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2011 Clay Workshop PDF
2011 Clay Workshop PDF
org
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org
Throwing Agateware
by Michelle Erickson and Robert Hunter
Mix it up. Stack and wedge different colored clays together to create thrown forms with
dramatic patterns.
Cover (from left to right): Guillermo Cuellar, Shafer, Minnesota. Photo: Dennis Chick; Victoria Christen,
Portland, Oregon; Lisa Grahner. Photo: Gunter Binsack, copyright Kahla/Thringen Porcelain LLC.
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org
Test Conditions
Clay body: Super White (cone 59) a white stoneware body for
mid-range, commercially available from Continental Clay Co.
Bisque firing temperatures: Cone 05 (1910F, 1043C), fired
in a manual electric kiln for approximately 10 hours.
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recipes
N501 Transparent, glossy,
and crackles
Cone 5
Ferro Frit 3110. . . . . . . . . . . . . . . . . . . 90 %
EPK Kaolin. . . . . . . . . . . . . . . . . . . . . . 10
100 %
N502 Transparent and glossy
Cone 5
Gillespie Borate . . . . . . . . . . . . . . . . . . 30 %
F-4 Feldspar. . . . . . . . . . . . . . . . . . . . . 46
EPK Kaolin. . . . . . . . . . . . . . . . . . . . . . 13
Silica . . . . . . . . . . . . . . . . . . . . . . . . . . 11
100 %
See chart on page 8 for test results.
N503 Opaque, glossy,
and textured
Cone 5
Gillespie Borate . . . . . . . . . . . . . . . . 52.6 %
EPK Kaolin. . . . . . . . . . . . . . . . . . . . 21.0
Silica . . . . . . . . . . . . . . . . . . . . . . . . 26.4
100.0 %
Add: Zircopax. . . . . . . . . . . . . . . . . 10.0 %
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0.5%
1.0%
5.0%
10.0%
N502CC05
N502CC10
N502CC50
N502ROI05
N502ROI10
N502ROI50
N502COX0
N502COX05
N502COX10
N502CH01
N502CH05
N502CH10
N502MD05
N502MD10
N502MD50
N502BN05
N502BN10
N502BN50
N502IC05
N502IC10
N502IC50
N502R05
N502R10
N502Y05
N502Y10
0.5%
1.0%
5.0%
10.0%
N502CC100
N504CC05
N504CC10
N504CC50
N504CC100
N502ROI100
N504ROI05
N504ROI10
N504ROI50
N504ROI100
N504COX01
N504COX05
N504COX10
N504CH01
N504CH05
N504CH10
N504MD05
N504MD10
N504MD50
N504MD100
N504BN05
N504BN10
N504BN50
N502IC100
N504IC05
N504IC10
N504IC50
N504IC100
N502R5
N502R100
N504R05
N504R10
N504R50
N504R100
N502Y50
N502Y100
N504Y05
N504Y10
N504Y50
N504Y100
Copper
Carbonate
Red Iron
Oxide
(regular)
Cobalt
Oxide
Chrome
Oxide
Manganese
Dioxide
N502MD100
Black
Nickel
Oxide
Iron
Chromate
Rutile
(powder)
Yellow
Ochre
The full chart of glazes and colorant combinations tested is available at www.ceramicsmonthly.org.
Just click on the CM Master Class link on the right-hand side.
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org
Coloring Metals
Increment Chart
Please note that some of the oxides and carbonates in this test exceed the safety standard for use as tableware that comes in contact
with food. Check safety standards before applying a glaze with a
high percentage of metal oxides to food ware and test the finished
ware for leaching.
Test tile numbering system: The glaze name is the first part of
the identification number, followed by an abbreviation or code that
stands for the colorant name. The last part is a two or three digit
number referring to the percentage of colorant added.
So, for example if a test was mixed with glaze base N501, to
which 1 percent cobalt oxide was added, the test tile marking
would be: N501COX10.
Conclusion
5.0%
10.0%
Tin Oxide
N502CT10
N502CT50
N502CT100
Titanium
Dioxide
N502CTD10
N502CTD50
N502CTD100
N502CZ10
N502CZ50
N502CZ100
Zircopax
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org
When in use, Martha Grovers porcelain butter boxes combine two things that were once scarce and are still considered delicacies.
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3
Slip and score both parts and use
registration marks to realign.
6
Compress and taper the edge of the
bottom slab.
and width of the piece. Use these indicators to cut an undulating scallop pattern, establishing four feet on the bottom of the
form (figure 2). The cuts are made at a 45 bevel and curve up to
inch from the bottom edge at their apex. The angle will slope
down from the interior edge to the exterior. This bevel is important because it allows the slab bottom to make a gentle curve and
transition more smoothly than if the edge was cut flat.
Make a slab for the bottom that is approximately inch wider
all the way around than the body. Center the slab on the upside
down body and press it down gently using a rib directly over the
To thin a slab without using a rolling pin, you can start
walls. This makes an impression of the walls on the slab, showing
with a ball of clay, flatten it with the palm of your hand
and then, lifting it with both hands, toss it at an angle
where to slip and score. Make a small register mark on the body
on an absorbent table surface, or canvas covered table.
and the slab so its easier to realign the parts. Then, remove the
slab and apply a generous layer of joining slip (see recipe) on
the slab and the body and score both surfaces. I find that I get a
better join when using slip first then scoring because it drives the
Repeat this process, rotating the slab as you go to thin it to the slip further into the clay parts. Using the registration marks made
desired consistency. These parts and a few simple tools are all that earlier, realign the slab on top of the upside down body (figure 3).
Then, rib the slab directly over the body wall to join the parts.
are needed to get started (figure 1).
Working with the body right side up on the banding wheel,
use a moistened, soft, nylon-bristle brush to smooth out the
interior and exterior seams and completely join the two parts
With the body of the form upside down on a banding wheel,
(figure 4 ).
make four indicator marks on the edge that bisect the length
the box; therefore, the exterior diameter should be about inch
smaller than the interior diameter of the body.
The slabs used to complete the body and lid are hand
thrown to inch thickness and ribbed to compress and
smooth both surfaces.
Thrown slab
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10
11
12
Next, cut the bottom slab into a shape that accents the scallop
pattern of the feet. Start by making an indicator dot on the slab
directly in front of the middle of each foot. This mark will help
establish where to cut for the decorative trim on the bottom slab.
Trim the slab inch wider than the body of the form and make
a decorative point at each of the four indicator dots in front of the
feet (figure 5 ). It is important not to cut the slab to its final size
before this step, because it often will stretch and not fit correctly
when attached.
Then, smooth out the edge of the cut slab with a moist sponge
and compress and shape it into a tapered feather edge by applying
slight pressure with a moistened thumb and forefinger (figure 6 ).
Use your index finger to gently and slowly roll the slab over to
join it with the wall of the body. Roll the slab over in stages, being careful not to push it all the way over in one move because it
will buckle and ripple (figure 7 ).
Finally, move on to shape the top lip of the body into a delicate, scalloped edge. Working right side up on the banding wheel,
make new indicator marks on the rim directly above each foot
and four additional marks on the rim bisecting the piece along
its length and width. Cut out the rim scallops using the indicator marks to define the high and low points of the cut (figure
8). These cuts are shallowno more than 3/8 inch below the
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org
Soup Tureen, 14 in. (36 cm), thrown and altered porcelain, using the same technique.
Note
I finish the lid with a small interior bump made by pressing
on the underside of the lid with my finger (figure 11). I
do this to add visual volume to the lid and to fill up the
negative space under the handle.
Special thanks to Joshua David for his help with this article
and the images.
Martha H. Grover received her MFA from the University of
MassachusettsDartmouth. She is currently a resident artist
at the Archie Bray Foundation in Helena, Montana. Her
work can be seen online at www.MarthaHGrover.com.
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org
Defining the
Terms
StainEssentially a frit made of
colorant chemicals, compatible fluxes,
and possibly glass formers, which has
been melted, cooled, and pulverized to
a fine powder.
Encapsulated Stain (Inclusion
Pigments)A new generation of stable
stains made by melting metallic colorants
with zirconium silicate, cooling the melt,
and grinding the result to a fine powder.
Because zirconium silicate is refractory,
stains containing it can produce brighter
colors up to cone 10 using pigments that
would otherwise fade at high temperatures.
These colors are safe to use in the studio.
Flux (molar) Unity or Seger Formula
The chemical composition, commonly of
a fired glaze, expressed as one mole of
total flux to the number of moles of all
other ingredients in the glaze. The term
unity molecular formula does not specify
whether the flux, alumina, or glass formers
are in unity. Each can be at different times
for different purposes, but flux unity is used
almost universally by ceramic artists.
Selenium/Cadmium Red
The easiest, most reliable path to red is to use tion atmospheres. These stains are refractory at
relatively recently developed cadmium inclu- pottery temperatures and do not melt much, if
sion stains. These stains also contain selenium at all. However, the manufacturers recommend
combined with sulfur, and they will produce that the stain not be ball milled.
the full range of colors in the red spectrum As with lead, cadmium stains can produce foodfrom yellow through orange to brilliant red. safe colors. However as with lead, cadmium
They work in both translucent and opaque under certain circumstances can be leached from
glazes, in oxidation and reduction firings, and the fired glaze. A sample of any cadmium staintinted glaze used on potential food surfaces
at all firing temperatures.
Historically, cadmium and selenium have should be tested for leaching by a qualified
produced glamorous red glazes but only at laboratory.
low temperatures. The colorants burned out Inclusion stains are suitable for use in a wide
variety of base glazes.
at higher kiln temperaLow-Fire Satin glaze
The amount of stain to
tures and the resulting
Cone 04
use must be determined
red glazes were pale.
The discovery of the Ferro Frit 3195. . . . . . . . . . . . . . . . . . 50 % by testing, because the
base glaze and applicaencapsulation process Dolomite. . . . . . . . . . . . . . . . . . . . . . 30
tion thickness will influ(the of melting the colo- EPK Kaolin. . . . . . . . . . . . . . . . . . . . . 20
100 % ence the fired results.
rants into a zirconium
Reds produced with
silicate glass at high Add: Encapsulated Mason Stain
#6025 Coral Red. . . . . . . . . . . . 15 % these stains, while very
temperatures) has now
reliable, tend to be flat
made the many hues of
yellow through red reliable at temperatures and lack the variation produced when using
through cone 10 in both oxidation and reduc- oxides and/or atmospheric kilns.
Iron Red
Iron red glazes often have vibrant names like
Tomato Red or Ketchup Red, and they are generally warm reds. The true reds are produced
in oxidation around cone 5. By cone 10, they
tend to turn toward orange or persimmon.
High-iron glazes fired in heavy reduction will
turn maroon to black.
Iron reds are mainly iron saturated, which
means they contain between 5 and 10% iron
oxide in the glaze recipe (most recipes use
7% or more). Iron reds with bone ash (calcium phosphate) as a source of phosphorous
(phosphorous in general causes opalescence
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Copper Red
Copper reds are achieved between cones 5 and 11 by reducing the bide can be a source of glaze blisters and pinholing, its use presents
copper (either copper oxide or copper carbonate) in the glaze. Only its own set of problems in the studio.
At cone 10, any combination of glaze
a small quantity of copper is necessary for
ingredients that contains, in terms of
this; 0.25% copper carbonate is sufficient,
Copper Red #11 Glaze
flux (molar) unity, 0.3 moles of alkalis,
though more is often used. The red color is
Cone 10 Reduction
0.7 moles of alkaline earths (preferably
aided by the presence of a limited amount
Colemanite . . . . . . . . . . . . . . . . . . 10.80 %
most or all as CaO), 0.4 moles of alumina,
of tin. Iron can also help produce a red color
Whiting. . . . . . . . . . . . . . . . . . . . 15.73
3.5 moles of silica, 0.15 moles of B2O3,
in copper red glazes, but too much iron will
Kona F-4 (sub Minspar 200). . . . . . 15.57
lead to muddy reds.
1% tin, and 0.5% copper carbonate can
Nepheline Syenite . . . . . . . . . . . . . 20.43
The various hues of copper red are influproduce a fine copper red if properly fired.
English China Clay. . . . . . . . . . . . . 1.48
enced by the amount of alumina, magneUnderstanding and controlling the reSilica . . . . . . . . . . . . . . . . . . . . . . . 35.99
sium, and boron present in the glaze. High
duction atmosphere in a kiln to achieve
100.00 %
alumina tends to produce cooler reds, as
copper reds is usually by far the most
does magnesium, while high boron prodifficult part of working with this family
Add: Tin Oxide. . . . . . . . . . . . . . . . 1.72 %
duces warmer reds.
of glazes. The glaze above is best if the
Copper Carbonate. . . . . . . . . 0.42 %
Copper red glazes tend to be somewhat
kiln is placed in moderate reduction at
A vibrant red that may turn blue, green, or
fluid, so glaze runs should be guarded
cone 010 and held there until cone 9
purple where thick; runs when thick. From
against in glaze application. Boron pardrops. The kiln can then be soaked in
Andy Cantrell, CM May 2000.
ticularly enhances the fluidity at cone 10.
oxidation until cone 10 is down. A smoky
Where copper reds flow off of rims or high
fire, as used with carbon trap glazes, is
points, they tend to turn white.
never necessary to achieve copper reds.
Oxidation copper reds in electric kilns are achieved by mixing a reducing In fact, a sooty atmosphere in the kiln is likely to produce gray, dingy
agent, silicon carbide, with the copper in the glaze. Because silicon car- copper reds due to carbon trapping.
Chrome-Tin Pink
Chrome-tin pink glazes are, as their name implies, a combination moles Al2O3, not more than 0.25 moles B2O3, 2.5 to 3 moles SiO2,
of chrome and tin that produces somewhat cool reds from a light up to 7.5% tin oxide, and not more than 0.5% of chrome oxide
pink to a deep burgundy. The combination works well from low (0.15% is often enough).
fire into the cone 6 range, but poorly above cone 9.
A thin application of a chrome-tin glaze will tend toward gray
According to Cullen Parmelee in his book Ceramic Glazes, the rather than red. Close examination of the glaze with a magnifyglaze chemistry necessary is fairly specific: calcium is the most ing glass will reveal the red is present in small islands within a
important flux because it gives the color a greater stability and matrix of clear glass. This explains why a thicker application will
produce more vibrant red. Chrome-tin
a more fiery red color while sodium
pinks can be produced more reliably
promotes yellow shades. Boron should
from commercial stains than from the
be limited because it tends to shift the
Raspberry
raw materials, but stains are not required
color toward purple. Additionally, if your
Cone 6
to produce this red.
base glaze contains barium, the color
Whiting. . . . . . . . . . . . . . . . . . . . . 20.0 %
Chrome-tin pinks present special chaleffects will be stronger in the absence of
Nepheline Syenite . . . . . . . . . . . . . . 18.0
lenges when working at cone 56,
boron. Zinc should be avoided because
Ferro Frit 3134. . . . . . . . . . . . . . . . . 14.0
because chrome (either from chrome
chrome and zinc can interact to produce
OM-4 Ball Clay. . . . . . . . . . . . . . . . . 18.0
green glazes or chrome-tin reds) can
brown. High alumina works against the
Silica . . . . . . . . . . . . . . . . . . . . . . . . 30.0
vaporize at the peak of the firing and
red. Because a glaze can dissolve some
100.0 %
give a pink blush to adjacent ware with
of the clay body, changing the alumina
Add: Tin Oxide. . . . . . . . . . . . . . . . . 7.5 %
white glazes containing tin. Since tin is
and flux content of the glaze, these
Chrome Oxide. . . . . . . . . . . . . . . . . 0.2 %
occasionally used as an opacifier, this is
glazes require careful testing.
This glaze often benefits from a controlled
not an uncommon occurrence. This can
A good starting point for creating a
slow cooling. From Mastering Cone 6
be especially problematic if working with
chrome-tin glaze at cone 6, in terms of
Glazes by John Hesselberth and Ron Roy.
commercial glazes where the full list of
flux unity, is from 0.7 to 0.9 moles CaO,
ingredients is not obvious.
from 0.1 to 0.3 moles alkalis, 0.25 to 0.3
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org 11
Iron Glazes
Forms of Iron
Iron oxide is the most common colorant in ceramics. It is so
ubiquitous that it is very difficult to find a material without some
ironits found in almost everything from feldspars to kaolin to
ball clays, earthenware clays, and many colorants. In fact, many
materials require expensive processing to reduce the amount of
iron to acceptable levels.
Iron is a very active metal that combines easily with oxygen. That
means it is very sensitive to oxidation and reduction atmospheres,
producing a wide range of glaze colors and effects from off white,
light blue, blue, blue-green, green, olive, amber, yellow, brown,
russet, tea-dust, black, iron saturate, iron spangles, iron crystalline
(goldstone/tigers eye), oil spot, hares fur, kaki (orange), leopard
spotted kaki, tan, black seto, pigskin tenmoku, shino, gray (Hidashi), iridescent, silver, gold, etc. Iron also plays a major role in
clay bodies, slips, terra sigillata, and flashing slips.
There are three major forms of iron used in ceramics: red iron oxide (Fe203), black iron oxide (FeO or Fe3O4), and yellow iron oxide
(FeO (OH)). There are different mesh sizes and grades, and each
contains varying degrees of impurities that can make a significant
difference in the results you get.
The most interesting thing about iron is that it can act both as a
refractory and a flux. As red iron oxide, Fe2O3, it is an amphoteric
(refractory/stabilizer) similar in structure to alumina (Al2O3). But
if it is reduced to black iron oxide (FeO) it acts as a flux similar in
structure to calcium oxide (CaO). What this means is that a tenmoku
glaze with 10% red iron oxide will be a stiff black glaze if fired in
oxidation because the iron oxide acts as a refractory. But, if the
same glaze is fired in reduction that 10% Fe2O3 will be reduced
to FeO, changing it to a flux, which will make it a glossy brown/
black glaze that may run.
Another interesting property of iron oxide is that if it is fired in
oxidation it will remain Fe2O3 until it reaches approximately 2250F
(approximately cone 8) where it will then reduce thermally to Fe3O4
on its way to becoming FeO. The complex iron oxide molecule
simply cannot maintain its state at those temperatures. This results
in the release of an oxygen atom that will bubble to the surface
of the hot glaze and pull a bit of iron with it. When it reaches the
surface the oxygen releases the iron as it leaves the glaze, creating spots with greater concentrations of iron oxide. This is what
creates an oil spot glaze. This reaction can easily be seen through
the spy hole of a kiln or with draw tiles. There is an obvious and
unmistakable bubbling. If heated further, these spots begin to melt
and run down the pot, creating a distinctive hares fur effect.
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Sources of Iron
Form
Chemical
Name
Fe2O3
ferric iron,
Hematite
Characteristics
FeO
ferrous
oxide,
wustite
FeO (OH)
ferric oxide
hydrate,
Geothite
Umber, Burnt
Umber
Sienna, Burnt
Sienna
Cr2FeO4
FeCl3
FeSO4
Iron Chromate
Ferric Chloride/
Iron Chloride
Iron Sulfate
(Copperas)
Iron Phosphate
FePO4
TiO2
FeTiO3
and granular)
Illmenite (powdered
and granular)
Iron Clays
Magnetic Iron
Oxide
Fe3O4
Magnetite
Spanish red iron oxide is bacterially ingested iron oxide that is micronized.
The Tierga mines in Spain found that their iron sulfide was inadequate for
steel making (which accounts for 95% of the iron market). After some time
a worker noticed that the iron in a pool of rain water turned a brighter shade
of red after it was heated. This turned out to be caused by a bacterium that
uses iron sulfide as an energy source. The bacterium changes the state of the
iron, which is then put into evaporative ponds where it forms green crystals.
These are then roasted to produce Spanish red iron oxide.
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Thrown Agateware
by Michelle Erickson and Robert Hunter
Background
The earliest English thrown agate is found among the products of John Dwight (even though he himself referred to it as
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org 14
4
This ball of clay has been cut in half to
show an example of the agate pattern
prior to throwing.
2011 clay workshop handbook | Copyright 2011, Ceramic Publications Company | www.ceramicartsdaily.org 15
10
12
11
Archaeological evidence from the excavation of Staffordshire factory sites, including that of John Bell and of John
Astbury at Shelton Farm, shows that many potters made this
type of thrown agate. Tea wares were the most common forms
made, although mugs and bowls were also produced. Thrown
agate reached the height of its popularity in the 1750s and
continued in production into the early 1770s.
A number of nineteenth-century American potteries used
agate clays to manufacture doorknobs covered with a Rockingham glaze. In the twentieth century, agateware makes
a brief appearance in the arts and crafts movement, most
notably in the Mission Swirl line of the Niloak Pottery
Company in Benton, Arkansas. Another thrown agate of this
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of the problems that arise when using different clay bodies, including different shrinkage rates, firing temperatures or other
compatibility issues, though some stains can be incompatible
with one another as well, so testing is necessary.
To begin, clay slabs are built up, alternating the colors
(figure 2 ). This stack is then wedged or folded to form a ball
that can then be thrown on the wheel (figure 3 ). Care has to
be taken during wedging to ensure the clays are mixed without
overly distorting or blurring the resultant agate pattern. For
demonstration purposes, the wedged ball is cut to show the
pattern prior to throwing (figure 4 ). The degree of success in
an agate pattern comes from the initial wedging process as
well as the throwing.
Creating Wheel-Thrown
Agateware
The prepared clay ball is then centered on the wheel (figure
5 ). Once centered, the clay ball is opened and pulled quickly
into a cylinder (figures 6 and 7 ). During throwing, the surface
of the clay body becomes smeared so that the agate patterning is obscured. Care has to be exercised during throwing so
as not to overwork the clay; otherwise, the pattern becomes
muddled. This test piece was cut in half to show how the
agate patterning shifts as the clay moves in response to the
pressures exerted when throwing. The different colors remain
distinct (figure 8 ). Since nearly all Staffordshire thrown agate
was subsequently trimmed on the lathe, the veining usually
appears sharp and crisp. Later smearing and smudging can oc-
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www.georgies.com
800.999.2529
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