Pottery Making : [LLU S47 Be In this Issue... Spraying Glazes Dazzling Crackles Clay and Tar Paper Poured Mosaics Classroom Project ... and more! www-potterymaking.org US $5 50, £4, €6) wl ira 0 5) FAby Steven Hill hile Ifove the surface potential spray- V Zing gives me when I'm glazing, I hate the hassles associated with the proces. L put up with this love-hate relationship because spraying permits me to blend multiple glazes together seamlessly and also gives me the ability to isolate colors on she rims, handles and feet of my pottery, Ive always responded to the surface varia- tions ocaurring naturally on pots fired in atmos- pheric kilns (wood, soda, salt), and spraying gives me a means of introducing comparable transitions across the surfaces of my single-fired reduction stoneware pottery. For years, L used spraying in combination with both dipped and poured glazes; however, in my current work, spray’ guns are my primary vehicles for applying glazes. Melon Pitcher, thrown and altered, sip tral- ing, multiple Sprayed glazes, singlesired 1988 reduction stoneware, 13 inches high. For years, | usod spraying in combi. ration with both dipped and poured glazes; however, in my current work, Canister Set, thrown and altores, sip raling, sprayed multiple glazes, sinale-fred Spray guns are my primary vehicles gas reduction stoneware. Large canister is 18 inctes high ‘or appiying glazes March/April 2002 Pottery Making nustaareoSPRAY! NG GLAZES. Figure 1 Pour the interior glaze when glazing any- thing but an open form (for example, @ bow! or pate). Figure 2 ceeding. When spraying @ contrasting glaze on the Fim, wipe the rim with a sponge before pro- | alvays pick a main body glaze and con- sider all the other glazes as modifiers. For this example, I've selected a strontium mat ‘laze that forms crystals withthe right com= binations. Figure 4 ‘Next, | apply a fake ash glaze to the spiral Underbelly and the neck of this pitcher to help introduce movement between glazes, Figure 5 EXPERIENCE IS THE BEST TEACHER The affinity I feel for spraying began in my child hood. My father always had some kind of project going around our house, and these projects were often fin- ished with flat black spray paint. Through my father’ guidance, I Icarmed how to spray in shore bursts in order to get even coverage and keep the paint from running, As a result of this early experience, spraying, glazes has always felt natural to me. Although most of my experience has led to positive results, the one aspect of spraying that has frustrated me for 20 years is judging glaze thickness. In the begin- ning, most potters etr on the side of applying glaze too. thinly. It is helpful to watch for subtle clues, such as how wet the surface of the pot gets during spraying or to test for glaze thickness with a needle tool. Most of the time,a combination of experience and intuition is enough of a guide, but glazes with a narrow range of acceptable thickness, such as ash glazes, can be difficult to get right consistently 10 ‘A transparent glaze is sprayed over the strontium mat to encourage crystal growth. Pottery Making wsusraaea Figure 6 ‘An iron saturate glaze is sprayed over the strontium mat to Bring out arange hues LOOKING FOR ANSWERS ‘My first experiment with spraying glazes was with a manuelly operated “Ait” gun (made for applying weed killer) in the mid “70s. By the late “70s I was using a small continuously running compressor that was near~ ly as irritating as a small dog barking at my feet, Eventually acquired a compressor with a 30-gallon tank and located it in the next room to keep the noise down. I use anywhere from 20-80 pounds of pressure, depending on the gun I'm using and the thickness of the glaze I'm applying. Since the gun is never in con- stant use, the capacity (in cubic feet per minute (CFM)) of the compressor is not too important. Most portable compressors with an air tank are quite adequate. My favorite type of spray gun is an automotive siphon-feed touch-up gun with a top-mounted trigger. This type of action is similar to holding a pencil or a brush and I have better control of detail than with a full-sized gun, For most applications, this is a good com- promise between the fine control and small capacity of March/April 2002Figure 7 “The foot is wiped clean with a sponge so | ‘can spray it with a mat black for contrast, Figure 8 the pitcher. ‘The rim, handle and foot are sprayed with a contrasting mat black to frame the body of Figure 9 When spraying, glaze always works is way under the pet, so the waxed foot must be wiped clean, Figure 10 ‘A tumbler receives as many diferent glazes ‘and just ap much care as a largor pioco. Figure 14 ‘A large flat pot, such as a platter, gets ‘sprayed on bath the front and the back The ‘back is kept fairy simple; a mat black glaze Figure 12 ‘The body is sprayed with a strontium mat, ‘emphasizing the slip spiral applied with brush while throwing. with an iron saturate sprayed around the ‘edge of the rim, an airbrush and the large capacity, broad coverage and corresponding weight of a filll-size spray gun. T have also experimented with HVLP (high-volume, low- pressure) spray guns. They are more efficient, creating, Jess overspray and therefore reducing the amount of gaze fog in the air. Although they are more enviton- mentally friendly, they do not have as fine of control and must be used with a pressurized cup. Although most of my experience has been using guns with cups attached, there are some real advantages, fo a remote pressurized paint pot. Over time, using a heavy spray gun contributed to a case of tendonitis in my elbow. Locating the glaze container on the floor takes away most of the weight and thus relieves stress on the arm. These remote pressurized pots are large capacity (2 quarts to 5 gallons) and potentially give bet- tet control of the spray pattern and volume of glaze March/April 2002 applied. Changing, colors is much more time consum- ing, however. if money weren't a factor, ('d have 15 remote pots set up, each with its own dedicated glaze! The biggest problem with all automotive spray guns is wear. Due to the abrasive nature of glazes, the fluid tip and needle wear down over time and need to be replaced. Using a spray gun specially made for ceramic glazes, such as the “Critter” can minimize this costly maintenance. These guns operate by a simple atomizer principle and have no internal parts to be worn down by the abrasive action of glazes. Although ideal for classroom situations where they are routinely abused, this type of gun typically provides a coarser spray with~ ‘out the fine adjustment potential of an automotive gun. Pottery Making xiusrrareo tiFigure 13 AA transparent oribe green is sprayed 10 ‘emphasize the spiral movement. Figure 16 First | use a Dremel tool with 2 butting wheel to clean spots on the recently glazed pot ang. Figure 18 SPRAYING GLAZES Figure 14 ‘An iron saturate is sprayed over the stron- tium mat to turn kt into a Tuscan orango. Figure 17 then | touch a spot of complementary laze tofllin the bare spot for contrast Figure 19 Recently glazed pitcher, with automotive touch-up guns (DeVilbiss EGA 603) and ‘extra. glaze conlainers, To change colors you simply unserew the cup, place the feed tube In a bucket of water, and spray to clean the passageways. Then youve ready to serow on another coor. cently glazod pitcher, in a Laguna spray ‘booth, with spray guns hooked up to remote paint pots. This makes the gun much Ightor to hold and easier on the arm, but itis consider- ably more dificult to change glazes, 2 Pottery Making uuusteareo Figure 15 The wide rim is sprayed with two iron satu rates and a mat black glaze to frame and Contrast withthe interior ofthe platter. For health reasons, using a well- ventilated spray booth is essen tial. Althongh there are several brands of commercial booths available, a good one can be made from plywood and a wall. mounted ventilation fan. A properly fitting respirator with a HEPA filter should alo be ‘worn at all times while spraying. FINAL THOUGHTS, In spite of the added equipment expense and hassle, I remain firmly committed to the process of spray ing glazes. Spraying has given me the Hexibility to blend multiple glazes or to isolate and change col- ors from rim to neck to body to foot. Now that I am freed from the hard edges of dipped and poured glazes that often seemed arbitrary and interfered with the clarity of my forms, spraying has given me the potential to apply glaze so that it reflects and emphasizes the vari- ous form changes on my pottery. Steven Hl har been studio pote for more tha 25 years Fist working ont of a basen atl the 4 backyard studi, he and his wie, Swan, have fumed Red Star Studios Commie Centr in the Crossoade Arte Distr of Konees City, Meson, sive 1998 March/April 2002SPRAYING HAS GIVEN ME THE FLEXIBILITY TO BLEND MULTIPLE GLAZES OR TO ISOLATE AND CHANGE COLORS FROM RIM TO NECK TO BODY | : aS TO FOOT. Oval Pitcher, thrown and altered, sip trailing, multiple sprayed glazes, single-fred 928 reduction’ stoneware, 42 inches high Oval Covered Jar, thrown ‘and altered, slip 'tailing, multiple sprayod glazes, single-fred gas reduction stoneware, 9 inches high. Platter, thrown and altered, B) brushed sip spiral, multiple sprayed glazes, singlefired gas-eduction stoneware, Bt-inch diameter ‘Oval Pitcher Set, thrown and altered, sip tailing, multiple sprayed Teapot Set, thrown and altered, slp trailing, multiple sprayed glazes, ‘glazes, single-fred reduction stoneware, Pitchor is 12 inches high. sngle-tved gas reduction stoneware. Teapot is 19 inches high. March/April 2002, Pottery Making nuusrsares B