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Clay Workshop Handbook

Clay Workshop Handbook

Ratings: (0)|Views: 43|Likes:
Published by Stefan Van Cleemput
ceramic arts dail y.org

2011 clay workshop handbook
knowledge and techniques for the studio

This special report is brought to you with the support of Georgies Ceramic and Clay Co.

2011 clay workshop handbook | Copyright© 2011, Ceramic Publications Company | www.ceramicartsdaily.org

i

2011 Clay Workshop Handbook Knowledge and Techniques for the Studio
Welcome to your ceramic workshop! Whether you’re a wheel thrower, a handbuilder, a glaze-testing geek, or all of the above, we’re sure you’ll
ceramic arts dail y.org

2011 clay workshop handbook
knowledge and techniques for the studio

This special report is brought to you with the support of Georgies Ceramic and Clay Co.

2011 clay workshop handbook | Copyright© 2011, Ceramic Publications Company | www.ceramicartsdaily.org

i

2011 Clay Workshop Handbook Knowledge and Techniques for the Studio
Welcome to your ceramic workshop! Whether you’re a wheel thrower, a handbuilder, a glaze-testing geek, or all of the above, we’re sure you’ll

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Published by: Stefan Van Cleemput on Jul 06, 2012
Copyright:Attribution Non-commercial

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04/28/2013

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2011 clay workshop handbook | Copyright© 2011, Ceramic Publications Company | www.ceramicartsdaily.org
i
 
ceramicarts
dail
 y.
org
2011 clay workshophandbook
knowledge and techniquesfor the studio
 
2011 Clay Workshop Handbook
Knowledge and Techniques for the Studio
Welcome to your ceramic workshop! Whether you’re a wheel thrower, a handbuilder, a glaze-testing geek, or all of the above, we’resure you’ll discover an exciting technique or project on these pages to take into your own pottery studio and make your own. Potteryworkshops have become a very popular way to learn about ceramics, because a lot of pottery making techniques can be demonstrat-ed in a relatively short period of time. Presented here on the pages of the 2011 Ceramic Workshop Handbook are some of the mostpopular types of techniques and information people go to ceramic workshops to learn. So if you can’t get to a ceramic workshop inperson, the Ceramic Workshop Handbook will bring the pottery workshop into your own clay studio.Enjoy your workshop!
2011 clay workshop handbook | Copyright© 2011, Ceramic Publications Company | www.ceramicartsdaily.org
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(from left to right): Guillermo Cuellar, Shafer, Minnesota.
Photo: Dennis Chick 
; Victoria Christen,Portland, Oregon; Lisa Grahner.
Photo: Gunter Binsack, copyright Kahla/Thüringen Porcelain LLC 
.
 
2011 clay workshop handbook | Copyright© 2011, Ceramic Publications Company | www.ceramicartsdaily.org
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There are so many wonderful books, websites and even softwarethat feature spectacular glaze formulas; so one may wonder why this article should be introduced to you. The focus of thisresearch was to establish a comprehensive visual library for every-one. Rather than just providing the reader with a few promisingglaze formulas, this reference is a guideline. Because it is a guide,there are some test tiles that do not provide immediate use otherthan the suggestion of what to avoid, or the percentages of certainchemicals that exceed the safe food-serving level, etc., but Ibelieve that this research will be a good tool for those who wish toexperiment with, and push the boundaries of, mid-range ring.Many people may be thinking about switching their ringmethod from high-re to mid-range. For instance, students whorecently graduated and lost access to school gas kilns, people with a day job and those who work in their garage studios, orproduction potters who are concerned about fuel conservationand energy savings. This reference is intended as a tool for thosepeople to start glaze experimentations at mid-range that can beaccomplished with minimal resources.There is no guarantee that this chart will work for everyoneeverywhere, since the variety between the different resources over- whelmingly affects the results, but by examining a few glazes inthis chart you can speculate and make informed adjustments withyour materials. This is why all the base glazes for this research useonly simple materials that are widely available in the US.Five years ago, when I was forced to switch to mid-rangeoxidation ring with an electric kiln, from gas-fueled reductionring at high temperatures, most of my hard-earned knowledgein high-re glazes had to be re-examined. Much to my frustra-tion, many earth metal colorants exhibited completely differentbehaviors in oxidation ring. Also, problems in adhesion wereprominent compared to high-re glazes.The role of oxides and carbonates used for texturing andopacifying were different as well. But compiling the availableglazes and analyzing them were not enough. I felt there shouldbe a simple chart with visual results that explained how theoxides and carbonates behave within this ring range. Thismotivated me to write a proposal for glaze mid-range researchto the McKnight Foundation, which generously sponsors athree-month artist-in-residence program at the Northern Clay Center in Minneapolis, Minnesota.Most of the tests presented in these experiments were executedat the Northern Clay Center from October to December in 2009using clay and dry materials available at Continental Clay Co.The rest of the tests were completed after my residency at my home studio in Washington, Pennsylvania. For those tests, I useddry materials available from Standard Ceramics Supply Co.
Test Conditions
Clay body:
Super White (cone 5–9) a white stoneware body formid-range, commercially available from Continental Clay Co.
Bisque fring temperatures:
Cone 05 (1910°F, 1043°C), redin a manual electric kiln for approximately 10 hours.
Expanding Your Palette inMid-range Firing 
by Yoko Sekino-Bové

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