Take the Plunge - Ceramic Arts Network · Take the Plunge. PotteryMaking Illustrated | May/June...

May/June 2009

Also in This Issue . . .Throwing with Templates Throw Really Big Pots Is Porcelain for You?

Take the Plunge

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PotteryMaking Illustrated | May/June 2009 1

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2 PotteryMaking Illustrated | May/June 2009

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table of contents

departments6} In the Mix Reticulation Glazes by Robin Hopper

8} Tools of the Trade Green Wheels by Bill Jones

10} Supply Room Buying Porcelain by Antoinette Badenhorst

12} Tips from the Pros Sun Screen by Paul Andrew Wandless

41} Instructors File Throwing: A Three- Stage Approach by Jake Allee

44} Off the Shelf The Basics of Throwing by Sumi von Dassow

features17} High Profile

by William Schran

Design once, throw

many. Here’s how to

make and use throwing

templates for great pot-

tery profiles every time.

22} The Pancakerby Keith Phillips

If you love cooking,

here’s the perfect project

for your weekend pan-

cake breakfast. Pass the

syrup, please.

29} Getting Started with Porcelain

by Antoinette Badenhorst

Thinking about making

a switch? Meet the chal-

lenge of white clay with

a few expert tips on

working with porcelain.

35} Throwing Bigby Michael Guassardo

Throwing a large pot is

simple when you do it

step-by-step. Just mea-

sure your kiln before

you begin!

48} Ad Hoc Impress your friends, improve your life and fill your brain.

On the Cover Keith Phillips creates The Pancaker—the perfect gadget for any potter’s kitchen. See story on page 22.


Imagination is your greatest asset in the studio, but then that’s why you got into clay in the first place. If you’re feeling a little out of focus because of

all the bad economic news, you’ll enjoy this “studio stimulus package” filled with techniques, projects and ideas you can put to use immediately.

We focused on throwing in this issue and our imaginative authors provide a variety of perspectives. Keith Phillips’ imagination (remember the Gum-ball Machine in the Nov/Dec 2008 issue?) came up with the Pancaker—an ingenious 50s-era gadget reborn as a highly creative gift idea. Keith has even more projects in store for future issues, so stay tuned.

Do you imagine your next creation in porcelain? Antoinette Badenhorst takes a look at what you need to know and do to be successful in this chal-lenging medium. When she decided that she wanted her work to reflect light and movement, she realized that porcelain was the way to go. But as she discovered, using porcelain isn’t as simple as just changing clay—it’s a new way of working.

We’re fortunate to have Michael Guassardo, editor of South Africa’s Na-tional Ceramics, as a contributor again. His report on the technique used by David Schlapobersky to create large thrown vessels, which his wife, Felicity Potter, decorates, has been missing from our repertoire of wheel techniques. In his step-by-step description, David describes the technique for making a large form, which he doesn’t finish. That’s where your imagination comes in.

William Schran made throwing templates so he could use the wheel to repeat some of his favorite profiles. And while we’re on the topic of repeat-ing things, Paul Wandless is always looking for the latest printing techniques he can use to transfer images onto his work—take a look at his report on screens you can develop in the sun.

And finally, there’s an ongoing argument in the throwing world about wheel rotation. With the pottery world divided into two major traditions—Eastern and Western—it’s no surprise there’s disagreement about which method is superior. In our PMI Reader Survey (see p. 48), we asked a sam-pling of readers about what they preferred and whether they were right or left handed. Of course the results are skewed because we’re predominantly Western-trained potters, but what’s surprising is the number of you who use the wheel going either direction and/or you’re ambidextrous.

Bill JonesEditor

fired upStimulus

“You cannot depend on your eyes when your imagination is out of focus.”

—Mark Twain

Volume 12 • Number 3

Publisher Charles SpahrEditorial

Editor Bill JonesAssistant Editor Holly Goring Assistant Editor Jessica [email protected]: (614) 895-4213Fax: (614) 891-8960

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in the mixReticulation Glazesby Robin Hopper

1. LG 1 • e (10%) • 6 Ox 2. LG 1 • x (5%) • 6 Ox 3. LG 1 • x (5%) • 6 Ox 4. LG 1 • x (7.5%) • 6 Ox

5. LG 1 • x (10%) • 6 Ox 6. LG 1 • d (.625%) • 6 Ox 7. LG 1 • vg (10%) • 6 Ox 8. LG 1 • e (2.5%) • 6 Ox

9. LG 1 • x (5%) • 6 Ox 10. LG 1 • u (7.5%) • 6 Ox 11. LG 1 • h (.625%) • 6 Ox 12. LG 1 • h (7.5%) • 6 Ox

13. LG 2 • b (.625%) • 6 Ox 14. LG 2 • b (1.25%) • 6 Ox 15. LG 2 • h (5 %) • 6 Ox 16. LG 1 • base • 9 R

17. LG 2 • x (10%) • 9 R 18. LG 1 • x (10%) • 9 R 19. LG 2 • c (5%) • 9 R 20. LG 2 • u (10%) • 9 R


Reticulation glazes form a group of specialized glazes that show patterns of heavy crawling, or

reticulation. The patterns look similar to lichens, lizard skin and leopard skin, depending on the glaze base, under-glaze coatings and firing temperature. The same glaze may give very different results at a variety of temperatures.

Putting the reticulation glazes over a colored slip allows the top glaze to move and the visible cracks to be colored between “islands” of glaze. Any colored slip will do, but one of the most interesting is usually black, as it intensi-fies the color of the covering glaze.

With reticulation glazes applied heavily over the slip and fired at cones 04, 6 and 9-10, and with added colo-rants, a wide range of textural pos-sibilities can be developed. The main requirement in the glaze is a big satura-tion of magnesium carbonate as seen in the two typical base glazes below.

Hopper LG #1Soda Feldspar . . . . . . . . . . . . . . . . . . 27 %Magnesium carbonate . . . . . . . . . . . . 28Ferro frit 3134 . . . . . . . . . . . . . . . . . . . 9Ferro frit 3195 . . . . . . . . . . . . . . . . . . 5Talc . . . . . . . . . . . . . . . . . . . . . . . . . . 7Zinc oxide . . . . . . . . . . . . . . . . . . . . . 5Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 19 100 %

Hopper LG #2Soda Feldspar . . . . . . . . . . . . . . . . . . 35 %Magnesium carbonate . . . . . . . . . . . . 25Ferro frit 3195 . . . . . . . . . . . . . . . . . . 10Talc . . . . . . . . . . . . . . . . . . . . . . . . . . 15Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 15 100 %

Excerpted from The Ceramic Spectrum by Robin Hopper. For more information, visit www.ceramicartsdaily.org/books.

Key for Colorant Additionsb = cobalt carbonatec = copper carbonated = manganese dioxidee = nickel carbonateh = chromium oxideu = Commercial Yellow Stainvg = Commercial Victoria Stainx = Cerdec/Degussa inclusion red stain 27496

Key for Firing6 Ox = cone 6 oxidation9 R = cone 9 reduction

Soldner Clay Mixersby Muddy Elbow

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tools of the tradeGoing Greenby Bill Jones

Existing in one form or another for more than 10,000 years, the potter’s wheel has evolved slowly over the millennia. In the 21st century,

electric wheels with enhancements reign supreme, but the venerable, traditional kick wheel still hangs on—a testimony to its simplicity.

There are basically two types of foot-powered wheels—kick wheels and treadle wheels. The kick wheel utilizes a heavy flywheel that stores energy as it speeds up when propelled by your foot, while the treadle wheel utilizes a lever and cam mechanism that turns a shaft with a weighted flywheel. Operating a foot-powered wheel takes a little practice and coordi-nation, but potters who use them swear by the relaxed

rhythm and pace of their throwing as well as their intimate connection to the throwing process.

Kick WheelsThere are three major manufacturers of kick wheels in North America: Thomas Stuart wheels made by Skutt, Brent wheels made by Amaco, and Lockerbie wheels made by Laguna Clay. Most basic kick wheels are constructed with a steel frame and come with an adjustable seat, reinforced cast concrete flywheel, cast metal wheel head and wood or composite work surface. Some accessories are also available. And even though you can power the wheels by foot, some mod-els come with an electric motor option. With flywheels

Western kick wheels typically feature a steel frame with a reinforced cast concrete flywheel, cast metal wheel head, adjustable seat and wood or composite work surface. Pictured: Brent J Kick Wheel

Once a flywheel is rotating, the weight of it (between 120 and 140 pounds) provides momentum. An electric motor can maintain the momentum of a moving flywheel.Pictured: Skutt Thomas Stuart Kick Wheel with optional motor

For the economy minded, a knock-down wooden Brent wheel comes in a kit with all hardware. The flywheel is weighted with bricks sandwiched between two plywood pieces. Pictured: Brent Kick Wheel Wood Kit

Since the designs of most wheels have been around for up to 40 years, parts are easy to come by. For example, La-guna’s Lockerbie wheels can be retrofitted with a motor.Pictured: Laguna Clay’s Lockerbie Wheel


weighing more than 125 pounds, the motors easily maintain momen-tum after the flywheel is turning.

Treadle WheelsTreadle wheels, which rely on a foot-powered treadle mechanism to drive a flywheel, were once common in English and American potteries and more recently mass produced for both school and private studio. The most common version now available is a sit down version based on a designed refined by Bernard Leach at the beginning of the 20th century. The so-called Leach wheel is legendary among potters who prefer the non-electric wheel, probably because of the comfort achieved even throwing for long stretches of time.

Buying ConsiderationsIn the age of electric wheels, kick wheels are a throwback to a simpler time. And while many consider it easier to learn the basics of throwing on an electric, there remain many potters who rely solely on a kick wheel for all their production needs. Maintenance-wise very little is needed, however, once installed, a kick wheel pretty

This Leach Treadle Wheel, crafted by Great River Woodworking, is based on a style attributed to Bernard Leach at the onset of the 20th century. Typically made to order, these highly prized wheels remain a favorite of many working potters. Photo courtesy Great River Woodworking

much remains in one place due to its weight. Since they are bulky and heavy, consider having your wheel shipped unassembled to save on shipping. For the budget conscious, the Brent Kick Wheel Wood Kit is economically priced. And if you’re really industrious, you can search for “kick wheel plans” online and construct your own or give a set of plans to a local woodworker to have one custom made. n

Who to ContactThese manufacturers have detailed information on their websites along with information on their distributors.

Brent Kick Wheels: www.amaco.comThomas Stuart Kick Wheels: www.skutt.comLockerbie and Laguna Kick Wheels: www.lagunaclay.comGreat River Woodworking Leach Treadle Wheel: http://greatriverwoodworking.com

http://www.amaco.com

http://www.skutt.com

http://www.lagunaclay.com

http://greatriverwoodworking.com

http://www.kempertools.com/


supply roomBuying Porcelainby Antoinette Badenhorst

If you’ve only worked with red, brown or buff clay in the past and you’re looking for a change, maybe por-celain is the right clay for you. Planning, research and

evaluation are the best ways to assure any future success in making a switch from one clay body to another.

To determine if porcelain what you’re looking for, you’ll need to evaluate where you want to go with your clay work, your skill level and your vision as a potter. Decide if you’re happy with your current work, and if so, consider the effect that work will have if made with a white or porcelain clay body. Not all works in clay maximize the qualities that porcelain has to offer, so if you have to change your work in order to use porcelain, evaluate whether that’s something you want to do.

In my own experience, I had a vision of pots dancing like ballerinas—soft figurines moving around in bright colors against pure white backdrops. I also envisioned translucent light and instantly knew what to do, but it took some time to find the right porcelain and to develop a body of work.

Studio Setup and Working MethodsDo you have the right studio setup for porcelain and are you able to adjust your current workplace with ease? Can you work with precision and in a clean studio? Do you work with other clay bodies that might contaminate porcelain, or are there other potters working with you that might not respect a porcelain work station? Which techniques do you use most? For instance, if you work mostly with an extruder with a steel chamber and plunger, you’ll need to replace it with a stainless steel or aluminum one to avoid pos-sible rust contamination.

Skill LevelIt’s important to know your own abilities and skill level. If you’re a beginner who wants to throw 20 inch pots, you’ll have a lot of difficulty achieving your goals and there will be a whole lot of frustration, time and money wasted before you can reach them. In such a case, it’s better to use white stoneware clay and gradually work your way first through a semi-porcelain body and then eventually use pure porcelain as your skills improve.

Different PorcelainsIf you want to become a porcelain production potter, you’ll look at a different clay body than someone who wants to make one-of-a-kind porcelain pieces, porcelain sculptures or strictly hand-built forms. Your working methods will differ dramatically from theirs. Maybe you need a clay body that combines some or all of the above mentioned clay techniques.

Once you decide that you want to take on the chal-lenges that porcelain offer, you’ll have to find the clay that suits your newly set goals. There are many different porcelain clay bodies available on the market.

I tested several commercially available cone 6 porcelain bodies and suggest you do the same before settling on one. Each clay had some special characteristic that I could use for my own work and could see used by anyone else. Commercial porcelain clay bodies meet almost all the needs of the potter, and there are some excellent throwing, handbuilding and sculpture bodies available. The produc-ers and suppliers know which one best suits each purpose, and they are an excellent resource when you are trying to figure out what you need.

Before making a large investment in porcelain, test several bodies to see which one best suits your needs.


They develop some bodies to be more plastic and stretchable, but less white and translucent. These bodies can go further in height and thinner in walls than some others that might be pure white and translucent, but may be a little harder to throw.

If you choose to work with pure white, translucent clay, you can always throw thicker and trim thin afterward. If you need an all trans-lucent, white and a non-warping clay body, it might cost a little more, but your ceramic supplier can recommend the right clay body for your purposes.

Amazingly, you will even find that some of the semi-porcelaneous clay bodies meet all the charac-teristics of porcelain and have the added green strength that is often missing in true porcelains. Add these qualities to the fact that you can save energy because many of the commercial clays are formulat-ed for firing at cone 6 electric, and there are very few restrictions left that would limit you from working with this material.

Test several clay bodies for their ability to throw, to trim and to keep their shape even when stretched to their limits. Also test them to see how they stand up to adjustments and attachments, then fired them to the proper cone in an electric kiln. I checked them to see if shrinkage can cause problems. Compare the tests for shrinkage, color and translucency.

Transition CarefullyIt’s always best to start by buy-ing one bag of clay and testing it thoroughly. Then, even when you think you’re satisfied with your choice, make the transition to your new style and clay body slowly and carefully. Porcelain is expensive but if you take a conservative approach, and do enough testing to make an informed decision, it will pay to make an investment in a large batch of clay.

A Final WordI’ve seen porcelain clay bodies improve from one batch to another. Clay companies are constantly do-ing research to improve their clays. If you consult your clay company, they’ll know what to recommend to you only if you understand your own needs and what you want. To us, as potters, that’s good news, because it means that if we admire a specific clay body today, but it’s not working for our circumstances,

it’s worth discussing that with our clay producer and retesting a body again to see if it has changed. Maybe your skills improve, perhaps the clay composition improves, or maybe you and that specific clay body simply get in sync with each other.

Read the literature available on-line, then talk to a sales representa-tive and they’ll be able to recommend the right clay body for your needs. n

Thanks to T Robert at Laguna Clay and Carla Flati of Standard Ceramics.

http://www.coyoteclay.com/


tips from the prosSun Screenby Paul Andrew Wandless

Screenprinting ranks as one of the most popular printmaking techniques because it can be used to apply images to virtually any surface.

Clay artists are always looking for simple options to transfer complex images, designs, patterns, digital im-ages and photography onto their ceramic pieces. While many image transfer techniques, such as decals, require chemicals and equipment, I’ve discovered a simple, com-mercially available screen that requires minimal effort to create an image for printing. The product is called

PhotoEZ (available at www.ezscreenprint.com) and it’s designed for use with simple black and white photocop-ies and the sun. You can go from an idea to screening an image on clay in about an hour! How cool is that?

OverviewPhotoEZ is a screen that’s pre-coated with a light-sensitive, water-soluble polymer. Instead of using a light table to expose an image into the emulsion, you simply use the sun as your light source to expose the

Image on a Hi-Res screen by Chicago artist Tom Lucas, used to print on clay.

http://www.ezscreenprint.com


screen for about 5 minutes then soak (develop) the screen in tap water for about 15 minutes. After the exposed areas have been hardened or “set” during the soaking, rinse the screen with water to wash away the unexposed emulsion and create an open, stencil ver-sion of your image.

The final step is putting it back in the sun for another 15 to 20 minutes to harden the emulsion and make the screen more durable. Experiment with the test strips included in the kit to get the hang of exposing and setting the screen before using a full sheet for your final image.

Image, Paper and ScreenFor best results, the type of image, screen mesh size and photocopy paper must be suitable and compatible with each other.

Though your image can be simple or complex, it must be black and white. It can be line art, an illustration, photograph, digital image or halftone. Line-art images have few, if any, small details and consist more of bold lines and shapes or silhouettes with high contrast and no mid tones, so those are considered simple images. Illustra-tions, photographs, digital images or halftone images that typically have finer lines and smaller details are considered complex images. (Note: If the line or image parts are too fine or small, the screen will clog when printing.) Once you choose an image, make a black and white print or photocopy using paper that is no more than 20-pound weight and has a brightness rating of 84 or less.

PhotoEZ screens come in two mesh sizes for simple or complex images. The Standard screen is 110 mesh and the Hi-Res screen is 200 mesh. The 110 mesh has larger openings and is best for simple images, while the 200 mesh is a tighter screen (with more threads per square inch, resulting in smaller openings) and is best for the more complex images. Both screen meshes come in a variety of sizes.

The image in figure 1 started with digital photo-graphs of tools in my studio, which were altered in Photoshop to make them high contrast black and white images. As shown here, you can arrange the im-ages on the screen in a group, leaving half-inch spaces between individual images for easier printing. You can also choose to fill the screen with just one image, a pattern, motif, text or any combination of these. Whatever you want to use visually on the surface of your work is fair game. I printed on a 8½×11 in. sheet of paper using an HP laser printer.

Setting up the Exposure Frame With the black and white image on paper, you’re ready to set up the exposure frame. Everything needed is supplied in the PhotoEZ Starter Kit—one 10×12 in. exposure frame (black felt-covered board with clips and Plexiglas), two sheets of 8½×11 in. Standard Pho-

toEZ screens (110 mesh), small test strips, one plastic canvas and a small squeegee. Tip: Be sure to work in a dimly lit room while setting up the exposure frame to avoid prematurely exposing the screen.

Remove the protective covering from both sides of the Plexiglas and place it on a flat surface, then align your black and white image in the center. Take one of the PhotoEZ screens from the protective black enve-lope then close the bag tightly so the unused screen inside is still protected. Peel the protective backing off the screen (figure 1) and immediately place it shiny side down on top of the black and white image (figure 2). Place the exposure board on top of the screen with the black felt side down and clamp together with the clips provided in the kit.

Peeling protective covering off the screen.

Left to right: Black felt covered board, screen centered over photocopy placed on Plexiglas and fastening clips.

1

2


As soon as you’re done, take the frame out into the sunlight. Keep the Plexiglas side down to keep light from hitting it or cover it with a towel to protect it from light before and after exposing it to sunlight.

Exposing and Setting the ScreenOnce outside, turn the exposing frame Plexiglas side up to face the sun. Expose for 5 minutes during a regular sunny day and for 6 minutes if it’s a slightly overcast day. Dark, cloudy days with no real sunlight are not optimal and success varies if exposed under these conditions. I exposed this screen for 6 minutes on a partially cloudy day, but had good sunlight through the light clouds.

Once exposure is complete, turn the frame over (Plexiglas side down) or cover with a towel and go inside to “set” the screen in a dimly lit room. Un-clamp the frame and submerge the screen in a sink or

container filled with cool water for a minimum of 15 minutes to develop your stencil. Soaking longer than 15 minutes doesn’t harm the stencil in any way. After a minute or two, the unexposed areas blocked by the dark parts of your image appear light green. The ex-posed areas turn dark, and these darker areas become the stencil in the next step.

After 15 minutes, place the perforated plastic canvas provided in the kit under the screen and rinse with cool water from a faucet or kitchen sprayer (figure 3). The plastic canvas acts as a protective backing for the screen during the rinsing process. Rinse both sides of the screen to remove the unexposed emulsion (light green areas). Take more care when rinsing the side that the emulsion is applied to. Keep rinsing until all the residue from the unexposed emulsion is completely removed. Use a soft nylon brush if there are some small detail areas that did not rinse out very well. This will happen more with complex images in the Hi-Res screens because of the tighter mesh screen.

When you think you’re done rinsing the screen, hold it up to the light to check it. You should only see the white threads of the screen itself in the open areas. If you still see a thin film of residue, rinse again until it’s removed. Once open areas are completely rinsed, place the screen emulsion side up on a dry paper towel and dab off all the excess water (figure 4). Put a fresh dry paper towel under the screen with emulsion side up and take it outside to re-expose in the sun for 10–20 minutes. This hardens the stencil and makes it more durable and longer lasting.

Using the ScreenOnce the screen is hardened, you’re ready to start using it! Since the screen is unframed, it’s flexible and can be used around a vessel or on a flat slab. Any surface you can bend the screen around is fair game to print your image on. Be careful not to make creases in the screen if you try to bend it around sharp corners. This will keep it from lying flat if you want to print on a flat surface in the future. If you group them onto one screen, you can also use scissors to cut it into smaller individual images.

Experiment and have fun with this easy to use prod-uct. It’s a great way to create images for screenprint-ing on clay that you thought were only possible with a darkroom. You can screen images directly onto green-ware, bisqueware or decal paper using both underglaze and glaze. Please feel free to e-mail me about your experiments and experiences. n

Paul Andrew Wandless is a studio artist, workshop presenter, visiting assistant professor and on the Potters Council Board of Directors. He authored a book titled Image Transfer On Clay (Lark Books). His website is www.studio3artcompany.com and he can be e-mailed at [email protected] off extra water from screen.

Rinsing screen to remove unexposed emulsion.

3

4

http://www.studio3artcompany.com



First juried exhibition of Potters Council members’ work to be held in conjunction with NCECA 2010 in Philadelphia, PA.

Entrants must be members of the Potters Council both at the time of application and at the time of the exhibition.

Public reception on April 2, 2010 at A Show of Hands Gallery.

Go here for submission form www.potterscouncil.org

Potters Council 2010 Exhibition FILL-adelphia CALL For ENtrIES: Deadline to SubmIt is July 1, 2009

http://www.potterscouncil.org

http://www.continentalclay.com/

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A Texas potter makes 1,300pound quilts with her Paragon

Dragon

2011 South Town East Blvd.,Mesquite, Texas 75149-1122800-876-4328 / 972-288-7557Toll Free Fax [email protected]

BetterDesigned

Kilns

As a child, Earline Green made hand-stitched quilts withher grandmother Mama Freddie. Earline spent more timequilting with the older ladies than she did playing with chil-dren her own age. Her early experiences with the lively quilterstaught her a life-long love of artwork.

Earline’s other grandmother, Mama Ginger, taught heradvanced quilting patterns. Later this influenced the design ofEarline’s stoneware quilt tile mosaics displayed in the en-trance of the Paul Laurence Dunbar Lancaster-Kiest Libraryin Dallas, Texas. For that project, Earline fired 284 whitestoneware tiles—all in her faithful Paragon Dragon.

“The Dragon's design and controls are perfect for firinglarge flat pieces,” said Earline. “The digital programming con-trols provide a consistent firing environment that eliminatedcracks and warpage in this project.

Earline Green with her Paragon Dragon front-loading kiln. This kiln is be-coming a favorite with potters. It is easy to load, heavily insulated, and de-signed to reach cone 10 with power to spare.

Earline Green’sclay spirit quiltson display inthe DunbarLancaster-KiestBranch Libraryin Dallas,Texas.

“During tile production, I fired my Dragon two or threetimes a week for four to six weeks at a time. I expected and re-ceived excellent results with each firing.”

Contact us today for more information on the excitingDragon kiln. Ask about the new easy-open switch box hingedat the bottom. Call us for the name of your local Paragon dis-tributor.

http://www.paragonweb.com


http://www.kilnshelf.com/

http://www.refractories.saint-gobain.com/


High ProfileThrowing with Templates

by William Schran

hen my beginning wheel-throwing stu-dents have developed sufficient facility with

clay, they’re assigned the project of creating a set of four matching cups. Though I’ve demonstrated how to measure their forms using calipers and other devices, I continue to ob-serve them experiencing difficulties. In an effort to overcome this stum-bling block, I showed them a tech-nique successfully used by students in a beginning handbuilding class.

This technique involves using templates to repeatedly create an even, symmetrical form. In the coil-building exercise, you position the template next to the pot as coils are added, making certain the pot con-forms to the profile of the template. The template is then used as a rib to scrape the surface as it's rotated, creating a smooth, uniform surface.

Making a TemplateAny number of objects can be em-ployed to design templates that have a variety of shapes. French and ships curves, found in drafting or mechani-cal drawing sets, are excellent tools for creating profiles for wheel-thrown vessels. A variety of calipers can be taken apart to create any number curved forms. Lids of various sizes can be combined to create a mixture of curves. This process can also be used to produce templates with more complicated and compound profiles with relative ease.

w

Assortment of bottle forms made with templates.

Some of the shapes used to create design templates.


To incorporate this technique into wheel-throwing, I began testing various materials that might serve the func-tion of a template. Sheet plastic, a durable material that can easily be cut and shaped, turned out to be the best material. Searching through scraps available at local glass supply and repair shops, I found pieces of ¼ in. and 3/16 in. sheets that could be readily shaped into the desired pro-files by cutting them with a power saw and handsaw. The edges can then be smoothed with fine sandpaper.

Creating the FormTo use a template, as in the wheel-throwing project for the set of cups, prepare several balls of clay weighing between ¾–1 lb. each. Throw a basic wide cylinder. Check the interior diameter, height and width of this basic form with calipers.Tip: Make a template for the basic cylinder form as well as the finished piece. The first template, showing the right width and shape of the ideal starting cylinder, can help you get the right basic shape.

Once you have your cylinder ready, lubricate the inte-rior of the pot, but do not lubricate the outside. Avoid-ing excess water results in a stronger form that can bet-ter withstand manipulation and alteration when using the template. Position the bottom of the template so that it’s just touching the bottom of the pot and rests on the wheel head. The template should contact the wheel but should not be pressed against it. Hold the template at approximately a 45° angle, abutting the rotating clay, such that the clay moves away from the edge of the template. The template should not be held at a 90° angle to the pot as this may lead to inadvertently shift-ing the template into the movement of the clay.

The fingers of the interior hand slowly move up, push-ing the clay out to the curve of the template. As the pot widens, the hand must move up along the interior of the form more slowly so that it remains symmetrical. After reaching the top, the profile of the pot and template should be compared. If the pot does not match the tem-plate, move the fingers of the interior hand down from

the top to the bottom, pushing out where necessary, to conform to the profile of the template. This is often nec-essary for shapes with wider diameters. Refine the rim with a sponge or chamois and the cup is complete.

Large or Complex FormsTemplates are also useful in creating larger pots, partic-ularly bottle shapes. This provides a method to quickly create multiples of the same form, but also the oppor-tunity to explore changes to certain areas, such as the neck and rim. The process of working with larger forms follows the same steps as you would for cups, except the neck and rim are made without the template.

Make another cylindrical shaped pot, leaving the top portions of the wall, including the rim, thicker than the rest of the pot. Position the template and push the clay out to conform to the shape, moving fingers on the interior up and down as necessary. After creating the desired curve, pull up the upper portion of the wall to thin it out and narrow it in using a collaring move-ment. Note: It is very important to continue moving your hands up while collaring in to maintain a curve or arch in the shape of the wall. A wall that becomes too horizontal or flat may collapse. In order to collar in the pot, Using the middle fingers and thumbs to constrict the neck, As you create the neck, pressing down on the rim with the first finger of the right hand helps to main-tain a level top.

Use a flexible rib after each collaring process to refine the shape and maintain the desired curve. Using the rib also removes excess water and compresses the clay. Af-ter narrowing the diameter of the pot, the wall has been thickened and can now be pulled up thinner. As the top becomes too narrow to insert a sponge to remove lubri-cating water from the interior, switch to using slurry to lubricate the clay instead. This allows your fingers and tools to continue shaping the clay without building up excess torque that might twist or tear the clay wall. Us-ing slurry on the exterior, instead of water, provides a stronger clay wall. n

Template shapes used to throw bottle forms. Templates used to throw cups.


Template held against basic cylindrical form. Pushing clay out to the template.

Hold template at an angle against surface during forming. Larger forms also begin with a basic cylinder form.

The interior hand slowly moves up, pushing the clay against the template.

The interior hand moves from the top to the bottom, mak-ing certain the pot conforms to the template.

1 2

3 4

5 6


William Schran is Assistant Dean of Fine Arts at Northern Vir-ginia Community College, Alexandria Campus. Visit his website, www.creativecreekartisans.com, for more information.

Set of cups made with a template, iron matte glaze, fired to cone 10.

Set of cups made with a template, shino and turquoise glazes, fired to cone 10.

Collaring the neck. The middle fingers confine the shape, thumbs push in, first finger of right hand presses down on the rim keeping it level.

A flexible rib removes water and slurry while compressing and refining the wall.

When the top becomes narrower, use slurry rather than water to lubricate the interior of the pot.

Use slurry to lubricate the exterior to maintain a stronger clay wall.

7 8

9 10

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ight years ago, shortly after our son was born, my mother-in-law was visiting and stayed with us through Christmas. My brother lived near us at the time, and gave my mother-in-law a vintage

pancaker from the 50’s. You filled it with batter, held it over a hot skillet and depressed the plunger for a few seconds to open the plug at the bottom and let the batter flow into the skillet. The result: perfect pancakes with no mess. The pancaker she received came in the original 1950’s box—everything about it was cool. I probably made pancakes every day during her visit.

A few years ago, I was pondering what handmade item I would give my brother for Christ-mas and decided on the perfect “re-gift” —I’d try to make my own pancaker out of clay. After a few attempts, I settled on the following design. As with any other work, I always like to make sure the de-sign is flexible enough to make a variety of forms that will still fit the function.

My pancaker is basically a tall basket or bowl that has a pedes-tal attached to the bottom to keep the stopper from touching the counter. The plunger rod and nuts ideally should be made from stainless steel, however this is usually hard to come by, so a brass rod works just as well. The right-sized spring may also be hard to come by, but farm supply stores usu-

ally have a great selection. A spring from a retractable pen might work in a pinch. Finally, the #6–32 die probably has to be purchased as part of a tap and die set. This will be used to thread the rod once you have it measured and cut to size.

Throwing the sectionsStart by throwing a tall bowl with 2½–3 lbs. of clay. The shape or style is up to you (it doesn’t have to be round!). Be sure the rim is a little thicker than normal. The weight of the basket-type handle can spread the bowl during fir-ing, and a sturdy rim helps counter that.

Though the overall shape is up to you, the bottom of the pot should be about ¼–3/8 in. thick. The plug will be cut out of the bottom later and making it a little thicker makes this plug stronger. I usually taper the bot-tom of the form in slightly (fig-ure 1), making a graceful transi-tion to the pedestal foot that’s attached later.

Next, throw the pedestal. This needs to be a bottomless form. It is thrown upside down, with

the bottom tapered to match the diameter of the bot-tom of the bowl (figure 2).

Finally, throw a little knob. I find it easier to throw small items off the hump, since the form I’m throwing

e

The Pancaker

by Keith Phillips

** **

Materials3–4 pounds of clay

2 ft. of 1/8 in. brass or stainless steel rod

7/32 x 1¾ in. 020 compression spring

2 #6–32 hex nuts

2 #8 washers

5-minute epoxy

#6–32 die (available at home centers)


This 111/2 inch high porcelain pancaker is basically a tall basket or bowl with a pedestal attached to the bottom to keep the stopper from touching the countertop. Beyond that basic requirement, the form is open for your creative touch.

is raised up on a mound of clay rather than close to the wheelhead, I can easily get to the underside and shape it (figure 3). When you’re finished, just slice it off the mound using a wire tool.

Trim the bottom of the bowl. You don’t need a proper foot since it will sit on the pedestal. Before taking it off the wheel, cut out the plug from the bottom. First take a ¼ in. drill bit and drill a hole in the exact middle of the bowl (figure 4). Then take your needle tool and cut a 1¼ inch diameter circle out of the bottom. This piece becomes the plug, so take care when cutting it out to keep it intact. Hold

the needle tool at an angle and not straight up and down when making this cut. This creates an inward taper on the plug, so that it can easily be pushed open, but makes a seal when closed (figure 5).

It will be impossible to make the pancaker water tight, but batter is thicker and won’t seep out. Just make sure the plug matches the hole as closely as possible.

Joining the partsNow score and slip the pedestal and the bottom of the bowl, then attach the two together (figure 6).


The Pancaker!*

1 2 3

7 8 9

13 14 15

Using 2½ to 3 lbs. of clay, throw the body of the pancaker, making it taper in slightly at the bottom.

Throw the pedestal separately as an open form, thrown upside down.

Throw a little knob off the hump so you can get under it and shape it.

Attach a small flattened coil to the inside bottom of the bowl as a second guide for the plunger rod.

Drill a hole in the second guide. Flip the pancaker over and re-insert the plug to make sure the holes line up.

Attach a handle then drill a hole through the center when leather-hard. Check that the holes line up.

Slide the other end of the rod into the bottom opening, through the bottom guide and into the handle.

Pull the rod up and check that the plug fits securely into the opening. Set the pancaker aside.

After inserting a scrap piece of rod and a spring into the knob, make a mark on the rod where the spring ends.



* some assembly required

4 5 6

10 11 12

16 17 18

Trim the bowl section then use a drill bit to create a hole in the exact center of the bottom of the bowl.

Using a needle tool held at an angle to create an inward taper, cut a 1¼ in. circle to make the plug.

Score the surfaces of the pedestal foot and the bowl, apply slip and join the two parts together.

Drill a ½ in. deep hole in the knob us-ing a ¼ in. drill bit.

After threading the die onto the rod, unscrew it carefully to reveal the threaded end.

Slide on the fired clay plug, a protec-tive washer, and then thread on a nut to secure the plug.

Moving up from the handle, mark this measurement, (minus ½ in.) onto the rod in the pancaker, then cut to size.

Disassemble. Epoxy the rod into the knob, slide on a washer below the spring, and insert into the handle.

Slide the rod down through the sec-ond guide, flip the pancaker over and reassemble the stopper mechanism.



Press Plunger – then release for perfect pancakes!

Roll out a small coil about an inch thick and then gently flatten it so it gets a little wider, while keeping it about a half-inch thick. Form it into a bridge, then slip and attach it to the inside bottom of the bowl so that it spans the hole. This is a second guide for the plunger rod, and will help make the stopper line up and the plunger operate smoothly (figure 7).

Drill a ¼ inch hole in the second guide, being sure to drill straight, lining it up with the hole in the plug. There is little play in between these two, so be sure this hole and the plug hole are exactly in the center of the bowl (figure 8).

Roll out another coil for the handle, then pull and taper both ends like a handle for a mug. Don’t pull too thin, you want it to hold its shape and not slump when fired. Make the mid-section near the top of the arch pretty thick as well, since you'll be drilling the guide hole for the rod through that section.

When the handle has stiffened enough to work with it, firmly attach it to the bowl. You want a strong attachment here as this is the area where cracks are most likely to form. If there’s any place you develop cracks, it will probably be here. So dry slowly and be gentle.

When the handle has set, but before it’s bone dry, drill your hole exactly in the center (figure 9). You can have more play here, and you might want to step up one size on your drill bit. You can always use a washer later if your hole is too big for your spring. Still, be very careful drilling the hole, be sure it lines up with the second guide hole in the strap of clay at the bottom. Also don’t press too hard when drilling, you want the bit to “cut” the clay, not push through it.

The easiest hole to drill is in your knob. Don’t go all the way through, you just need about half an inch for your rod to glue into (figure 10).

Slowly dry the pancaker and then bisque and glaze. When glazing, wax as you normally would. Fire the plug separate from the pancaker, as there’s no way to secure it into the bot-tom. By firing it separately, you can also glaze the area that will eventually make contact with the bowl.

Creating the mechanismUse a die to thread the rod, so that a nut will gracefully screw on to it. Since you are using a 1/8-inch thick rod you will want to get a #6–32 die. This makes a thread for a fine-thread #6 machine nut.

Holding the rod with pliers, carefully start twisting the die onto the rod like you would if threading a nut, being sure to keep it straight. Once it is started, just keep rotating the die and it will carve the threads. You only need to thread about

a ¼- to ½-inch section of the rod. Unscrew the die and you should have a nice threaded end (figure 11).

Slide the stopper on with the bevel side up, then add a washer and nut (figure 12). Insert the rod into the bottom of the pancaker, through the bottom guide and finally into the hole in the handle (figure 13). Pull the rod all the way up (figure 14) to seat the plug then set the pancaker aside.

The next step involves measuring the rod to figure out the final length of your stopper mechanism. Push a spring and spare length of rod into the knob and make a mark on the rod where the end of the spring comes to when it’s NOT un-der compression (figure 15). Measure that distance, and then subtract about half an inch. This will create enough tension to keep the plug seated securely so that it covers the opening. For example, my overall measurement came to 1¾ in., so my measurement for the next step was 1¼ in.

Pull the rod all the way up so the stopper seals the bowl. Now take the measurement from the previous step and add it to the rod. Start at the very top of the handle, measure up toward the end of the rod, and mark this point. This is where you want to cut the rod (figure 16). This should be a perfect length so the stopper is firmly under pressure, sealing the pancaker, but also leaving enough room so that the knob can be pressed down about a half inch, opening the stopper and releasing the batter. Disassemble everything and cut the rod with a hacksaw. Using the die, thread the end of the rod to make a nice “grip” for the glue.

Assembling the pancakerTake one end of the rod and slide the spring on, daub a fair amount of five-minute epoxy onto the end and glue it into the knob. Make sure there is enough epoxy to hold everything in place when it sets. Also, make sure the rod is sticking straight out of the knob while the epoxy sets. Note: Even though it says five minutes, wait twenty be-fore assembling your pancaker. Slide a washer against the spring and then insert the rod into the handle (figure 17).

Slide the assembly down through the second guide and then flip the pancaker over (figure 18) and re-assemble the stopper. Slide the clay plug on, then slide a washer onto the rod so it rests against the clay plug and then thread on the nut against the washer. When the assembly is finished, just heat the skillet, fill your pancaker with batter and you’re ready to go. n

Keith Phillips is a full-time artist and potter in Fletcher, North Carolina. To see more of his work, go to http://khphillips.etsy.com or visit his blog at http://blog.mudstuffing.com or contact him via email at [email protected]

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Getting Started

Choosing a white clay body might look like a simple choice, but because of the different working characteristics between stone-

ware and porcelain, it’s worth exploring the options first (see “Supply Room”, pg. 10).

For the right potter, the joy of working with porcelain always overshadows the potential sorrows that come along with it, but the condition is that you understand the medium and get in sync with it. As I’ve heard potters say before: “I don’t know what it is about porcelain that keeps me coming back for more punishment, but it’s real . . .”

by Antoinette Badenhorst


A Different MaterialPorcelain can be worked like other clays, but when fired can reach a state of extreme whiteness, becomes vitreous and often trans-lucent, similar to glass. When tapped on, it has a ringing sound like a bell.

Porcelain in its raw plastic state is very fine, smooth white clay that offers a canvas for color and textures—from a very smooth white surface to the finest and most elegant textural detail.

The whiteness of porcelain allows for coloring the clay itself, painting stains and oxides onto its surface, or glazing it with an

Porcelain is desired for its purity, delicacy and translucency, but its also the perfect body for carving and bringing out a color palette.

Phot

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edit:

Koo

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Porcelainwith


outcome of brilliant and often dra-matic colors.

Efficiently-fired porcelain has a glass-like character and becomes vit-reous and watertight even when left unglazed. The transition between the fired porcelain and the glaze layer is also less distinct than in a comparably fired piece of stoneware. Well designed glazes can be just as hard as the clay and are basically scratch-proof.

This hardness and blurring of the interface between clay and glaze are of tremendous value to the production potter, since these qualities limit some

trouble with glazes, particularly where chipping and leaching are concerned.

Translucency is obtained under specific circumstances. High percent-ages of glass forming ingredients like silica and feldspar in porcelain—in combination with thin walls and ef-ficient firing—enhance translucency, but might also increase the difficulty to form and shape it. To some pot-ters, translucency can add to the decorating process, but many pot-ters choose an easier working, plas-tic clay body that has most of the other qualities of porcelain.

Throwing a Tall BottleThrowing tall forms is a challenge with any clay body, and I recom-mend you practice throwing tall forms using a smooth stoneware clay first. Once you have the basic principles down, it’s easier to apply them to porcelain.

To get started, take 2 lbs. of por-celain and prepare a ball for throw-ing. The process described here is a somewhat different approach to the one typically used but promises to be successful.

The dome width predicts the width of the base.

Start lifting the clay wall by making a dent at the bottom.

Imagine the clay to be a wave that gets pushed upward.

1 2

Keep your non-dominant arm parallel above the pot as you thin the clay.

The clay wave diminishes as the walls become thinner and the cylinder taller.

Repeat the dent and wave process at least 3 times.

3

4 5 6


The width of the cylinder is de-termined by the width of the dome from which you open the clay; the wider the diameter of your dome, the wider the base of your pot (fig-ure 1). Once centered and opened, start by indenting the exterior of the clay where it meets the wheel head or bat (figure 2). Imagine pushing the clay upward from below rather than pulling it from above. It’s like water in the ocean that gathers to form a wave before it breaks on the shore (figure 3). Let the dominant arm and hand control the clay on

the outside of the cylinder from a secure position on the side of your body or knees. The non-dominant arm hangs in the air, above and par-allel with the cylinder, guiding the pot upward in the direction of the elbow and controls the clay on the inside (figure 4).

Repeat this process a few times. Each time, less clay becomes avail-able to move upward into the wall (figure 5). Pushing the clay up from below, rather than pulling it, elimi-nates the excess ring of thick clay around the bottom or foot area of

the cylinder. Repeat this process at least three times, or until the clay is thinned out (figure 6). When you feel the cylinder starting to swing, or that you start losing control, slow down the wheel somewhat and collar the clay back in to regain control (figure 7).

Once the desired height is reached, continue to define the shape of the object you intend to make (figure 8). For shaping forms like bottles, the non-dominant hand pushes from the inside, while the dominant or out-side hand supports the clay (figure

Collar the cylinder to regain control if the top becomes off centered.

After creating the cylinder, start defin-ing the shape.

Push the clay from the inside while the dominant hand supports the clay on the outside.

Use rubber kidney ribs to remove excess slurry.

Use two rubber ribs to help in the final thinning, or prior to collaring the neck.

For a bottle, begin collaring the upper rim by encircling it with your hands.

7 8 9

10 11 12


9). Use rubber kidney ribs to re-move excess slurry (figure 10), then use them to help in the final thin-ning of the form for a cylinder or bowl, or for a bottle form before starting to collar in the neck (figure 11). To bring the neck in, repeatedly collar then thin out the top third of the cylinder. Use all your fingers to support and guide the clay inward, slowly closing the opening between your fingers as the piece narrows (figure 12). Next, thin out this sec-tion, throwing with your fingers angled toward the vertical center to

further narrow the form (figure 13). Repeat the collaring and thinning process until the opening is the right diameter (figure 14), then create the neck of the bottle with the remain-ing clay (figure 15). Thin the neck with a rib on the outside and your finger supporting on the inside, then finish the exterior of the form with a rubber kidney rib (figure 16).

Allow the finished piece to set up to leather hard on the bat then trim it right side up while still on the bat (figure 17) before turning it over on a chuck and trimming a foot ring.

When adjusting a piece, work on thick foam cushions and chucks to protect the thin neck area and sta-bilize rounded forms. Some of these foam chucks are custom cut to fit the shape of the pieces I have in progress.

Tips for Working With Porcelain

1Always wedge clay from a few hours to up to a day before using

it to make sure that the water content is evenly distributed throughout the clay ball. This also helps to orient the clay particles into a circle or spiral. Al-

Thin this collared area by angling your fingers towards the vertical center to further narrow the form.

Repeat the collaring and thinning process to narrow the top until the opening is the right diameter.

Create the neck of the bottle by thin-ning and collaring the remaining clay with your fingertips.

Finish the opening and the exterior surface of the form with a rubber rib.

13 14 15

17Finished, carved porcelain vessel by Antoinette Badenhorst.

Thin the neck using a rib on the outside and a finger supporting the inside.

16


though aged clay is stiff during the first few wedges, it’s much better than fresh-ly made clay and it quickly softens. Al-lowing the porcelain to rest after it’s wedged is important, because it tends to fatigue easily.

2 Pay special attention to center-ing and always cone the clay to

get all the clay particles lined up. Many potters consider coning as just another way of wedging, but in many instances porcelain reminds me of the fairy tale of the princess that could not sleep with a pea un-der her mattress. The slightest little lump or unevenness can force you back to the beginning.

3 Handle the clay as little as pos-sible to limit it from getting fa-

tigued. I manipulate the wedged ball into a pear shape and place it with the small end downward on the wheel head to take advantage of the circu-lar movement that started forming during wedging. I further define the lineup of clay particles through the coning process.

4 Porcelain is normally thirsty, ab-sorbing water quickly, and col-

lapses easily when too much water is used. Even a more plastic porcelain clay body functions better with less water. Adding a spoonful of vinegar in the throwing water gently defloc-culates the clay and helps in lubricat-ing the clay. Since porcelain shrinks more than other clay bodies, using less water limits the problems related to shrinkage.

5 Porcelain cracks easily for differ-ent reasons. If basic rules are im-

portant for working with other clay bodies, it becomes of the utmost im-portance to porcelain. Uneven thick-ness in clay walls and attaching pieces of uneven dryness will result in crack-ing. Cracks in the bottom of a form are usually caused by uneven thick-ness throughout and/or improper compression. Some cracks in the bot-toms are caused by water left inside, which weakens the bottom. Cracks on rims are usually caused by too much pressure applied when trimming the foot. Using a foam bat on the wheel

head while trimming absorbs the shock and eliminates most rim cracks. You can also prevent excessive pres-sure on fragile pieces by using sharp tools. Metal kidney ribs and Surform blades are some of my most important trimming tools.

6 Fill a spray bottle with water and use it to keep the pieces damp as

long as is needed while you’re working on them. Be careful as it takes some training of the hand and eye to prevent delamination of walls when spraying semi-dry pots to rehydrate them. Ev-ery porcelain body is different and needs to be evaluated separately.

7 To be safe, never leave freshly thrown work in the open air

longer than 15–30 minutes, no mat-ter if you are working in Mississippi or Arizona.

8 Here are two simple systems for keeping unfinished pieces leather

hard for weeks while you work on them. Invert a lidded food container, set the pot on the inverted lid and place the container over top of it to seal the pots in while they are in process.

Make a damp box by taking a plas-tic storage box, and pouring an inch or so of plaster into the bottom. After it cures, dampen the plaster slab and it will slowly release moisture into the air within the closed container.

Design ConsiderationsWhen working with porcelain, there

are specific things to bear in mind in the design stage that have a direct effect when firing a piece. Porcelain slumps easily so avoid large horizontal areas that are not supported. Wide domed lids, wide rimmed bowls and plates, handles and spouts should have an an-gle of at least 45° built into the design. Some pieces will even split or separate during the final firing if unsupported. I use different systems in the kiln to sup-port my work. It’s an ongoing process of planning and improvisation, since my work is one of a kind and using supports only works if the area to be propped up is unglazed.

Porcelain utilitarian work is normal-ly the same thickness or slightly thinner

than stoneware, but it’s still important to be aware of possible slumping and to design works accordingly.

Firing ConsiderationsBecause porcelain fluxes and starts

to melt somewhat at its peak tempera-ture, any supportive materials need to be dusted with a refractory material such as silica or calcined alumina. The same refractory materials are neces-sary to prevent lids from sticking to pots. I found that regular kiln wash is not enough to prevent my pots from sticking, so I wet each piece and dip it in a thin layer of silica that I can wipe off after the piece is safely fired.

Dimples in fired porcelain may be caused by a very open, less plastic clay body or by gasses that are either cre-ated by burn-off from plasticizers or other organic materials that might be trapped in the clay. Slow firing, soaking bisqueware for 30 minutes and a soak hold when the final glaze firing tem-perature is reached are all precautions you can take to allow these gasses to escape. For a very open clay body, it’s sometimes useful to dampen the pieces slightly before glazing. Be aware that if the piece is too damp (which hap-pens quickly with thin work), it can’t absorb as much water from the glaze solution, and so the glaze coating will be too thin.

If you’re having problems with cracks forming during the firing, they can be prevented by down firing the kiln, which helps to cool pieces (espe-cially thin ones) slowly.

I consider my porcelain work as a discovery; one that takes me to all dif-ferent and interesting places. It suits my personality and my passion. I invite you to join me in this journey. Maybe you will find the same joys as I do. n

Antoinette Badenhorst has worked with translucent porcelain since the early 90’s. She leads workshops, presentations and demon-strations both in the U.S. and internationally and has written articles on pottery in both Afrikaans and English. Her work is pre-sented by leading galleries in America, South Africa and Japan. Contact her through her website: www.clayandcanvas.com.


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Throwing Big

by Michael Guassardo

avid Schlapobersky and Felicity Potter are leading South African studio pot-ters who have been work-

ing together in the tradition of high-fire, reduction stoneware and porcelain since 1973. Their open, working pot-tery studio is in the historic heart of Swellendam in the Overberg region of the Western Cape, South Africa.

They work in collaboration, with David taking care of preparing the

clay, making pots and blending glaz-es, while Felicity decorates the work prior to glaze firing in one of two oil-fired kilns.

They make a wide range of items including functional and decorative stoneware and porcelain, as well as large floor jars, urns, platters, foun-tains, garden and indoor containers.

David has developed a process that combines throwing and adding coils to create pieces up to four or five feet

D

Wine jug made from thrown base and added thrown coils.


in height. He demonstrates his meth-od for making a tall vase here.

ProcessCenter 15 pounds of clay (figure

1). If it’s too difficult to center that much at one time, try centering five pounds of it at a time, one over the other, starting at the bottom. Open up the clay to within ½ inch of the wheelhead (figure 2). To ensure the base is properly worked down and compacted, David adds a small flat piece of clay on the base, which he works in to release any trapped air and compresses by pressing down firmly (figure 3).

Next, open out the form to about 8 inches and begin to pull the clay up to form thick walls that taper in-ward (figure 4). This also gives you a thickish rim. Repeat the process, this time adjust the pressure and your hand position so that the cylinder has straight walls (figure 5). Pull the cylinder to the final height and flare outward to form the desired shape, about 12 inches in diameter at the top. With a kidney rib, bevel the top slightly outward to accommodate the angle of the next step, which contin-ues the outward curve (figure 6).

You are now ready to quick dry the pot to stiffen the walls before doing any further work. First, run a wire tool under the base of the form to release it from the bat. This quick drying step creates sudden and un-even pressures that could cause the foot of the form to crack if it is left attached to the bat. Dampen the throwing bat to prevent it from burning. Using a blow torch, and with the wheel revolving at your throwing speed, dry the pot (figure 7). First heat the outside, then the

Center 15 pounds of clay.

1

Add a slab of clay to the bottom.

3

Collar the clay in and keep the rim thick.

4

Open clay to ½ inch above the wheelhead.

2

TipCompress the rim at the end of each pull to consolidate the clay and slightly thicken the rim. At this stage use the kidney rib to re-move any slop on the inside walls and base.


inside. After a minute or two, repeat the drying process. The clay will start to change color, and become leather hard.

After two cycles of using the blow torch, the pot should be firm enough to handle about 10 more pounds of clay. Roll out an 8 or 9 pound coil. Since your pot is about 12 inches in diameter, you’ll need a 36 inch coil. Score and dampen the top of the pot then place the coil on the rim. Cut and join the two ends together (figure 8), place the coil onto the pot, but do not fix it to the rim at this point.

Press the coil down and inward with the wheel revolving slowly, so that the outside of the coil is flush with the pot and the roll is overhang-ing on the inside. Now you are ready to throw again to thin out this added coil and shape the contour to make its transition with the pot seamless.

Throw by pulling the inside roll up, with the wheel spinning at a slightly slower speed than when throwing the pot. Shape and trim off any uneven clay. Once again, compress the rim and prepare it for the next coil.

Clean the outside join and address the transition if necessary. Remove the excess clay from the inside join using a sharp trimming tool or rib, and clean out any slurry from the bottom of the pot (figure 9). Note: When you finish throwing the coil, the top flare should be a little exag-gerated to allow for quick drying.

Dry the pot as before, using the blow torch (figure 7). You may need to wet the upper part of the first sec-tion prior to heating the piece, so it does not dry out too much. Clean up and remove any small dried edg-es on the rim.

Now add a slightly thinner coil (about 36 inches in length) made from about 5 pounds of clay (figure 10). Repeat the process of attaching and throwing the coil as before. This second coil should give you enough clay to form the widest part of the pot and start to curve the form back in, finishing up to the shoulder of the Score the rim then place the coil on top.

8

Pull up the cylinder.

5

Begin adding shaping outward.

6

Dry the pot using a blow torch.

7


pot (figure 11). Clean up and dry the pot as before. Note that the bevel at the top edge should slope gently in-wards for the final coil, which will become the rim of the pot.

Add a final coil, rolled out from about 2 to 3 pounds of clay. Throw the desired neck and rim (figure 12) and clean up the inside of the pot and the transition as before. The fi-nal coil allows for a bit of creativity. You can finish off these tall forms as vases, jars, or bottles. Dry as before and add accents like lugs, handles and or sprigs. Your final pot will be around 28 to 30 inches tall. n

Michael Guassardo is a professional pot-ter and the editor of National Ceramics Quarterly. He lives and works in Knysna, South Africa. For comments, contact him at [email protected].

David Schlapobersky and Felicity Potter operate the Bukkenburg Pottery Studio & Guest Cottage in Swellendam, South Af-rica. For comments or questions, contact them at [email protected] or visit their website at www.pottery.co.za.

Clean up the join after shaping the contour.

9

Add the next coil and cut it to size.

10

Start to taper the form inward, using a rib to refine the profile.

11

12

Complete the shoulder and neck of the form with the last coil.

glazingDavid and Felicity usually skip the bisque fire, but their glaz-ing technique is the same for greenware or bisqueware. After spraying the entire pot with a glaze, they add brushwork deco-ration using various oxides and pigments. After thoroughly dry-ing the pots, the work is fired to cone 12 in a gas kiln in a reduc-ing atmosphere.



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instructors fileThrowing: A Three-Stage Approachby Jake Allee

While conducting a workshop at the “Clay on the Wall” symposium at Texas Tech, some-one asked the question, “How do you ap-

proach teaching people to throw on the wheel?” This is a good question and it’s something I’ve thought about often. I’ve always held that all people have a mechanical intelligence related to manual dexterity as we all have cognitive intelligence. People have different aptitudes that translate into or affect their manual dexterity.

Over the last several years, I’ve focused my teaching ef-forts on catering to all of these dispositions and to differ-ent learning styles with the goal of helping students learn and develop good habits. After all, learning to throw on the wheel is about developing habits and you want the student to develop good habits first. I personally know what it’s like to feel the frustration of having to relearn something after developing a bad habit, because I’m learn things slowly to begin with. The following should help you get quicker results from all your students.

Many educational workshops use a lot of buzz words and philosophical concepts to identify and measure learning styles, but what a clay instructor needs is a sim-ple “nuts and bolts” method for attacking the problem. I resolved to strip down the basic learning methods into three categories and attack them individually in three matching stages through my teaching:

Stage 1. Readings and visual diagramsStage 2. Practical demonstration and use of techniqueStage 3. Hands-on experience

Obviously hands-on experience is the part we quite often throw our students at first, and we answer ques-tions after mistakes are made. However, reinforcement of information introduced first through readings and di-agrams then through practical demos is the best way to see results at stage 3. Using the three-stage process calls upon the student to assimilate information in a manner that they don’t normally associate with art making, yet are familiar with through other subjects. As a teacher, prioritizing these stages in learning a process in order from 1 to 3 is key to a student’s success, because they have the “blinders” on and will always prioritize them in the opposite direction, from 3 to 1 due to honest

excitement and raw energy to learn! I believe when the students are called upon to refer to information they’ve learned in stages 1 and 2 while engaging in stage 3, they get a phenomenon educators call “completing the circle.” When you complete the circle you are being as efficient as possible with your efforts toward teaching and directing the students to do the same with the act of learning.

Stage 1: Readings and Visual DiagramsThis first category of learning methods, and the first stage in teaching throwing, is often ignored by the teacher because it takes work up front, and as educa-tors we’re already buried in paperwork! However, the extra time used for preparation pays off and the students will be quicker to meet you half way.

A worksheet designed to address all the critical points associated with habit forming for wheel throwing technique helps. I always begin by asking the students to read the worksheet through and I then present them with several questions to make sure they have read it. After that, I go over the content of the worksheet again, re-phrasing it with words that come more naturally.

Any worksheet that addresses frequently asked ques-tions can be used as a reference point by the students and ultimately make your job easier. A worksheet never takes the place of a verbal explanation from the instructor or a practical demonstration, but it certain-ly gives the student something to think about when it’s placed in their hands, even if they’ve walked into the classroom late. The worksheet always reinforces stages 2 and 3. Flying solo with a worksheet for one class might make a student think about showing up on time. Revisiting the handout prior to practical demon-stration at the beginning of the next class will elimi-nate your feelings of guilt and give the late student a chance for redemption.

Stage 2: Practical DemonstrationAfter everyone has read the worksheet and I reinforce and explain it verbally, I move to stage 2. The students watch the practical demonstration while reference to the worksheet throughout the process. I slow way down and ask the students how I should be executing the tech-


nique according to the worksheet. I demonstrate all of the steps listed to further reinforce the information. At this time I also talk about some of the “tricks” in my personal approach for success.

If I make a mistake in the process while demonstrating, we discuss what happened. I encourage the students to ask the following questions. WHY did the mistake happen? WHAT should have been done differently? HOW can the mistake be corrected? This shows students how to learn from the inevitable mistakes. They also refer to this experience of watching a demonstration, and the trouble-shooting that occurred, when working on their own pieces, so it helps and influences them as they form their own habits. Lastly, it also puts them at ease with the expert imparting the knowledge.

The first piece I make for a demo is always destroyed at the end; this takes away the preciousness of the object created. I then take the opportunity to give my short talk on how each person in the class dictates what is considered their first piece on the wheel. Will it be the piece that becomes an ashtray, or will it be the piece that is kept after they understand the control re-quired to make a thin wall and keep the piece centered? The viewer may never know if the maker’s first piece was made on the very first day or at the end of the first year of practice.

Stage 3: Hands-on Experience

When I finally make it to Stage #3, everyone is ready to get started. I ask for one more exercise of patience on the student’s part. Everyone goes through the steps of centering and opening simultane-ously and no one moves to the next step until everyone is ready. Once everyone gets to the point of pulling up on the cylinder, they are all cut loose and begin to work on their own. At this point I walk around

and address all of the students one-on-one, giving suggestions and helping with the challenges they encounter. The whole process takes me about an hour to go through from start to finish. I always start the next class with a review through practical demonstration and check that everyone has their worksheet with them for reference.

This approach may not work for all teachers, but the idea is to teach from as many angles as possible and use each angle to reference the other. Think about adapting this method to your particular way of teaching. Look at the effort Val Cushing has put into point #1—the achievement of his students speaks of the value of his efforts. To the

students reading this, please use this information to pull knowledge from your teacher in a way that best fits your learning style, I’m sure he or she will direct you to a good resource even if there’s no worksheet available. Remember, the classroom environment is a 50%–50% situation with regards to effort, requiring equal amounts from both student and teacher. Realizing this helps speed everyone to what really counts, THE CON-TENT OF THE WORK. Technique is only the path to content and work ethic will drive you down that path! GOOD LUCK! n

Jake Allee teaches at Mesa State College in Grand Junction, Colorado. For comments, or to see his work, visit www.jakeallee.com.

Below and right: A two page worksheet on the basics of wheel throwing, available online at www.potterymaking.org.

©2009 Ceramic Publication Company ©2009 Ceramic Publication Company

Tips for success Always apply and release pressure to

the clay slowly.

Never allow water to collect in the bot-tom of the piece.

Slow the wheel down in each step of the process.

Be persistent in your efforts.

right handed

left handed

large arrow indicates hand to clay contact area when throwing. Small arrow indicates wheel direction.

cenTering The clay Start with a well wedged ball of clay

that’s no larger than the size of your hands.

Anchor your elbows to your knees for stability.

Wet your hands and the clay.

Slowly apply downward pressure equally to all sides of the clay until no movement exists within the mass.

When the clay is “centered,” it will be spinning while your hands remain still.

Once the clay is centered, relax and slowly pull your hands away.

clay profile

wheel head

diagram illustrating hand to clay pressure.

opening up The clayPlace the tip of your thumb in the center of the

clay mass.

Slowly roll your thumb into the center of the clay maintaining pressure on the clay profile.

Stop ½ inch from the wheel head.

To create a flat bottom, use the same hand po-sition and pull straight back toward yourself.

Any movement causing the piece to go out of “center” is reflected in the rest of the piece.

Throwing on the Wheelby Jake Allee

making a pullFrom this point on, manipulate the piece only

at the 3 o’clock position relative to the wheel head (9 o’clock if left handed).

Slowly apply and release pressure.

Always use your fingertips when making a vertical pull and slow the wheel down.

Position your inside finger slightly above the outside finger and apply pressure with the out-side finger slowly moving your hands upward.

When making a vertical pull, pull the clay inward to create the volcano shape.

Repeat the pulling process until the wall is uni-form in thickness from top to bottom.

thumb

thumb

flat bottom profile with arrow representing thumb movement.

wheel headclay profile

handS

wheel headillustration showing fingertip to clay pressure points and direction of vertical pull.

clay profile

wheel headlarge arrow represents thumb movement. Small arrows indicate hand to clay pressure.

thumb

clay profile

volcano profileclay profile

http://www.jakeallee.com



#1 Identify the basic steps in the technical process. Double check the descriptive language used to convey these steps.

#2 Develop drawings or high-contrast photographs as visual examples to these steps.

All diagrams should be clearly labeled and the images should photo copy well.

#3 Identify and address frequently asked questions.

#4 Leave the “tricks” out and let that be a point of interest with the practical demonstration.

Creating a Teaching Worksheet for Ceramics

©2009 Ceramic Publication Company ©2009 Ceramic Publication Company

Tips for success Always apply and release pressure to

the clay slowly.

Never allow water to collect in the bot-tom of the piece.

Slow the wheel down in each step of the process.

Be persistent in your efforts.

right handed

left handed

large arrow indicates hand to clay contact area when throwing. Small arrow indicates wheel direction.

cenTering The clay Start with a well wedged ball of clay

that’s no larger than the size of your hands.

Anchor your elbows to your knees for stability.

Wet your hands and the clay.

Slowly apply downward pressure equally to all sides of the clay until no movement exists within the mass.

When the clay is “centered,” it will be spinning while your hands remain still.

Once the clay is centered, relax and slowly pull your hands away.

clay profile

wheel head

diagram illustrating hand to clay pressure.

opening up The clayPlace the tip of your thumb in the center of the

clay mass.

Slowly roll your thumb into the center of the clay maintaining pressure on the clay profile.

Stop ½ inch from the wheel head.

To create a flat bottom, use the same hand po-sition and pull straight back toward yourself.

Any movement causing the piece to go out of “center” is reflected in the rest of the piece.

Throwing on the Wheelby Jake Allee

making a pullFrom this point on, manipulate the piece only

at the 3 o’clock position relative to the wheel head (9 o’clock if left handed).

Slowly apply and release pressure.

Always use your fingertips when making a vertical pull and slow the wheel down.

Position your inside finger slightly above the outside finger and apply pressure with the out-side finger slowly moving your hands upward.

When making a vertical pull, pull the clay inward to create the volcano shape.

Repeat the pulling process until the wall is uni-form in thickness from top to bottom.

thumb

thumb

flat bottom profile with arrow representing thumb movement.

wheel headclay profile

handS

wheel headillustration showing fingertip to clay pressure points and direction of vertical pull.

clay profile

wheel headlarge arrow represents thumb movement. Small arrows indicate hand to clay pressure.

thumb

clay profile

volcano profileclay profile

http://www.scottcreekpottery.com/


off the shelfThe Basics of Throwingby Sumi von Dassow

The Basics of Throwing: A Practical Approach to Form and Design By David Cohen ISBN: 978-0-8122-2041-4University of Pennsylvania PressPhiladelphia, PA, 2008www.upenn.edu/pennpress

My first thought on seeing this book was something like, “not another throwing book!” However, when I began reading

it I was captivated and ended up reading every word and examining each picture. David Cohen is not just an experienced thrower, he is a master at manipulat-ing clay and obviously a master instructor as well. His goal in writing this book is to lay out his lessons and aesthetic philosophy for those of us not fortunate enough to attend his classes in person. If this were yet another step-by-step “here’s how to make a pitcher, teapot, etc.” book, it wouldn’t be especially valuable, because that territory is already well explored in other books. There are indeed many very well-photographed step-by-step sequences in this book, complete with color-coded arrows and lines pointing to important details or demonstrating the direction of pressure and movement; and the instructions on difficult-to-describe processes such as wedging and centering are as good as any I’ve seen; but the real value of this book is in Cohen’s systematic presentation of design and aesthet-ic considerations concerning the process of throwing.

The first three chapters are aimed at beginners and cover the properties of clay, clay preparation and the basics of throwing. These subjects aren’t given short shrift, and it is possible that a determined beginner could really get the hang of centering and throwing a cylinder from Cohen’s instructions. In the fourth chap-ter, however, Cohen moves on to helping the reader develop a “visual vocabulary” by applying “attention, selection, and critical assessment.” As he says, “this trio of qualities is the foundation for establishing a vi-sual vocabulary, without which there is little chance of going beyond technical proficiency.” Thus, he lets you know the real purpose of this book: to help you make pots which are not just competently made, but well-designed. As a teacher who inevitably spends a lot of time teaching “technical proficiency,” I found this chapter refreshing, eye-opening and inspiring. Cohen doesn’t attempt to impose his own sense of design on the reader; his goal is to encourage you to make your

forms deliberately, to create a finished form that com-municates your intention. After all, what is the point of spending time mastering a demanding craft, only to make generic pots?

The next couple of chapters in the book intermingle “how-to information” with “why” information—demonstrating not just making a pitcher, a teapot and a mug, but making a “family” of forms which relate visually to one another. Then Cohen moves on to the elements of visual expression, explaining the use of line, shape, color, texture and other visual elements to enhance your visual vocabulary. Believe it or not, he re-ally does explain all these terms so that you can under-stand what he means, illustrating the explanations with stunning pots and suggesting a lot of fun, interesting ways to alter thrown forms.

In short, I would recommend this book to potters at any level of proficiency. If you’re a beginner you will get some good tips to help you develop both your technique and your understanding of design principles. If you’re already an expert potter you will undoubtedly learn neat new things to do with clay but I hope you’ll also learn to evaluate your forms with a critical eye. And if you’re a teacher, your own pots will benefit, and you’ll also learn a whole new vocabulary for communi-cating with your students – more importantly, a whole new philosophy to communicate to them. n

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ad hoc

Q. What’s the earliest known Potter’s Wheel?

A. The first pottery wheels ap-peared around 8,000 BCE in Egypt and Khnum, one of the earliest Egyp-tian deities, is usually depicted as a bull-headed man at a potter’s wheel (no comment). Also known as the Divine Potter, he is thought of as the creator of children’s bodies, which he made on the wheel and placed in their mother’s wombs.

Dynamic ClayClay is a fluid medium and here’s a demonstration of how it works. Balls of stra-tegically placed dark clay inserted into a white clay illustrate how the forces of throwing work on clay.

Loosen Up!

Long hours spent throwing or trimming at the wheel can do a real number on your neck and back.

The following simple tricks can help enormously. . .1. If your wheel pedal is under your right foot, place a brick

under your left foot. This makes your knees level and eliminates asymmetrical stress on the lower back.

2. Use a stool on wheels. Tiny variations in distance to the wheel head allow you to use a range of back muscles, reducing fatigue.

3. Keep at least one tool that you use frequently, such as a cut-off wire, high above your head. This forces you to reach up and straighten your back at regular intervals, which is particularly helpful in avoiding those

headaches due to tense neck muscles.

Handedness and Throwing RotationDid you know?In the Far East, potters usually work with the wheel turning clockwise and in West-ern cultures the wheel turns counterclock-wise. According to our recent PMI Reader survey, 78% of PMI readers are right handed and throw counterclockwise.

78%RH/CCW

6% LH/CW

10% RH/CW

4% LH/CCW

2% CW/CCW

Key:RH/CCW = Right Handed/CounterclockwiseLH/CCW = Left Handed/CounterclockwiseRH/CW = Right Handed/ClockwiseLH/CW = Left Handed/Clockwise CW/CCW = Right or Left Handed and uses both directions

Contrasting clay sandwiched be-tween white clay. Coning causes clay from below to be pushed upward in the center and down-ward on the outside.

Balls of half red and half white clay were centered, starting with red clay on the bottom to illustrate how coning moves clay from the bottom to the top.

Thanks to Ivor Lewis

Clay at the circumference moves more than clay at the center.

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Take the Plunge - Ceramic Arts Network · Take the Plunge. PotteryMaking Illustrated | May/June...

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Transcript of Take the Plunge - Ceramic Arts Network · Take the Plunge. PotteryMaking Illustrated | May/June...