint pen to a needle tool will

work. Another contributing factor to line quality is the

moisture content of the clay. The drier the pot, the sharper

the line (figure 9).

Throughout the drawing process, pause occasionally to

brush off the burrs of wax and clay that peel up as you drawso they don’t accidentally get pushed back into your lines. Be

patient and wait as long as it takes for the burrs to dry. The

drier the burrs are when you brush them away, the cleaner

the line will be (figure 10).

Once the drawing is complete, use colored slips to fill

in the lines (figure 11). After each color is applied, sponge

away what doesn’t adhere before applying the next color

(figure 12). The overlying color should wipe away easily due

to the layer of protective wax resist still on the pot.

GlazingAfter bisque firing the pot, use a damp sponge to clean the

surface before applying glaze. This removes any dust that de-

veloped from the wax burning off in the kiln and allows for a

consistent and clean coat of glaze. Apply areas of colored glazeallow them to dry, then apply a thin layer of clear glaze on top

of the entire pot. Wipe the bottom clean, allow the glaze to dry

then fire it to temperature.

Ben Krupka is a ceramic artist and educator living and working in GreatBarrington, Massachusetts. He teaches ceramics at Bard College atSimon’s Rock. To see more of his work, visit www.benkrupka.com.

Trim excess clay around the base. Usea soft rib to even out the trimmingsurfaces. Allow it to become leatherhard.

Use a soft brush to remove the dryburrs of wax and clay that peel up asyou draw.

Apply colored slips. After the slipsare dry, cover the entire pot withwax resist and allow the wax toharden.

After the drawing is complete, usecolored slips to fill the lines.

Use a pointed tool to draw throughthe wax and slip creating sgraffitolines. Avoid brushing the burrs intothe lines.

Sponge away what doesn’t fill thelines before applying the next color.

7

10 11 12

8 9

This article originally appeared in the May/June 2014 issue of Pottery Making Illustrated. Visit www.potterymaking.org to subscri



The ceramic surface may be activated by the imposition or

printing of pattern, the framing of an image or the juxtaposi-

tion of colors. Throughout history, potters have sought to

embellish the surfaces of their vessels. Ornament can accen-

tuate components of the pot—whether rim, foot, or body. In

addition, surfaces can inform us about the status or beliefs of

the owner; they can convey a narrative, a moral, or a meta-

phor. These surfaces may be representative or abstract and

executed in a myriad of ways.

While a resident artist at Baltimore Clayworks, fellow

resident Jessica Broad was teaching a Print on Clay class

and invited me to join in to see her demonstrate some slip-

based methods. The rest, as they say, is history.

Two direct and low-tech methods that inspired me then,

and that I continue to use in various ways within my work,

are monoprinting and toner-resist transfer. There are some

points to keep in mind that will apply to both of the tech-niques. While I use these techniques with slips formulated

for earthenware, the methods are transferable across clay

and firing types. Similarly, the images included here show

the techniques executed on a flat tile surface. Both the toner

resist and monoprint adapt well to three-dimensional forms.

In each case, the success of the print depends in part on the

moisture content of the clay being printed upon, though it

can be a challenge working on large-scale or very volumet-

ric forms. Ideally, the piece will be at a soft-leather-hard

consistency. For forms with large curved sections, darting

may be required to get the pattern to fit the shape.

MonoprintingMonoprinting—where an image is created on one surface

and then transferred to another—is likely the most direct

print method I employ. I prefer to use clean newsprint to

generate my image, though printed newsprint will alsowork. The clean newsprint allows me the space to draw the

image or pattern first in pencil or permanent marker. If ap

plying the print to a more complex form, I make a pattern

of the form—cutting the paper to shape with darts to allow

for the curvatures of the piece.

The outline, drawn here using a Chinese brush and com-

mercial black underglaze ( figure 1), is the first layer. Images

need to be built up in reverse, since the elements drawn onto

the paper initially will be topmost in the printed image

The outline is then filled in with colored slips. This layer

can also be scratched away or eroded ( figure 2) to allow the

backing layer of the white slip to be brought forward. I ap-ply the white slip last, covering the entire image ( figure 3). In

addition to creating a bright background, the layer of white

slip also helps to ensure a complete transfer of the image

The prepared print is applied to the surface of the piece

working from one edge to the other to avoid air bubbles

Use fingers or a soft rib to compress the paper, being carefu

not to shift or tear the page ( figure 4).

Once the paper dries—evidenced by the change in color

pull it away, revealing the image underneath ( figure 5). I

any parts of the print have failed to transfer, the paper may

be carefully lowered and compressed once more. While I’m

by Martina Lantin

The Print Duality

Martina Lantin’s cups combine monoprinting, toner-resist transfer, wax-resist glazing, and glaze trailing on thrown and alteredforms. The surfaces have a rich, layered, and weathered appearance that encourages a closer look.



interested in the incomplete transfer possible with this tech-

nique, and don’t mind the blank spaces, it can also create a

sharp and complete image. This method is flexible, because

it allows underglaze, slips, and stains to be intimately com-

bined with one another.

Toner-Resist TransferThe toner-resist transfer technique requires more prepara-

tion, but is similarly flexible. The method depends on the

water-resistant property of the toner (rather than the toner’s

iron content as in decal printing). It’s best to experiment with

laser printers or copiers available to determine which may

work best. Line drawings or patterns with equal amounts of

figure and ground are suited to this technique. Using high-

contrast images with minimal large open spaces ensures that

the black areas resist the application of pigment and theprinted spaces are consistent in their color application.

The image can be generated through the use of copyright-

free imagery, or drawings made either on paper or digitally.

Many copiers have the capacity to color reverse the im-

age (making what is the black-on-white line drawing into

a white-on-black image). When working with text, letters

need to be mirrored in the original, as the print process will

be the reverse—making the text readable.

This technique is flexible, working well with slips, commer-

cial underglazes, and colorant/frit mixtures. I use a mixture of

two parts Mason stain to one part Ferro Frit 3124. I like the

direct control over color that my own stain mixture provides

Water is slowly added while blending the components together

with a brush or palette knife ( figure 6 ). The mixture may need

to be adjusted to get the right consistency that’s repelled well

by the toner spaces of the image. An additional variable is the

pressure on the brush. Working quickly and directly can be the

most efficient form of application.

Loading the brush with pigment, the lines of the motif are

traced, reloading as needed ( figure 7 ). The resistant properties

of the toner will push the pigment away from the black areas

of the image, allowing a freer hand. Any stray drops can be

picked up with a sponge or dry brush. Once the sheen has left

the page, the print is applied to the piece and compressed from

the center outward, or from one side to the other to avoid air

bubbles. Using a soft rib, the paper may be further compressed

to ensure transfer. Should the clay be on the drier side, the

back of the page can be dampened with a sponge and com-

pressed again. The paper is pulled up once it has dried ( figur

8). It can be reapplied and recompressed if the image didn’t

transfer completely.

The versatility of this method lies in its ability to repeat

an image using multiple copies, to execute fine lines, and be

applied to a three-dimensional surface. In addition, with a

quick hand, the page can be backed with a contrasting col-

ored slip ( figures 9 and 10 ). The two techniques detailed here

may also work in concert on the same piece.

When creating a monoprint on newsprint,draw or paint the top or outline layerfirst using underglaze and a thin brush.

Apply a backing layer of white slip. Thisslip will be visible as a background layein all white or patterned areas.

Apply additional layers of coloredslip to define different sections of theimage, then scratch through to createpatterned areas.

Place the paper image-side down onto atile, use a rubber rib to compress the paperagainst the clay and to ensure a transfer.

1

4

2 3

Once the paper dries (the colors changeas it dries), pull it away from the clay,revealing the transferred image.

Add water to the frit and Mason stain mture until it’s a consistency that’s repellewell by the toner spaces on the image.

5 6



This article originally appeared in

the May/June 2014 issue of Pot-

tery Making Illustrated. Visit

www.potterymaking.org to subscribe.

GlazingIn glazing on top of existing slip decoration, I seek to continue building vis-

ible layers by adding a variety of colored glazes. Glazes are often applied to fill

between the lines of the underlayer ( figures 11 and 12 ), then covered in wax, sothat the colors resist any additional glazes and maintain their integrity in the

firing. Once the wax resist dries, I either pour a glaze over the tile, or for cups

and larger forms, dip the form in glaze. When glazing cups, I hold them with

one finger on the rim, and my thumb on the foot, then dunk the cup in at an

angle, rim-side down. The tumblers feature all of the techniques described here,

applied to a three-dimensional form.

Enhancing ContextFrom the moment they were introduced to me, monoprinting and toner-resist trans-

fer became ways for me to generate depth in my surfaces and insert more detailed

narratives and pattern references to enhance the context of my work. As my famil-

iarity with these techniques evolved, I became interested in the erosion of images,making them difficult to read. The incomplete transfer of an image generates a

surface that evokes the age of the object. Currently I use the toner-resist transfer

technique underneath a layer of white slip, further obscuring the pattern as in the

plate image at left.

Through these methods I seek to convey the number of times during the making

process that the object has been handled. The print processes generate a surface that

I hope will encourage exploration, and through that exploration, lead to a deeper

relationship between user and the crafted object.

Martina Lantin teaches ceramics at Marlboro College in Marlboro, Vermont. To see moreof her work, visit www.mlceramics.com.

Paint the frit and stain mixture onto thewhite areas of your laser-printed image.Clean any stray drops with a sponge.

Apply the image to clay once thesheen disappears. Compress the back,then once the paper dries, peel it off.

If desired, apply a backing slip over thepaper pattern before applying it to theclay. This creates a varied background.

After applying the slip, place the im-age onto the tile, compress, and peelthe paper away. Note the image’sadded depth.

After the bisque firing, apply glazes toaccentuate the pattern. Here the glaze isapplied to fill between the lines.

Add additional layers over the patternto the bisque-fired and glazed form bytrailing accent glaze lines.

The finished tile showing toner resistwith a white backing slip and addedglaze accents.

7

10 1211

8 9



Kimberlee Joy Roth shares her cone 6–10 oxidation and reduction glaze recipes for matte and shiny glazes.

Cone 6–10 Glazes

3 Liz White with Green Glaze on rim 4 Don Swartz Yellow, Wild Rose Metallic2 Liz White, Pink, and Green Glaze1 Green Breaks Blue glaze

Green Breaks Blue (1)Cone 8–10 Oxidation or Reduction

Gerstley Borate . . . . . . . . . . . . . . . . 2 %

Lithium Carbonate . . . . . . . . . . . . . . 4

Whiting . . . . . . . . . . . . . . . . . . . . . . 5

Nepheline Syenite . . . . . . . . . . . . . . 70

OM4 Ball Clay . . . . . . . . . . . . . . . . . 14

Silica . . . . . . . . . . . . . . . . . . . . . . . . 5

100 %

Add: Cobalt Carbonate . . . . . . . . . 1 %

Rutile . . . . . . . . . . . . . . . . . . . 2 %

Matte kelly green where thin and very shinyblue with crazing where thick.

Liz White (2–3)Cone 9–10 Oxidation or Reduction

Dolomite . . . . . . . . . . . . . . . . . . 12.96 %

Lithium Carbonate . . . . . . . . . . . 1.85

Whiting . . . . . . . . . . . . . . . . . . . 14.81Custer Feldspar . . . . . . . . . . . . . 33.33

EPK Kaolin . . . . . . . . . . . . . . . . . 5.57

Silica . . . . . . . . . . . . . . . . . . . . . 31.48

100.00 %

Do not eliminate lithium or the glaze will settle.I use 1.85% lithium, but up to 3.7% will work.Fire to cone 9 to get a satin surface. It is satinmatte at cone 8 and very glossy at cone 10.Great liner glaze when satin—coffee and teawill not stain it. In reduction, it is a bit blue.

Pink (2)Cone 6–10 Oxidation

Whiting . . . . . . . . . . . . . . . . . . . . 20.0 %

Ferro Frit 3134 . . . . . . . . . . . . . . . 14.0Nepheline Syenite . . . . . . . . . . . . 18.0

OM4 Ball Clay . . . . . . . . . . . . . . . 18.0

Silica . . . . . . . . . . . . . . . . . . . . . . 30.0

100.0 %

Add: Tin Oxide . . . . . . . . . . . . . . . 7.5 %

Shiny at all temperatures, gets darker pink asthe glaze gets thicker, white where very thin. Ifire this to cone 9, at cone 8 it is a darker pink.At cone 10 it is almost white.

Green Glaze (2–3)Cone 8–10 Oxidation or Reduction

Bone Ash . . . . . . . . . . . . . . . . . . 1.00 %

Talc . . . . . . . . . . . . . . . . . . . . . . 7.50

Whiting . . . . . . . . . . . . . . . . . . . 22.50

Custer Feldspar . . . . . . . . . . . . . 31.00

EPK Kaolin . . . . . . . . . . . . . . . . . 12.50

Silica . . . . . . . . . . . . . . . . . . . . . 25.50

100.00 %

Add: Copper Carbonate . . . . . . . 4.50 %

Copper Oxide . . . . . . . . . . . 0.25 %

Bentonite . . . . . . . . . . . . . . 1.00 %

(This glaze is just a slight variation on DonSwartz’s Base and Fred Herbst’s Oribe Glaze)This is the green I brush or dip over Liz Whiteon the rims of the work.

Wild Rose Metallic (4)Cone 9–10 Oxidation or Reduction

Bone Ash . . . . . . . . . . . . . . . . . . . . . 10 %



Grolleg Kaolin . . . . . . . . . . . . . . . . . 18

100 %

Red

Add: Spanish Red Iron Oxide . . . . . . 10 %

Metallic

Add: Copper Carbonate . . . . . . . . . 2 %

Rutile . . . . . . . . . . . . . . . . . . . 5 %

Saint John’s BlackCone 8–10 Oxidation or Reduction

Albany Slip . . . . . . . . . . . . . . . . 80.00 %

Nepheline Syenite . . . . . . . . . . . 20.00

100.00 %

Add: Cobalt Carbonate . . . . . . . . 7.41 %

At cone 9 this glaze is a very nice satin black.You can also use cobalt oxide at 5% instead of7.41% cobalt carbonate. Eliminating the cobaltcarbonate or oxide results in a nice chocolatebrown glaze.

Don Swartz’s Base (4)Cone 8–10 Oxidation or Reduction

Bone Ash . . . . . . . . . . . . . . . . . . 1.02 %

Talc . . . . . . . . . . . . . . . . . . . . . . 7.11

Whiting . . . . . . . . . . . . . . . . . . . 22.34

Custer Feldspar . . . . . . . . . . . . . 31.47

EPK Kaolin . . . . . . . . . . . . . . . . . 12.68

Silica . . . . . . . . . . . . . . . . . . . . . 25.38

100.00 %

For Yellow:

Add: Mason Stain #6440 . . . . . . 1.50 %

For Green:

Add: Copper Carbonate . . . . . . . 1.50 %

Copper Oxide . . . . . . . . . . . 0.75 %

For Light Blue:

Add: Cobalt Oxide . . . . . . . . . . . 0.20 %

Manganese Carbonate . . . . 1.00 %

For Medium Blue:

Add: Cobalt Oxide . . . . . . . . . . . 0.45 %


For Dark Blue:

Add: Cobalt Oxide . . . . . . . . . . . 1.00 %


For Brown:

Add: Red Iron Oxide . . . . . . . . . . 2.00 %

For Violet:

Add: Mason Stain #6304 . . . . . . 15.00 %

For Tangerine:

Add: Mason Stain #6027 . . . . . . 15.00 %

For Light Green:Add: Copper Carbonate . . . . . . . 0.50 %

Yellow Ochre . . . . . . . . . . . 5 .00 %

For Dark Green:

Add: Iron Chromate . . . . . . . . . . 4.00 %

Cobalt Oxide . . . . . . . . . . .0.1695%

I fire this to cone 9. It has a satin surface at cone8. This is a good base glaze for experimentingwith colorant additions.

This article originally appeared in the January 2015 issue of Ceramics Monthly. Visit www.ceramicsmonthly.org to subscribe.



Get ready for summer workshop season by trying out a few shop glazes used in workshop studios aroundthe US and Canada. For more recipes from workshop venues, check out the digital edition of this issue.

Workshop Glazes

Meira’s Copper BlueCone 10 Reduction

Barium Carbonate . . . . . . . . . . . . . . 30 %

Spodumene . . . . . . . . . . . . . . . . . . . 10


Silica . . . . . . . . . . . . . . . . . . . . . . . . 10

100 %

Add: Copper Carbonate . . . . . . . . . . 4 %

Opaque blue green, buttery texture. Use as anoverspray. Not food safe.

Recipe and image courtesy of Meira Mathison,

Ceramics Program Coodinator at Metchosin

International Summer School of the Arts, www.

missa.ca.

BvictoriaDCone 10 Reduction

Dolomite . . . . . . . . . . . . . . . . . . . 9.0 %

Talc . . . . . . . . . . . . . . . . . . . . . . . 6.0

Whiting . . . . . . . . . . . . . . . . . . . . 6.0

Zinc Oxide . . . . . . . . . . . . . . . . . . 3.0

Nepheline Syenite . . . . . . . . . . . . 46.0

Silica . . . . . . . . . . . . . . . . . . . . . . 30.0 100.0 %

Add: Cobalt Carbonate . . . . . . . . . 0.4 %

Rutile . . . . . . . . . . . . . . . . . . . . . . 3.0 %

Titanium Dioxide . . . . . . . . . . . . . . 1.0 %

Bentonite . . . . . . . . . . . . . . . . . . . . 2.0 %

Recipe and image courtesy of Bruce Dehnert,

Head of Ceramics at Peters Valley School of Art,

www.petersvalley.org.

Fat cat redCone 6 Oxidation

Gerstley Borate . . . . . . . . . . . . . . 8.0 %

Talc . . . . . . . . . . . . . . . . . . . . . . . 4.0

Whiting . . . . . . . . . . . . . . . . . . . . 21.0

Custer Feldspar . . . . . . . . . . . . . . 31.0

Ferro Frit 3134 . . . . . . . . . . . . . . 9.0

EPK Kaolin . . . . . . . . . . . . . . . . . . 9.0Silica . . . . . . . . . . . . . . . . . . . . . . 18.0

100.0 %

Add: Tin Oxide . . . . . . . . . . . . . . . . 5.0 %

Chrome Oxide . . . . . . . . . . . . . . . . 0.2 %

Recipe and image of Double Handled

Goddess Vase by Gabriel Kline courtesyof Odyssey Center for the Ceramic Arts,

www.odysseyceramicarts.com.

Izzy’s Black Screen-Printing SlipCone 04–10 Oxidation and Reduction

Cedar Heights Redart . . . . . . . . . . . . 700 g

Ferro Frit 3124 . . . . . . . . . . . . . . . . . 300 g

1000 g

Add: Black Copper Oxide . . . . . . . . . 150 g

Black Iron Oxide . . . . . . . . . . . . . . . . 150 g

Cobalt Oxide . . . . . . . . . . . . . . . . . . 20 g

Dry-mix the ingredients then place into a ball-mill to grind the slip into a fine powder over-

night. Add 8 oz. of corn syrup. Add water and

mix to a viscous, ink-like consistency.

Use as you would screen-printing ink to print

onto leather-hard clay or newsprint for a

newsprint-transfer technique.

Recipe and image of Ballerina Dresses Dream

Clouds courtesy of Israel Davis, faculty memberat Ox-Bow School of Art, www.ox-bow.org.

Jacquie’s BaseCone 04 Oxidation

Gillespie Borate . . . . . . . . . . . . . . . . 38 %



EPK Kaolin . . . . . . . . . . . . . . . . . . . . 5

Silica . . . . . . . . . . . . . . . . . . . . . . . . 42

100 %

Add: Bentonite . . . . . . . . . . . . . . . . . 2 %For Jacquie’s Flasho Pink

Add: Rutile . . . . . . . . . . . . . . . . . . . . 3 %

Tin Oxide . . . . . . . . . . . . . . . . . . . . . 10 %

Recipe and image courtesy of Dustin

Yager, Head of Education and Artist Ser-

vice Programs at Northern Clay Center,www.northernclaycenter.org.

Deb’s ClearCone 04 Oxidation

Ferro Frit 3195 . . . . . . . . . . . . . . . . . 45 %

Ferro Frit 3134 . . . . . . . . . . . . . . . . . 30

EPK Kaolin . . . . . . . . . . . . . . . . . . . . 25

100 %

Add: Bentonite . . . . . . . . . . . . . . . . . 3 %

For Deb’s Copper Green

Add: Copper Carbonate . . . . . . . . . . 6 %Spanish Iron Oxide . . . . . . . . . . . . . . 3 %

Recipe and image courtesy of Dustin

Yager, Head of Education and Artist Ser-

vice Programs at Northern Clay Center,www.northernclaycenter.org.

This article originally appeared in the April 2015 issue of Ceramics Monthly. Visit www.ceramicsmonthly.org to subscribe.



By springtime my green thumb gets really itchy. I’ve

gotten my seeds and maybe I’ve been able to dig beds.

There will be nothing to harvest yet for weeks, but

green things are starting to come up. One of the earli-

est edible plants to produce a usable crop is rhubarb,

and by March we may even see it pushing little pink

fists through the earth and unfurling crumpled leaves.

Time to start thinking about making a baking dish for

rhubarb pies and crisps! If you begin this project assoon as you see the rhubarb starting to emerge, you

can have it fired and glazed in plenty of time to try

ceramic artist Sarah Jaeger’s rhubarb crisp recipe.

Every cook needs a square or rectangular baking

dish, which is perfect for lasagna and brownies since

you can make square servings. Crisps and crumbles

are scooped out of the dish with a spoon, so they don’t

really need to be baked in a square dish, but it’s fun to

make a square dish anyway. For this baking dish, you

can use glazed porcelain, stoneware, or earthenware

clay.

Throw and Alter the RingMake a squared baker out of two parts—a ring and a

slab. Start with about two pounds of clay and throw

a short, wide cylinder with no bottom. Tip: You don’t

need to be scrupulously careful about making sure this

ring has no bottom. If you try too hard to pull all the

clay across the bat, you could pull it completely off the

bat! The ring should be 2½ to 3 inches high, though

exact height is not critical. When you’re done, use a

needle tool to cut a groove ½ inch or so inside the

base to separate it from the excess clay in the center

of the bat (figure 1). This creates a foot inside the ring

that will be used to join it to the slab that forms the

bottom.

If you want to aim for a specific size, say 8-inches

square, you need to do a bit of math. To turn a circle

into a square, start by figuring out the circumference

of your circle. The formula for circumference is pi(3.14) × diameter—so a circle with a 10-inch diameter

has a circumference of 31.4 inches. An 8-inch square,

with four 8 inch walls, requires 32 inches total—pretty

close to the circumference of a 10-inch circle. A typi-

cal stoneware clay shrinks 12½%, which is 1 ⁄ 8 of the

total. So an 8-inch fired pot is 12½% smaller than the

original. To find the original size, divide 8 by 0.875 to

get 9.13.

Roll the BottomAfter you make your clay ring, set it aside to stiffen up

while you make a slab. I like to throw my slab on the

wheel using a couple pounds of clay—a table or a slab

roller with work just as well. I roughly center the clay,

then flatten it across the bat with the heel of my hand.

Assemble the BakerOnce both the ring and the slab are dry enough to

handle, lift the ring from the bat and shape it with

your hands into a square or rectangle (figure 2). If you

really want it exact, use a dividing web (you can buy

Rhubarb Crisp Bakerby Sumi von Dassow

After throwing a ring of clay, usea needle tool to cut about ½ inchinside the base.

Once the ring has stiffened, useyour hands to shape the ring into asquare or rectangle.

Cut a slab to fit the bottom, score,slip, and join both inside and out-side and add handles.

1 2 3


http://slidepdf.com/reader/full/fg-clay-workshop-handbook 20/20

Topping

¾ cup unsalted butter

2 cups flour

1 cup rolled oats

¾ cup brown sugar

1 tablespoon cinnamon

¹⁄ ³ cup nuts (slivered almonds)

pinch of salt

1 egg

Fruit

8–10 cups diced rhubarb(or combine with strawberries,huckleberries, apple, etc.)

1 cup sugar(more or less, to taste)

Grated zest of one orange

2 tablespoons cornstarch

¹⁄ ³ cup cognac

Sarah Jaeger’s Rhubarb Crisp

Sumi’s glazed rhubarb baker withSarah Jaeger’s rhubarb crisp.

R e ci p e

Mix the fruit, orange zest, and sugar. Dissolve the cornstarch in the cognac and add itto the fruit.

In a separate bowl, combine the flour, sugar, cinnamon, and salt. Cut thebutter into the flour until it is evenly distributed (pea size). Addthe rolled oats and almonds. Break the egg into asmall bowl, beat it lightly, then add it to the

dry mixture to bind it loosely.Place the fruit in an oven-safebaker in an even layer, thenspread the topping overthe fruit. Bake at 350°F forapproximately 50 minutes.

one or make one from directions on Ceramic Arts Daily ( http://bit.ly/di-

vidingweb), but I do it by eye. Place the reshaped ring on your slab and

draw around the outside with a needle tool, remove it, and cut out the

shape with a sharp blade. Doing this avoids marking the reshaped ring

with your cutting tool. Besides, you need to score and slip both the top of

the slab and the bottom of the ring to join them. Or even better, scrub both

pieces with a toothbrush dipped in Magic Water, making sure to work upa good amount of slip (Make Magic Water by mixing one gallon of water

with 3 tablespoons sodium silicate and 1½ teaspoons of soda ash). Place

the squared-off ring back on the slab and smooth the two pieces together

by working the foot you left inside the ring into the slab ( figure 3). Use

fingers and a rib to smooth the two parts together on the outside. It’s a

good idea at this point to add some kind of handle; whether it is pulled,

extruded, or cut from a slab is up to you. Handles will make it much easier

to remove the baker from the oven. Allow the baker to fully dry, bisque

fire it, fully cover it with food-safe glazes, and finally fire it to the recom-

mended clay and glaze temperature.

Check out the link under this article’s title at http://bit.ly/ovenware for

more info on making ovenware.

Sumi von Dassow is an artist, instructor, and frequent contributor to Pottery Making Illus-

trated. She lives in Golden, Colorado.

Fg Clay Workshop Handbook

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