2008 Ceramic Workshop Handbook PDF

2008
Ceramic
Workshop
Handbook
Pottery Tools and Studio Reference
Brought to you by the publishers of

1
www.ceramicartsdaily.org
2008
Workshop Handbook
Publisher:

Charles Spahr
Editors:

Bill Jones, Pottery Making Illustrated

Sherman Hall, Ceramics Monthly
Assistant Editors:

Brandy Agnew, Jessica Knapp
Production Editor:

Cynthia Conklin
Editorial Assistant:

Holly Goring
Advertising Manager:

Mona Thiel
Marketing Manager:

Steve Hecker
Online Editor:

Jennifer Poellot Harnetty
Editorial and Advertising Offices:

600 N. Cleveland Ave., Suite 210,

Westerville, OH 43082 USA
2008 Workshop Handbook is published by the American
Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082.
Opinions expressed are those of the contributors and do
not necessarily reflect those of the editors or the American
Ceramic Society.
Photocopies: Authorization to photocopy items for internal
or personal use beyond the limits of Sections 107 or 108 of
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Copyright 2008 The American Ceramic Society
All rights reserved
Welcome
Often, in addition to heaps of inspiration and new-found
motivation, what we take away from workshops are the little
tips or techniques we never considered. Sometimes just one
small improvement or one new idea we take away can be
enough to justify the entire experience. We have handouts
from instructors we keep around our studio sometimes for
years, and we refer to them often.
There is only so much a presenter can fit into a workshop,
and there is only so much information our brains can process
and retain in a short period of time. Since most workshops
span anywhere from a few hours to a few weeks, the extended
experimentation and exploration usually happens afterward,
in your own studio. Its our hope that this publication serves
not only as a reminder of your intensive workshop experience, but also as a spark to ignite interest in other avenues
of exploration.
The tools and reference material offered here are accessible enough to be applicable to all kinds of work, regardless
of your current skill level or experience, and theyre refined
enough so that they may promote experimentation or discussion at your current workshop.
Finding a new way of looking at what we do is part of
why workshops can be so productive. Perhaps just a new
way of looking at a familiar process is what we need to kick
start our efforts in the studio. We hope that youll find some
inspiration in these pages that opens your eyes, your mind
and your hands to something new and exciting. Welcome to
your workshop!
Sherman Hall
Contents
6
Perfect Plaster by Vince Pitelka
Whether you want to slip cast, press mold or just make a

drying bat, mixing plaster correctly will make the difference
between success andwell something less than success.
Clay Tools: Forming
Ingenious gadgets and techniques to make studio life easier

and maybe a little more interesting.
14 Dividing Web by Sylvia Shirley
A popular time saver, this handy tool is indispensable for

sectioning the surface of a pot.
16 Colorant Chart by Robin Hopper
Unless you use no color whatsoever in your work, youll

want to keep this one handy on glaze testing day.
22 Clay Tools: Decoration
Simple items you can make that will let you spend less time
preparing and more time decorating your work.
26 Kiln Firing Chart
What happens in a kiln, and when does it happen, and why

do you care? Look no further for the answers.
28 Using Cones by Tim Frederich
If youre going to bother to spend the energy and hours

making your work, you should spend the energy to learn
how to fire it properly.
30 Clay Tools: Firing
There is always something we can do to improve our work

at every stage of makingand firing is no exception.
32 Choosing a Clay
The most basic of our materials can sometimes be overlooked.

Be sure you are using the right clay for the right job.
34 Primary Functions of Raw Materials

So you need to reformulate a glaze recipe you havent
looked at in years. Heres a handy guide to remind you of
what does what.
Bill Jones
36 Manufacturers and Suppliers
Dont lose this list! It has anything and everything you need
to locate tools, equipment and supplies for the studio.
cover images:
2008
Ceramic
Workshop
Handbook
Pottery Tools and Studio Reference
Brought to you by the publishers of
top: Participants at the Metchosin

International Summer School of Art
in Victoria, British Columbia, Canada.
middle (left to right): Processing
native clay for handbuilding at Mesa
Verde National Park in Colorado;
a participant at Hummingbird in
Jacksonville, Oregon; Steven Hill
demonstrates slip application at
Springfield Museum of Art in Springfield, Ohio; Brian Taylor throwing at
Haystack Mountain School of Crafts
in Deer Isle, Maine.
bottom: Ted Saupe details a piece at
Santa Fe Clay in New Mexico.
Perfect Plaster
W
hether you need a drying bat, a simple hump

mold, or youre making a complex slip mold, youll
need to mix plaster. Getting the plaster right requires a
bit more than just dumping and mixing. Here are ten
ways to get the best results for your next plaster project.
Prepare Your Mold
A common mistake of potters is to mix plaster only to

realize everythings not set up for pouring. Before casting,
make sure your model is set, the mold boards or cottle
are secure, and all the surfaces youre pouring onto are
coated with a parting agent such as mold soap.
Prepare Your Work Area
You will need a clean mixing container for the plaster,

a scale for weighing the plaster, a measuring cup for
the water and a rinse bucket. Note: Plaster cannot be
permitted to go down the drain, because it will form a
rocklike mass. Even small amounts will accumulate over
time. Line a rinse bucket with a plastic garbage bag and
fill it with water for rinsing your hands and tools. Allow
the plaster to settle for a day, then pour off the water
and discard the bag.
Use Fresh Water
The mixing water you use should be at room temperature or 70F. If the water is too warm, the plaster will
set too fast and vice versa. Use only clean, drinkable tap
water or distilled water. Metallic salts, such as aluminum
sulfate, can accelerate the setting time, and soluble salts
can cause efflorescence on the mold surface.
Use Fresh Plaster
Plaster is calcined, meaning chemically bound water

has been driven off through heating. If the plaster has
been sitting around in a damp environment, it will have
lumps in it, in which case it is no longer usable. Pitch it.
Use plaster that has been stored dry and is lump free.
Weigh Out Materials
Do not guess about the amounts of plaster and water

youll need. Once you start the mixing process, you do
not want to go back and adjust quantities. To determine the amount you need, estimate the volume in
cubic inches then divide by 231 for gallons, or by 58 for
quarts. Deduct 20% to allow for the volume of plaster,
then refer to the table.
by Vince Pitelka
Water to Plaster Mixing Chart

1 quart. . . . . . 2 lbs. 14 oz. (1,293 grams)
1Z\x quarts . . . . 4 lbs. 4 oz. (1,937 grams)
2 quarts. . . . . 5 lbs. 11 oz. (2,585 grams)
2Z\x quarts . . . . 7 lbs. 2 oz. (3,230 grams)
3 quarts. . . . . . 8 lbs. 9 oz. (3,878 grams)
3Z\x quarts . . . . . . . 10 lbs. (4,522 grams)
1 gallon. . . . . 11 lbs. 6 oz. (5,171 grams)
1Z\x gallons. . . 17 lbs. 2 oz. (7,756 grams)
2 gallons. . . . 22 lbs. 13 oz. (10,337 grams)
2Z\x gallons. . 28 lbs. 8 oz. (12,923 grams)
3 gallons . . . 34 lbs. 3 oz. (15,508 grams)
This table is based on USG No. 1 Pottery Plaster mixed to a consistency of
73 (73 parts plaster to 100 parts water) recommended for most studio applications. Excessive water yields a more porous but more brittle mold, and less
water means a very dense, hard mold that will not absorb water.
surrounded by water and it removes air from the mix.

Small batches require less soaking than large batches.
If the soaking time is too short, it may contribute to
pinholes; and if it is too long, it will contribute to fast set
times, early stiffening and gritty mold surfaces.
Mix The Plaster
Small batches of plaster can be mixed by hand. Use

a constant motion with your hand and you will notice
a change in consistency from watery to a thick cream.
Break down lumps with your fingers as you mix. Mix only
for a minute or two being very careful not to agitate the
mixture so much that air bubbles are incorporated into
the mix. Mixing time affects absorption rateslonger
mixing times produce tighter and less-absorptive molds.
Pouring The Plaster
After mixing, tap the bucket on a hard surface to

release trapped air. Pour the plaster carefully. Wherever
possible, pour plaster carefuly into the deepest area so
the slurry flows evenly across the surface of the mold.
Once the mold is poured, tap the table with a rubber
mallet to vibrate the mold and release more air bubbles.
Drying Plaster
When plaster sets, it heats up because of a chemical

reaction. When it has cooled, it is safe to remove the
cottles or formsabout 45 minutes to an hour after
pouring. Molds must be dry before use. Drying molds
properly promotes good strength development, uniform absorption and reduced efflorescence. Dry molds
Add Plaster To Water
evenly. Dont set them near a kiln where one side is
Slowly sift the plaster onto the surface of the water.
exposed to excessive heat or the relative humidity is
Do not dump the plaster or toss it in by handfuls. Adding near zero. Place them on racks in a relatively dry locathe plaster shouldnt take more than 3 minutes.
tion away from drafts.
Soak The Plaster
Allow the plaster to soak for 12 minutes maximum.

The soaking allows each plaster crystal to be completely
Sources: United States Gypsum (USG) Company and Clay: A Studio

Handbook, by Vince Pitelka, published by The American Ceramic
Society, 2001.
Clay Tools: Forming

Squeeze and Score
With a little squeeze, this tool
automatically supplies water to
the clay you are scoring to make
attachments. To make it, you will
need an empty glue bottle and a
piece of coat hanger or heavy wire
that is 1 inch longer than the height
of the bottle and slightly larger in
diameter than the hole in the cap.
Sharpen one end of the wire with a
file or grinder and insert it through
the hole in the cap. You will need
to cut off the stopper inside the
cap first. Bend the blunt end of the
wire at a 90 angle so it rests against
the bottom of the bottle (this will
provide stability when scoring). Fill
the bottle with water and squeeze.
Drops of water will run down to the
tip of the wire wetting the clay that
you are scoring. If water does not
squeeze out, just move the wire left
and right to make the hole bigger
and try again.
Paveen Chunhaswasdikul,
Gadsden, Alabama
After the clay is removed, the shavings underneath dry out and are
ready for the next batch. I use a clean canvas for each clay type, especially the white ones, to avoid contamination of color or texture. A note
indicating clay type is taped to each bucket, then moved with the clay
as it dries so I always know what clay Im working with.
I hose off the canvas outside over a bush or under a thirsty tree.
That keeps our plumbing free of clay. The wood shavings go on the
compost pile.
Heather Bartmann, Fort Collins, Colorado
Dont Sweat the Drying

I am a part-time teacher and ceramics artist, and part-time homemaker (or as I like to think, domestic goddess).
Sometimes when I have the time to work and need to trim, but
my pots arent dry enough, I will set them on the sweater shelf of my
Household Clay Drying

During my first year of pottery classes, I found myself trying a number of the available clays to learn of their traits and qualities. I saved my
scraps and kept them in separate buckets of water at home. I dont have
a plaster surface to dry out the recycled clays, so I improvised.
Pictured is a plastic sweater storage box with wood shavings in the
bottom. To keep the shavings in place I use an old retired dish towel, or
pieces of old sheets. On top of that I have a piece of canvas to contain
the wet clay. That makes it very simple to lift the clay and roll it up when
its ready to be bagged for future use. If the clay is getting ready to bag
and I do not have time to deal with it just then, I simply put the lid on
the box for a day or two.
clothes dryer and allow the warm air to circulate around the pots until
they are leather hard. This usually only takes 1015 minutes and works
perfectly! It results in nice, even drying, and the only limitation is the
size of your dryer.
Ive shared this tip with several potters and they all love it. Most
dryers now come with these shelves (mine is fifteen years old!). Hope
it helps others with home studios.
Peggy Breidenbach, Indianapolis, Indiana
Quick-Change Artist
For throwing mugs and small bowls, I use a quick-change bat
system. To make one, you need one square plastic bat that attaches
to your wheel head with bat pins, PVC molding from the hardware
store, PVC cement, and some commercial 6-inch-square terracotta tiles. Cut the PVC molding into two 5-inch lengths and two
4-inch lengths. Place one of the terra-cotta tiles in the center of
the plastic bat and dry-t the PVC molding around it, leaving two
corners open to make it easy to remove the tiles. Glue down the
molding with the cement and let it dry. Remove the tile from the
assembly while it dries or you wont get it out later. Once its dry,
mount the plastic bat on your bat pins, insert a terra-cotta tile and
throw your pot. You can quickly remove the tile and insert a fresh
5
Clay Tools: Forming

Sponge Brush
one for your next pot. A terra-cotta tile costs about 30 cents, so it
makes a really cheap bat.
Sylvia Shirley, Pittsburg, Kansas
Height and Comfort

The splash pan that came with my wonderful new wheel was a
little short for the thick bats I use for large platters. This created a
lot of problems with slip
and trimmings splashing everywhere. Out of
frustration came this answer to my problems:
I cut a piece of I-inch
foam pipe insulation
(the kind with a slit
all the way down the
length) and a piece of
H-inch clear vinyl tubvinyl
pipe
ing to fit the circumfertubing
insulation
ence of the splash pan. I
inserted the tubing into
the insulation foam and
splash pan
placed it on top of the
splash pan rim, working
it down gently onto the
rim, making sure the
vinyl tubing stayed on
top of the rim. I taped
the two ends of the
foam insulation tightly
together with duct tape. This ring can be removed and replaced
when extra height is needed, and it also provides a good deal of
cushion for your arms when throwing.
Ann Krestensen,
Bozman, Maryland
6
For making a spongeon-a-stick, I use one of

those 3-inch-diameter
round yellow sponges. I
cut off about 1 inch on
opposite edges and glue
an old paint brush into
the center of the remaining
sponge using Superglue.
This gives the sponge long,
sharp edges that reach all
the way into the corner of
a pot. The two pieces that
are cut away are excellent
for fettling excess glaze
from the bottoms of pots
and smoothing rims. Since
they are triangular at their
ends, they can easily get
into tight corners.
Eugene Prial, Westfield,
New Jersey
center section of sponge
leftover sections
Make a Name
for Yourself
Having not yet come
up with a good, cleanway
to sign my pots, I decided
to try to make a signature
stamp.Using a broadtipped marker, I signed
myname on plastic wrap,
ipped the plastic wrap over to the reverse side and traced
the outside lines of my signatureonto a pad of clay with
a needle tool.After letting the clay dry until just before leather hard, I
carved away the excess claywith small tools and, voila, the signature appears in relief.Create an embossed signature using the same plastic wrap
but this time use a dull pencil to impress and dont carve.
Gini James, Silver Spring, Maryland
Clay Tools: Forming

Since then, I use the
Fun Factory for making
various shapes, small
handles as well as coils.
I purchased a at plastic
Remove
uorescent light cover
this part.
from a local hardware
store and make my own
dies to t into the Fun
Factory for additional
shapes and designs.
I use it with stoneware
and porcelain, and it handles each with ease. The tool has only two parts,
which snap apart for easy cleaningmuch easier than using and cleaning
Extrude
an extruder for a small task. You could donate the Play-Doh that comes
with the item to your favorite tot and everyone wins!
Anywhere
In order to make an Rick Erickson, Green Bay, Virginia
Add this part and
extruder portable (those of
attach your extruder
us who have limited studio
at the proper height.
space need to make all sorts Sphere Perfection
To make a hollow clay ball perfectly smooth and spherical, it must be
of things portable), purchase
closed
so the air cant escape, but it does not have to look good at first.
an adjustable roller stand
After
you
pinch or throw the ball, rotate it on a table until it is reasonably
and a piece of steel tubing
round.
Now
you need a rigid plastic hemisphere. I bought a clear plastic
the same size in cross-section as the adjustable tube. Mine is 5 feet long,
sphere
made
of
two halves that come apart (used to hold ornaments) at a
and that seems to be plenty tall enough. Drill holes in this piece of steel
crafts-supply
store.
You can also use a bowl, but it must be perfectly round
tube to correspond to your extruders mounting holes and attach it.
and
smooth
insideno
bottom. The diameter of the bowl should be at
Thats really all there is to it!
least
twice
as
much
as
the
desired ball. Put your clay ball in the bowl and
The adjustable roller stand is designed to be used with woodworking
swirl
it
around.
In
a
few
seconds,
you will have a very smooth ball, perfect
equipment like a tablesaw or planer, so it can be found at most places
for
creating
all
kinds
of
fruits
and
vegetables.
that sell woodworking power tools.
Talli
Barr,
Nahalal,
Israel
Fujie Robesky, Fresno, California
Temporary Template
I have found that rigid foam-core board, used by artists and framers, is a handy material for creating templates for repeated shapes to be
thrown on the wheel. It can be
easily cut with a single-edge
blade or a mat knife, and it
can be sanded smooth. Since
it is paper on both sides, it
must be made waterproof,
and emulsion wax resist
works great. Do not use an
acrylic spray, because it will
melt the foam in the core.
I have used these templates
for as many as 25 duplicate forms. They can be used for interior as well
as exterior shapes.
Robert Brown, Miami, Florida
Serious Play
A tool that has become an indispensable part of my studio, and
that of several friends, is a simple, economical childs toy. My wife was
watching me work in my studio while I was handbuilding a small piece,
attempting to roll out a small coil to caulk a clay joint. She mentioned
that I should use my daughters Play-Doh Fun Factory to form the coil.
How simple.
7
Rolling Away
Use discarded casters or bed-frame
rollers as clay rollers. Even new ones
will work, and they are not that expensive. Drill a hole the same diameter as
the caster stem into a piece of wooden
dowel to create a handle. Caster posts
can be glued into this hole if they are
loose. The surface of some of the softer
wheels can be carved with designs.
Charley Farrero, Meacham,
Saskatchewan, Canada
Drill a hole in the

handle that is
the same diameter
as the caster post.
The rolling surface of the

wheels can be carved.
Dividing Web
by Sylvia Shirley
This handy guide makes it easy to divide the surface of any round pot into as many as
twelve equal sections. Whether your decorating, darting, paddling or attaching handles
and spouts, youll want to keep a few of these around the studio.
Making the Web
Use a photocopier to enlarge this wheel to the desired size. Attach it to a wheel head-sized circle of cardboard.
Cover with plastic wrap or have it laminated at an office supply store.
Dividing Web
The Pointer
The pointer helps

you transfer marks
from the dividing
web to the pot. Make
sure the bottom of
the pointer is square
and the front side is
perpendicular.
Using the
Dividing Web
Center a pot on the

wheel. Draw circles
on the pot using a
red felt-tip pen. Align
the pointer with the
selected line and position the Popsicle sticks
to to pot. Tighten the
wing nuts. Make a
tic mark at the end
of the Popsicle stick
using the red felt pen.
Move the pointer to
the next position and
repeat.
Ideas to Get
Started
Accurately marking
off divisions on your
form opens up a world
of potential design
work. Once the desired
number of marks are
made, decorate as
desired, using sgrafitto,
trailed slip, brushed
oxides, etc.
Colorant Chart
COLORANT
CONE ATMOS. %
Copper
Vary Red. 0.5%-5% Best in glazes containing less than 10% clay content,
and a high alkaline content. Needs good reduction.
In low temperatures it can be reduced during cooling. Good reds as low as Cone 018.
Iron
Vary Both 5%-10% Good in many glaze bases at all temperatures. Can
be improved with the addition of 2%-5% tin oxide.
Nickel
4-10
by Robin Hopper
he potters palette can be just as broad as the

painters. Different techniques can be closely equated
to working in any of the two-dimensional media, such
as pencil, pen and ink, pastel, watercolor, oils, encaustics
or acrylics. We also have an advantage in that the fired
clay object is permanent, unless disposed of with a blunt
instrument! Our works may live for thousands of years-a
sobering thought.
Because a number of colors can only be achieved at
low temperatures, you need a series of layering techniques in order to have the fired strength of stoneware
or porcelain and the full palette range of the painter. To
accomplish this, low-temperature glazes or overglazes
are made to adhere to a higher-fired glazed surface, and
can be superimposed over already existing decoration.
To gain the full measure of color, one has to fire progressively down the temperature range so as not to burn out
heat-sensitive colors that cant be achieved any other
way. Usually the lowest and last firing is for precious metals: platinum, palladium and gold.
Ceramists looking for difficult-to-achieve colors might
want to consider prepared stains, particularly in the
yellow, violet and purple ranges. These colors are often
quite a problem with standard minerals, be they in the
form of oxides, carbonates, nitrates, sulfates, chlorides or
even the basic metal itself.
The chart should help pinpoint mineral choices for desired colors (note that the color bars are for guidance only
and not representative of the actual colorsEd.). Colors
are listed with the minerals needed to obtain them, approximate temperatures, atmosphere, saturation percentage needed, and comments on enhancing/inhibiting
factors. Because of the widely variable nature of ceramic
color, there are many generalities here. Where the word
vary occurs in the column under Cone, it signifies that
the intended results could be expected most of the time
at various points up to Cone 10.
Red to Orange
For the hot side of the spectrumred, orange, and

yellowthere are many commercial body and glaze
stains, in addition to the usual mineral colorants.
Minerals that give reds, oranges and yellows are copper, iron, nickel, chromium, uranium, cadmium-selenium,
rutile, antimony, vanadium, and praseodymium. Variations in glaze makeup, temperature and atmosphere
profoundly affect this particular color range. The only
materials which produce red at high temperature are
copper, iron and nickelusually muted. Reds in the
scarlet to vermilion range can only be achieved at low
temperatures.
10 www.ceramicartsdaily.org
COMMENTS
Dark Red
Ox. 5%-8% Use in barium-saturated glazes.
Burgundy
Iron
See Dark Red, Iron.
Copper
Owing to the unstable nature of copper, this colorant

can produce a wide range of results. Very controlled
reduction firing and cooling are important.
See Dark Red, Copper.
Maroon
Chrome-Tin Stains
Vary
Ox. 1%-5% Use in glazes with calcium. There should be no zinc

in the glaze.
Copper
Vary Red. 0.5%-5% Best in high alkaline glazes.
Crimson
Copper + Titanium
8-10 Red. 1%-5% Try various blends of copper (1%-5%) and titanium
(2%-5%).
Calcium- Selenium Stains 010-05 Ox. 0.5-5% Best with special frits.
Indian Red
Iron
Vary Both 5%-10% Best in high calcium glazes; small amount of bone
ash helps. Tin addition up to 5% also helps. Also
works well in ash glazes.
Brick Red
Iron
Vary Both 5%-10% Similar to Indian Red. Tin to 2% helps.
Orange-Brown
Iron + Rutile
Vary Both 1%-10% Various mixtures (up to 8% iron and 2% rutile) in

most glaze bases.
Iron + Tin
Vary Both 1%-5% Various mixtures (up to 4% iron and 1% tin) in most
glaze bases. Creamier than iron with rutile.
Orange-Red
Cadmium-
012-05 Ox. 1%-4% Best with special frits such as Ferro 3548 or 3278 or
Selenium Stains
both. Helps to opacify with zirconium.
Orange
Iron
Vary Both 1%-5% Use in tin or titanium opacified glazes.
Rutile
Vary Both 5%-15% Many glaze types, particularly alkaline. More successful in oxidation.
Copper
8-10 Both 1%-3% Use in high alumina or magnesia glazes. Addition of

up to 5% rutile sometimes helps.
Orange-Yellow
Iron
Vary Both 2%-5% With tin or titanium opacified glazes.
Rutile
Vary
Ox. 1%-10% Best with alkaline glazes.
Yellow Ocher
Iron
Vary Both 1%-10% Use in high barium, strontium or zinc glazes.
Iron + Tin
Vary
Iron + Rutile
Vary Both 1%-5% Various mixtures (up to 2.5% iron and 2.5% rutile)
in many glaze bases.
Vanadium-
Vary
Zirconian Stains
Ox. 1%-5% Various mixtures (up to 3.5% iron and 1.5% tin) in
many glaze bases.
Ox.
5%-10%Various mixtures in many Zirconium Stain

glaze bases.
Lemon Yellow
Praseodymium Stains Vary Both 1%-10% Good in most glazes. Best in oxidation.
Pale/Cream Yellow
Iron + Tin
Vary Both 2%-5% Various mixtures (up to 3.5% iron and 1.5% tin)
in high barium, strontium or zinc glazes. Titanium
opacification helps.
Vanadium
Vary Both 2%-5% Use in tin-opacified glazes.
Rutile + Tin
Vary
Ox. 2%-5% Various mixtures (up to 2.5% iron and 2% tin) in

variety of glaze bases. Titanium opacification helps.
Note: Colors bars are for visual reference only, and do not represent actual colors.
Colorant Chart
Yellow-Green to Navy Blue
The cool side of the glaze spectrum (from yellowgreen to navy blue) is considerably easier, both to
produce and work with, than the warm. In the main,
colorants that control this range create far fewer problems than almost any of the red, orange and yellow
range. Some are temperature and atmosphere sensitive, but thats nothing compared to the idiosyncrasies
possible with warm colors.
COLORANT
CONE ATMOS. %
COMMENTS
Yellow Green
The colorants known for creating cool hues are

copper, chromium, nickel, cobalt, iron and sometimes
molybdenum. For variations, some are modified by
titanium, rutile, manganese or black stains. The usual
three variables of glaze makeup, temperature and
atmosphere still control the outcome, though it is less
obvious in this range.
COLORANT
CONE ATMOS. %
COMMENTS
Turquoise
Copper + Rutile
Vary Both 2%-10% Various mixtures in a wide variety of glazes, particularly

those high in alkaline materials. Almost any yellow glaze
to which copper is added will produce yellow green.
Chromium
Vary Both 0.5%-3% In yellow glazes without tin or zinc.
Copper + Rutile
Vary Both 1%-5% In high alkaline and barium glazes.
Chromium
4-8
Copper + Tin
Vary
Ox. 1%-10% In high alkaline and barium glazes; usually opaque.
Ox. 1%-2% In high zinc or barium glazes.
Chromium
Cobalt
Ox. 0.25%-1% In saturated barium glazes.
018-015 Ox.
0-2% In high alkaline glazes with no tin.
Vary Both 0-1% In any yellow glazes.
Light Green
Copper
Vary
Ox. 0-2.5% In various glazes except those high in barium or magnesium. Best in glazes opacified with tin or titanium.
Cobalt
Vary Both 0-2% In glazes opacified with titanium, or containing rutile.
Vary Both 0-2% In various glazes without zinc or tin. Good in alkaline
glazes with zirconium opacifiers. Also use potassium dichromate.
Copper
1%-2% See Light Green; use in non-opacified glazes.
Iron
Vary
Red 0.5%-2% Best with high sodium, calcium or potassium glazes.

Do not use with zinc glazes.
Copper
Vary
Ox. 0.5%-2% Good in a wide range of glazes.
Grass Green
Chromium
010-2 Ox. 1%-5% In high lead glazes; sometimes with boron.

018-04 Ox. 1%-2% In high alkaline glazes.
Olive Green
Nickel
Vary Both 1%-5% In high magnesia glazes; matt to shiny olive green.
Iron
Vary Red. 3%-5% In high calcium and alkalines, usually clear glazes.
Hookers Green
Nickel
Vary
Rutile
Vary Red. 1%-5% In a wide range of glazes; best with low (10% or
less) clay content.
Cobalt
Vary Both 0.25%-1% Use in most glazes, particularly those opacified with
tin. Also use mixed with small amounts of iron.
Iron
Vary
Ox. 2%-5% In a wide variety of glaze bases.
Cobalt +
Vary Both 2%-5% In a wide variety of glaze Chromiumbases: no zinc or

tin. Good opacified with zirconium or titanium.
Chrome Green
Cobalt + Iron
Ox. 5%-10% Many glaze bases, particularly high barium, strontium, zinc or alkaline with a minimum of 10% kaolin.
Vary Both 5%-10% Dark greens with blue overtones.
Teal Blue
Cobalt + Rutile
Cobalt + Manganese Vary Both 0.5%-2%

Cobalt + Nickel
Vary Both 0.5%-2%
Cobalt
4-10 Both 0.5%-3% In high zinc glazes.
Nickel
4-10
Ox. 1%-3% In high barium/zinc glazes; likely to be crystalline.
Nickel
Vary
Ox. 0.5%-5% In high barium/zinc glazes.
Rutile
Vary Red. 2%-5% In a wide variety of glazes, particularly high alumina

or magnesia recipes.
Blue Gray
Cobalt + Manganese Vary Both 0.5%-2% In most opaque glazes.

Vary
Ox. 0.5%-5% In high zinc glazes.
Ultramarine
Cobalt
Vary Both 0.5%-5% In high barium, colemanite and calcium glazes; no

zinc, magnesium or opacification.
Cobalt
Vary Both 0.5%-5% In glazes containing cryolite of fluorspar.
Cobalt + Chromium Vary Both 2%-5% In most glazes except those containing zinc or tin.
Vary
Cobalt + Chromium Vary Both 5%-10% Blends of these colorants will give a wide range of
dark greens.
Cobalt + Rutile
Vary Both 0.5%-2% In most glazes; small amounts of cobalt with iron,
manganese or nickel yield soft blues. Added tin gives
pastel blue.
Cerulean Blue
06-12 Both 2%-5% In most glazes; no zinc or tin.
Dark Green
Copper
6-10 Red. 0.25%-1% In high alkaline or calcium clear glazes. Black iron is
generally preferable to red iron.
Wedgewood Blue
Cobalt
Copper + Cobalt
Chromium
Ox. 1%-10% In high alkaline and barium glazes. Bluish with no

clay content; tends toward greenish tint with added
clay.
Light Blue
Celadon Green
Copper
Vary
Celadon Blue
Apple Green
Chromium
Copper
Prussian Blue
Nickel
6-10
Ox. 5%-10% In high barium/zinc glazes.
Cobalt + Manganese Vary Both 5%-10% In most glaze bases.

Cobalt + Manganese Vary Both 5%-10% In most glazes; for example, cobalt 2%, chromium
2% and manganese 2%.
Navy Blue
Vary Both 1%-5% In a wide variety of glazes.
Cobalt + Chromium Vary Both 1%-5% In most glazes without tin or zinc.
Cobalt
Vary Both 5%-10% In most glazes except those high in zinc, barium or
magnesium.
COLORANT
Colorant Chart
Indigo to Purple
The indigo-to-purple part of the color wheel is small

but significant. The colorants that produce this range
are nickel, cobalt, manganese, umber, iron, chromium,
rutile ilmenite, copper, iron chromate, and black stains.
In short, one could say that the colorants needed include
just about the whole group that are used for all the
other colors in the spectrum. The only ones I havent
talked about previously in this articles series are umber,
ilmenite, iron chromate and black stains.
Black stains Formulated from a variable mixture of
other colorants, black stains are usually rather expensive due to their being saturations of colorant materials.
Various companies produce black stains usually from a
combination of iron, cobalt, chromium, manganese, iron
chromate and sometimes nickel mixed with fillers and
fluxes such as clay, feldspar and silica. I use the following
recipe:
Black Stain
Chromium Oxide. . . . . . . . . . . . . . . . . 20 %
Cobalt Carbonate or Oxide . . . . . . . . . 20
Manganese Dioxide. . . . . . . . . . . . . . . 20
Red Iron Oxide. . . . . . . . . . . . . . . . . . . 20
Feldspar (any). . . . . . . . . . . . . . . . . . . . 8
Kaolin (any). . . . . . . . . . . . . . . . . . . . . 8
Flint. . . . . . . . . . . . . . . . . . . . . . . . . . . 4

100 %
This mixture is best ball-milled for a minimum of four

hours to limit its tendency toward cobalt specking, and
to make sure that the colorants are thoroughly mixed.
Because any black stain is a very concentrated mixture,
only small amounts are normally needed to cause a
strong effect. In a clear glaze, a maximum of 5% should
produce an intense black. In opaque glazes, more stain
than that may be needed. Black stains and white opacifiers mixed together will produce a range of opaque
grays. Stains, like other ceramic materials, are subject to
the three variables of glaze makeup, temperature and
atmosphere.
Outside the color wheel one finds tones of brown,
gray and black. These moderate other colors. A color
wheel could, I suppose, include the range of opacifiers
since they also have a strong role in affecting color.
The toning influence of brown, gray and black is just
as much opacifying in result as are the white opacifiers
such as tin, titanium and zirconium compounds such as
Zircopax, Opax, Superpax, and Ultrox. Slight additional
increments of any of these colors will render most glazes,
colored or not, progressively darker as they are added.
Excerpted from Glazes: Materials, Recipes and Techniques. For the
full text and complete explanation of these colorant charts, refer to
Robin Hoppers book, The Ceramic Spectrum: A Simplified Approach
to Glaze and Color Development, Krause Publications, 2001.
CONE ATMOS. %
COMMENTS
Indigo
Nickel
Vary
Ox. 8%-15% Use in high barium/zinc glazes. Also likely to crystallize.
Cobalt + Manganese Vary Both 5%-10% Various mixtures in most glazes.

Cobalt + Black Stain Vary Both 5%-8% Various mixtures in most glazes.
Violet
Cobalt
Vary Both 5%-10% In high magnesium glazes.
Nickel
Vary
Manganese
Vary Both 5%-10% In high alkaline glazes.
Ox. 1%-10% In some saturated-barium glazes.
Copper
Vary
Purple
Copper
6-10 Both 8%-10% In high barium and barium/zinc glazes.
Copper
8-10 Red. 1%-5% In copper red glazes opacified with titanium.
Nickel
Vary
Cobalt
Ox. 5%-10% In some high barium glazes.
Manganese
04-10 Ox. 5%-10% In high alkaline and barium glazes.
Iron
8-10 Red. 8%-10% In high calcium glazes; likely to crystallize.
Copper + Cobalt
Vary Red. 2%-8% Various mixtures in many glazes.
Chrome + Tin + Cobalt Vary
Ox. 2%-8% Various mixtures in many glazes.
Mauve or Lilac
Cobalt
Nickel
Vary
Vary
Ox. 1%-3% In high magnesium glazes opacified with tin. Also in

very low alumina content glazes.
Pink
Cobalt
Copper
Vary Red. 0.2%-2% In copper red glazes with titanium.
Copper
6-10
Copper
8-10 Red. 5%-10% In copper red glazes opacified w/min. 5% titanium.
Chromium
Vary
Ox. 1%-2% In calcium glazes opacified with 5%-10% tin.
Iron
Vary
Ox. 1%-5% In calcium glazes opacified with tin.
Rutile
Vary Both 5%-10% In high calcium and some ash glazes.
Nickel
018-010 Ox. 1%-3% In high barium glazes with some zinc.
Manganese
Ox. 0.2%-3% In high magnesium or high alumina glazes.
Vary Both 1%-5% In alkaline glazes opacified with tin or titanium. Also
in high alumina glazes.
Brown
Iron
Vary Both 3%-10% In most glazes.
Manganese
Nickel
Vary Both 2%-5% In high boron, calcium and lead glazes.
Chromium
Vary Both 2%-5% In high zinc glazes.
Umber
Ilmenite
Vary Both 2%-10% In most glazes. High calcium may yield bluish tint.
Rutile
Vary Both 5%-10% In most glazes; golden brown.
Gray
Iron
Vary Red. 2%-4% In many glaze bases; gray brown.
Iron Chromate
Vary Both 2%-5% In most glaze bases without zinc or tin.
Nickel
Vary Both 2%-5% In most glaze bases; gray brown.
Copper
8-10 Both 3%-10% In high magnesium glazes. Warm gray in reduction;

cold gray in oxidation.
Cobalt + Nickel
Vary Both 1%-5% Blue gray in most glazes.
Cobalt + Manganese Vary Both 1%-5% Blue gray to purple gray in most glazes.
Black Stain
Vary Both 1%-5% Shades of gray in most opacified glazes.
Black
Iron
Vary Both 8%-12% In high calcium glazesthe temmoku range.
Copper
Vary Both 8%-10% In a wide range of glazes.
Cobalt
Vary Both 8%-10% Blue black in most glazes except those high in zinc
and magnesium.
Black Stain
Vary Both 3%-10% In most zinc-free, nonopacified glazes.
Clay Tools: Decoration

Pinning Parallel Lines
I became frustrated by not being able to draw parallel lines in curves
or arcs on my work when it is leather hard. If I tried to draw the lines
separately, it would never work, and even if I held two tools at once,
one would always wander. I found that a clothespin actually performs
this task wonderfully.
I sharpen the ends you use as a handle (if you were actually using it
as a clothespin) and use these points to draw the lines. They are held at
a consistent distance
apart, and are infinitely
adjustable between
open and closed. To
adjust the space between the points, I
put various small cylindrical objects in the
groove of the mouth
of the pin (pen caps,
pencils, dowels). The
larger the object in the
mouth, the closer the
lines become. This tool
has become a staple in
our studio.
Ken Magee,
Talahassee, Florida.
Fixing Finger Fatigue

I recently attended a
wonderful clay workshop
focused on the sgraffito
process of decoration.
Because this involves
very controlled carving,
at the end of the day everyone was complaining
about finger strain and
calluses, especially as the
clay surfaces gradually
dried, making it more
difficult to carve.
I have made a comfortable device that will ease finger fatigue and
calluses: I slip a 1H-inch plastic straw over a tool, with H inch of
the blade sticking out. I then slip a pencil grip over the straw. The
straw supports the grip beyond the handle, so your fingers are closer
to the working tip.
Ellen Kong, Durham, North Carolina
Turning Water into Wax
This process has several advantages over wax. It is cleaner, safer

and cheaper than waxing. It is reversible; if you screw up your glaze
job, you simply let the piece dry out and in a few hours you can try
again. It works better for heavy iron glazes. It is easier to wipe the
glaze off of saturated bisque than wax.
Anthony Merino, San Marcos, Texas
Spray Masking
I spray a lot of my glazesandstains, and I do a lot of masking.The
best thing I have found to keep thissprayoff a particular part of a
pot is open-cell foam. I usepieces that are slightly thicker than those
thatcome in Or-ton cone boxes (although those work pretty well).
I hold the foam with my left hand and can get a straight or curved
line. Also, the foam catches drips when Im spraying up close. It can
then be rinsed out and reused.
Diana Pittis, Daniels, West Virginia
Mini Blunger
I am pretty lazy
about blunging, and
because of an arthritic
condition, stirring little batches of cementhard slip becomes
quite wearisome very
quickly. I recently
found a wonderful
device to help me
do this: an immersion blenderone
of those handy-dandy
drink mixers that has
a wee, tiny little blade very handy,
very fast,
and generates a tre- very sharp!
mendous amount of
agitation while turning fruit into pured
smoothies. It only
costs about $10. Its easy to clean
and thoroughly works over the most
gloppy, dried-out glazes and slips.
Just add some water to the dried
slip or glaze and whiz away!
The device draws quite a suction on the bottom of a container, so
be advised that a sturdy container is necessary. And the tiny blades
are very sharp, so be careful!
To clean the device, simply place the stirring mechanism into a
container of clean water and whiz away! Any residual glaze or slip
can be wiped off with a damp sponge. What used to take me twenty
minutes now takes about three minutes. Happy blunging!
Lisa Reiser, Greenwich, New Jersey
Try using water instead of wax as a resist when glazing. Simply

set out a tray with about G to H inch of water in it. Set your piece
in the water for at least two minutes. Glaze sticks to bisque primarMini Tongs
ily because the water in the glaze gets absorbed into the piece. If the
When space is limited, a pair of staple removers make great
bisque ware is already saturated with water, the glaze will not stick.
miniature glaze-dipping tongs. They fit inside the palms of your
It can simply be wiped off with a wet sponge.
Clay Tools: Decoration

hands, so they can be more easily maneuvered in a glaze bucket than
regular-sized dipping tongs. Dont forget to round off the sharp teeth
with a file so they wont scratch your bisqueware.
Paveen Chunhaswasdikul, Gadsden, Alabama
Points have
been filed to
avoid scratching
bisqueware
Pencil Pushing
When making beads, I use a pencil to push the hole in on one end
until the point of the pencil comes just barely through the bead (1). I
then remove the pencil and push it in through the small hole made by
the tip on the opposite end of the bead (2). This makes a nice, clean,
finished hole. To glaze the bisque-fired bead, I simply insert the pencil
glaze
into the hole again and dip it into the glaze (3). Since the angle of the
hole is the same as the pencil, friction keeps it from falling into the glaze.
You can also use small dowels or chopsticks for smaller beads instead of
a pencil; just sharpen them in your pencil sharpener.
Kathy Sandberg, Plymouth, Michigan
Rolling Stamps
The simplest method of creating rolling stamps is to wrap a clay
slab around a tubular shape (a cardboard tube, wooden dowel or plastic
pipe), which provide a rigid backing when applying

a texture to the
slabs. A piece of
newspaper placed
between the form
and the clay will
prevent sticking
when removing the
support. Stamps
also can be made
by throwing a cylindrical or conical
form. The center spout is pulled up first, then the outer wall is then raised
to form the working surface of the stamp, which will be carved when leather
hard. Make sure that the outer
surface is perpendicular to the
wheel head. An extruder can
also produce tubular shapes
for rolling stamps. Just cap
the ends with slabs, leaving
small holes in the center to
allow dowels to be used as
handles. Interesting surfaces
can be obtained by cutting
the cylinders into sections
and reassembling the parts
into different positions.
After bisque ring, simply
roll the stamps over the surface
of the clay with the palm of
the hand while varying the
pressure to correspond to the
width of the stamp. The rolling stamp is ideal for quickly
decorating a platter rim. The stamp, held rigidly in a xed position,
quickly prints out the repeated pattern as the wheel spins. Lifting at the
right moment can be tricky, but a little practice is all you need.
William Shinn, Santa Maria, CA
Kiln Firing Chart

Firing converts ceramic work from weak greenware into a strong, durable permanent form. As the temperature in a
kiln rises, many changes take place at different temperatures and understanding what happens during the firing can
help you avoid problems with a variety of clay and glaze faults related to firing.
Temperature
1400
2552
1300
2372
1200
2192
1100
Cone
(approx.)
2012
14
13
12
11
10
9
8
7
6
5
4
3
2
01
02
03
Incandescence
Brilliant white
End of porcelain range.
White
End of stoneware range.
Yellow-white
End of earthenware (red clay) range.
Yellow
Yellow-orange
1000
900
800
1832
1652
1472
06
07
08
09
010
011
012
013
014
015
016
Orange
700
1292
of chemical action between the fluxes and the more refractory materials.
Red-orange
800900C: the beginning of sintering, the stage where clay particles begin
to cement themselves together to create a hard material called bisque.
Cherry red
300800C: Carbonaceous materials (impurities in the clay along with
600
1112
paper, wax, etc.) burn out. The kiln requires ample air during this stage
Dull red
since after 800C sintering begins and the clay surface begins to seal off,
019
trapping unburned materials and sulfides, which can cause bloating and
020
black coring.
021
and materials shrink as they become more dense. Soaking (holding the
end temperature) increases the amount of fused material and the mount
017
018
11001200C: Mullite and cristobalite (two types of silica) form as clay

begins to convert to glass. Particles start melting together to form crystals,
04
05
Event
Dark red
022
573C: Quartz inversion occurs where the quartz crystals change from an
Dull red glow

500
932
alpha (a) structure to a beta (b) structure. The inversion is reversed on cooling. This conversion creates stressses in the clay so temperature changes
must be slow to avoid cracking the work.
Black

400
752
300
572
200
392
Between 480700C chemical water (water smoke) is driven off.
Upon cooling, cristobalite, a crystalline form of silica found in all clay bodies, shrinks suddenly at 220C. Fast cooling at this temperature causes
ware to crack.
100
212
Water boils and converts to steam at 100C. Trapped water causes clay to
explode so keep the kiln below 100C until all water has evaporated.
Using Cones
P
yrometric cones, often referred

to simply as cones (or more
formally as witness cones), are
used in pottery making to indicate
the amount of heat work (or
energy) needed during a kiln firing.
Cones are shaped like elongated
pyramids made of specified mixtures of ceramic materials, and
they come in a variety of standard
shapes. To get the best results from
cones, they must be used correctly.
Here are a few guidelines . . .
by Tim Frederich
SSB cones are made to sit at the

correct mounting height and angle
without the need to mount them.
Cone Placement
A.
B.
Cone Mounting
Three cones are typically used

when firing: a warning cone to
indicate that the target firing temperature is close; a firing cone, which
indicates that temperature has been
reached; and a guard cone, which
indicates that the maturing temperature has been exceeded.
Large cones should be mounted
with the face at an 8 angle.
Large cones can be mounted
at a height of 2 inches above the
plaque or conepack. If you mount at
the 1 inch height, you can use the
temperature for self-supporting base
(SSB) cones.
C.
Mount cones in a straight line

(A), turned to an angle (B) or spaced
CAUTION
diagonally (C). Diagonal placement
Always use proper safety glasses when viewing
is handy when viewing SSB cones
cones during firing.
through a peephole.
Place cones at least 6 inches from Hold or Soak Time
the kilns inner wall to protect the
When you soak a kiln, you hold
cones from the effects of drafts.
the kiln at a certain temperature. As
shown here, you can see that it takes
Interpreting Cones
The difference between 60 and a significant amount of soaking to
90 bending angles is usually a small cause the next cone to deform. Soak
time can be used to equalize the
amount in equivalent temperature.
temperature distribution within the
If your firing cone deforms to a
kiln and ware.
lesser bending angle than desired,
you may need to increase the firing
time.
Manual Kilns: Place small cone
in kiln sitter in offset position with
large end toward center or place
next higher cone in kiln sitter if firing
cone has hardly moved. (Note: You
cannot adjust a pyrometric bar by
moving it.)
Controller Kilns: Add small
amounts of hold or soak time
or raise your end setpoint temperature in custom programs.
If your firing cone is deformed
to a greater bending angle than
desired, you may need to decrease
the firing time.
Manual Kilns: Place small cone in

kiln sitter in offset position with small
end toward center or place next
lower cone in kiln sitter.
Controller Kilns: Decrease small
amounts of hold or soak time
if this has been set, or lower your
end setpoint temperature in custom
programs.
Clay Tools: Firing

Potlifter
best, with minimal warping. When making and trimming plates,

Handling large pots may be awkward and can even be difficult, es- always make sure that the foot is the same size. The more variation
pecially after pieces are glazed. After glazing, the only surfaces one wants in size, the more warping you will have.
to touch are unsprayed or unseen areas. This can make pots difficult to Linda C. Klaus, Sandy, Oregon
transport and load into the kiln.
When lifting these pots into the kiln, I use a piece of wood cut just
a bit shorter than the interior diameter of the pot shoulder. I place the In the Soda Zone
Inspired by Gail Nichols article Soda, Clay and Fire (Ceramics
Monthly, December 2006) and her book of the same title (American
Ceramic Society 2006), our firing group conducted an experiment
to introduce soda into one segment of a kiln rather than dedicating
an entire chamber to it.
We fire a small wood kiln with a 50-cubic-foot cross-draft
chamber. This chamber has an in-chamber firebox in the front
and one stoke hole in the middle that helps fire off the back half
of the kiln.
Two-foot-long pieces of 2-inch tree bark covered with a soda
paste were introduced in the rear stoke hole, beginning at Cone 8
and continuing every 15 minutes until Cone 10 was reached. The
draft carried soda vapor through the bottom and rear quarter of
A piece of wood, cut slightly shorter than the interior diameter of a pots shoulder,
acts as a handle for carrying and loading the large pot into a kiln.
wood into the pot vertically and, once inside, turn it horizontally and
lift the pot into the kiln. To remove the wood, I simply return it to the
vertical position and lift out. In a top-loading kiln like mine, the inside
of the pot is still accessible, so any unwanted marks left by the wood can
be touched up before closing the kiln.
Rick Erickson, Green Bay, Virginia
Consistent Wadding
When wadding a stack of plates for wood ring, use a template
and pencil eraser to neatly facilitate glaze removal and stacking. Make
a triangular template
to mark a consistent
triangular template based on footring
conguration for the
wads on the foot.
After a plate is glazed,
use this template and
a pencil to transfer
the markings to the
transferred marks with glaze removed
top of the plate. Remove a -inch area of
the dry glaze at each
wad mark with the
pencil eraser. Knock
down the edge of the
glaze around these
areas with a damp
sponge and proceed
to wadding.
Although I have
stacked as many as six
Wads should be placed directly above one
small plates together,
another to prevent warping.
three or four works
the kiln and then out of the chimney, not affecting the other parts
of the kiln. We call this area our soda zone. We gained effective
distribution of soda in the zone with excellent traditional firing
results in the rest of the chamber.
The placement of the soda-bearing wood must be done with
caution as direct contact between the paste and a pot leaves a permanent scar. Soda does make a mess of the kiln floor and shelves,
so we lay a bed of oyster shells in and around the zone floor, which
seems to help in clean up.
Mark Bollwinkel, Los Altos, California
Choosing a Clay
M
ost potters use commercially prepared clays, and

ceramic suppliers have met their needs by offering a vast, though sometimes bewildering, selection of
clays to choose from. If youre using the clay someone
else just handed you, maybe its not the right one for
the work youre doing. Every clay body is formulated
for a specific use, and finding the right one for your
needs takes a bit of research and experimentation.
There are several decisions to make when finding a
clay body or bodies that meet your skill level, techniques and aesthetic.
Supplier
Now why would you choose a supplier first? They

work with amateurs, professionals, students, teachers,
sculptors, tile makers, etc., and have solved a wide variety of problems. There are three types of suppliers: those
that manufacture their own clays, those that sell clay
from other manufacturers and those that do both. And,
if you have problems a supplier cant answer, either you
or the supplier can contact the manufacturer.
Application
Clay bodies are formulated for different applications.

Throwing tableware requires a clay body that is plastic (malleable) and smooth, while constructing a large
sculpture may require toothier (coarse-grained) clay. In
many cases, a clay body may be used for several applications, but some are highly specializedraku or ovenware, for example. Make a list of the things you want to
do, and you may end up with several bodies to achieve
the best results.
Firing Range
Clays are formulated to fire at specific temperatures

within three general ranges: low (Cone 062), mid (Cone
37) and high (Cone 810). Within a range, the higher
you fire, the greater the shrinkage and the lower the
absorbency of the fired clay. Low-fire clay bodies (earthenware) are easy to work with and fire, and there is a
wide range of colorful glazes available. These clay bodies
are also used for raku and pit firing. Mid-range clays are
more durable and include stoneware and some porcelain
bodies, but color is more limited. This situation improves
each year as glaze companies improve and expand their
offerings. High-fire clays are very durable and include
stoneware and porcelain. Color palettes vary depending
on firing atmosphere (oxidation or reduction).
Color
Color in basic studio clay bodies results mostly from

naturally occurring iron and/or iron that has been added.
Porcelain contains no iron, light buff bodies have some
iron and earthenware bodies may have over 10% iron.
The body color (as well as the glazes) changes based

on the type of firing atmosphere you havereduction
(from fuel firing) or oxidation. Reduction firing deepens
or darkens an otherwise neutral-colored clay body. Some
clay companies have duplicated this effect by adding
more colorants to their formulas making it possible to
achieve reduction colors from an electric kiln. Since
the iron and other colorants in a body color affect glaze
color, youll need to test your glazes with each body.
Texture
Texture can range from smooth to rough. Smooth

bodies contain very small particles of clay, which tend to
shrink more. These are best suited for small, fine and/
or detailed work. Adding grog (ground-up fired clay) or
sand gives the body tooth, and the larger the particle
size, the less water the piece will need (hence less shrinkage). Manufacturers offer a range of bodies that incorporate finer particles of grog and sand to get a texture
between smooth and rough.
Buy Wisely
Buying prepared clay requires a little judgment. First,

try to find a supplier that is nearby because shipping
costs can add up and sometimes equal or exceed the
cost of the clay body itself. Next, test a sample before
purchasing a large quantity. If youre buying several
types of clay bodies, suppliers will typically allow you to
combine the weights for a better discount. Finally, buy
only enough clay to last you a year maximum. Clay loses
moisture in storage and becomes stiffer, possibly even
unworkable. You can ask your supplier how long they
have stored the clay. A good supplier will only stock
what they can sell within a reasonable amount of time.
Buyer Beware
All commercially prepared clay bodies are made from

naturally occurring elements scooped from the earth for
industrial users. Studio potters do not purchase enough
materials to be a major user, so we have to make do
with a small portion of what the industry uses (brick
and tile manufacurers, china companies, steel industry, paper mills, pharmaceuticals, etc.). Mother Nature
did not use any quality control when she created clay
deposits, so seams of clay vary from one spot to another.
And a mammoth front loader is not a delicate materialselection tool. The good news is that the industry often
requires a degree of consistency in their raw materials,
so that clay mines make every effort possible to provide
them with the very best product out there for an intended application. To make sure your clay meets your every
needs and your own quality standards, always test each
batch everytime.
Primary Functions of Raw Materials

CERAMIC MATERIAL
GLAZE FUNCTION
CLAYBODY FUNCTION
CERAMIC MATERIAL
GLAZE FUNCTION
CLAYBODY FUNCTION
Albany Slip Clay

Glaze Core
Alberta Slip (s)
Jasper Slip (s)
Colorant
Potash Spars
Glaze Core (ST, P)
Melter (ST, P)
Custer
G-200, K200 (s)
Ball Clay

Alumina
Opacity
Plasticity
G-200
Custer, K200 (s)
K200
Custer, G-200 (s)
Barnard Clay

Glaze Core
Color (ST, P)
Color
Bone Ash
Opacifier
Melter (46)
Borax

Melter (56, E)
Glassmaker
Carbon Trap (ST, P)
Boric Acid

Redart
Color

Melter
Color
Core (E)
Melter (46, E
Rotten Stone

Glaze Core
(ST, P)
Melter
Color (ST)
Melter (56, E)
Glassmaker
Melter (46, E)
Soda Spars
Glaze Core (ST, P)
Melter (ST, P)
Kona F-4
C6 (s)
Boron Frits

Glaze Core (56, E)

Melter
Colemanite (s)
Gerstley Borate (s)
Melter (46, E)
Spodumene

Lithium Glaze Core Melter

(ST, P)
(FL)
Colemanite

Glaze Core (56, E)

Melter
Gerstley Borate (s)
Boron Frits (s)
Melter (46, E)
Talc

Melter
Opacifier
Volcanic Ash

Glaze Core (ST, P)

Cornwall Stone (s)
Glaze Core (ST, P)

Melter (P)
(Low melter, high SiO2)
Dolomite

Melter (ST)
Opacifier
Whiting (s)
Melter (ST)
Whiting

Melter (ST, P)
Opacifier
Wollastonite (s)
Dolomite (s)
Melter (ST)
Cornwall Stone

Alumina
Opacity (ST, P)
Core (P, W)
Melter (ST, P)
Opacifier
Whiting (s)
Dolomite (s)
Melter (ST, P)
EPK Kaolin

Wollastonite

Wood Ash

Glaze Core (ST, P)

Melter (ST, P)
Colorant
Zinc

Melter (ST, P)
Opacifier (ST, P)
Silica (Flint)
Glassmaker

Fluorspar
Melter
Gerstley Borate

Glaze Core (46, E)

Melter
Colemanite (s)
Boron Frits (s)
Glassmaker
Glaze-fit
Melter (46, E)
Key:
Melter
(E, 46, W)
(s)=substitute option
Goldart Clay
Core (ST)
(E)=earthenware claybody
Kentucky Ball Clay
Core (ST)
(ST)=stoneware claybody
(P)=porcelain claybody
(FL)=flameware claybody, c/9-10
(W)=white-burning claybodies, c/4-10
Lepidolite
Lithium Glaze Core Melter (FL)
Magnesium Carbonate Melter (ST, P, W)

Opacifier
Melter
Nepheline Syenite

Glaze Core
(low SiO2)
(high Na2O)
(high Al2O3)
Melter (ST, P)
Petalite

Lithium Glaze Core Melter (FL)

(ST 9-10)
This chart is excerpted from Out of the Earth, Into the

Fire, 2nd Edition, by Mimi Obstler, published by The
American Ceramic Society, 2000.
Manufacturers and Suppliers

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Quickly locating one of 335 ceramic businesses is easy with this locator. Youll be able to easily find suppliers nearby and
all the suppliers offering various products and services. Companies are arranged alphabetically by state, then by city.

ALABAMA
Mecca Pottery Tools (Florence)
South Alabama Ceramic Supply (Montgomery)
ARIZONA
Marjon Ceramics Inc. (Phoenix)
www.marjonceramics.com
Dolan Tools (Scottsdale)
www.dolantools.net
Marjon Ceramics Inc. (Tucson)
www.marjonceramics.com
www.flatrockclay.com
ARKANSAS
Flat Rock Clay Supplies (Fayetteville)
CALIFORNIA
Phoenix Ceramic & Fire Supply (Arcata)
W.P. Dawson Inc. (Brea)
www.phoenixceramic.com
www.kiln-sitter.com
Creative Paperclay Co. (Camarillo)
www.paperclay.com
Ceramic Services (Chino)
www.ceramicservices.com
Kemper Tools (Chino)
www.kempertools.com
Laguna Clay Co. (City of Industry)
www.lagunaclay.com
Grabers Pottery Inc. (Claremont)
www.graberspottery.com
Gordon Brush Mfg. Co. Inc. (Commerce)
www.gordonbrush.com
Snyder Imports (Comptche)
www.donsynderimports.com
The Chinese Clay Art, USA (Cupertino)
www.chineseclayart.com
Creative Industries (El Cajon)
www.creativewheels.com
Mud in Mind (El Cajon)
www.mudinmind.com
Chris Henley Tools (Encinitas)
www.hominid.net/chris.htm
Duncan Enterprises (Fresno)
www.duncanceramics.com
B & W Tile Co. Inc. (Gardena)

Geil Kilns Co. (Huntington Beach)
www.bwtile.com
www.kilns.com
Art Decal Corp. (Long Beach)
www.artdecalcorp.com (decals)
Echo Ceramics (Los Angeles)
www.echoceramics.com
West Coast Kiln (Lucerne Valley)
www.westcoastkiln.com
Nasco Arts & Crafts (Modesta)
www.enasco.com
Olsen Kiln (Mountain Center)
www.olsenkilns.com
Freeform Clay & Supply (National City)
www.freeformclay.com
Falcon Company (Olivenhain)
Keith Company (Pico Rivera)

Aftosa (Richmond)
www.keithcompany.com
www.aftosa.com
Jiffy Mixer Co. Inc. (Riverside)
www.jiffymixer.com
Industrial Minerals Co. (Sacramento)
www.clayimco.com
HyperGlaze/Richard Burkett (San Diego)
www.hyperglaze.com (software for glazes)
Ceramics & Crafts Supply Co. (San Francisco)
www.ceramicssf.com
Japan Pottery Tools (San Francisco)

A&D Weighing (San Jose)
www.japanpotterytools.com
www.andweighing.com
Lily Pond Products (Sanger)
www.lilypond.com
Aardvark Clay & Supplies (Santa Ana)
www.aardvarkclay.com
Miles Ceramic Color (Santa Ana)
Clay Planet (Santa Clara)
California Pot Tools (Santa Paula)

Peter Pugger Mfg., Inc. (Ukiah)
Ceramic ArtSpace (Van Nuys)
Pure & Simple Pottery Products (Willits)

COLORADO
Herring Designs, LLC (Breckenridge)
www.clay-planet.com
www.peterpugger.com
www.ceramicartspace.com
www.pureandsimplepottery.com
www.herringdesigns.com
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Ceramic Design Group Ltd. (Denver)
Killam Gas Burner Co. (Denver)
Mile Hi Ceramics, Inc. (Denver)
Thomas Stuart Wheels (Denver)
Bluebird Mfg. Inc. (Ft. Collins)
www.jonathankaplanceramics.ocm
www.killamburner.com
www.milehiceramics.com
www.thomasstuart.com
www.bluebird-mfg.com
Rocky Mountain WoodMasters, Ltd. (Highland Ranch)

ARC (Lakewood)
BNZ Materials Inc. (Littleton)
Glyptic Modeling Tools (Loveland)

CONNECTICUT
Rusty Kiln Ceramic Studio (North Windham)
R.T. Vanderbilt Co. Inc. (Norwalk)
Nabertherm, Inc. (New Castle)

FLORIDA
Atlantic Pottery Supply Inc. (Atlantic Beach)
www.glyptic.com
www.rustykiln.com
www.rtvanderbilt.com
www.duralite.com
Jepson Pottery & World Pottery Institute (Geneva)
www.bnzmaterials.com
Duralite Inc. (Riverton)

DELAWARE
J. & J. Ceramic Studio (Dover)
www.nabertherm.com
www.atlanticpotterysupply.com
www.jepsonpottery.com
Jen-Ken Kilns (Lakeland)
www.jenkenkilns.com
Summit Kilns (Land O Lakes)
www.swiftweb.com/summit
C and R Products, Inc. (Ocala)
Bennett Pottery Supply (Ocoee)
www.candrproducts.com
www.bennettpottery.com
Calcoworld Ceramic Decals (Orlando)

Axner Co. Inc. (tradename of Laguna Clay Co.) (Oviedo)
Highwater Clays of Florida (St. Petersburg)
www.calcoworld.com (decals)
www.axner.com
www.highwaterclays.com/hwcflorida.html
St. Petersburg Clay Company Inc. (St. Petersburg)
www.stpeteclay.com
The Arts Center (St. Petersburg)
www.theartscenter.org
OTT-LITE Technology (Tampa)

GEORGIA
www.ott-lite.com
www.davensceramiccenter.com
Davens Ceramic Center (Atlanta)
Fort Pottery Co. (Augusta)
www.fortpottery.com
Creative Glazes (Duluth)
www.creativeglazes.com
Olympic Kilns (Flowery Branch)
Larkin Refractory Solutions (Lithonia)

Kickwheel Pottery Supply Inc. (Tucker)
IDAHO
The Potters Center (Boise)
www.larkinrefractory.com
www.kickwheel.com
U.S. Pigment Corp. (Bloomingdale)
Great Lakes Clay & Supply (Carpentersville)
Wendt Pottery (Lewiston)

ILLINOIS
Metomic Corporation (Chicago)

Paasche Airbrush Co. (Chicago)
Boothe Mold Company (Dupo)

Ceramic Supply Chicago (Evanston)
www.ceramicsupplychicago.com
www.badgerairbrush.com
Dick Blick Art Materials (Galesburg)
www.dickblick.com
Crystal Productions (Glenview)
www.crystalproductions.com
www.paascheairbrush.com
www.boothemold.com (molds)
www.greatclay.com
www.metomic.com (lamp parts)
www.potterscenter.com
www.wendtpottery.com
Badger Air Brush Co. (Franklin Park)

www.greatkilns.com
Shimpo Ceramics (Nidec-Shimpo America Corp.) (Itasca)
www.shimpoceramics.com
Midwest Ceramics (Joliet)
www.midwestcas.net
International Decal Corp. (Northbrook)
www.timrg.com
Art Clay World, USA (Oak Lawn)
www.artclayworld.com
Debcor Inc. (South Holland)

INDIANA
www.debcor-inc.sbcontract.com
www.unitednow.com
United Art & Education (Ft. Wayne)
American Art Clay Co., Inc. (Amaco/Brent) (Indianapolis)
www.amaco.com
Brickyard Ceramics & Crafts (Indianapolis)
www.brickyardceramics.com
www.sugarcreekind.com
Royal and Langnickel Brush Mfg. (Merrillville)
www.royalbrush.com
Sugar Creek Industry, Inc. (Linden)
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IOWA
www.johnsongas.com
Bartlett Instrument Co. (Ft. Madison)
Johnson Gas Appliance Co. (Cedar Rapids)
www.bartinst.com
Scotlin Ceramics (McGregor)

KANSAS
Creative Paradise (Goddard)
www.handbuilding.com
Easy Ceramic Decals, LLC (Kansas City)
www.easyceramicdecals.com (decals)
Brackers Good Earth Clays (Lawrence)
www.brackers.com
Soldner Clay Mixers by Muddy Elbow Mfg. (Newton)
www.soldnerequipment.com
ClayStamps.com (Olathe)
www.claystamps.com
Evans Ceramic Supply (Wichita)
www.evansceramics.com
KENTUCKY
Old Hickory Clay Co. (Hickory)
Kentucky Mudworks LLC (Lexington)
Louisville Fire Brick Works (Louisville)
www.oldhickoryclay.com
www.kentuckymudworks.com
www.louisvillefirebrick.com
LOUISANA
Alligator Clay Company (Baton Rouge)
www.alligatorclay.com
Southern Pottery Equipment & Supplies (Baton Rouge)
www.alligatorclay.com
Blue Diamond Kilns (Metarie)
www.bluediamondkiln.com
New Orleans Clay (New Orleans)
www.noclay.com
MAINE
Portland Pottery Supply South (Braintree)
www.portlandpottery.com
Amherst Potters Supply (Hadley)
www.amherstpotters.com
MARYLAND
Baltimore Clayworks (Baltimore)
www.baltimoreclayworks.org
Buyers Market of American Craft (Baltimore)
www.americancraft.com
Chesapeake Ceramics Supply (Baltimore)
Clayworks Supplies, Inc. (Baltimore)
Bear Creek Pottery (Bowie)
PotteryTools.com (Sinkburg)
www.ceramicsupply.com
www.clayworkssupplies.com
www.bcpottery.com
www.potterytools.com
www.gare.com
MASSACHUSETTS
Gare Inc. (Harverhill)
The Potters Shop and School (Needham)

Sheffield Pottery Inc. (Sheffield)
Ceramics Consulting Services (Southampton)

Boston Kiln Sales & Service (Watertown)
Saint-Gobain Ceramics (Worcester)
www.sheffield-pottery.com
www.fixpots.com
www.bostonkiln.com
www.refractories.saint-gobain.com
MICHIGAN
Pebble Press, Inc. (Ann Arbor)
Evenheat Kiln Inc. (Caseville)
www.evenheat-kiln.com
Runyan Pottery Supply Inc. (Clio)
www.runyanpotterysupply.com
Gilmour Campbell Co. (Detroit)
West Michigan Clay (Hamilton)
www.westmichiganclay.com
Crossroads Pottery & Clay Company (Jackson)
www.crossroadspottery.net
Manitou Arts (Leland)

Du-All Drafting & Art (Madison Hts.)
www.manitouarts.net
www.duall.com
Har-Bon Ceramics & Decals (Presque Isle)
www.harbon.com (decals)
Rovin Ceramics (Taylor)
www.rovinceramics.com
MINNESOTA

www.minnesotaclayusa.com
Master Kiln Builders (Farmington)
Minnesota Clay Co. USA (Edina)
www.kilnbuilders.com
Dunghanrach Clay Co. (Melrose)
Brown Tool Co. (Minneapolis)
www.browntool.com
Continental Clay Co. (Minneapolis)
www.continentalclay.com
Smith-Sharpe Fire Brick Supply (Minneapolis)

Triarco Arts & Crafts LLC (Plymouth)
www.kilnshelf.com
www.triarcoarts.com
MISSISSIPPI
Dogwood Ceramic Supply (Gulfport)
Whistle Press (Petal)

www.dogwoodceramics.com
www.whistlepress.com
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MISSOURI
Christy Minerals Co. (High Hill)
www.christyco.com
KC Metro Ceramic & Pottery Supplies (Kansas City)
www.kcmetroceramic.com
L&R Specialties Inc (Nixa)
www.claydogs.com
Krueger Pottery, Inc. (St. Louis)
www.kruegerpottery.com
www.archiebray.org
MONTANA
Archie Bray Foundation (Helena)
NEVADA
Cress Mfg. Co. (Carson City)
www.cressmfg.com
Aardvark Clay & Supplies (Las Vegas)
www.aardvarkclay.com
Bison Studios (Las Vegas)
www.bisonstudios.com
BigCeramicStore.com (Sparks)
www.bigceramicstore.com
Nevada Dans (Sparks)
www.potterywheel.com
NEW HAMPSHIRE
W.K. Hillquist, Inc. (Hudson)
Midlantic Clay (Bellmawr)
www.retaildisplays.com
www.midlanticclay.com
NEW JERSEY
Instar Beautiful Decals (E. Brunswick)
www.instardecals.com (decals)
Curran Pfeiff Corp. (Edison)
www.curranpfeiff.com
Hobby Colorobbia (Elmowwod Park)
www.hobbycolorobbia.com
Hammill & Gillespie Inc. (Livingston)
www.hamgil.com
Ceramic Supply Inc. (Lodi)
www.eceramicsupply.com
New Brunswick Lamp Shade Co. (North Brunswick)
www.nbls.com (lamp shades)
L&L Kiln Mfg. Inc. (Swedesboro)
www.hotkilns.com
NEW MEXICO
Coyote Clay & Color (Albuquerque)
www.coyoteclay.com
New Mexico Clay, Inc. (Albuquerque)
www.nmclay.com
Taos Clay (El Prado)
www.taosclay.com
Santa Fe Clay (Santa Fe)
www.santafeclay.com
NEW YORK
Charles A. Hones Inc. (Amityville)
East Valley Supply (Andover)

Studio Sales Pottery Supply (Avon)
Teka Fine Line Brushes Inc. (Brooklyn)
The Mudpit (Brooklyn)
Vent-A-Kiln Corp. (Buffalo)
www.charlesahones.com
www.evsupply.com (ceramics repair epoxy)
www.studiosalespottery.com
www.tekabrush.com
www.mudpitnyc.com
www.ventakiln.com
Ceramic Arts Library (Corning)
www.ceramicartslibrary.com
PCF Studios (Honeoye)
www.pcfstudios.com
www.baileypottery.com
Bailey Pottery Equipment (Kingston)
American Craft Council (New York)
www.craftcouncil.org
Artfixtures (New York)
www.artfixtures.com (display stands)
Artsystems, Ltd. (New York)
www.artsystems.com
Eagle Zinc Company (New York)
Rockland Colloid Corp. (Piermont)
www.rockaloid.com
Clayscapes Pottery Inc. (Syracuse)
www.clayscapespottery.com
www.oneida-air.com
Oneida Air Systems, Inc. (Syracuse)
Northeast Ceramic Supply (Troy)
Alpine Kilns and Equipment LLC (Warwick)
Doo-Woo Tools LLC (Warwick)

Kiln-Ray Services (Warwick)
Rochester Ceramics, Inc. (Webster)
www.alpinekilns.com
www.doowoo.com
www.kilnray.com
www.rochesterceramics.com
NORTH CAROLINA
Highwater Clays, Inc. (Asheville)
Lark Books (Asheville)
Carolina Clay Connection (Charlotte)
Potterystamp.com (Charlotte)
Claymakers (Durham)
Resco Products Inc. (Greensboro)
www.highwaterclays.com
www.larkbooks.com
www.carolinaclay.com
www.potterystamp.com
www.claymakers.com
www.rescoproducts.com
Mudtools (Hendersonville)
www.mudtools.com
Williams Supply (Star)
www.williamssupplync.com
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Speedball Art Products Co. (Statesville)
www.speedballart.com
Fat Cat Pottery Inc. (Wilmington)
www.fatcatpottery.com
OHIO
National Artcraft Co. (Aurora)
www.nationalartcraft.com
A & K Clay Company LLC (Bethel)

Laguna Clay Co. (Byesville))
Olympic Enterprises Inc. (Campbell)
Funke Fired Arts (Cincinnati)
Maxfield Ceramics Supply Inc (Cincinnati)
Bareclay (Columbus)
Columbus Clay (Columbus)
Vulcan Kilns (Centerville)
Aegean Sponge Co. (Cleveland)
www.lagunaclay.com
www.olympicdecals.com
www.vulcankiln.com
www.funkefiredarts.com
www.maxfieldceramics.com
www.aegeansponge.com
www.bareclay.com
www.columbusclay.com
Mudmats (Columbus)
www.mostlymud.com
RAM Products Inc. (Columbus)
www.ramprocess.com
Cornell Studio Supply (Dayton)
Wise Screenprint (Dayton)
www.wisescreenprint.com (decals)
Innovative Ceramic Corp. (East Liverpool)
www.innovativeceramic.com (inks/decals)
Mason Color Works Inc. (East Liverpool)
www.masoncolor.com
Mayco Colors (Hilliard)
Maryland Refractories Co. (Irondale)
Ohio Ceramic Supply Inc. (Kent)
Handmade Lampshades (Maumee)

Cedar Heights Clay Operation (Oak Hill)
Krumor Inc. (Valley View)

Orton Ceramic Foundation (Westerville)
Olympia Enterprises, Inc. (Youngstown)
www.maycocolors.com
www.mrcgrog.com
www.ohioceramic.com
(lampshades)
www.rescoproducts.com
(thermocouples and RTDs)
www.ortonceramic.com
www.olympiadecals.com
OREGON
The Kiln Elements Co. (Birkenfeld)
www.kilnelements.com
Aim Kiln Mfg. (Corvallis)
www.aimkilns.com
Georgies Ceramic & Clay Co. Inc. (Eugene)
www.georgies.com
Georgies Ceramic & Clay Co. Inc. (Portland)
www.georgies.com
Mudshark (Portland)
PotteryVideos.com (Portland)
www.mudsharkstudios.org
www.potteryvideos.com
Skutt Ceramic Products (Portland)
www.skutt.com
Southern Oregon Pottery Supply (Talent)
www.southernoregonpottery.com
PENNSYLVANIA
Ceramic Services Inc. (Bensalem)
www.kilnman.com
Insulating Firebrick, Inc. (Butler)
www.insulatingfirebrick.com
The Clay Place (Carnegie)
www.clayplace.com
M&M Pottery Supply (Corry)
Del Val Potters Supply Co. (Glenside)
www.delvalpotters.com
Penn-Mo Fire Brick Co. (Harrisburg)
www.penn-mo.com
Nilfisk-Advance America Inc. (Malvern)
www.pa.nilfisk-advance.com (vacuums)
Shenango Advanced Ceramics (New Castle)
www.shenangoceramics.com
Camps Clay Accessories (Philadelphia)
www.campsclayaccessories.com
The Ceramic Shop (Philadelphia)
www.theceramicshop.com
Standard Ceramic Supply Co. (Pittsburgh)
Frog Pond Pottery (Pocopson)

Placid Ceramics (Washington)
www.standardceramic.com
www.masteringglazes.com
www.placidceramics.com
Petro Mold Co (Waterford)
www.petromolds.com
www.dewclawstudios.com
RHODE ISLAND
Dew Claw Studios (Pawtucket)
SOUTH CAROLINA

www.clay-king.com
eArtWorld.com (Spartanburg)
Clay-King.com (Spartanburg)
www.eartworld.com
Coastal Ceramics (Summerville)
www.coastalceramic.com
SOUTH DAKOTA
Pacer Corp. (Custer)
www.pacerminerals.com
Dakota Potters Supply (Sioux Falls)
www.dakotapotters.com
Pre
pa
red
Cl
Pre
ay
pa
s
red
Gl
Ra
a
w
ze
M
s
ate
Kil
ri a
na
ls
nd
Ac
W
ce
he
sso
els
rie
s
Stu
dio
Eq
uip
To
ols
me
an
nt
dS
Bo
u
pp
ok
lie
sa
s
nd
T il
V id
ea
e
os
nd
Bis
Se
qu
rvi
e
ce
s
W
eb
si t
e

TENNESSEE
Ward Burner Systems (Dandridge)
www.wardburner.com
Arrowmont School of Arts & Crafts (Gatlinburg)
www.arrowmont.org
The Clay Lady (Herdersonville)
Kentucky-Tennessee Clay Co. (Nashville)

Mid-South Ceramic Supply Co. (Nashville)
H.C. Spinks Clay Co. Inc. (Paris)
www.theclaylady.com
www.ballclay.com
www.midsouthceramics.com
www.spinksclay.com
TEXAS
Armadillo Clay & Supplies (Austin)
www.armadilloclay.com
Trinity Ceramic Supply Inc. (Dallas)
www.trinityceramic.com
American Ceramic Supply Co. (Ft. Worth)
www.AmericanCeramics.com
Texas Pottery Supply & Clay Co. (Ft. Worth)
www.texaspottery.com
PMC Connection (Garland)
www.pmcconnection.com
Ceramic Store Inc. (Houston)
www.ceramicstoreinc.com
Bella Bisque, Inc. (Kyle)
Display Your Art by Glassica (Liberty Hill)

Paragon Industries, L.P. (Mesquite)
Old Farmhouse Pottery (Rusk)

Clayworld Inc. (San Antonio)
GSM Enterprises (San Antonio)
Etc., Etc., Etc. (Wichita Falls)
www.bellabisque.com
www.displayyourart.com
www.paragonweb.com
www.farmpots.com
www.clayworld.com
www.gsmkilns-sales-service.com
UTAH
Capital Ceramics Inc. (Salt Lake City)
www.capitalceramics.com
VIRGINIA
Spun Earth Pottery (Forest)
The Kiln Doctor Inc. (Front Royal)
Tin Barn Pottery Supply at Manassas Clay (Manassas)
Campbells Ceramic Supply Inc. (Richmond)
www.claysupply.com
ClayPeople (Richmond)
www.claypeople.net
www.spunearth.com
www.thekilndoctor.com
www.manassasclay.com
WASHINGTON
North Star Equipment Inc. (Cheney)
Giffin Tec Inc. (Lummi Island)
Crucible Kilns (Seattle)
www.northstarequipment.com
www.giffingrip.com
www.seattlepotterysupply.com
New Century Ceramic Arts Inc. (Seattle)
www.paperclayart.com
Seattle Pottery Supply (Seattle)
www.seattlepotterysupply.com
Precision Terrefirma (Spokane)
www.precision-terrafirma.com
Rings & Things Wholesale (Spokane)
www.rings-things.com
Clay Art Center (Tacoma)
Scott Creek Pottery Inc. (Tacoma)
Clay In Motion (Walla Walla)
www.clayartcenter.net
www.scottcreekpottery.com
www.clayinmotion.com
WISCONSIN
MKM Pottery Tools LLC (Appleton)
www.mkmpotterytools.com
Nasco Arts & Crafts (Ft. Atkinson)
www.enasco.com
Sax Arts & Crafts (New Berlin)
A.R.T. Studio Clay Co. Inc. (Sturtevant)
Venco Products (Kelmscott WA )
www.saxarts.com
www.artclay.com
www.venco.com
AUSTRALIA
CANADA
Plainsman Clay Ltd. (Medicine Hat)
Greenbarn Potters Supply Ltd. (Surrey)
Bamboo Tools (Hi Tech Marketing) (Surrey)

Ceramic Arts & Crafts Supply (Burlington)
www.plainsmanclays.com
www.greenbarn.com
www.bambootools.com
www.ceramicarts.com
Euclids Kilns & Elements (Oakville)
www.euclids.com
Euclids/The Pottery Supply House Ltd. (Oakville)
www.pshcanada.com
Tuckers Pottery Supplies Inc. (Richmond Hill)
Spectrum Glazes (Toronto)
Mercedes Ceramic Supplies (Woodbridge)
Digitalfire Corp. (Cornwall)
Edouard Bastarache Inc. (Sorel-Tracy)
www.tuckerspottery.com
www.spectrumglazes.com
www.digitalfire.com
www.sorel-tracy.qc.ca/~edouardb

2008 Ceramic Workshop Handbook PDF

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2008 Ceramic Workshop Handbook PDF

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2008

Brought to you by the publishers of

Sherman Hall, Ceramics Monthly

Perfect Plaster by Vince Pitelka

Whether you want to slip cast, press mold or just make a

Clay Tools: Forming

Ingenious gadgets and techniques to make studio life easier

14 Dividing Web by Sylvia Shirley

A popular time saver, this handy tool is indispensable for

16 Colorant Chart by Robin Hopper

Unless you use no color whatsoever in your work, youll

22 Clay Tools: Decoration

26 Kiln Firing Chart

What happens in a kiln, and when does it happen, and why

28 Using Cones by Tim Frederich

If youre going to bother to spend the energy and hours

30 Clay Tools: Firing

There is always something we can do to improve our work

The most basic of our materials can sometimes be overlooked.

34 Primary Functions of Raw Materials

36 Manufacturers and Suppliers

Brought to you by the publishers of

top: Participants at the Metchosin

hether you need a drying bat, a simple hump

Prepare Your Mold

A common mistake of potters is to mix plaster only to

Prepare Your Work Area

You will need a clean mixing container for the plaster,

Use Fresh Water

Use Fresh Plaster

Plaster is calcined, meaning chemically bound water

Weigh Out Materials

Do not guess about the amounts of plaster and water

Water to Plaster Mixing Chart

surrounded by water and it removes air from the mix.

Mix The Plaster

Small batches of plaster can be mixed by hand. Use

Pouring The Plaster

After mixing, tap the bucket on a hard surface to

When plaster sets, it heats up because of a chemical

Soak The Plaster

Allow the plaster to soak for 12 minutes maximum.

Sources: United States Gypsum (USG) Company and Clay: A Studio

Clay Tools: Forming

Dont Sweat the Drying

Household Clay Drying

Clay Tools: Forming

Height and Comfort

For making a spongeon-a-stick, I use one of

center section of sponge

Clay Tools: Forming

Drill a hole in the

The rolling surface of the

Making the Web

The pointer helps

Center a pot on the

he potters palette can be just as broad as the

For the hot side of the spectrumred, orange, and

Ox. 5%-8% Use in barium-saturated glazes.

See Dark Red, Iron.

Owing to the unstable nature of copper, this colorant

See Dark Red, Copper.

Ox. 1%-5% Use in glazes with calcium. There should be no zinc