The Sound CLAY The Sound CLAY

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Steps to STOP Crazing 8 Dag Sørensen The Sound CLAY Creating Musical Instruments May/June 2006 Dag Sørensen The Sound CLAY Creating Musical Instruments of SOUND ADVICE Making Simple Whistles COLOR & TEXTURE Adding Bits and Pieces FLAT TILES Taking Out the Warp Steps to STOP Crazing 8

Transcript of The Sound CLAY The Sound CLAY

Page 1: The Sound CLAY The Sound CLAY

Steps to STOPCrazing8

Dag SørensenThe Sound

CLAY Creating Musical

Instruments

May/June 2006

Dag SørensenThe Sound

CLAY Creating Musical

Instruments

of

SOUND ADVICEMaking Simple Whistles

COLOR & TEXTUREAdding Bits and Pieces

FLAT TILESTaking Out the Warp

Steps to STOPCrazing8

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This book is about a truly remarkable transformation:how the simplest of materials—clay or mud—can beused to make tools for producing one of the most com-plex human expressions—music. With a history reach-ing back to ancient times, creating ceramic musicalinstruments is a vibrant pursuit for many innovativeartists today.This book explores the vast array of ceram-ic musical instruments, from their historical traditions inworld cultures to their modern variations and innova-tions. Hundreds of color photos present the work ofartists from around the world spanning the last threemillennia, from ancient Peruvian water whistles andMesopotamian rattles to contemporary seven-cham-

bered ocarinas and ceramic bagpipes. In-depth profilesexplore a number of today’s artists, their work, and theirinspirations.

All instrument families are represented: percussion,winds, strings, and even unique hybrids. For each type ofinstrument, special construction techniques specific toclay are explained. In addition, there’s a chapter provid-ing detailed, step-by-step instructions showing how tobuild several ceramic instruments. A companion audioCD contains 43 diverse tracks of ceramic instrumentalmusic ranging from the refined melodic strains of Vivaldiand Tchaikovsky to the earthy, primal wailings of bizarrepre-Columbian wind instruments.

List Price: . . . . . . . . . . . . . $59.95INTRODUCTORY PRICE: $48.00Order Code: . . . . . . . . . . . . CA30

Whether you are a musician, ceramist, or just a fan of art and music, you’reinvited to embark on an incredible journey . . . from mud to music!

To order, go to www.ceramics.org/music

NEW RELEASE

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2 PotteryMaking Illustrated • May/June 2006

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May/June 2006 • PotteryMaking Illustrated 3

Features15 Sound Advice

by Kristen GilesWhistles made simple

19 Color and Textureby Hanna Lore HombordyCreative bits and pieces

24 Making Music from Clayby Barry HallThe instruments of Dag Sørensen

30 Flat Tiles the Easy Wayby Laura ReutterNo-hassle technique to prevent warping

Stepsto STOPCrazing8

Dag SørensenThe Sound

CLAY Creating Musical

Instruments

May/June 2006

$6.00 US $7.50 CAN

Dag SørensenThe Sound

CLAY Creating Musical

Instruments

of

SOUND ADVICEMaking Simple Whistles

COLOR & TEXTUREAdding Bits and Pieces

FLAT TILESTaking Out the Warp

Stepsto STOPCrazing8

TABLE OF CONTENTS

Departments7 Tips from the Pros Sizing with Corks

by Lili Krakowski

10 Tools of the Trade How Low Voltage Affects Firingby Arnold Howard

12 In the Mix 8 Steps to Stop Crazingby Jeff Zamek

36 Supply Room Skintight Potteryby Barry Hall

39 Instructors File Mug Shotsby Jonathan Kaplan

44 Off the Shelf From Mud to Musicby Sumi von Dassow

On the Cover Dag Sørensenthrowing the bell for a ceramichorn. See page 24.

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4 PotteryMaking Illustrated • May/June 2006

Mus i c i s a p ar t o f ev er yo ne’ s l i f e, and i t ’ si m p o s s i b l e t o i m ag i ne a w o r l d w i t h o ut

i t . F r o m t h e d aw n o f h um an h i s t o r y, b o t huns k i l l ed and s k i l l ed c r af t s m en h av e c r eat ed

i ns t r um ent s f r o m m at er i al s o n h and . I n t h i s i s s ue, w e c el eb r at em us i c al i ns t r um ent s m ad e f r o m c l ay and t o uc h o n s o m e b as i ct ec h ni q ues t o h el p yo u m ak e yo ur o w n i ns t r um ent s .

I t w o ul d b e d i f f i c ul t t o f i nd s o m eb o d y w h o k no w s m o r e ab o utc er am i c i ns t r um ent s and m ak er s t h an B ar r y H al l . H i s r ec ent l yc o m p l et ed b o o k From Mud to Music i s t h e m o s t t h o r o ug h andc o m p r eh ens i v e b o o k o f i t s k i nd o n t h i s f as c i nat i ng f i el d . B ar r y’ sr es ear c h o f m any t yp es o f i ns t r um ent s m ad e t h r o ug h o ut h i s t o r y,and f r o m m any c ul t ur es , p l us h i s b r o ad o v er v i ew o f c ur r enti ns t r um ent m ak er s i s c o m p el l i ng and i ns p i r i ng . A nd t h e b es t p ar to f t h e b o o k i s t h at i t c o nt ai ns a C D o f m us i c b ei ng p l ayed o nt h e i ns t r um ent s s h o w n.

W e’ v e f eat ur ed t w o ex c er p t ed ar t i c l es t o p r o v i d e yo u w i t h as am p l i ng o f t h e b o o k : o ur c o v er f eat ur e o n D ag S ø r ens en, w h om ak es a v ar i et y o f i ns t r um ent s i n N o r w ay, and a l o o k at h o w t ol o c at e and at t ac h r aw h i d e f o r a d r um h ead . F o r t h e r ead er w ant -i ng m o r e t h an a t as t e o f m us i c al i ns t r um ent m ak i ng , t ak e a l o o kat S um i v o n D as s o w ’ s r ev i ew o f From Mud to Music i n o ur “O f ft h e S h el f ” s ec t i o n.

B eyo nd t h e b o o k , b ut s t i l l w i t h i n t h e r eal m o f m us i c al c l ay,w e’ v e i nc l ud ed a s i m p l e s t ep - b y- s t ep w h i s t l e p r o j ec t f r o mK r i s t en G i l es o f D al l as , T ex as . I f yo u’ r e new t o m ak i ng i ns t r u-m ent s , t h i s i s a g r eat p l ac e t o s t ar t .

P o t t er s ar e f o r t unat e. W h en i t c o m es t o t h e d es i r e t o c r eat eo ur o w n m us i c , w e h av e r ead y ac c es s t o t h e m eans t o c r eat eal m o s t anyt h i ng o ur i m ag i nat i o ns c an c o m e up w i t h . W h et h eryo u m ak e a d r um , t r um p et , w h i s t l e o r c h i m e, t h e m us i c r o o m i sas c l o s e as yo ur s t ud i o .

FiredUp

EDITORIAL

Volume 9 • Number 3Editorial

[email protected]: (614) 895-4213Fax: (614) 891-8960Editor Bill JonesAssistant Editor Renée FairchildAssistant Editor Jennifer PoellotPublisher Charles Spahr

[email protected]: (614) 794-5809Fax: (614) 891-8960Advertising Manager Steve HeckerAdvertising Services Debbie Plummer

SubscriptionsCustomer Service: (614) [email protected]

CirculationCirculation Manager Frank RuizTelephone: (305) 441-7155

Graphic Design/ProductionJami Flannelly

Editorial and Advertising offices735 Ceramic Place, Suite 100Westerville, Ohio 43081USA

Editorial Advisory BoardDavid Gamble • Steven Hill • Mel JacobsonAnna Calluori Holcombe • Jonathan KaplanDannon Rhudy • John Toki • Anderson Turner

www.potterymaking.orgPottery Making Illustrated (ISSN 1096-830X) is pub-lished bimonthly by The American Ceramic Society, 735Ceramic Place, Suite 100, Westerville, Ohio 43081.Periodical postage paid at Westerville, Ohio and addition-al mailing offices.

Opinions expressed are those of the contributors and donot necessarily represent those of the editors or TheAmerican Ceramic Society.

Subscription rates: 6 issues (1 year) $24.95, 12 issues (2years) $39.95. In Canada: 1 year $30, 2 years. $40.International: 1 year $40, 2 years. $70. All payments mustbe in US$ and drawn on a U.S. bank. Allow 6-8 weeks fordelivery.

Change of address: Send your change of address viaemail to [email protected], or on our website. Allow sixweeks advance notice.

Contributors: Writing and photographic guidelines areavailable on request and on the website. Mail manuscriptsand visual materials to the editorial offices.

Photocopies: Permission to photocopy for personal orinternal use beyond the limits of Sections 107 and 108 ofthe U.S. Copyright Law is granted by The AmericanCeramic Society, ISSN 1096-830X, provided that theappropriate fee is paid directly to Copyright ClearanceCenter, Inc., 222 Rosewood Dr., Danvers, MA 01923 USA;978-750-8400; www.copyright.com. Prior to photocopy-ing items for educational classroom use, please contactCopyright Clearance Center, Inc.

This consent does not extend to copying items for gener-al distribution, for advertising or promotional purposes, orto republishing items in whole or in part in any work andin any format. Please direct republication or special copy-ing permission requests to the Publisher, The AmericanCeramic Society, 735 Ceramic Place, Suite 100,Westerville, Ohio 43081.

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B i l l Jo nes E d i t o r

The drive to create, perform andreproduce music is common to allmankind, a drive so basic that when aman cannot find an instrument to suithim, he creates his own.

— Joseph Howard

The Sound of Clay

Copyright © 2006 The American Ceramic Society

All rights reserved

www.ceramics.org

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6 PotteryMaking Illustrated • May/June 2006

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Siz ing with Corks

T h r o w i ng nec k and g al l er y o p eni ng s t o a s p ec i f i cf i r ed s i z e i s a f r eq uent p r o b l em , b ut us i ng c o r k s

as “ m eas ur i ng s t i c k s ” c an m ak e t h i s t as k m uc h eas i -er . C o r k s ar e s o l d i n g r ad uat ed s i z es , and ar e av ai l -ab l e f r o m c er am i c s up p l y c o m p ani es and l o c al h ar d -w ar e s t o r es . P ur c h as e a c o m p l et e as s o r t m ent . T h i ss ys t em h as s er v ed m e w el l f o r year s .

W ear i ng h eav y w o r k g l o v es , us e a s i ng l e- ed g er az o r b l ad e o r m at k ni f e and c ut t w o V no t c h esf r o m t o p t o b o t t o m o n eac h s i d e o f t h e c o r k ( f i g ur e1 ) . T h e no t c h es p r ev ent t h e c o r k f r o m c r eat i ng s uc -t i o n w h en i n us e. Mar k t h e s i z e o n t h e t o p o f eac hc o r k w i t h a w at er p r o o f m ar k er . A d d a s c r ew eye t ot h e t o p t o f ac i l i t at e s t o r ag e and al s o t o s er v e as ah and l e ( f i g ur e 2) .

Tips from the Pros by Lili Krakowski

HOLE GAUGE

1

Examples of corks and some of the objects that require consistently sized holes. A hole gauge makes it easy to find the right size.

2

A fired ring with a spigot inserted into its proper hole. The corresponding cork used as the gauge for this hole will beused when throwing.

Two V notches should be cut into each side of the cork fromtop to bottom.

Insert a screw-eye hook to act as a handle while the cork is in useand to facilitate storage.

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T o c r eat e yo ur g aug e, t h r o w a l ar g e, b o t t o m l es s r i ngap p r o x i m at el y 4 i nc h es h i g h , and s et as i d e s o i t c an b el eat h er h ar d at t h e s am e t i m e as yo ur “ s p o ut s . ” N ex t ,t h r o w a s er i es o f s t r ai g h t - s i d ed s p o ut s 3 – 4 i nc h es h i g hand s i z e t h em w i t h t h e c o r k s ( f i g ur e 3 ) . W h en s i z i ngt h e o p eni ng , t h e c o r k s h o ul d o nl y b e i ns er t ed h al f w ay.C l ean t h e i ns i d e o f t h e s p o ut w el l ( f i g ur e 4 ) . S et t h es p o ut s as i d e t o s et up t o l eat h er h ar d . I t h r o w eac hs p o ut o n a b i s q ue t i l e s o I c an k eep t h e c o r k I us edw i t h i t t h r o ug h o ut t h e d r yi ng p r o c es s .

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4

3Stick the cork halfway down to achieve the size you want. Youcan mark that mid-point on the cork, though training the eye andhand is easier.

Clean the inside of the spout well. The spouts may have a rim(most of mine do) and a slight outside taper, but the inside shouldbe straight.

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May/June 2006 • PotteryMaking Illustrated 9

W h en t h e s p o ut s and r i ng ar el eat h er h ar d , at t ac h t h e s p o ut s t ot h e o ut s i d e o f t h e r i ng , m ar k i ngeac h s p o ut w i t h t h e I D o f i t s c o r k .Y o u c an c ut h o l es i n t h e r i ng w h er et h e s p o ut s ar e l o c at ed , b ut i t i s no tnec es s ar y. D r y t h e r i ng s l o w l y t om i ni m i z e w ar p i ng , t h en b i s q ue andg l az e f i r e t h e r i ng . B ec aus e s h r i nk -ag e r at es v ar y d ep end i ng o n c l ayt yp e and f i r i ng t em p er at ur e, yo u’ l lneed a s ep ar at e r i ng f o r eac h c l ayb o d y and f i nal f i r i ng t em p er at ur e.

Lili Krakowski is a professional potterresiding in Constableville, New York.You can contact her via her e-mail [email protected].

When making a gallery for a lid, use asmaller cork to size the actual opening ofthe piece and the bottom edge of a largercork to size the diameter of the gallery.

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W h en yo ur k i l n t ak es t o ol o ng t o f i r e, i t ’ s no t al w ays

b ec aus e o f w o r n h eat i ng el em ent s . L o w v o l t ag e c an d o ub l eyo ur f i r i ng t i m e.

E l ec t r i c al c ur r ent i n m o s t o f t h e U ni t ed S t at es i s s o r el i ab l ew e t ak e i t f o r g r ant ed . V o l t ag e l ev el s r i s e and f al l r eg ul ar l y,t h o ug h us ual l y no t eno ug h t o m at t er ; h o w ev er , w h en i t d r o p st o o l o w , p r o b l em s ar i s e.

A ut r y, a m as t er el ec t r i c i an, d es c r i b ed o ne o f h i s ex p er i enc es .I n a c us t o m er ’ s h o m e, l i g h t b ul b s k ep t b ur ni ng o ut , and t h eai r c o nd i t i o ner and o t h er ap p l i anc es d i d no t o p er at e p r o p er l y.H e t o o k a v o l t ag e r ead i ng f r o m t h e r ec ep t ac l es i n t h ei r h o m e.“ T h er e’ s no t h i ng I c an d o t o h el p yo u, ” h e t o l d h i s c us t o m er .“ Y o ur p r o b l em i s l o w v o l t ag e. ”

T h e p o w er c o m p any i ns i s t ed t h at t h e v o l t ag e i n t h at h o m ew as no r m al and ev ent ual l y s ent a s up er v i s o r t o m eet A ut r y att h e c us t o m er ’ s h o m e w i t h a v o l t ag e r ec o r d er . T h e s up er v i s o rr ec o r d ed 1 9 0 v o l t s f o r a 24 0- v o l t s ys t em . “ T h at w as t h e l o w -es t v o l t ag e d r o p I h ad ev er enc o unt er ed , ” A ut r y s ai d . T h ep o w er c o m p any c h ang ed t h e t r ans f o r m er t o r ai s e t h e v o l t ag e.

S o m e p o w er c o m p ani es d o no t h av e eno ug h g ener at i ngc ap ac i t y t o c o r r ec t l o w v o l t ag e, and i n t h o s e c as es , c h ang i ngt h e p o w er t r ans f o r m er w o n’ t h el p . V o l t ag e c o m m o nl y d r o p sd ur i ng p er i o d s o f h eav y el ec t r i c al d em and . I n D al l as d ur i ngt h e s um m er , v o l t ag e c an d r o p f r o m 24 0 t o as l o w as 1 9 0b et w een 4 : 3 0 and 8 : 3 0 P . M. w h en p eo p l e c o m e h o m e f r o mw o r k and t ur n o n ai r c o nd i t i o ner s . T o r ai s e v o l t ag e d ur i ngp eak p er i o d s , s o m e ut i l i t y c o m p ani es k i c k i n ex t r a g ener at o r s .

208 & 240 V olt SystemsA c o m m o n m i s t ak e i n o r d er i ng k i l ns i s t o c o nf us e a 208 -

v o l t w al l r ec ep t ac l e f o r a 24 0- v o l t w al l r ec ep t ac l e. T h i s i s aneas y m i s t ak e, b ec aus e b o t h w al l r ec ep t ac l es w i l l l o o k t h es am e. Y o u c anno t d et er m i ne t h e v o l t ag e b y v i s ual i ns p ec t i o no f r ec ep t ac l es .

R es i d ent i al h o us es ar e us ual l y w i r ed f o r 1 20/24 0 v o l t s . Y eti nd us t r i al b ui l d i ng s t h at us e m o s t l y 1 20- v o l t o ut l et s ar e o f t enw i r ed f o r 1 20/208 v o l t s . I t i s m o r e ef f i c i ent t o w i r e 1 20/208t h an 1 20/24 0. S t r i p m al l s and s c h o o l s us e m o s t l y 1 20- v o l tl i g h t i ng c i r c ui t s , s o t h ey ar e f r eq uent l y w i r ed at 1 20/208i ns t ead o f 1 20/24 0.

O n 208 v o l t s , a 24 0- v o l t k i l n w i l l f i r e at o nl y 7 5 % p o w erand nev er r eac h m ax i m um t em p er at ur e. S o m e 24 0- v o l t el ec -t r o ni c k i l ns m ay no t ev en o p er at e o n 208 v o l t s . S o b e s ur eab o ut v o l t ag e b ef o r e o r d er i ng a k i l n.

O f t en, l ar g e 1 0 and 1 2 s i d ed 208 - v o l t k i l ns ar e s h i p p edw i t h o ut c o r d s et s . T h i s i s b ec aus e 208 - v o l t k i l ns d r aw m o r eam p er ag e t h an 24 0- v o l t k i l ns . C o ns eq uent l y, s t and ar d c o r d s et so n 24 0- v o l t m o d el s ar e no t h eav y eno ug h f o r 208 . A n el ec t r i -c i an m us t w i r e k i l ns w i t h o ut c o r d s et s d i r ec t l y t o t h e o ut l et .

How Low V oltage Effects Firing TimeKILN V OLTAGE

Tools of the Trade by Arnold Howard

What to Check• B e s ur e yo ur 24 0- v o l t k i l n i s no t p l ug g ed

i nt o a 208 - v o l t o ut l et , and v i c e v er s a.C h ec k o n t h e s i d e o f t h e k i l n f o r t h e r at i ng .

• C h ec k t h e v o l t ag e o f yo ur w al l r ec ep t ac l e.U nl es s yo u ar e p r o f i c i ent w i t h el ec t r i c i t y,t h i s s h o ul d b e p er f o r m ed b y t h e p o w er c o m -p any o r a p r o f es s i o nal el ec t r i c i an. ( f i g ur e 1 ) .

10 PotteryMaking Illustrated • May/June 2006

1

2

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• C h ec k t h e r ec ep t ac l e und er l o ad( ag ai n, t h i s i s f o r ex p er i enc ed p er -s o ns o r p r o f es s i o nal s o nl y) . P ul lt h e k i l n p l ug ¹⁄₄ i nc h f r o m t h ew al l r ec ep t ac l e. S t ar t t h e k i l n.P l ac e a v o l t m et er p r o b e ag ai ns teac h o f t h e t w o h o t b l ad es o f t h ec o r d p l ug t o m eas ur e v o l t ag e. I fv o l t ag e i s l o w , t r y f i r i ng t h e k i l nd ur i ng p er i o d s o f l o w d em andw h en v o l t ag e i s h i g h er ( f i g ur e 2) .

• C h ec k t h e c i r c ui t . I f t h e k i l n i ss h ar i ng a c i r c ui t w i t h o t h er ap p l i -anc es , t h at c an al s o r ed uc e t h ev o l t ag e and s l o w d o w n t h e f i r i ng .

C A U T I O N : D o no t p er f o r m a v o l t -m et er t es t unl es s yo u ar e ex p er i -enc ed w i t h el ec t r i c al r ep ai r s .

Solutions• I f yo ur p o w er c o m p any c anno t

c o r r ec t t h e l o w v o l t ag e, yo ur k i l nm anuf ac t ur er c an p r o b ab l y m ak es p ec i al el em ent s f o r yo ur k i l n.T h es e el em ent s o v er c o m e l o wv o l t ag e b y d r aw i ng m o r e p o w er ;h o w ev er , s h o ul d yo u ev er p l ugt h e k i l n i nt o a c i r c ui t w i t h no r -m al v o l t ag e, t h e el em ent s w i l l p ul lt o o m uc h p o w er , d am ag i ng t h ec o r d s et .

• I f t h e v o l t ag e i s l o w o n anunl o ad ed c i r c ui t and w h en no t h -i ng i n t h e h o us e i s d r aw i ng c ur -r ent , yo u m ay h av e l o w v o l t ag et o t h e h o us e, w h i c h r eq ui r esc h ang i ng t h e t r ans f o r m er . T h i s i sd o ne b y t h e el ec t r i c c o m p any.

• S c h ed ul e yo ur f i r i ng d ur i ng o f f -p eak p er i o d s . L o w v o l t ag e s l o w sd o w n t h e k i l n and al s o s t r ai ns t h eel em ent s , w h i c h s t r ug g l e t o r eac hf i r i ng t em p er at ur e.

• D o no t r un h i g h - v o l t ag e ap p l i -anc es o r ai r c o nd i t i o ner s d ur i ngyo ur f i r i ng .

Aronold Howard writes instructionmanuals for Paragon Industries, L.P.Contact [email protected] any comments or questions.

Estimating Low-Voltage Power LossT o d et er m i ne h o w m uc h p o w er i s l o s t t h r o ug h l o w v o l t ag e, d i v i d e l o w v o l t ag e s q uar ed b y c o r r ec t v o l t ag e s q uar ed .

[ l o w v o l t ag e] 2

[ c o r r ec t v o l t ag e] 2

F o r i ns t anc e, t o f i g ur e p o w er l o s s o f a 24 0- v o l t k i l n f i r ed o n 208 v o l t s :208 2 208 ×208 4 3 , 26424 02 24 0×24 0 5 7 , 600

I n t h i s c as e, p o w er l o s s i s . 25 o r ¹⁄₄ ( . 7 5 r ep r es ent s r em ai ni ng p o w er ) .

= . 7 5= =

PMI_May_June_06 001_013 4/24/06 9:42 AM Page 11

Page 14: The Sound CLAY The Sound CLAY

C r az i ng i s a net w o r k o f l i nes o rc r ac k s i n t h e f i r ed g l az ed s ur -

f ac e. I t h ap p ens w h en a g l az e i s und er t ens i o n. A c r az e p at -t er n c an d ev el o p i m m ed i at el y af t er r em o v al f r o m t h e k i l no r year s l at er . T h e s t r o ng es t , m o s t - s t ab l e g l az es ar e und erc o m p r es s i o n. T h i s m eans t h at w h en t h e o b j ec t c o o l s , t h eg l az e s h r i nk s s l i g h t l y m o r e t h an t h e b o d y.

C r az i ng i s c o ns i d er ed a g l az e d ef ec t , b ut i t c an us ual l y b ec o r r ec t ed b y ad j us t i ng t h e c l ay b o d y. A g l az e ad j us t m entm i g h t no t b e p o s s i b l e i f i t ’ s und er s o m uc h t ens i o n t h att h er e’ s no r o o m i n t h e r ec i p e f o r c o r r ec t i o n. T h e g o als h o ul d b e t o h av e b o t h g l az e and b o d y s h r i nk at a c o m p at -i b l e r at e, w i t h t h e g l az e c o m i ng und er s l i g h t c o m p r es s i o n.

B ef o r e s t ar t i ng , c o ns i d er t h e f o l l o w i ng p o i nt s :• T h e t i g h t er t h e c r az e p at t er n ( l i nes s p ac ed l es s t h an

¹⁄₈ i nc h ap ar t ) , t h e m o r e d i f f i c ul t i t i s t o el i m i nat e t h e c r az i ng .

• T h e h i g h er t h e ab s o r p t i o n r at e o f t h e f i r ed c l ay b o d y( o v er 4 % ) , t h e m o r e d i f f i c ul t t o el i m i nat e c r az i ng .

• I f yo u h av e t r i ed s ev er al c o r r ec t i o ns w i t h no s uc c es s ,and t h e r es ul t yo u w ant i s f ai r l y c o m m o n ( i . e. , a c l earg l o s s o r s at i n m at t g l az e) , t r y ano t h er r ec i p e.

• I f t h e g l az e i s uni q ue and c anno t b e c h ang ed , t r yano t h er c l ay b o d y ( w h i t i ng i n t h e b o d y h el p s t o k eepa l o t o f g l az es f r o m c r az i ng ) .

N o w yo u ar e r ead y t o t ak e a c o r r ec t i v e s t ep , o r a c o m -b i nat i o n o f s t ep s t o s o l v e g l az e c r az i ng .Step 1. C r az i ng c an o f t en b e el i m i nat ed s i m p l y b y ap p l y-i ng a t h i nner g l az e c o at . W i t h s o m e g l az es , a t h i nner c o ati s no t an o p t i o n, b ut o f t en a s l i g h t d ec r eas e i n g l az et h i c k nes s w i l l s t o p c r az i ng .Step 2. A d d i nc r eas i ng am o unt s o f f l i nt ( w i t h o ut c h ang -i ng t h e am o unt s o f t h e o t h er i ng r ed i ent s ) t o t h e r ec i p e;t h e f i ner t h e m es h , t h e b et t er . T h e f l i nt us ed i n g l az esc o m es i n 200- , 3 25 - and 4 00- m es h s i z es . F i ner m es h s i z esm i g h t b e av ai l ab l e b y s p ec i al o r d er f r o m a c er am i c s s up -p l i er . Mo s t g l az e f o r m ul as h av e s o m e r o o m f o r i nc r eas esi n f l i nt , w i t h o ut b ec o m i ng o p aq ue o r d r y w h en f i r ed . T r yad d i t i o ns o f 1 0, 20 and 3 0 uni t s o f m eas ur e; e. g . , i f yo urg l az e h as 5 0 g r am s o f f l i nt , i nc r eas e f l i nt t o 60 g r am s , 7 0g r am s and 8 0 g r am s .Step 3. F i r e t h e g l az e k i l n t o t h e c o r r ec t c o ne o v er al o ng er p er i o d o f t i m e. D ur i ng t h e l as t q uar t er o f t h ec yc l e, t r y s t r et c h i ng o ut t h e f i r i ng b y t w o o r t h r ee h o ur s .T h i s w i l l g i v e t h e c l ay b o d y t h e b es t c h anc e t o t i g h t en upo r r eac h i t s m at ur i t y, w h i c h w i l l h el p i n ac h i ev i ng a g o o di nt er f ac e. T h e i nt er f ac e i s w h er e t h e c l ay b o d y and g l az em eet . T h e b et t er t h e d ev el o p m ent o f t h e i nt er f ac e, t h eb et t er t h e g l az e f i t . G ener al l y, l o w - f i r e and /o r p o r o usb o d i es d o no t h av e a w el l - d ev el o p ed i nt er f ac e. T h e f ac t

In The Mix

8 Steps to Stop Craz ingGLAZE DEFECTS

by Jeff Zamek

t h at t h e c l ay and g l az e ar e no t w el l i nt eg r at -ed l ead s t o a h i g h er i nc i d enc e o f c r az i ng .C o nv er s el y, at s t o new ar e t em p er at ur es , t h ei nt er f ac e i s m o r e d ev el o p ed and t h er e i s l es sp o t ent i al f o r c r az i ng .Step 4. F i r e o ne o r t w o c o nes h i g h er — b uto nl y i f t h e g l az e w i l l no t b e ad v er s el y af f ec t -ed . B y f i r i ng h i g h er and /o r l o ng er , t h e g l az eand c l ay b o d y m i g h t f i t b et t er . R em em b er ,w h at yo u ar e t r yi ng t o d o i s c h ang e t h e r at eo f s h r i nk ag e o f ei t h er t h e c l ay b o d y, t h e g l az eo r b o t h i n o r d er t o b r i ng t h e g l az e und ers l i g h t c o m p r es s i o n. I f t h e c l ay b o d y i s al -r ead y o v er f i r ed o r o n t h e ed g e o f i t s m at ur i t yr ang e, f i r i ng h i g h er c aus es m o r e c r az i ng . Step 5. A d d f l i nt ( 200 m es h ) t o t h e c l ayb o d y. I nc r eas e t h e f l i nt c o nt ent b y i nc r em ent so f 5 % , 1 0% and 1 5 % . F l i nt i n a c l ay b o d yr em ai ns a c r ys t al l i ne s o l i d , w h i c h h as d i f f er -ent c h ar ac t er i s t i c s t h an f l i nt i n a g l az e, b utw i l l s t i l l w o r k t o s t o p c r az i ng i n a g l az e.Step 6. S l o w c o o l t h e g l az e k i l n. D o no t o p ent h e d o o r unt i l t h e t em p er at ur e i s b el o w3 9 0º F ( 200º C ) . Y o u s h o ul d t h en b e ab l e t ounl o ad t h e k i l n b ar e h and ed . W ai t i ng f o r t h ek i l n t o c o o l d o w n w i l l c aus e no p r o b l em s ;f as t c o o l i ng w i l l i nc r eas e t h e c h anc e o f c r az -i ng . I f t h e p o t s ar e p i ng i ng w h en yo u o p ent h e k i l n d o o r , t h e g l az e i s b ei ng s t r es s ed .Step 7. I f t h e g l az e c r az es us i ng a l o w - f i r edc l ay b o d y, t h en t r y t o b i s q ue f i r i ng o ne o rt w o c o nes h i g h er .Step 8. I f yo u’ r e us i ng a f r i t t ed l o w - f i r e g l az eand i t ’ s c r az i ng , t r y us i ng a f r i t w i t h a l o w erc o ef f i c i ent o f ex p ans i o n. Mat er i al s w i t h l o wc o ef f i c i ent s o f ex p ans i o n ar e l es s l i k el y t oc aus e c r az i ng . Y o ur c er am i c s s up p l i er o r t h em anuf ac t ur er o f t h e f r i t w i l l h av e t h e c o ef f i -c i ent o f ex p ans i o n r at es f o r eac h f r i t .

F r eq uent l y, a c o m b i nat i o n o f m et h o d s w i l lw o r k , d ep end i ng o n t h e s ev er i t y o f t h e c r az ep r o b l em . I t ’ s i m p o r t ant t o b e f l ex i b l e i n yo urt h i nk i ng w h i l e ev al uat i ng t h e t es t r es ul t s . I ft h e c r az e l i nes ar e m o v i ng f ar t h er ap ar t , yo uar e o n t h e r i g h t t r ac k . I f t h e c r az e l i nes ar ec l o s er t o g et h er , t r y s o m et h i ng el s e. W h i l e t h eei g h t s t ep s l i s t ed ar e no t t h e o nl y w ays o fc o r r ec t i ng c r az i ng , t h ey c o ns i s t ent l y s h o wg o o d r es ul t s .

12 PotteryMaking Illustrated • May/June 2006

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Jeff Zamek is a ceramics consultant and the author of W h at E v er y P o t t er S h o ul dK no w (Krause). This article originally appeared in C er am i c s Mo nt h l y (April 1995).

Example Craze Test 1Cone 6

Whiting . . . . . . . . . . . . . . . . . . . . . . . 20Frit 3134 (Ferro) . . . . . . . . . . . . . . . . . 20Nepheline Syenite . . . . . . . . . . . . . . . . 20EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 20Flint . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Craze lines are close together

May/June 2006 • PotteryMaking Illustrated 13

1 2

3 4

Adding flint to a glaze batch is one way to stop crazing, as shown in the four exampleslisted below. As flint is increased, the crazing lines get further apart.

Example Craze Test 2Cone 6

Whiting . . . . . . . . . . . . . . . . . . . . . . . 20Frit 3134 (Ferro) . . . . . . . . . . . . . . . . . 20Nepheline Syenite . . . . . . . . . . . . . . . . 20EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 20Flint . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Additional 10 parts flint added

Example Craze Test 3Cone 6

Whiting . . . . . . . . . . . . . . . . . . . . . . . 20Frit 3134 (Ferro) . . . . . . . . . . . . . . . . . 20Nepheline Syenite . . . . . . . . . . . . . . . . 20EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 20Flint . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Additional 20 parts flint added

Example Craze Test 4Cone 6

Whiting . . . . . . . . . . . . . . . . . . . . . . . 20Frit 3134 (Ferro) . . . . . . . . . . . . . . . . . 20Nepheline Syenite . . . . . . . . . . . . . . . . 20EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 20Flint . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Additional 30 parts flint added

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14 PotteryMaking Illustrated • May/June 2006

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W at c h i ng an ex p er t m ak e w h i s t l es c an b e am ag i c al ex p er i enc e. T ak e a s m al l h o l l o wf o r m , ad d a m o ut h p i ec e, m ak e a c o up l eo f h o l es and t h en b l o w i nt o t h e m o ut h -

p i ec e. V o i l à ! I ns t ant m us i c al i ns t r um ent ! T h i s ad ap t a-t i o n o f a t r ad i t i o nal w h i s t l e- m ak i ng t ec h ni q ue t ak es l es st h an h al f an h o ur and i s eas y eno ug h f o r anyo ne t oenj o y, w h et h er yo u’ r e a b eg i nner , an ex p er i enc ed p o t t er ,o r j us t h av i ng f un at a s t ud i o p ar t y.

BodyS t ar t w i t h a s m al l , c l o s ed f o r m ( t h r o w n, p i nc h ed ,

c o i l ed o r ex t r ud ed — yo ur c o ns t r uc t i o n t ec h ni q ue i s n’ ti m p o r t ant ) . T h e w al l s s h o ul d b e ¹⁄₄ t o ¹⁄₂ i nc h t h i c k andt h e f o r m s h o ul d no t ex c eed 3 i nc h es i n any d i m ens i o n.Mak e s ur e t h e f o r m h as a c ur v ed s ur f ac e o n w h i c h t oat t ac h t h e m o ut h p i ec e.

Mouth HoleU s i ng a f et t l i ng k ni f e, c ut a s q uar e h o l e i n t h e c ent er

o f t h e c ur v ed s i d e o f t h e h o l l o w f o r m , t h en l i ne up t h eb l ad e o f t h e k ni f e w i t h o ne s i d e o f t h e h o l e and c ut a

l ev el l i ne h al f w ay d o w n t h r o ug h t h e w al l o f t h e f o r m att h e t o p o f t h e c ur v e. ( Y o u c an j ud g e t h e d ep t h o f t h e c utb y l o o k i ng at t h e ex p o s ed ed g e i n t h e h o l e. ) Mak e a p ar -al l el c ut t h e s am e l eng t h o n t h e o p p o s i t e s i d e o f t h es q uar e h o l e. S l i d e t h e p o i nt o f yo ur k ni f e i nt o t h e c l ayb et w een t h e t w o l i nes , t h en c ut ac r o s s al o ng t h e b o t t o mo f t h e t w o c ut s unt i l t h e p o i nt o f t h e k ni f e ap p ear s at t h eo t h er end o f t h e p ar al l el l i ne. L i f t t h e k ni f e, t ak i ng o utt h e t w o w ed g es o f c l ay. S m o o t h t h e b o t t o m o f t h e c h an-nel w i t h t h e d ul l ed g e o f yo ur k ni f e. A t t h i s p o i nt , yo um ay need t o r es q uar e t h e h o l e, and i f t h e h o l e h asb ec o m e b i g g er t h an ³ ⁄₈ i nc h es , p us h i t b ac k t o i t s p r o p ers i z e. Y o u s h o ul d no w b e h o l d i ng a h o l l o w f o r m w i t h af l at c h annel ac r o s s t h e c ur v ed s i d e and a s q uar e h o l e i nt h e m i d d l e o f t h e c h annel . B ev el t h e und er s i d e o f o ne o ft h e t w o ed g es c r o s s i ng t h e c h annel b y i ns er t i ng t h e k ni f ei nt o t h e t o p c o r ner o f t h e ed g e at a 4 5 º ang l e and c ut -t i ng o f f t h e b o t t o m c o r ner o f t h e ed g e. Y o ur w h i s t l eno w h as a s m o o t h l ev el c h annel r unni ng ac r o s s t h es q uar e h o l e, w h i c h h as o ne v er y s h ar p ed g e and o net h i c k er ed g e.

May/June 2006 • PotteryMaking Illustrated 15

SoundAdvice

Whistles made simpleBy Kristen Giles

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Start with two small balls of clay, a small solid cylinder (³⁄₄×1¹⁄₂ inches), a fettling knife and a roundpointed stick or pencil. Make two small thick-walled pinch pots and connect them rim to rim. Jointhe edges and smooth the seam. No scoring or slip is needed with soft clay.

16 PotteryMaking Illustrated • May/June 2006

Cut out a ³⁄₈-inch square hole and remove the waste. Make a parallel cut halfway through the wall on eitherside of the hole. Create a channel by sliding the knife into the clay from one side of the cut to the other.

Bevel and sharpen the underside of one edge of the square hole. Make a tube by pushing apencil through the cylindrically shaped lug of clay. On one end of the tube, form a flared lip.

1 2 3

4 5 6

7 8 9

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May/June 2006 • PotteryMaking Illustrated 17

MouthpieceMak e t h e m o ut h p i ec e f r o m a ³ ⁄₄×1 ¹⁄₂ - i nc h c yl i nd er o f

c l ay. P us h a r o und t o o l t h r o ug h t h e l eng t h o f t h e c yl i n-d er t o f o r m a t ub e. P i nc h up o n o ne s i d e o f o ne end o ft h e c yl i nd er . P ut t h e f l ar ed end o v er and i nt o t h e c h an-nel ab o v e t h e ed g e t h at i s no t b ev el ed . B l o w t h r o ug h t h em o ut h p i ec e. I f i t d o es no t w h i s t l e, m o v e t h e m o ut h p i ec eb ac k and f o r t h , b l o w i ng af t er eac h ad j us t m ent , unt i lyo u f i nd t h e s p o t t h at m ak es t h e b es t s o und . Jo i n t h et w o p i ec es v er y c ar ef ul l y. I f yo u d i s t ur b t h e p o s i t i o n o ft h e p i ec es , t h e w h i s t l e w i l l no t w h i s t l e. O v er - us i ng anunf i r ed w h i s t l e w i l l m ak e t h e ed g es s o f t en and c o l l ap s e,c aus i ng i t t o q ui t w o r k i ng . L et t h e w h i s t l e d r y f o r anh o ur o r s o b ef o r e ad d i ng t o o r c h ang i ng t h e w h i s t l e.

FinishingY o u c an l eav e t h e w h i s t l e as i t i s , f unc t i o nal , b ut p l ai n.

O ne t o f o ur ¹⁄₄- i nc h h o l es o n t h e o p p o s i t e s i d e o f t h em o ut h p i ec e w i l l ad d no t es t o yo ur w h i s t l e’ s m us i c alr ang e. Y o ur p l ai n w h i s t l e c an b ec o m e a s p r i ng b o ar d f o ra m enag er i e o f w h i m s i c al c r eat ur es o r t h e c o r e o f a f ab -ul o us s c ul p t ur al c r eat i o n. Jo i n d ec o r at i v e ad d i t i o nsb ei ng c ar ef ul no t t o b l o c k t h e o p eni ng s . W h en g l az i ng ,av o i d g l az i ng t h e c h annel , t h e ed g es o f t h e s q uar e h o l e,and t h e i nt er i o r s o f t h e m o ut h p i ec e and w h i s t l e. G i v et h e w h i s t l e a f i nal t es t b ef o r e i t g o es i nt o t h e k i l n,b ec aus e i f i t w o r k s b ef o r e i t ’ s f i r ed , i t w i l l w o r k w h en i tc o m es o ut . •Kristen Giles has been working in clay since 1973. She lives inDallas, Texas, where she works and teaches at the Craft Guildof Dallas. She can be reached at [email protected].

Place the mouthpiece over the channel with the flared lip ¹⁄₈ inch above the unbeveled edge. Move back and forth along the channeland blow through the tube until you hear the best sound. Join the mouthpiece to the form. Add extra holes for more notes.

Adding decorative elements can make your whistle unique.

A cut-away drawing of a finished whistle. Edges A and B shouldline up horizontally, and edges B and C should line up vertically.

A

B

C

10 11 12

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18 PotteryMaking Illustrated • May/June 2006

GREAT LAKESCLAY & SUPPLY COMPANY

120 S Lincoln Avenue Carpentersville, Illinois 60110

800-258-8796 Fax 847-551-1083www.GreatClay.com

email [email protected]

CALL US FOR MORE

INFORMATION

Introducing the

*Weighs under 45 pounds and can center 50+ pounds of clay!*Complete - Includes stool, Versa-BatTM, three bats, splash pan.*Stackable - Reclaim valuable workshop or classroom space.*Portable - Easily carry it to throwing demos or workshops.*Internal storage - For buckets, bats, tools or clay.*Reversible - With the flip of a switch.

-- NN -- GGOO TM!! (Patent Pending)TThhrrooww

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May/June 2006 • PotteryMaking Illustrated 19

C o l o r and t ex t ur e h av e i nt r i g ued m e s i nc e I f i r s t b eg anw o r k i ng w i t h c l ay. I w ant ed t o t ak e ad v ant ag e o f c l ay’ sv er s at i l i t y and em p h as i z e s o m e o f t h e uni q ue c h ar ac t er -i s t i c s t h at c o ul d n’ t b e p r o d uc ed b y any o t h er m at er i al .

C o m b i ni ng b i t s and p i ec es o f s ev er al k i nd s o f c o l o r ed c l ay i n am anner r em i ni s c ent o f i m p r es s i o ni s t i c p ai nt i ng , and us i ng s p o t s o fc o l o r i n an ab s t r ac t p at t er n, w er e w o r t h ex p l o r i ng , p l us t h e s p ec k so f c l ay al s o p r o v i d e a s ub t l e t ex t ur e ( f i g ur e 1 ) .

SourcesT h er e ar e s ev er al w ays t o ac q ui r e b i t s and p i ec es o f c l ay. Y o u

c an c o l l ec t s c r ap s t h at ac c um ul at e f r o m p r ev i o us p r o j ec t s ; c h ec kf o r l ef t o v er s and c o l o r s o t h er s h av e av ai l ab l e; c o l o r yo ur o w n c l ayb y m i x i ng i n o x i d es o r s t ai ns ; o r as k yo ur c er am i c s s up p l i er i f t h eyo f f er s am p l e p ac k s c o nt ai ni ng s ev er al d i f f er ent k i nd s o f c l ay f o r -m ul at ed f o r yo ur f i r i ng t em p er at ur e. Y o ur c er am i c s s up p l y h o us em ay h av e a s el ec t i o n o f r ead y- m ad e c o ar s e o r m ed i um - s i z ed g r o gav ai l ab l e i n v ar i o us c o l o r s . T h ey ar e al s o a g o o d s o ur c e f o r s m al lam o unt s o f i l m eni t e, s i l i c a s and , g r anul ar m ag net i t e, v er m i c ul i t eand s i l i c o n c ar b i d e. I ’ v e f o und t h at c l ays t h at m at ur e at d i f f er i ngt em p er at ur es ar e am az i ng l y c o m p at i b l e w h en c o m b i ned .

PreparationI t ’ s eas i es t t o b eg i n w i t h l eat h er - h ar d s c r ap s , w h i c h need t o b e

s m al l . S p r ead yo ur s c r ap s o ut o n p ap er o r c l o t h and b r eak up t h el ar g er c h unk s w i t h a m al l et , t h e s i d e o f a h am m er o r a s o l i d p i ec eo f w o o d ( f i g ur e 2) . A s t h e p i ec es g et s m al l er , t ap t h em m o r e l i g h t -

1

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TestingF i r e a f ew t es t s am p l es us i ng d i f f er ent c l ay c o m b i na-

t i o ns . T h i s h el p s yo u f i g ur e o ut h o w t o b es t d i s t r i b ut eyo ur b i t s and p i ec es , and h el p s yo u d ec i d e w h at s i z eyo u’ d l i k e t h em t o b e. S p r i nk l e yo ur s el ec t i o ns o nt od am p s l ab s o f c l ay and p r es s t h em i n w i t h a r o l l i ng p i no r p ad d l e ( f i g ur e 6) . P ut a c l ear g l az e o n p ar t o f yo urt es t s t o s ee i f yo u p r ef er t h e g l az ed l o o k . I d ent i f y al l t h em at er i al s us ed o n t h e b ac k o f t h e s am p l e t es t s ( f i g ur e 7 ) .

l y. I f t h e c l ay i s al r ead y d r yi ng , w ear a m as k and p l ac e ac l o t h o v er t h e c l ay b ef o r e p r o c eed i ng t o r ed uc e d us t .A no t h er o p t i o n i s t o b eg i n w i t h d am p c l ay r o l l ed o uti nt o a t h i n s l ab . L et t h i s g et s t i f f and f ai r l y d r y, t h enb r eak t h e c l ay i nt o p i ec es b y r ep eat ed l y g o i ng o v er i tw i t h a r o l l i ng p i n ( f i g ur e 3 ) .

W i t h ei t h er m et h o d , yo u’ l l end up w i t h an as s o r t m ento f b i t s and p i ec es , p l us s o m e f i ne d us t . P o ur yo urc r um b s t h r o ug h a s i ev e s us p end ed o v er a w at er - f i l l edc o nt ai ner t o g et r i d o f t h e p o w d er y r es i d ue and t oab s o r b t h e d us t ( f i g ur e 4 ) . G ar d en s h o p s o f t en h av es i ev es w i t h t h r ee o r f o ur r em o v ab l e s c r eens i n d i f f er ents i z es . T h es e ar e g r eat i f yo u w ant t o es t ab l i s h an o r g an-i z ed c o l l ec t i o n o f v ar i o us l y s i z ed c r um b s . O t h er w i s eo r d i nar y k i t c h en s i ev es w i l l d o .

G r o g ( al r ead y- f i r ed c r um b s o f c l ay) al s o w o r k s w el l .Y o u c an w o r k f ai r l y d am p and t h e as s o r t ed c o l o r ed c l ayp i ec es w i l l no t b l end t o g et h er . Mak e yo ur o w n c er am i cg r o g b y p ut t i ng g r o und c l ay i nt o a b o w l and f i r i ng i t t ob i s q ue t em p er at ur e o r h i g h er .

S t o r e yo ur c o l l ec t i o n i n t r ans p ar ent , c l ear l y l ab el edc o nt ai ner s f o r eas y ac c es s ( f i g ur e 5 ) . I ’ v e t r i ed m any o ft h e i ng r ed i ent s ab o v e b ut h av e b een m o s t s at i s f i ed b yj us t us i ng p i ec es o f ac t ual c l ay o r g r o g i nc o r p o r at ed i nt om y w o r k .

3 4

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May/June 2006 • PotteryMaking Illustrated 21

Picking up the piecesW h i l e yo u c o ul d m er el y s p r i nk l e t h e c l ay c r um b s o n

t h e s ur f ac e o f a d am p v es s el , yo u’ l l d i s c o v er t h at am aj o r i t y w i l l f al l o f f w h i l e d r yi ng o r af t er f i r i ng . Myf av o r i t e m et h o d f o r enc o ur ag i ng p i ec es t o s t i c k i s t ow o r k w i t h a c l o s ed f o r m . I t h r o w a c yl i nd er , r o und i to ut and g ent l y s h ap e t h e t o p i nw ar d unt i l t h e s i d es j o i nt o g et h er i n t h e c ent er ( f i g ur e 8 ) . T h i s t r ap s ai r i ns i d e t h ev es s el and p r o v i d es a f i r m w o r k i ng s ur f ac e. T h e c l ay i st o o s o f t t o h and l e i m m ed i at el y af t er t h r o w i ng , s o w ai t aw h i l e, t h en w h eel t r i m t h e b o t t o m as f ar as p o s s i b l e.N ex t , c ut t h e p i ec e o f f t h e b at and s et i t as i d e t o f i r m up( f i g ur e 9 ) . F ur t h er h and t r i m m i ng c an b e d o ne o n t h eb o t t o m us i ng a r i b , b ut t h e f o r m d o es no t need t o b ep er f ec t l y s m o o t h .

W h en yo ur f o r m i s f i r m eno ug h t o w i t h s t and h an-d l i ng , b ut no t s o s t i f f t h at i t c anno t c h ang e s h ap e, p l ac eo n a s m o o t h f l at s ur f ac e ( f i g ur e 1 0) . P ad w i t h a f ews h eet s o f new s p ap er and c o v er w i t h a s o f t c l o t h ( an o l ds h eet o r t h i n b l ank et w o r k s ) . R o l l i ng ev ens o ut t h es h ap e and p r ev ent s unw ant ed m ar k s . U nev en r o l l i ngal t er s t h e s h ap e o f a v es s el w h i l e ev en r o l l i ng i n al l d i r ec -t i o ns r es ul t s i n an al m o s t p er f ec t l y s p h er i c al s h ap e.

O nc e yo u’ v e at t ai ned t h e s h ap e yo u w ant , r and o m l ys p r i nk l e p i ec es o n t h e d r y c l o t h . R o l l t h e p i ec e o v er t h ec l ay b i t s t o h el p p r es s t h em i nt o t h e v es s el ( f i g ur e 1 1 ) .T h e c l ay s h o ul d b e s o f t eno ug h s o t h at m o s t o f t h ec r um b s s t i c k . T o f ur t h er i m b ed t h e c l ay c r um b s i nt o t h e

v es s el , us e a p ad d l e w i t h a g ent l e r h yt h m i c t o uc h , ai m -i ng i n a d i f f er ent d i r ec t i o n w i t h eac h s t r o k e and c aus i ngas l i t t l e s t r es s as p o s s i b l e o n t h e f o r m ( f i g ur e 1 2) .P er s i s t ent g ent l e p ad d l i ng r es ul t s i n m ai nt ai ni ng as m o o t h and el eg ant s h ap e. Y o u m ay w ant t o p aus e andr o l l t h e w o r k ar o und i n s o m e ad d i t i o nal b i t s and p i ec es .A t t h i s p o i nt , yo u s h o ul d b e aw ar e o f t w o p o s s i b l e p r o b -l em s : F i r s t , p ad d l i ng m ay c aus e t h e f o r m t o b ec o m e t o od r y t o ac c ep t ad d i t i o nal c r um b s and t h e s ur f ac e m ayb eg i n t o c r ac k . I f t h i s h ap p ens , ev enl y s p r ay t h e f o r mw i t h a s m al l am o unt o f w at er . W ai t a w h i l e f o r t h i s t os i nk i n b ec aus e t h e m o i s t ur e need s t o p enet r at e g r ad u-al l y. D o n’ t k eep ad d i ng w at er o r yo u’ l l g et p ud d l es o nyo ur s ur f ac e, and t h e s ev er al c o l o r s o f c l ay w i l l s o f t enand f us e. S h o ul d t h i s h ap p en, yo u c an s t i l l s av e t h ew o r k l at er b y l et t i ng i t d r y t o t al l y and g i v i ng i t a v er yl i g h t s and i ng . S ec o nd , m ak e s ur e yo ur p ad d l e d o es n’ tb ec o m e d i r t y. W i p e o f f t r ac es o f c l ay w i t h a d am p c l o t hand l et t h e p ad d l e d r y b ef o r e yo u p r o c eed .

Y o u m ay t r eat t h e c l ay w i t h a b i t o f r ec k l es s ab and o n,r ev eal i ng al l t h e m ar k s o f t h e p ad d l e and t h e c o ns t r uc -t i o n p r o c es s ( f i g ur e 1 3 ) , b ut d o n’ t o v er d o i t !

FinishingI f w o r k i ng w i t h an enc l o s ed s h ap e, s et i t as i d e f o r a

w h i l e b ut b e c ar ef ul no t t o l et i t s h r i nk and g et t o o d r y.T h er e’ s ai r t r ap p ed i ns i d e t h at c an’ t s h r i nk s o yo u m us th el p i t es c ap e w i t h a need l e p r i c k . Y o u c an f i ni s h t h e

8 9 10

11 12 13

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p i ec e b y c ut t i ng a h o l e i nt o t h e f o r m w i t h a h o l e c ut t ero r f et t l i ng k ni f e. T i p : W h en us i ng a k ni f e, m ak e as t r ai g h t c ut , t h en c ut o ut t h e c i r c l e. T h i s w ay, s h o ul dp ar t o r al l o f t h e c ut o ut f al l i nt o t h e f o r m , i t w i l l b e i nt w o s m al l er s ec t i o ns ( f i g ur e 1 4 ) . A d d a t h r o w n o r h and -b ui l t s p o ut , r i m o r nec k . T h i s c an b e unt ex t ur ed b utneed s t o b e t h e s am e d am p nes s as t h e f o r m ( f i g ur e 1 5 ) .

T h er e ar e i nv ar i ab l y s o m e l i t t l e i nd ent at i o ns o r c r at er si n t h e s ur f ac e w h er e a f ew b i t s and p i ec es h av e f al l eno f f . T h es e ar e no t o b j ec t i o nab l e f r o m a d es i g n s t and -p o i nt f o r t h ey ar e l i t t l e s h ad o w y s p o t s t h at ad d t o t h et ex t ur e. T h ey ar e neg at i v e s p ac es t h at c o nt r as t w i t h t h ep o s i t i v e ar eas p r o v i d ed b y t h e b i t s and p i ec es , and f i r i ngt h i s w o r k s h o ul d no t p r es ent a p r o b l em . B i s q ue andg l az e f i r e as yo u no r m al l y w o ul d f o r t h e c l ay yo u ar eus i ng . O c c as i o nal l y, I s p r ay a l i g h t c o at i ng o f c l ear g l az eo v er t h e o ut s i d e o f a p i ec e, b ut I r eal l y p r ef er t h eung l az ed l o o k . I f yo ur w o r k i s s c ul p t ur al and w i t h o utg l az e, s i ng l e f i r i ng i s ap p r o p r i at e. • Hanna Lore Hombordy has worked with clay since 1973 in Ventura, California. She can be reached by e-mail at [email protected].

14

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G LAZ ES: M AT ERIALS, REC IP ES ANDT EC H NIQ U ES ED IT ED B Y AND ERSO N T U RNERA collection of articles published in Ceramics Monthly deal-ing with glazes. Written by and about artists and experts,these articles cover a wide range of materials, recipes, andtechniques used in the glazing of work by both studio pot-ters and ceramic artists. This book is a great example ofhow the modern potter uses a combination of trial-and-error discoveries along with information from scientists andengineers in the field to achieve unique effects that are thesignature of the current ceramic art movement.O RD ER C O D E: C A2 1 � P RIC E $ 2 8 .9 5 � 1 4 4 p a g e s

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B ARREL, P IT , AND SAG G AR F IRING ED IT ED B YSU M I V O N D ASSO W

This Ceramics Monthly Handbook reflects the growinginterest in pit firing and related techniques. The articlesincluded here were carefully selected to illustrate thewide range of approaches to barrel, pit and saggar fir-ing. Works ranging from wheel-thrown and coil-builtpots to complex sculpture are tied together by a simi-larity in the firing process. Standard versions of thesefiring techniques, as well as innovative variations, arediscussed.O RD ER C O D E: C A1 7 � P RIC E $ 2 8 .9 5 � 1 5 6 p a g e s

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MAKING MUSIC FRThe instruments of Dag Sørensen

By Barry Hall

I n t h e w o r l d o f m us i c al i ns t r um ent s , t h o s e s h ap edf r o m c l ay h av e a s p ec i al p l ac e. I t m ay no t s eem l i k ea v er y p r o m i nent p l ac e, af t er al l , no ne o f t h e w i d e-l y us ed i ns t r um ent s o f W es t er n m us i c ar e m ad e

f r o m c er am i c s . B ut i t i s a uni q ue p l ac e, a p l ac e o f w i d e-o p en p o s s i b i l i t i es and ex c ep t i o nal b eaut y. C l ay h as l i m -i t at i o ns t h at m ak e i t l es s t h an i d eal f o r r ep r o d uc i ngs o m e o f t h e i ns t r um ent s no r m al l y m ad e f r o m w o o d o rm et al . B ut t h e nat ur e o f t h e m ed i um , w i t h i t s i nf i ni t em al l eab i l i t y, g i v es r i s e t o a w o r l d o f o t h er s o und - m ak -i ng f o r m s w i t h a m us i c al nat ur e al l t h ei r o w n.

D ag S ø r ens en i n N o r w ay h as m ad e a b r o ad r ang e o fp er c us s i o n and w i nd i ns t r um ent s , i nc l ud i ng p anp i p es ,w i nd c h i m es , s o und w al l s , b el l s , c l ay p o t d r um s , t us k -s h ap ed f l ut es , and m any d i f f er ent t yp es o f h o r ns . H e i ses p ec i al l y d r aw n t o l ar g e i ns t r um ent s and enj o ys ad d i ngw h i m s i c al t o uc h es t o h i s c r eat i o ns , s uc h as t h e k no t i nt h e m i d d l e o f h i s al p enh o r n o r t h e d o ub l e- b el l ed h o r nt h at b l o w s f r o m a s i ng l e m o ut h p i ec e i nt o b o t h ear s . I tal l b eg an o ne d ay w h i l e v i s i t i ng a f r i end , E d d i eA nd r es en, a p r o f es s i o nal p er c us s i o ni s t and c o m p o s er .H e b eg an t o t ap o n t h e p o t s and v as es t h at d ec o r at edD ag ’ s h o m e. O ne t h i ng l ed t o ano t h er and E d d i e as k edD ag t o m ak e h i m a d r um . D ag r ec al l s , “ W e b ec am eeng r o s s ed i n a h unt f o r a ‘ v i r g i n s o und , ’ b ut w e w er en’ tr eal l y s ur e w h at w e w er e l o o k i ng f o r . S ev er al m o nt h sear l i er , E d d i e h ad s t um b l ed o nt o a p i ec e o f r o ad p i p e 6m et er s l o ng and w as f as c i nat ed b y i t s s o und . “ I k new a

A traditional Scandinavian horn molded in two pieces, 7 feet in length.

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ROM CLAY

Dag’s ceramic alphorn is 13 feet long; perhaps one ofthe largest ceramic horns ever built. Adding to thecomplexity and creativity of his instrument is a convo-luted “knot” in the middle of the horn, through whichthe air passes. Dag built his ceramic alphorn from 21pieces, which become five sections. These sectionswere fired separately and then joined into a singlehorn using silicone-based flexible glue. Most of theindividual parts were wheel thrown, except the firstslab-rolled section and the “knot” section, which wasbuilt from two thrown and four molded pieces.

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26 PotteryMaking Illustrated • May/June 2006

l i t t l e ab o ut A us t r al i an and I nd i ani ns t r um ent s , l i s t ened t o w h at E d d i eh ad t o s ay, and t h en m ad e m y o w ni nt er p r et at i o ns . ” T h e r es ul t i s o ne o fE d d i e’ s f av o r i t es , a 1 2- f o o t - l o ngb as s o o n d r um , w h i c h c o i l s t o 4 f eeti n l eng t h .

O ne o f D ag ’ s b i g g es t c h al l eng es i nm ak i ng i ns t r um ent s h as b een f i nd -i ng t h e c o r r ec t m at h em at i c al r el a-t i o ns h i p s o f f o r m t o s o und , es p ec i al -l y t h e c al c ul at i o n o f l o g ar i t h m i c s p i -r al s nec es s ar y t o m ak e h i s s eas h el l -i ns p i r ed h o r ns . O t h er p r ac t i c al c h al -l eng es i nc l ud e t h e c o ns t ant at t en-t i o n r eq ui r ed t o av o i d w ar p i ng andc r ac k i ng w h en d r yi ng l o ng , s t r ai g h t ,m o l d ed p i p es ; and h i s k i l n no t b e-i ng l ar g e eno ug h t o h o l d 4 - f o o t - l o ngp i p es , l eav i ng h i m t o t r ans p o r t t h el ar g e, f r ag i l e g r eenw ar e p i ec es t o af r i end ’ s w o r k s h o p f o r f i r i ng . D ago f t en at t ac h es m ul t i p l e c o m p o nent st o g et h er af t er f i r i ng h i s l ar g es ti ns t r um ent s . W h i l e h i s al p h o r n w as

as s em b l ed us i ng s i l i c o ne g l ue,h i s l ur e h o r ns us e a s ys t em o fb r as s f i t t i ng s and r ub b er r i ng st h at ar e c as t and c ut t o p r o -v i d e an ai r t i g h t s eal . T h i sal l o w s t h e h o r ns t o b e t ak enap ar t f o r t r ans p o r t .

I n ad d i t i o n t o E d d i eA nd r es en, s ev er al p r o m i -nent N o r w eg i an c o m p o s er sh av e g i v en l i f e and s o und t o D ag ’ s i ns t r um ent s i n p er -f o r m anc es al l t h r o ug h o utN o r w ay and E ur o p e. D ag ’ s

i ns t r um ent s w er e us ed ex t en-s i v el y i n t h e s o und t r ac k t o

a N o r w eg i an c h i l d r en’ s f i l m( U t b o r O p p r ø r et ) and al s o ap -

p ear i n t h e f i l m as s c ul p t ur es .

TrumpetD ag h as p r o d uc ed s ev er al uni q ue

c er am i c i ns t r um ent s i n t h e t r um p etf am i l y. A l t h o ug h t h e nam e t r um p eto f t en r ef er s t o a s p ec i f i c m o d er nb r as s i ns t r um ent , t h e b r o ad er us e o ft h e t er m r ef er s t o a f am i l y o f l i p -r eed t ub ul ar h o r ns . T h e h o r ns t h em -

Bassoon drum. A length of road pipe inspired this thrown and molded instrument. EddieAndresen, co-inventor with Dag, describes its sound as “a mixture of Gregorian chantand roaring dinosaurs.” Striking the end of the tube, which causes the air inside to res-onate, creates sound.

Spiral horn, 13 inches in height, thrown andmolded stoneware with sprayed manganesedioxide decoration, fired to Cone 10.

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May/June 2006 • PotteryMaking Illustrated 27

Pour slip into the plaster mold. Allow the slip to remain in the mold for about an hour.

Lift the mold and blow into it to check for an open air channel.

Remove the horn from the mold after two days of drying. Throw the bell section.

Attach the bell to the spiral.

s el v es ar e c o m p o s ed o f a l o ng t ub e, w h i c h i s ei t h er t h es am e d i am et er t h r o ug h o ut o r g r ad ual l y i nc r eas es i n s i z ef r o m t h e m o ut h p i ec e t o t h e d i s t al end , o f t en t er m i nat i ngi n s o m e s o r t o f f l ar e o r “ b el l . ” F i g ur es 1 t h r o ug h 7 i l l us -t r at e D ag ’ s p r o c es s o f b ui l d i ng t h e s p i r al h o r n s een o nt h e p r ev i o us p ag e, an i ns t r um ent t h at s o und s l i k e aF r enc h h o r n and l o o k s l i k e a c r o s s b et w een a h unt i ngh o r n and a s eas h el l . H e c r eat es t h i s i ns t r um ent b y s l i pc as t i ng t h e b o d y us i ng a p l as t er m o l d , t h en at t ac h i ng aw h eel - t h r o w n b el l and m o ut h p i ec e.

D ag al s o b ui l t a v er y l o ng c er am i c t r um p et , i m i t at i v eo f a S w i s s al p h o r n ( s ee p ag e 25 ) . A l p h o r ns , o r al p en-h o r ns , ar e f am i l i es o f anc i ent s i g nal i ng i ns t r um ent sm ad e b y h er d s m en i n t h e m o unt ai no us r eg i o ns o fE ur o p e. T r ad i t i o nal al p h o r ns m ay b e 6– 1 0 f eet l o ng ,w i t h s o m e as l o ng as 1 7 f eet , and ar e m ad e f r o m s t av eso f w o o d b o und t i g h t l y w i t h t r ee b ar k t o m ak e t h e h o r nai r t i g h t . A s w i t h o t h er “ nat ur al ” h o r ns s uc h as t h e

1 2

3 4

5

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28 PotteryMaking Illustrated • May/June 2006

Attach the mouthpiece to the small end of the spiral.Throw the horn’s mouthpiece.

Witch horn, 16 inches in height, thrown and extruded,.

b ug l e o r h unt i ng h o r n ( no f i ng er h o l es o r v al v es ) , t h eal p h o r n p l ayer p r o d uc es d i f f er ent p i t c h es b y o v er b l o w -i ng . T h i s i s a t ec h ni q ue o f nar r o w i ng t h e ap er t ur eb et w een t h e l i p s and b l o w i ng a f as t er ai r s t r eam t o p r o -d uc e h i g h er t o nes i n t h e h ar m o ni c s er i es r el at ed t o t h eb as i c , l o w es t p i t c h o f t h e h o r n, d et er m i ned b y i t s l eng t hand b o r e s h ap e. •This article was excerpted from Barry Hall’s new bookF r o m Mud t o Mus i c , published by the American CeramicSociety. For more information, please visit the website atwww.ceramics.org/music.

Triple spiral horn, 16 inches in height.

6 7

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Axner’s HugeOn-line SaleGood through June 2006

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May/June 2006 • PotteryMaking Illustrated 29

TimelessTechniques

Order Yours TODAY!

Each issue of Pottery Making Illustratedcontains useful information about all

facets of ceramic techniques and process-es. There are over twenty back issues stillavailable to help you in the studio. Check

out our complete listing online.

Order Online atwww.potterymaking.org

May

/Jun

e •

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ug •

200

5

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No-hassle technique to prevent warpingBy Laura Reutter

FLAT TILES

K eep i ng t i l es f l at w h i l e d r yi ng and f i r i ng h as o f t en b een a s o ur c e o f f r us t r a-t i o n f o r c l ay ar t i s t s . O v er t h e year s , I ’ v e r ead a g r eat d eal ab o ut s and w i c h -i ng w et t i l es b et w een d r yw al l ( s h eet r o c k ) , f l i p p i ng t h em , s t ac k i ng t h em ,t ur ni ng t h em , c o v er i ng t h em o r w ei g h t i ng t h em . W h y s p end c o unt l es s

h o ur s f us s i ng o v er t i l es ? I t ’ s i nef f i c i ent and no t c o s t - ef f ec t i v e f o r a p r o f es s i o nal t i l e-m ak er t o i nv es t s o m uc h t i m e and ef f o r t i nt o eac h i nd i v i d ual t i l e. I ’ v e d ev el o p ed a

30 PotteryMaking Illustrated • May/June 2006

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May/June 2006 • PotteryMaking Illustrated 31

the easy way

t ec h ni q ue t h at g r eat l y m i ni m i z es t h e am o unt o f h and l i ng need ed and i s al m o s t f o o l p r o o f f o r m ak i ngf l at t i l es .

The ClayT o b eg i n m ak i ng f l at t i l es yo u need t o us e a h eav i -

l y g r o g g ed c l ay f o r m ul at ed f o r s c ul p t ur e o r t i l e— no ta p l as t i c t h r o w i ng c l ay. I us e o f f - w h i t e s t o new ar ef r o m S eat t l e P o t t er y S up p l y c al l ed C r ys t al S t o ne t h atm at ur es at C o ne 6. I t es t ed d o z ens o f c l ay b o d i esb ef o r e I f o und t h i s o ne, and o f al l t h e C o ne 6 c l ays

t h at I t r i ed , t h i s h ad t h e l eas t w ar p i ng and s h r i nk ag e.N ew c o m b 6 i s ano t h er c l ay t h at s o m e t i l em ak er sh er e i n t h e P ac i f i c N o r t h w es t us e and i t ’ s av ai l ab l ef r o m t h e C l ay A r t C ent er i n T ac o m a, W as h i ng t o n.I ’ m s ur e o t h er p o t t er y s up p l i er s o f f er s i m i l ar c l ays —c h ec k yo ur l o c al s up p l i er . T h e am o unt o f m o i s t ur e i nt h e c l ay c an s er i o us l y af f ec t t h e t i l e- m ak i ng p r o c es s .I l i k e m y c l ay o n t h e d r y, s t i f f s i d e as t o o m uc h w at erm ak es i t d r y s l o w l y and p r o m o t es w ar p i ng . I f yo urc l ay i s t o o w et , w ed g e i t w el l o r p l ac e c l ay s l ab s o nt oa p l as t er b at o r p i ec e o f d r yw al l t o h el p s t i f f en.

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32 PotteryMaking Illustrated • May/June 2006

1

2

3

4

The ProcessT o b eg i n, c ut 1 - t o 2- i nc h - t h i c k s l ab s o f f t h e b ag o f

c l ay. W ed g e t h e c l ay as need ed , t h en r o l l t h e s l ab w i t h as t ur d y r o l l i ng p i n i n s ev er al d i r ec t i o ns t o g et t h e ap p r o x -i m at e t h i c k nes s need ed .

Mo s t o f m y t i l es ar e p r es s m o l d ed i n p l as t er m o l d s . It ak e t h e r o l l ed - o ut s l ab and w o r k i t i nt o t h e m o l d ,p r es s i ng t h e c l ay b y h and ( f i g ur e 1 ) . I t h en r o l l f i r m l yo v er t h e b ac k o f t h e m o l d w i t h a h eav y w o o d en r o l l i ngp i n, p us h i ng t h e c l ay d o w n i nt o al l t h e r ec es s es . I t r i mex c es s c l ay f r o m t h e b ac k o f t h e m o l d us i ng a m o no f i l -am ent w i r e t o o l ( f i g ur e 2) . A f t er o ne t o t w o h o ur s , t h et i l e i s r ead y t o r el eas e f r o m t h e m o l d ( f i g ur e 3 ) . I r em o v e

THE TOOLS

T h e s up p l i es yo u’ l l need ar e f ai r l y b as i c : • S ev er al p i ec es o f d r yw al l s m al l eno ug h t o

eas i l y h and l e, ap p r o x i m at el y 1 8 – 24 i nc h es( m ak e s ur e t o s eal al l o f t h e ed g es w i t h d uc tt ap e t o c o nt ai n t h at nas t y d r yw al l d us t )

• H eav y- d ut y r o l l i ng p i n• W i r e t o o l• T r i m m i ng k ni f e • A p at t er n s l i g h t l y l ar g er t h an t h e f i nal s i z e

o f t i l e yo u w ant ( m y c l ay s h r i nk s ab o ut1 0% s o I m ak e m y p at t er n l ar g e eno ug h t oc o m p ens at e f o r t h at )

• C ar p ent er ’ s s q uar e ( o p t i o nal )• T w o p i ec es o f d o w el r o d o r w o o d en s l at s ,

w h i c h ar e t h e d es i r ed t h i c k nes s o f yo ur t i l e • Mo s t i m p o r t ant l y, a c o up l e o f r i g i d , w i r e

m et al s h el f uni t s o r s t o r ag e r ac k s N o t e: T h e r ac k s ar e us ed f o r d r yi ng w et t i l es .T h e b ar s need t o b e f ai r l y c l o s e t o g et h er t o s up -p o r t yo ur t i l es f ul l y yet s t i l l al l o w ai r t o c i r c u-l at e b et w een t h em . T h r i f t , j unk and s al v ag es t o r es o f t en h av e t h es e us ed r ac k s f o r s al e at af r ac t i o n o f t h e r et ai l c o s t .

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May/June 2006 • PotteryMaking Illustrated 33

i t f r o m t h e m o l d and p l ac e i t o nt o a p i ec e o f d r yw al l( f i g ur e 4 ) . O nc e i t h i t s t h e d r yw al l i t s h o ul d no t b e l i f t -ed o r m o v ed , ex c ep t t o p r es s i t d o w n g ent l y and m ak es ur e t h e b ac k i s i n c o nt ac t w i t h t h e d r yw al l .

I f yo u d o n’ t us e m o l d s f o r yo ur t i l es , j us t r o l l o ut c l ays l ab s d i r ec t l y o nt o a p i ec e o f d r yw al l us i ng w o o d ens p ac er s o r d o w el s b eneat h t h e r o l l i ng p i n f o r t h e d es i r edt h i c k nes s ( f i g ur e 5 ) . ( I p r ef er ¹⁄₂ - i nc h - t h i c k t i l es . ) O nc eyo u h av e r o l l ed o ut t h e c l ay s l ab s , d o n’ t m o v e, l i f t o rt ur n t h em . I f yo u d o m o v e t h e c l ay, i t s “ p l as t i c m em o -r y” w i l l k i c k i n and i t m ay w ar p , b end , o r c ur l d ur i ngd r yi ng and f i r i ng . Jus t t r i m t h e s l ab s i n p l ac e, c ut t i ngt h em t o t h e d es i r ed d i m ens i o ns us i ng a t r i m m i ng k ni f eand yo ur p at t er n ( f i g ur e 6) . I f yo u p r ef er , yo u c an us e ac ar p ent er ’ s s q uar e t o c r eat e s q uar e and r ec t ang ul ar t i l es .T i p : A c et at e, Myl ar and c o r r ug at ed p l as t i c ar e g o o dp at t er n m at er i al s . A f t er t r i m m i ng , i t i s v er y i m p o r t ant t oal l o w t h e w et t i l es t o s i t o n t h e d r yw al l f o r 8 t o 1 2 h o ur s( o v er ni g h t i s us ual l y g o o d ) . D r yw al l s uc k s a l o t o f w at ero ut o f t h e c l ay and t h e t i l es w i l l r eal l y s t i f f en up .

B y t h e nex t d ay t h e t i l es s h o ul d b e p r et t y c l o s e t ol eat h er h ar d and s t i f f eno ug h t o h and l e w i t h o ut f l ex i ng .T es t a t i l e t o s ee i f i t c an b e p i c k ed up s af el y. A t t h i sp o i nt , t r i m and s m o o t h t h e ed g es ( f i g ur e 7 ) . T h i s i s no tab s o l ut el y nec es s ar y, b ut t i l es t end t o h av e s h ar p ed g est h at c an c aus e h ar m o nc e t h ey ar e h i g h f i r ed . I f yo u w i s ht o i nc i s e o r d ec o r at e t h e g r een t i l e i n any w ay, no w i s t h et i m e t o d o i t .

T h er e i s no need t o s c o r e t h e b ac k s o f t i l es unl es s yo uw ant t o . S c o r i ng h as no t h i ng t o d o w i t h t h e w ar p i ng o rd r yi ng p r o c es s , b ut i t h el p s t h e t i l e ad h es i v e c l i ng t o t h et i l e and h o l d i t t o t h e w al l o r f l o o r d ur i ng i ns t al l at i o n. Io nl y s c o r e m y t i l es i f I k no w t h e c us t o m er w ant s t h emf o r an i ns t al l at i o n.

O nc e t h e t i l e i s t r i m m ed , p l ac e i t d i r ec t l y o nt o t h er i g i d m et al s t o r ag e r ac k ( f i g ur e 8 ) . B ec aus e ai r c i r c ul at eso n al l s i d es o f t h e t i l e, i t d r i es v er y ev enl y and no w ar p -i ng o c c ur s . N o f l i p p i ng o r c o v er i ng i s need ed . N ow ei g h t i ng o r s t ac k i ng i s need ed . W h i l e yo ur t i l es d r y,av o i d d i r ec t s o ur c es o f w ar m ai r l i k e a r eg i s t er v ent o rp o r t ab l e h eat er t h at m i g h t d r y o ne ar ea f as t er t h anano t h er . Y o u w ant ev en d r yi ng f r o m t o p and b o t t o m .

I k eep t i l es o n t h e r ac k unt i l t h ey ar e c o m p l et el y d r yand r ead y t o b i s q ue. A t 5 5 – 60º F , m y t i l es t ak e ab o ut aw eek t o c o m p l et el y d r y w i t h no w ar p i ng . I f yo u w ant t oh ur r y t h e d r yi ng , us e a f an t o g ent l y c i r c ul at e t h e ai r i nt h e r o o m ; t h i s m i g h t d r y t h e t i l es i n a f ew d ays . D r yi ngw i l l b e s l o w er i n a c o o l , d am p env i r o nm ent .

Y o u s h o ul d o nl y h and l e yo ur g r een t i l es ab o ut t h r eet i m es : o nc e t o r o l l o ut and c ut t h e c l ay; o nc e t o s m o o t ht h e ed g es and p l ac e o n a d r yi ng r ac k ; and o nc e t o p ut i ti n a k i l n f o r yo ur b i s q ue f i r i ng .

5

6

7

8

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34 PotteryMaking Illustrated • May/June 2006

FiringI us e a p r o g r am m ab l e el ec t r i c k i l n f o r m o s t o f m y

w o r k , and f i r e t i l es f l at o n t h e k i l n s h el f b o t h f o r b i s q ueand g l az e f i r i ng . I g l az e f i r e t o C o ne 5 o r 6 af t er b i s q uef i r i ng t o C o ne 05 . D ur i ng t h e b i s q ue, I g ener al l y s t ac kt i l es t w o d eep ( f i g ur e 9 ) . Y o u m i g h t b e ab l e t o s t ac kt h em t h r ee d eep i f yo ur t i l es ar e o n t h e t h i n s i d e. U s ual l yI d o n’ t m ak e s t ac k s h i g h er t h an 1 i nc h . My k i l n p o s t sar e 2 i nc h es h i g h t o m ax i m i z e t h e num b er o f s h el v es Ic an g et i nt o t h e k i l n. A s l o w p r eh eat o r w ar m - up i ses s ent i al t o al l o w al l t h e m o i s t ur e t o es c ap e t h e s t ac k edt i l es . I h av e m ad e b i g and s m al l t i l es b y t h e t h o us and sus i ng t h i s p r o c es s and , p er h ap s , h av e h ad a w ar p ed t i l eo nc e i n ev er y h und r ed . •

9

I b ui l t m y t i l e- d r yi ng r ac k f r o m s h el f uni t sm ad e o f r i g i d m et al r o d . E ac h s h el f uni tm eas ur es 1 2×3 6 i nc h es . T w o uni t s ar e s up -p o r t ed s i d e b y s i d e o n a w o o d en f r am e w i t h

l eg s t h at h o l d t h em i n t h e ai r . T h e w o o d en s up -p o r t s ys t em i s m ad e f r o m 2×4 s and 1 ×2s t h at ar es c r ew ed t o g et h er . T h e t o t al d r yi ng s ur f ac e f r o mt h es e t w o r ac k s i s 24 ×3 6 i nc h es l o ng and h o l d sq ui t e a f ew t i l es .

I t i s i m p o r t ant t o h av e t h e r ac k s w el l o f f t h eg r o und t o al l o w p l ent y o f ai r t o c i r c ul at e.B ec aus e I m ak e l o t s o f t i l es , I b o ug h t eno ug hr ac k s t o h av e s ev er al l ev el s av ai l ab l e t o d r y t i l es ,al l s up p o r t ed b y t h e w o o d en f r am e. ( Y o u c o ul dal s o i m p r o v i s e o r s up p o r t t h e r ac k s b et w een t w oc h ai r s i f yo u d o n’ t w ant t o b ui l d a p er m anentd r yi ng r ac k . )

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Laura Reutter has been making tiles since 1998. Most ofher designs are inspired by nature and the Arts & Craftsaesthetic. Her home and business, Ravenstone Tiles, arelocated in the Victorian seaport of Port Townsend,Washington. Visit her website www.ravenstonetiles.com.

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May/June 2006 • PotteryMaking Illustrated 35

Regional Conference • Staunton, VAJune 1 - 3, 2006

REGISTER AT www.potterscouncil.org/englishconnection

The World of Clayat Your Fingertips

www.ceramicsmonthly.org

PMI May_June_024_035.qxd 4/21/06 11:20 AM Page 35

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D r um m em b r anes , o r h ead s , c an b e m ad e f r o m m any d i f f er -ent m at er i al s , b ut t r ad i t i o nal l y t h ey ar e m ad e f r o m ani m al

s k i ns o r h i d es . T h e m o s t p o p ul ar h i d es us ed ar e g o at and c al f ,b ut m any o t h er s k i ns ar e us ed , s uc h as el k , m ul e, ant el o p e, b uf -f al o , f i s h , s nak e, l i z ar d and s q ui r r el .

I t i s i m p o r t ant t o und er s t and t h at t h e ani m al s k i ns us ed f o rd r um h ead s ar e al m o s t al w ays r aw h i d e. T h o ug h d r um s k i ns ar es o m et i m es r ef er r ed t o as l eat h er , t h ey ar e v er y d i f f er ent f r o m t h es o f t , t anned l eat h er t h at i s m ad e i nt o l ug g ag e and c l o t h i ng . T h enat ur al p r o p er t i es o f r aw h i d e s k i n t h at m ak e i t an ex c el l entm at er i al f o r d r um h ead s ar e i t s ex c ep t i o nal s t r eng t h and f l ex i b i l i -t y ( w h i c h i s i m p o r t ant b ec aus e i t i s r ep eat ed l y s t r uc k ) , t h e f ac tt h at i t s t r et c h es w h en w et and t i g h t ens w h en d r y ( i m p o r t ant f o rt uni ng and b ui l d i ng ) , and t h e nat ur al l y s t i c k y c o m p o und s i t c o n-t ai ns — l i k e h i d e g l ue— t h at h el p i t ad h er e t o t h e r i m o f a d r um( i m p o r t ant f o r t uni ng and l o ng ev i t y o f t h e h ead ) .

W h en p ut t i ng a s k i n h ead o n a c er am i c d r um , al m o s t anyr aw h i d e ani m al s k i n c an b e us ed , b ut t h o s e m o s t c o m m o nl yus ed f o r d r um s c o m e f r o m g o at s and c o w s . T h e s k i ns o f d i f f er -ent ani m al s h av e v ar yi ng p r o p er t i es t h at w i l l i m p ac t t h e s o undo f yo ur d r um . G o at s k i n i s w i d el y us ed f o r d r um s b ec aus e i t i s

Skintight PotteryDRUM HEADS

Supply Room by Barry Hall

t h i n, s t r o ng and v er y f l ex i b l e.R aw h i d e ani m al s k i ns c an b e p ur -c h as ed f r o m a v ar i et y o f s o ur c es( s ee p ag e 3 8 f o r t h ei r nam es andw eb s i t es ) .

S k i ns c o m e i n d i f f er ent t h i c k nes s -es . S o m e d r um s , s uc h as c o ng asand d r um s p l ayed w i t h s t i c k s , us et h i c k s k i ns , w h i l e o t h er d r um s s uc has d o um b ek s and f r am e d r um s us u-al l y s o und b et t er w i t h t h i n s k i ns .R eg ar d l es s o f w h et h er t h e h ead i st h i c k o r t h i n, t h e b es t s o und w i l lc o m e f r o m a s k i n t h at i s a uni f o r mt h i c k nes s t h r o ug h o ut . I t i s al s oi m p o r t ant t o c h o o s e s k i ns t h at d ono t h av e h o l es o r o t h er p o t ent i al l yw eak s p o t s . A n eas y w ay t o i ns p ec ta s k i n f o r f l aw s i s t o h o l d i t up t o al i g h t . S i nc e s k i ns ar e us ual l yt r ans l uc ent , w eak s p o t s o r h o l esw i l l s h o w up c l ear l y.

T h e h ai r o n a h i d e c an b e l ef t o no r r em o v ed . A ny r em ai ni ng h ai rw i l l d am p en t h e d r um ’ s t o ne,w h i c h i s d es i r ab l e o n s o m e t yp es o fd r um s and av o i d ed o n o t h er s . E v eni f yo u us e a h ai r l es s s k i n, i t i s d es i r -ab l e t o m ak e t h e s i d e o f t h e s k i nt h at us ed t o h av e h ai r f ac e o ut w ar d( t h e s t r i k i ng s i d e o f t h e h ead ) . T h eh ai r s i d e h as a s m o o t h er and m o r ed ur ab l e s ur f ac e, and c an b e i d ent i -f i ed o n h ai r l es s s k i ns b y l o o k i ngc l o s el y f o r p o r es o r s m al l h ai r s .

T h i s t ec h ni q ue us es g l ue andc l am p s t o at t ac h t h e s k i n t o t h ed r um s h el l . T h e r ec o m m end ed g l uei s ei t h er p o l yv i nyl ac et at e ( w h i t eg l ue) o r al i p h at i c r es i n ( yel l o w c ar -p ent er ’ s g l ue) . T h es e ad h es i v es ar ew at er s o l ub l e, w h i c h m eans t h eyw i l l enab l e yo u t o r em o v e t h e d r umh ead , w h en nec es s ar y, b y s o ak i ng i ti n w ar m w at er .This article is excerpted from BarryHall’s new book F r o m Mud t o Mus i cpublished by the American CeramicSociety. For more information, pleasevisit www.ceramics.org/music.

36 PotteryMaking Illustrated • May/June 2006

Goblet Drum with natural rawhide drum head.

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Materials needed: Glazed and fired drumbody, rawhide (at least 4 inches larger indiameter than the widest part of the drum[not shown]), hose clamp or large rubberbands, water-soluble glue, a bucket, and asharp knife for trimming.

May/June 2006 • PotteryMaking Illustrated 37

1 2

3 4

5 6

Soak the rawhide in cold water until itbecomes limp and stretchy—about 30minutes to an hour, depending on itsthickness. Remove it from the water andshake dry, or lightly pat with a towel toremove any excess water on its surface.

Spread a thin layer of glue onto the rim ofthe drum. You need to leave a portion ofthe drum rim unglazed to improve theadhesion of the glue.

Drape the skin over the drum with the hair(exterior) surface on top. Hold in placewith a hose clamp or rubber bands. Do nottighten clamp all the way yet.

Once the skin is as tight as you can get it,allow the glue and skin to dry. Place adamp sponge on the center of the head as it dries to keep the center of the headfrom shrinking until after the glued rimhas dried. Depending on your skin, drumand location, this will take about 1 to 2 days.

Gently pull the edges of the skin downunder the clamp. Smooth any folds orbuckles in the skin underneath the clamp.Pull the skin as tight as the clamp willallow. Alternate several times betweentightening the clamp and pulling the skin tighter to impart as much tension as possible.

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38 PotteryMaking Illustrated • May/June 2006

When the skin is completely dry, remove the clamp and trim theexcess skin with a utility knife or hacksaw blade. Be very careful;the skin is often difficult to cut through and knives tend to slipvery easily on glazed surfaces. If your drum is high fired, there islittle danger of damaging the drum’s surface with a blade. Oncetrimmed, remove any excess glue with a sponge and warm water.The skin may have a slightly sharp edge. To smooth it, wet theedge of the skin with water and press down, or sand with finesandpaper. You also can add a decorative band of fabric, ribbon ortape around the drum to cover the edge of the skin.

7

Drum Heading Suppliers• Mi d - E as t Manuf ac t ur i ng ( w w w . m i d - eas t . c o m ) :

g o at , c al f and f i s h s k i n h ead s .• T and y L eat h er ( w w w . t and yl eat h er . c o m ) : l ar g e

p i ec es o f r aw h i d e g o at and c al f .• A f r i c an R h yt h m T r ad er s

( w w w . r h yt h m t r ad er s . c o m ) : g o at and c al f s k i ns .• S h o r t y P al m er ( w w w . g o at s k i ns . c o m ) : g o at and

c al f s k i ns i m p o r t ed f r o m A f r i c a.• S t er n T anni ng C o . , I nc . ( w w w . s t er nt anni ng . c o m ) :

r aw h i d e d r um h ead s .• Mo s c o w H i d e and F ur ( w w w . h i d eand f ur . c o m ) :

l eat h er , f ur .

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A m ug i s p er -h ap s t h e

m o s t b as i c s h ap e f o r w h i c h t o ap p l y t h em ax i m “ f o r m f o l l o w s f unc t i o n. ” H o w ev er , i td o es no t need t o b e at al l r es t r i c t i v e i n i t si nt er p r et at i o n. T h er e ar e m any w ays f o r ust o m ak e and enj o y m ug s . O ur i m ag i nat i o n,s k i l l and ab i l i t y t o d es i g n t h i s m o s t el em ent alo f c er am i c o b j ec t s ar e t h e k eys t o m ak i ngs uc c es s f ul m ug s .

P er h ap s o ne o f t h e m o s t b as i c o f i t em s , t h eub i q ui t o us yet c o m m o n m ug c an b e d ec ep -t i v el y s i m p l e and eng ag i ng . B as i c al l y a c yl i n-d r i c al f o r m w i t h a h and l e, t h e m ug i s o ne o ft h o s e f ew v er y i nt i m at e o b j ec t s w e us e o n ad ai l y b as i s . A p o o r l y d es i g ned m ug t h at d o esno t f i t w el l i nt o o ur h and s w i l l no t c ar r y t h ei nt i m ac y t h at a w el l - d es i g ned m ug h as . S oh o w t h en d o w e ap p r o ac h d es i g ni ng s uc h ap i ec e? L et ’ s l o o k at a m ug as a c o m b i nat i o no f eac h o f t h e f o l l o w i ng p ar t s : s h ap e, f o o t ,r i m and h and l e.

The ShapeT h e s h ap e o f t h e m ug m us t b e s t ead i l y

enc l o s ed w i t h i n o ur h and s , c o m f o r t ab l e andeas y t o p i c k up , w el l b al anc ed i n r el at i o n t oi t s c o nt ent s , and al s o p l eas i ng t o t h e eye. As i m p l e, s m al l c yl i nd er w i t h an ap p r o p r i at eh and l e m i g h t f i t t h es e r eq ui r em ent s , b ut m ayal s o b e b o r i ng .

Instructors File

Mug ShotsFORM & FUNCTION

by Jonathan Kaplan

W e c an h av e a m ug t h at h as a w i d e b as e o r a s m al lb as e. I t c an f l ar e o ut f r o m a s m al l f o o t o r t ap eri nw ar d s f r o m a l ar g er b as e. H o w ev er , a m ug w i t h al ar g er t o p r el at i v e t o i t s b as e c an b e uns t ab l e and d i f f i -c ul t t o d r i nk f r o m . T h e w i d e t o p i nc r eas es t h e s ur f ac ear ea o f t h e c o nt ai ned l i q ui d , c aus i ng i t t o c o o l q ui c k l y.A s m al l t o p r el at i v e t o a w i d e b as e c er t ai nl y s o l v es t h i sp r o b l em b ut al s o m ay b e d i f f i c ul t t o d r i nk f r o m .S o m et i m es a s m al l t o p m ay no t b e anat o m i c al l y c o r -r ec t i n r el at i o n t o o ur no s e. F ur t h er , i t i s d i f f i c ul t t oc l ean t h e i nt er i o r i f t h e t o p i s t o o s m al l .

G ener al l y, m ug s t h at f unc t i o n w el l h av e a t o p d i am e-t er o f ap p r o x i m at el y 3 i nc h es ( t h e av er ag e d i s t anc e

This is an example of a comfortable, functional, yetrather boring mug shape.

In Susan Day’s mug, the proportions of the height, and the diame-ters of the base and rim have all been considered.

Annie Chrietzberg created textureon this handle to add visual inter-est to her mug.

May/June 2006 • PotteryMaking Illustrated 39

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40 PotteryMaking Illustrated • May/June 2006

b et w een t h e l o w er l i p and t h e b r i d g e o f t h e no s e) , anda h ei g h t b et w een 3 ¹⁄₂ and 4 i nc h es . S h o r t er f o r m s andyo u’ r e i nt o t h e c up r ang e, t al l er and yo u ap p r o ac h t h es t ei n ar ea. A n eas y w ay t o v i s ual i z e t h e f o r m i s t od r aw s o m e r ec t ang l es c o nt ai ni ng s i m p l e s k et c h es o fm ug s o n g r ap h p ap er . E x p er i m ent w i t h v ar i o us p r o -p o r t i o ns and p ay p ar t i c ul ar at t ent i o n t o t h o s e p r o p o r -t i o ns b ef o r e m ak i ng t h e m ug o n t h e w h eel .

The FootT h e f o o t b eg i ns as w el l as end s a m ug . H o w i t s i t s

o n a h o r i z o nt al s ur f ac e o r s t ac k s i n a c ab i net ar ed ep end ent o n t h e f o o t and i t s d i am et er . T o o s m al l af o o t r es ul t s i n a f o r m t h at w i l l t end t o f al l o v er , v i s ual -l y s ug g es t i ng t h at t h e f o r m i t s el f i s unb al anc ed . Mug sar e p i c k ed up and p ut d o w n m any t i m es , s o i t ’ s i m p o r -t ant t h at i t d o es n’ t r o c k , w o b b l e, o r o t h er w i s e f al lo v er . H enc e t h e d i am et er o f t h e f o o t o r b as e need s t ob e s ub s t ant i al eno ug h t o c ar r y t h e w ei g h t o f t h e m ug ,b o t h p h ys i c al l y and s t r uc t ur al l y.

T h e l i ne o f t h e f o o t ( a s h ad o w s ug g es t ed b y a s l i g h tt r i m m i ng o f ex c es s c l ay) o r a s m al l er p ar t o f t h e p i ec eas s o c i at ed t o i t s d i am et er al l h av e t o d o w i t h h o w t h ep i ec e s i t s o n t h e t ab l et o p . W h en m ug s ar e m ad e as as et , t h e f i ni s h ed o ut s i d e d i am et er o f t h e f o o t s h o ul dc o r r es p o nd t o t h e i ns i d e d i am et er o f t h e r i m s o t h att h ey c an s t ac k eas i l y.

A well-proportioned foot should visually begin and end the mug,and suggest balance as in this mug by Steven Hill.

If not for the incredible technical staffat Laguna Clay Company, I would neverhave gotten this 35 foot mural depictingindigenous sea life of the California coastoff the ground!

I was brought up on cone 10, gas reduction fir-ings at schools and studios. However, now that I havea home studio I rely on cone 5 oxidation firings. At

first, using an electric kiln was discourag-ing because I wasn’t able to achieve theexcitement and interest I was used to.

Now, Juan Aguilera, Laguna’schemist, has developed fabulous new glaze lines andmajolica paintables which mimic both reduction envi-ronment and low-fire hues. The Crackle glazes lookfabulous on top of a base white glaze..try it out!

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Eileen Goldenberg uses the foot ring as another way to makevisual decisions and choices on mug design.

T h e f o o t c an h av e a s ub t l e, yet el eg ant c o nt r i b ut i o nev en i f i t i s j us t d el i neat ed b y a l i ne l ef t b y a t r i m m i ngt o o l t o c at c h t h e g l az e. T h e ar t i c ul at i o n o f t h i s g l az el i ne c an b e f ur t h er d up l i c at ed b y ad d i ng t h r o w i ng l i neso r b y t r i m m i ng l i nes w h er e t h e h and l e i s t o s t ar t .

The Rim T h o ug h w e h o l d t h e m ug w i t h o ur h and , t h e m o s t

i nt i m at e c o nt ac t i s w i t h o ur l i p s . T h e r i m m us t b es m o o t h and s up p l e, and s ub s t ant i al eno ug h t o c o nt ai nt h e ab us e h eap ed up o n i t t h r o ug h d ai l y us e. I f t h e r i mi s t o o t h i n, i t w i l l l i k el y b r eak o r c h i p . T h e ed g e s h o ul db e r o und ed and s l i g h t l y t h i c k ened . I f i t i s t o o h eav y o rt h i c k , i t m ay no t f eel c o m f o r t ab l e o n o ur l i p s . T h e r i ms h o ul d t er m i nat e i n s uc h a m anner t h at i t t h en g i v es a“ c o nc l us i o n” s o t o s p eak , o f t h e f o r m .

The HandleH and l es c an b e m ad e any num b er o f w ays : p ul l i ng

f r o m a l ar g er l um p o f c l ay and t h en at t ac h i ng , p ul l i ngd i r ec t l y f r o m t h e f o r m i t s el f , ex t r ud i ng , r o l l i ng , h and -b ui l d i ng , et c . W h en f i l l ed w i t h a h o t b ev er ag e, t h em ug s h and l e r em ai ns c o o l as i t i s s ur r o und ed b y ai rac t i ng as i ns ul at i o n. I t m us t b e c o m f o r t ab l e w i t h nos h ar p ed g es . T h e h and l e need s t o b e g ener o us i n s i z eand s h ap e t o ac c o m m o d at e o ur d i f f er ent anat o m i es o ff i ng er and h and s i z e and s h ap e, and al l o w an eas yent r y and ex i t .

May/June 2006 • PotteryMaking Illustrated 41

And the M ystic line has great movement and depth by itself or under other colors.

This work also incorporatedthe work of several budding teenage

artists who had never worked withceramics. Thankfully, Laguna claybodies and glazes are stable andreliable which meant there were no

unpleasant surprises...just load after load of successful firings.

— E llen R undle

8 00 4 -LAG U NAwww.lagunaclay.com

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42 PotteryMaking Illustrated • May/June 2006

Regional Conference • Garden City, NYJuly 6 - 9, 2006

REGISTER AT www.potterscouncil.org/allfiredup

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May/June 2006 • PotteryMaking Illustrated 43

A good example of a smooth, rounded andslightly thickened rim is seen here in ScottSupraner’s mug.

D o es t h e h and l e s t ar t at t h e r i mo r f r o m s o m ew h er e m i d w ay o n t h em ai n p ar t o f t h e s h ap e? H o w d o esi t at t ac h t o t h e s h ap e? I s i t b l end edi n o r s t uc k o n and t h e l i ne l ef t t oc at c h t h e g l az e? H o w d o es t h ec ur v e o f t h e h and l e i nv i t e us e?H o w d o es t h e h and l e t er m i nat eand w h er e? A r e t h e ed g es s l i g h t l yt h i c k ened t o r es i s t c h i p p i ng ? I s i t sp r o f i l e g r as p ab l e? D o es t h e h and l ew o r k w i t h t h e f o r m ? W h at ab o ut i ti s i nt er es t i ng ?

The FinishF i nal l y, i t i s i m p o r t ant t o r em em -

b er t h at w e need t o us e g l az es t h atar e s t ab l e, no nc r az i ng , and ab l e t ow i t h s t and t h e d i s h w as h er and t h em i c r o w av e. C h o o s i ng d ur ab l e, b al -anc ed , s t ab l e g l az es and an eq ual l y

s t r o ng , c o m p at i b l e c l ay b o d y g o esw i t h o ut c o m p r o m i s e.

Jonathan Kaplan has been activelyinvolved in ceramics for over 35 yearsas an artist, master mold and modelmaker, designer, educator, and author.He has authored articles for C er am i c sMo nt h l y, P o t t er y Mak i ng I l l us t r at ed ,

and S t ud i o P o t t er . Jonathan's work isin numerous collections and is includ-ed in 500 T eap o t s and 5 00 B o w l s(Lark Books). He holds a B.F.A. fromRhode Island School of Design andan M.F.A. from Southern IllinoisUniversity, Edwardsville. For moreinformation or comments, e-mail himat [email protected].

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Off The Shelf

From Mud to Musicag e r at e o f c l ayand i t s f r ag i l i t y,and m us i c al i s s uess uc h as p l ac em ento f f i ng er h o l es i nf l ut es . ( T h i s p o t -t er ’ s m us i c i an h us -b and r ead t h r o ug ht h e b o o k and w ast h o r o ug h l y i m -p r es s ed w i t h t h eac c ur ac y and c o m -p l et enes s o f s uc hm us i c o l o g i c al i n-f o r m at i o n. ) H al lm ent i o ns t h e d i f -f er ent t yp es o fc l ay and d i s c us s est h e i s s ue o f g l az -i ng ; h o w ev er , t h i s b o o k i s no t i nt end ed t o t eac h yo ut h e b as i c s o f p o t t er y s uc h as h o w t o m i x and ap p l yyo ur g l az es .

T h er e’ s a g al l er y c h ap t er , and ano t h er c h ap t er p r o f i l -i ng t h i r t een ar t i s t s w h o s e i nv ent i v enes s , o b s es s i o n ands k i l l ar e t r ul yas t o ni s h i ng . I n t h ef i nal c h ap t er , f i v ep r o j ec t s ar e c l ear l yi l l us t r at ed w i t hs t ep - b y- s t ep h o w -t o p h o t o s . T h es ep r o j ec t s d em ys t i f ys o m e o f t h e m o s ti m p o r t ant t ec h ni -c al i s s ues s uc h ash o w t o m ak e t h em o ut h p i ec e o f a f l ut e and h o w t o at t ac h a d r um h ead .T h er e ar e eno ug h i nt r i g ui ng i ns t r um ent s d es c r i b ed i nt h i s b o o k t h at w e c o ul d h o p e f o r a s eq uel w i t h m anym o r e p r o j ec t s . A s a b o nus , an ap p end i x o f r es o ur c esand m at er i al s l i s t s s up p l i er s o f s uc hi t em s as d r um h ead s , s t r i ng sand ad h es i v es .

T h i s i s t h e m o s t ex c i t -i ng p o t t er y b o o k t o

c o m e al o ng i n year s . A f t er al l , h o w m anyp o t t er y b o o k s c o m e w i t h a C D f i l l ed w i t hm us i c ? T h e b o o k r ev eal s a w h o l e new w o r l do f p o s s i b i l i t i es , l i k e d i s c o v er i ng h i d d en t r eas -ur e und er t h e h o us e yo u’ v e l i v ed i n al l yo url i f e. I f yo u’ v e al w ays m ad e p o t s t o eat o ut o f ,t o p ut t h i ng s i n, o r t o ad m i r e o n t h e m ant el ,yo u c an no w l ear n t o m ak e p o t s f o r anent i r el y new p ur p o s e— t o m ak e m us i c . O fc o ur s e, yo u c o ul d p r o b ab l y nam e t h r ee m us i -c al i ns t r um ent s c o m m o nl y m ad e f r o m c l ay:t h e r at t l e, t h e d r um and t h e w h i s t l e. B ut d i dyo u k no w t h at t h er e ar e al s o p o t t er s s p ec i al -i z i ng i n m ak i ng f l ut es , h o r ns , m ar i m b as andev en v i o l i ns ?

A ut h o r B ar r y H al l , w h o b ui l d s and p l ays av ar i et y o f c er am i c i ns t r um ent s , ex h aus t i v el yex p l o r es t h e m ar r i ag e b et w een t h e s c i enc e o fm us i c o l o g y and t h e ar t o f p o t t er y. I n f ac t , t h er eal l y ex c i t i ng t h i ng ab o ut t h i s b o o k i s t h atyo u c o ul d eas i l y d es i g n a b eg i nni ng p o t t er yc l as s ar o und m ak i ng c l ay i ns t r um ent s i ns t eado f f o o d d i s h es , and m any s t ud ent s m i g h t f i ndt h e ef f o r t m o r e s at i s f yi ng .

H al l d es c r i b es ac l as s i f i c at i o n s ys t emf o r t h e m us i c al i ns t r u-m ent s . F o r ex am p l e,s k i nned d r um s ar e“ m em b r ano p h o nes ”and w i nd i ns t r um ent sar e “ aer o p h o nes . ”T h er e’ s a c h ap t erab o ut eac h c l as s o fi ns t r um ent w i t h h i s -t o r i c al p h o t o s , as w el las m o d er n ex am p l es ,p l us d es c r i p t i o ns o fh o w t h e i ns t r um ent sw o r k and h o w t om ak e t h em .

H al l f ur t h er d i s -c us s es b o t h m us i c aland c er am i c i s s uesi nv o l v ed i n c r eat i ngeac h t yp e o f i ns t r u-m ent , i nc l ud i ng d eal -i ng w i t h t h e s h r i nk -

by Barry HallFrom Mud to Music

making and enjoying ceramic musical instruments

Steve Smeed, Eugene, Oregon, con-structed this 21-inch Sax-Bugle fromstain-colored porcelain with clearglaze. Seen here with a standard-sized bell, it also can be made tostand on its own large bell.

F rom M ud t o M us i cby Barry HallThe American Ceramic SocietyWesterville, OH 2006ISBN: 1-57498-139-0www.ceramics.org/music

BOOK REVIEW

by Sumi von Dassow

44 PotteryMaking Illustrated • May/June 2006

Adjusting the beveled edge of a soundhole for a whistle flute can determine the basic sound.

Susan Rawcliffe tests the sound of a clay-doo in her San Pedro, California, studio.

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May/June 2006 • PotteryMaking Illustrated 45

Ceramics workshops summer 2006 at I S 1 8 3 A r tS c h o o l , i nc l ud i ng “ D ev el o p i ng C o ne S i x G l az es , ”Jef f Z am ek , June 3 ; “ S al t and R ed uc t i o n K i l n-b ui l d i ng , ” A l ex W at s o n and T r ev o r D unn, June1 2– 1 6; “ B r eak i ng B ar r i er s w i t h C o l o r ed C l ay,Mo no p r i nt s and P o t s , ” Mi t c h L yo ns , June 26– 3 0.S t o c k b r i d g e, Mas s ac h us et t s . ( 4 1 3 ) 29 8 - 5 25 2;i nf o @ i s 1 8 3 . o r g ; w w w . i s 1 8 3 . o r g .

Amy Kline (Alfred 1990) i s p l eas ed t o anno unc et h e o p eni ng o f P o t t er y W es t , a p o t t er y r anc h l o c at -ed i n L as V eg as , N ev ad a! A m y w i l l c ar r y o n t h et r ad i t i o n o f o f f er i ng ad v anc ed ed uc at i o n i n c er am -i c ar t b y o f f er i ng w o r k s h o p s year r o und w i t h t h eb es t c er am i c s ar t i s t s i n t h e f i el d . F o r m o r e i nf o r -m at i o n o n up c o m i ng w o r k s h o p s , c o nt ac t A m y at( 7 02) 9 8 7 - 3 023 .

New Olsen kiln kit: 1 2 c ub i c f eet , i nc l ud es al lp ar t s , f r am e, b r i c k and i ns t r uc t i o ns . P r o p ane o rnat ur al g as . N ear S ac r am ent o , C al i f o r ni a. F o rd et ai l s , c al l ( 209 ) 267 - 09 1 1 .

Slab Building Illustrated ( eB o o k ) b y R o b er t aL ai d m an, $ 24 . 5 0. R ev i s ed 2006, 9 0 p ag es , 1 00+i l l us t r at i o ns . F o r a 5 MB , p r i nt ab l e A d o b e P D F f i l e,w w w . l ai d m anp r o d uc t i o ns . c o m /S B I _ l ai d m an. h t m .E - m ai l l ai d m an@ l ai d m anp r o d uc t i o ns . c o m w i t h any q ues t i o ns .

Are you interested in selling your collection? I ami nt er es t ed i n p ur c h as i ng c o l l ec t i o ns o f c o nt em p o -r ar y A m er i c an and /o r B r i t i s h s t ud i o p o t t er y.I nd i v i d ual p i ec es ar e f i ne as w el l . E - m ai ll ant er n8 @ yah o o . c o m .

Cobalt carbonate and cobalt oxide. W e h av e t h em o s t c o m p et i t i v e p r i c es av ai l ab l e. Q ual i t y g uar an-t eed . C al l f o r p r i c es . ( 208 ) 5 21 - 09 1 0.

Apprentice/internship. S m al l p r o d uc t i o n p o t t er y i nno r t h w es t Mo nt ana s eek s m o t i v at ed i nd i v i d ual f o ro ne- year p o s i t i o n s t ar t i ng end o f A ug us t . 4 0h o ur s /w eek i n ex c h ang e f o r s t ud i o s p ac e ( i nc l ud esm at er i al s and f i r i ng ) , r o o m and b o ar d , m o nt h l ys t i p end , g al l er y s al es . w w w . w h i t ef i s h p o t t er y. c o mf o r m o r e d et ai l s ab o ut ap p l yi ng .

Excellent opportunity for exploring wood firing i na nat ur al O z ar k f o r es t s et t i ng . S t ud i o as s i s t antd es i r ed i n ex c h ang e f o r r o o m , b o ar d , s m al ls t i p end , s t ud i o s p ac e and k i l n s p ac e— anag am a,no b o r i g am a. F o r d et ai l s , c o nt ac t Jo e B r uh i n ( 8 7 0) 3 63 - 4 264 .

Instructors needed for wheel throwing and h and -b ui l d i ng s h o p s i n p r em i er c h i l d r ens ’ s l eep - aw ayc am p s i n t h e P o c o no Mo unt ai ns , P enns yl v ani a.E x c el l ent f ac i l i t i es and eq ui p m ent . 9 0 m i nut esf r o m N ew Y o r k C i t y. E x c el l ent s al ar y. F r o m June20 t o A ug us t 1 7 , 2006. F ax ( 9 7 3 ) 5 7 5 - 4 1 8 8 ;p h o ne ( 9 7 3 ) 5 7 5 - 3 3 3 3 ex t . 1 24 . S end r é s um é t oc l c @ nj yc am p s . o r g .

Production potters: full-time, year - r o und p o s i t i o nsf o r s k i l l ed p o t t er s w h o ar e s er i o us ab o ut t h r o w i ngs al t - g l az ed p r o d uc t i o n w ar e. B enef i t s . S end r é s um ét o S al m o n F al l s S t o new ar e, P O B o x 4 5 2, D o v er ,N H 03 8 21 - 04 5 2; o r i nf o @ s al m o nf al l s . c o m . W e’ r el o c at ed 9 0 m i nut es no r t h o f B o s t o n.

Ryan McKerley workshop at P o t t er y W es t i n L asV eg as , N ev ad a— June 3 and 4 . R yan’ s w o r k c an b es een o n t h e c o v er o f Ceramics Monthly, Mar c h2006. R yan i s s t ar t i ng t h e w o r k s h o p s eas o n at t h i s new p o t t er y r anc h . C o nt ac t A m y K l i ne at ( 7 02) 9 8 7 - 3 023 f o r c o m p l et e d et ai l s .

Kilnbuilding workshop, N o v em b er 2006, P o t t er yW es t , L as V eg as , N ev ad a. T o m C o l em an and D o nB end el w i l l b ui l d a w o o d - f i r e t r ai n k i l n. C o nt ac tA m y at ( 7 02) 9 8 7 - 3 023 f o r c o m p l et e d et ai l s .

Pat Horsley workshop, S ep t em b er 23 and 24 .P o t t er y W es t , L as V eg as , N ev ad a. C o nt ac t A m yK l i ne at ( 7 02) 9 8 7 - 3 023 f o r c o m p l et e d et ai l s .

PMI_May_June_06_036_048 4/19/06 7:12 AM Page 45

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46 PotteryMaking Illustrated • May/June 2006

“Second Annual Vasefinder Nationals.” P l eas e s eew w w . v as ef i nd er . c o m f o r d et ai l s .

In beautiful Point Reyes, California, “ Mag i c F i r e”w i t h Mo l l y P r i er ( Ceramics Monthly Mar c h2000) . H and b ui l d i ng , b ur ni s h i ng , b eac h p i t f i r -i ng s . W o r k i ng w i t h c l ay i n s i m p l i c i t y, c o nnec t i ng t ot h e f o ur el em ent s . Jul y 21 – 28 . A l l l ev el s , l i m i t 8 .$ 4 5 0. ( 4 1 5 ) 669 - 7 3 3 7 ; m ag i c p i t f i r e@ h o t m ai l . c o m .

Pottery course Spain: S et h C ar d ew and S i m o nL eac h t eam up t o t eac h f r o m t h e w h eel . G r eatS p ani s h ex p er i enc e! A l s o at t h e p o t t er y, a f ul l y f ur ni s h ed 4 - b ed r o o m h o us e i s av ai l ab l e t o r ent b y t h e w eek . w w w . c ar d ew - s p ai n. c o m ; o r e- m ai ls c ar d ew @ c ar d ew - s p ai n. c o m f o r d et ai l s .

Workshops in France and Italy: S i l v i e G r anat el l i ,May 29 – June 9 , 2006, “ P o t t er y and t h e F o o d s o f F r anc e, ” C o r d es s ur C i el , near T o ul o us e;G l enn D ai r i n T us c any, I t al y, “ P o t s o f P l ac e, ”O c t o b er 1 – 1 5 , 2006. P o t t er y A b r o ad , L L C , ( 7 06) 3 7 7 - 29 8 6; e- m ai l l m b @ p o t t er yw eb . c o m ;w eb s i t e w w w . p o t t er yab r o ad . c o m .

Ireland pottery courses. S um m er 2006: 3 s al tg l az e/1 w o o d f i r e f ul l y r es i d ent i al c o ur s es , g ues tt ut o r s and m any ex t r as . Mar c us O ’ Mah o ny,G l enc ai r n P o t t er y, W at er f o r d , I r el and . E - m ai l g l enc ai r np o t t er y@ ei r c o n. net ; o r s ee t h e w eb s i t e atw w w . m ar c us o m ah o ny. c o m .

www.potterymaking.org

Denver area guild memberships av ai l ab l e. I nd i v i d -ual s t ud i o s , g as , r ak u and el ec t r i c k i l ns , p l us o t h ereq ui p m ent . G al l er y! A r v ad a C er am i c A r t s G ui l d ,5 8 7 0 O l d e W ad s w o r t h B l v d . , A r v ad a, C O 8 0003 ;( 3 03 ) 4 23 - 04 4 8 . F o r f ur t h er i nf o r m at i o n, s eew w w . ar v ad ac er am i c ar t s . o r g .

Potter’s retreat. Tucson, Arizona. F ur ni s h ed c o t t ag es f o r r ent o n a p r i v at e es t at e. S h ar e a l ar g e c er am i c s s t ud i o , k i l ns , p o o l and s p a. T h eH um m i ng b i r d H o us e. C al l ( 5 20) 7 4 2- 3 9 69 ; o r t o l l f r ee ( 8 7 7 ) H U MMI N G ; v i s i t t h e w eb s i t e atw w w . h um m i ng b i r d h o us e. c o m .

Study with master potter Tom Turner i n a o ne- t o -o ne t eac h i ng and l ear ni ng ex p er i enc e. I nf o r m a-t i o n i s av ai l ab l e at w w w . t o m t ur ner p o r c el ai n. c o m ; e- m ai l t t @ t o m t ur ner p o r c el ai n. c o m ; t el ep h o ne( 8 28 ) 68 9 - 9 4 3 0.

Arkansas gallery and studio for sale. 3 1 8 0 s q uar ef eet o n Mai n S t r eet . F o r m o r e i nf o r m at i o n, e- m ai lr j d o nn@ c o x - i nt er net . c o m ; o r c al l ( 4 7 9 ) 8 5 7 - 1 8 00.

Taking the Macho Out of Bigware. N ew v i d eo b yT o ny C l ennel l . B i g g er P o t s Mad e E as y! S ee r ev i ewi n June C M 2005 ! C o s t i s $ 3 9 . 9 5 + $ 5 . 00 S /H . T oo r d er , p h o ne ( 9 05 ) 5 63 - 9 3 8 2; f ax ( 9 05 ) 5 63 - 9 3 8 3 ;e- m ai l c l ennel l @ s o ur c h er r yp o t t er y. c o m .

Throwing One Piece Goblets on the Wheel. S t ep -b y- s t ep i ns t r uc t i o n. 4 5 - m i nut e D V D o r V H S .$ 3 4 . 5 0 t o Mo nt r o s e P o t t er y, P O B o x 7 05 ,Mo nt r o s e, C O 8 1 4 01 .

Clay W h istles . . . th e voice of clay56 pages of clear instructions + illustrationson making clay whistles, ocarinas, whistletools, plus tuning, PROBLEM SOLVING.30-min. VHS video available.Book now available in Spanish—72 pagesSilbatos de Arcilla . . . la voz del barro

Clay Whistles book (in English/Spanish) $11.95 +$3.50 S&H (US Funds) Book + Video $34.95 + $3.50S&H (US Funds) Canadian orders add $.75

The Whistle Press,Dept. CMwww.whistlepress.comE-mail: [email protected]

PO Box 1006Petal, MS 39465Telephone/Fax:601-544-8486

EXTRUDE IT! Getting the Most From Your ClayExtruder, new i ns t r uc t i o nal v i d eo s b y D av i dH end l ey. V o l um e I — ex t r us i o ns as h and l es , f eetand ad d i t i o ns ; V o l um e I I — t w o - p ar t d i es f o r h o l -l o w ex t r us i o ns ; V o l um e I I I — t h e ex p ans i o n b o xand ex t r us i o ns as b ui l d i ng c o m p o nent s . $ 4 0 eac ho r $ 1 00 f o r t h e s et ( m o r e t h an f o ur h o ur s o fv i d eo ) . ( 9 03 ) 7 9 5 - 3 7 7 9 ; w w w . f ar m p o t s . c o m .

Ceramist’s home, two studios, k i l n r o o m and c o v -er ed o ut d o o r f i r i ng w o r k s h o p . 5 4 00- s q uar e- f o o tm ul t i l ev el f ac i l i t y d es i g ned and b ui l t f o r r ak u.T o t al l y eq ui p p ed , uni q ue, f unc t i o nal and s p ac i o uso n 1 . 7 5 ac r es w i t h s p ec t ac ul ar v i ew s o f Z i o n P ar ki n s o ut h er n U t ah . $ 5 25 , 000. F o r m o r e i nf o r m a-t i o n, w w w . r ak uf o unt ai ns . c o m o r c al l t o l l f r ee at( 8 66) 3 01 - 8 64 9 .

Dauphin Island, Alabama. 2600- s q uar e- f o o t h o m ew i t h l ar g e p o t t er y s t ud i o o n G ul f C o as t i s l and nearMo b i l e, F ai r h o p e, F l o r i d a P anh and l e; 4 b ed r o o m s ,3 b at h s , g o ur m et k i t c h en, p r o t ec t ed b y d unes andw o o d s . N ev er s t o r m d am ag ed . W al k t o g ul f b eac h -es , b ay and A ud ub o n s anc t uar y. $ 29 9 , 000. C al l( 5 05 ) 5 22- 23 4 2 o r ( 25 1 ) 4 23 - 67 8 6; o r e- m ai lc l ayi nk @ ear t h l i nk . net .

2oo2 South School Fayetteville, ARkansas 72701

Mon-Fri 9-6 Sat 9-1

Clay, Glazes Tools, Books

Equipment Raw Materials

Workshops

www.flatrockclay.com 479-521-3181

FLAT ROCK ST

UDIO

CLAY SUPPLI

ES

16 C.F. West CoastWestCoast KilnFor free info,writeP.O. Box 2152Lucerne Valley,CA 92356714-778-4354

To order, please call 703-330-1040

Vol. 1 and 2 in the Cullum Series

Videos for theexperienced beginneror intermediate potter

NEW JANE CULLUM VIDEO!

Price:Video 1: $34.95Video 2: $39.95

Both: $69.90+$4.95 S&H

Manassas Clay9122 Center Street, Manassas, VA 20110Available online at www.howtopot.com

“Making Bowls with a Big Rib” 40:02and “Rims and Handles” 72:52

PMI_May_June_06_036_048 4/19/06 7:13 AM Page 46

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May/June 2006 • PotteryMaking Illustrated 47

Awesome contemporary home d es i g ned b y ar t i s t sw i t h f ul l - p r o d uc t i o n p o t t er y s t ud i o , i nc l ud i ngel ec t r i c k i l n, w h eel , s l ab r o l l er , s h el v es , d r yi ngr ac k s , no r t h l i g h t , p l us a l ak e v i ew and l ak e p r i v i -l eg es . A p p r o x i m at el y 1 8 5 0 s q uar e f eet , 3 b ed -r o o m s , 2 b at h s , m as t er w i t h j et t ed t ub , c at h ed r alc ei l i ng i n g r eat r o o m w i t h nat ur al f i r ep l ac e.W o o d ed b ac k yar d , p er enni al s , p r i v at e, q ui et r o ad .H i s t o r i c al C l ar k s t o n, Mi c h i g an. $ 25 9 , 000.( 24 8 ) 5 1 5 - 3 4 5 7 .

Accept credit cards i n yo ur c er am i c s r et ai l /w h o l e-s al e/h o m e- b as ed /I nt er net and c r af t - s h o w b us i nes s .N o ap p l i c at i o n f ee. N o m o nt h l y m i ni m um . N ol eas e r eq ui r em ent . R et r i ev er /F i r s t o f O m ah aMer c h ant P r o c es s i ng . P l eas e c al l ( 8 8 8 ) 5 4 9 - 64 24 .

Master Kiln Builders. T w ent y- o ne year s ex p er i enc ed es i g ni ng and b ui l d i ng b eaut i f ul , s af e, c us t o mk i l ns f o r uni v er s i t i es , c o l l eg es , h i g h s c h o o l s , ar t c ent er s and p r i v at e c l i ent s . S o d a/s al t k i l ns ,w o o d k i l ns , r ak u k i l ns , s t o new ar e k i l ns , s c ul p t ur eb ur no ut k i l ns , c ar k i l ns and s p ec i al t y el ec t r i c k i l ns . C o m p et i t i v e p r i c es . D o no v an. P h o ne/f ax ( 61 2) 25 0- 6208 .

[email protected]

mudsh rkstudios, LLC

model and mold makingceramic production servicesproduct consulting

Ceramics Consulting Services o f f er s t ec h ni c ali nf o r m at i o n and p r ac t i c al ad v i c e o n c l ay/g l az e/k i l nf aul t s and c o r r ec t i o ns , s l i p c as t i ng , c l ay b o d y/g l az ef o r m ul as , s al t g l az i ng , p r o d uc t d es i g n. C al l o rw r i t e f o r d et ai l s . B uy What Every Potter ShouldKnow, $ 3 1 . 20 and Safety in the Ceramics Studio,$ 25 . 5 0. Jef f Z am ek , 6 G l end al e W o o d s D r . ,S o ut h am p t o n, MA 01 07 3 ; ( 4 1 3 ) 5 27 - 7 3 3 7 ; e- m ai lf i x p o t s @ ao l . c o m ; o r w w w . f i x p o t s . c o m .

Custom kilnbuilding and repair o f el ec t r i c , g as ,w o o d and s al t k i l ns . R ep ai r s o n al l m ak es o fc er am i c s and r ef r ac t o r y eq ui p m ent . W el d i ng .Mo l d m ak i ng . C o ns ul t i ng f o r al l c er am i c s need s .S er v i ng t h e H ud s o n V al l ey, N ew Jer s ey, N ewE ng l and and b eyo nd . C o nt ac t D av i d A l b an atal b an7 @ c o r e. c o m ; ( 8 4 5 ) 3 5 1 - 5 1 8 8 .

Classified AdvertisingClassified ads may be submitted

securely online atwww.potterymaking.org/classifieds.asp.

You may also e-mail [email protected].

Fall 2006 Japan Tour. T r av el w i t h Jap anes e p o t -t er y ex p er t and l o ng t i m e r es i d ent /p o t t er t o K yo t o ,B i z en, H ag i and K ar at s u. F ur t h er i nf o r m at i o n atw w w . r o b er t f o r nel l c er am i c ar t s . c o m .

Craft and folk art tours. Mex i c o , B ul g ar i a,R o m ani a, Mar am ur es W i nt er F es t i v al , Mo r o c c o ,I nd i a, B ur m a, T ur k ey, C ent r al A s i a. S m al l , p er s o n-al i z ed g r o up s . C r af t W o r l d T o ur s , 67 7 6C MW ar b o ys , B yr o n, N Y 1 4 4 22; ( 5 8 5 ) 5 4 8 - 2667 .

Studio space available in Brooklyn, 1 0 m i nut esf r o m Manh at t an: 1 6 w h eel s , s l ab r o l l er , ex t r ud er ,t i l e p r es s , m o l d - m ak i ng eq ui p m ent , l o t s o f s p ac eand af f o r d ab l e. C al l ( 7 1 8 ) 21 8 - 9 4 24 .

PMI_May_June_06_036_048 4/19/06 2:32 PM Page 47

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48 PotteryMaking Illustrated • May/j une 2006

INDEX to ADVERTISERS

ENGLISH CONNECTION

CONFERENCEFunctional Pottery with American

and British PottersStonewall Jackson Hotel & Conference

Center and Mary Baldwin CollegeStaunton, Virginia June 1–3, 2006

ALL FIRED UP CONFERENCEFiring for Diverse Surface

Treatments on ClayAdelphi University

Garden City, New York July 6–9, 2006

SOUTHERN FRIEDCERAMICS SYMPOSIUM

All About Surface DesignFrancis Marion UniversityFlorence, South Carolina

July 27–30, 2006

CLAY EXPRESSIONSSurface Decoration Hits the

Midwest RegionIn conjunction with AMACO

Indianapolis, IndianaSeptember 13–16, 2006

2006CONFERENCE

SCHEDULE

Contact: Danielle McIntosh(614) 794-5827

[email protected]

www.potterscouncil.org/2006conferences

A.R.T. Studio . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Aardvark Clay & Supplies . . . . . . . . . . . . . . . . . . 6

ACerS Books . . . . . . . . . . . . . . . . . . . . Cover 2, 23

Aftosa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Amaco and Brent . . . . . . . . . . . . . . . . . . . Cover 3

American Museum of Ceramic Arts . . . . . . . . . . 5

Annie’ s Mud Pie Shop . . . . . . . . . . . . . . . . . . . . 47

Axner Pottery . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Bailey Pottery . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Bamboo Tools . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Bennett’ s Pottery . . . . . . . . . . . . . . . . . . . . . . . . 22

BigCeramicStore.com . . . . . . . . . . . . . . . . . . . . 37

Bracker’ s Good E arth Clays . . . . . . . . . . . . . . . . 45

Brickyard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Carolina Clay Connection . . . . . . . . . . . . . . . . . 45

Ceramic Services . . . . . . . . . . . . . . . . . . . . . . . . 14

Ceramic Shop . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Ceramic Supply Chicago . . . . . . . . . . . . . . . . . . 46

Ceramics Monthly . . . . . . . . . . . . . . . . . . . . . . . 35

Chinese Clay Art . . . . . . . . . . . . . . . . . . . . . . . . 14

Clay Art Center . . . . . . . . . . . . . . . . . . . . . . . . . 34

Clayworks Supplies . . . . . . . . . . . . . . . . . . . . . . 46

Continental Clay . . . . . . . . . . . . . . . . . . . . . . . 35

Cornell Studio Supply . . . . . . . . . . . . . . . . . . . . 48

Coyote Clay & Color . . . . . . . . . . . . . . . . . . . . . 43

Davens Ceramic Center . . . . . . . . . . . . . . . . . . . 13

Del V al Potters Supply . . . . . . . . . . . . . . . . . . . . 46

Display Y our Art by Glassica . . . . . . . . . . . . . . . 18

Dolan Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Flat Rock Studio Clay Supplies . . . . . . . . . . . . . . 46

Great Lakes Clay . . . . . . . . . . . . . . . . . . . . . . . 18

Herring Designs/ SlabMat . . . . . . . . . . . . . . . . . . 47

Kiln Doctor, The . . . . . . . . . . . . . . . . . . . . . . . . 45

L& L Kiln Manufacturing . . . . . . . . . . . . . . Cover 4

L& R Specialties . . . . . . . . . . . . . . . . . . . . . . . . . 47

Laguna Clay . . . . . . . . . . . . . . . . . . . . . . . . 40, 41

Larkin Refractory Solutions . . . . . . . . . . . . . . . . 38

Manassas Clay . . . . . . . . . . . . . . . . . . . . . . . . . 46

Millhouse Pottery . . . . . . . . . . . . . . . . . . . . . . . 47

MKM Pottery Tools . . . . . . . . . . . . . . . . . . . . . . 18

Montgomery Community College . . . . . . . . . . . 47

Mudshark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

New Mexico Clay . . . . . . . . . . . . . . . . . . . . . . . 47

North Star E quipment . . . . . . . . . . . . . . . . . . . . 22

Olympic Kilns . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Paragon Industries . . . . . . . . . . . . . . . . . . . . . . . 6

Piedmont Technical College . . . . . . . . . . . . . . . . 18

Potters Council . . . . . . . . . . . . . . . . . . . 35, 42, 48

The Potters Shop . . . . . . . . . . . . . . . . . . . . . . . . 48

Pottery Making Illustrated . . . . . . . . . . . . . . . . . 29

PotteryV ideos.com . . . . . . . . . . . . . . . . . . . . . . . 6

Saint-Gobain Ceramics . . . . . . . . . . . . . . . . . . . . 8

Sapir Studio . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Sheffield Pottery . . . . . . . . . . . . . . . . . . . . . . . . 38

Skutt Ceramic Products . . . . . . . . . . . . . . . . . . . 2

Smith-Sharpe Fire Brick Supply . . . . . . . . . . . . . . 8

Soldner Clay Mixers . . . . . . . . . . . . . . . . . . . . . . 48

Spectrum Glazes . . . . . . . . . . . . . . . . . . . . . . . . 11

Standard Ceramic Supply . . . . . . . . . . . . . . . . . 42

West Coast Kiln . . . . . . . . . . . . . . . . . . . . . . . . 46

Whistle Press . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Wise Screenprint . . . . . . . . . . . . . . . . . . . . . . . . 46

Soldner Clay Mixersby Muddy Elbow

Manufacturing

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Overseas ceramics workshops and tours—T ur k ey,I s t anb ul and C ap p ad o c i a: 9 /1 4 – 1 0/4 /06, w o r k -s h o p s w i t h Meh m et K ut l u and E r d o g an G ul ec .S m al l , c ul t ur al l y s ens i t i v e g r o up s us i ng l o c al t r ans l at o r s and ex p er t s . D i s c o v er y A r t T r av el ,D enys Jam es , C anad a; p h o ne ( 25 0) 5 3 7 - 4 9 06;w w w . d enys j am es . c o m ; d enys @ d enys j am es . c o m .

Ceramics residency in Ghana. L ear n i nd i g eno ust ec h ni q ues . F ee o f $ 23 5 0 i nc l ud es eq ui p p ed s t ud i o , m at er i al s , t o ur s , l o d g i ng and m eal s f o r 3w eek s ( ai r f ar e ad d i t i o nal ) . S ee t h e w eb s i t e atw w w . s t ud i o m at ec er am i c s . c o m .

THE POTTERS SHOP31 Thorpe Road, Needham MA. 02494Catalog? Questions? Orders? 781/449 7687 fax:781/449 9098 [email protected]

BOOKS!Save Up To 75% On Over 800 Items

Make The Potters Shop your source forbooks, videos, & high quality tools. Our freecatalog lists over 800 items all at granddiscounts. Glazes, history, decoration, firing,throwing, handbuilding, sculpture, tiles,biography, philosophy, WE HAVE IT ALL! We are the original book people!

China Ceramics tour, June 8 – 22, 2006. B ei j i ng ,X i an, Ji ng d ez h en, H ang z h o u, Y i x i ng andS h ang h ai . $ 265 0. w w w . C h i nes eC l ayA r t . c o m ;C h i nes eC l ayA r t @ h o t m ai l . c o m . C h i nes e C l ay A r t ,P O B o x 1 7 3 3 , C up er t i no , C A 9 5 01 5 ; p h o ne t o l lf r ee ( 8 00) 68 9 - C L A Y ( 25 29 ) .

Visit Central American potters w i t h P o t t er s F o rP eac e. Jul y 8 – 20. E x p er i enc e t h e t er r a- c o t t a t r ad i -t i o ns o f E l S al v ad o r , H o nd ur as and N i c ar ag ua.$ 1 1 00 c o v er s al l ex p ens es ex c ep t ai r f ar e. C o nt ac t P F P at P O B o x 1 04 3 , B i s b ee, A Z 8 5 603 ;( 5 20) 4 3 2- 4 61 6; p et er @ p o t p az . o r g .

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"Amaco/Excel kilns allow me to work in smaller batches,

move through ideas quickly, and experiment more."

"It's a lot easier to fire the EX-399 electric kiln thana gas kiln. I had to attend to my gas kiln for 12 hours. Now firing is usually 6 hours and thekiln shuts off automatically. The Creative RenewalFellowship Arts Grant paid for the electricalwiring and an equipment purchase of twoAmaco/Excel EX-399 models".

Jim KempRecipient of "Creative Renewal Grant"Indiana Arts Commission

"All the materials I use in my studio are Amaco®:Velvet Underglazes, 67-M Indian Red Clay, warecarts, Brent® wheels and now EX-399 kilns."To buy a "Play With It" T-shirtlike Jim's from the Amaco RetroCollection, visit www.amaco.com.

American Art Clay Co., Inc. • (800) 374-1600 • www.amaco.com

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