Issuu

CERAMIC

ART

TRENDS,

TOOLS,

AND

Vince Sansone

TIMES

Clay

TECHNIQUES

Volume 18 • Issue 93 SPRING 2012

From Battles to Bunnies: His Hare-raising Secrets A Thrown & Altered Tripod Bottle Project Autumn Higgins: Emerging Artist at new Clay Times® Fine Arts Gallery Water-washed Decoration with Angelique Tassistro Crystalline Glaze Update William Schan’s Latest Cone 6 Formulas & Forms

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Studio Safety FAQs

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Future exhibition calls now open: Ecumene: Global Interface in American Ceramics (2012 IAC General Assembly in Santa Fe) 2013 NCECA Biennial at the 47th Annual NCECA Conference in Houston, TX National Student Juried Exhibition call for entries opens April 11, 2012

Explore the past, present and future of making... Explore the past, present and future of making... Explore the past, present and future of making... Explore the past, present and future of making...

46TH ANNUAL 46TH ANNUAL of the CONFERENCE CONFERENCE National Council ofonthe National for Council on Education the Education Ceramic Artsfor the Ceramic Arts March 28 - March 31 MarchWashington 28 - March 31 Seattle, Seattle, Washington

Christa Assad, Transformer Teapot See Christa in action along with fellow demonstrating artists Walter Keeler, Christa Assad, Transformer Teapot Tip Toland and in Jason Walker See Christa action along with fellow demonstrating artists Walter Keeler, Tip Toland and Jason Walker

Exhibitions, lectures, panels, Exhibitions, lectures, panels,and demonstrations, commercial d demonstrations, commercial and installations, pre- & post-conference non-profit displays, pots, sculpture, nd installations, ure, pre& post-conference non-profit displays, pots, sculpture, prepost-conference events, theand best night dance on installations, the planet, and so&much more... pture, pre&much post-conference ce on installations, the planet, soFriday more... events, theand bestsoFriday dance on the planet, and so much more... ance on the planet, muchnight more...

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On-site registration at Washington State Convention Center opens noon PST, Tuesday, March 27.

contents

TIMES

Clay

SPRING 2012 Volume 18 • Issue 93 Cover photo: Bunny Headhunters Signaling for a Left-Hand Turn by Vince Sansone. 12" x 15" x 11". Cover inset photo: Boy Bunny Awaiting Girlfriend by Vince Sansone. 24" x 12" x 13". Cover images and all Sansone featured photographs by Les Stone.

features

14 COVER STORY: The Hare-Raising Secrets of Vince Sansone More than a decade following the making of his whimsical “Bunny Headhunters” pictured on this issue’s cover, Florida clay artist Vince Sansone explains how his more recent path on the ‘bunny trail’ has led him to an entirely new and challenging body of work.

30 Progression, Form, and Glaze: William Schran’s Latest Crystalline Explorations Bill Schran began crystalline glaze experimentation with a 1980s manual kiln in his one-car garage studio. Although he now has a newer programmable kiln in that same space (still without running water), Schran remains intrigued by the original process that formed the basis for his career: crystalline glazing.

exhibit 22 Emerging Artist Autumn Higgins at new Clay Times Fine Arts Gallery

41 Step-by-step Project: Making A Wheel-thrown & Altered Bottle Jeff Zamek shares his photographed techniques for transforming a wheelthrown bottle into a triangular vessel with tripod feet and a textured, recessed bottom (glaze recipes included). Pictured, top: Waiting Boy Bunnies by Vince Sansone. Bottom: Growing Up Pitcher Set by Autumn Higgins.

contents

TIMES

Clay SPRING 2012 • Volume 18 • Issue 93

departments

columns

9 EDITOR’S DESK

19 AS FAR AS I KNOW “How to Control Drying and Prevent Cracking” by Pete Pinnell

Free classroom issues!

11 WHAT’S HOT Clay world news, events, and calls for entries

25 BENEATH THE SURFACE

34 THE GALLERY

“Angelique Tassistro’s Water-washed Decoration” interview by Lana Wilson

A selection of unique works by CT readers

44 SLURRY BUCKET

29 KILNS & FIRING

Studio-tested tips to save you time and money

45 POTTERY CLASSES Where you can learn claywork in your community

columns

37 TOOL TIMES “Slabs, Canvas, and Mats” by Vince Pitelka

47 GREAT GLAZES Feature artist Bill Schran shares new recipes for cone 6 crystalline glazing

40 BOOKS & VIDEOS Choosing Craft: The Artist’s Viewpoint review by Steve Branfman

48 CLASSIFIED MARKETPLACE Goods and services offered especially for clay artists

43 STUDIO HEALTH AND SAFETY “Glaze Safety FAQs” by Monona Rossol

50 ADVERTISER INDEX A quick reference to find your favorite ceramics suppliers in this issue (as always, please be sure to mention you found them in Clay Times!) 6

“Springing Forward With a New Kiln” by Marc Ward

30 Above: One of William Schran’s newest crystallineglazed forms. Wheel-thrown, assembled white

stoneware with crystalline glaze colored with nickel; refractory slip; stoneware glaze. 13½" x 6". 2011.

49 AROUND THE FIREBOX “Burning Up and Burning Out” by David Hendley

CERAMIC ART TRENDS, TOOLS & TECHNIQUES

magazine

TIMES

Clay Editorial & Advertising: Polly Beach claytimes@gmail.com Circulation Manager: Rachel Sherman ctcirculation@gmail.com Accounts Manager: Nanette Greene clayaccounts@gmail.com Proofreader: Jon Singer Regular Columnists: Steve Branfman, Books & Videos David Hendley, Around the Firebox Pete Pinnell, As Far as I Know Vince Pitelka, Tool Times Monona Rossol, Health & Safety Kelly Savino, Around the Firebox Bill van Gilder, Teaching Techniques Marc Ward, Kilns & Firing Lana Wilson, Beneath the Surface Contributing Writers: Vince Sansone William Schran • Jeff Zamek ✦ Printed on 100% FSC-certified and 75% post-consumer recycled paper ✦ Published by: CLAY TIMES INC. Post Office Box 100 • Hamilton, VA 20159 800-356-2529 • FAX 540-338-3229

Toll-free subscription line: 800.356.2529 Clay Times® (ISSN 1087-7614) is published quarterly, four issues per year. Periodicals Postage Paid at Waterford, VA, and at additional mailing offices. Annual subscriptions are available for $33 in the U.S.; $40 in Canada; $60 elsewhere (must be payable in US$). To subscribe, call toll-free 1-800.356.2529, or visit www.claytimes.com.

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can be just

Freelance editorial and photographic submissions are welcome: Please contact Clay Times or visit our Website at www.claytimes.com. for writer’s and photographer’s guidelines.

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as throwing.

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All rights reserved. The material contained herein is derived from various sources and does not necessarily reflect the views of the publisher. All technical material is offered as general information only and should not be acted upon without expert supervision. No part of this publication may be reproduced or transmitted by any means without the written permission of the publisher.

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Special Offer for Educators, Students, and Clay Guilds

Now Serving Extra Complimentary Magazines to Students and Clay Guild Members With Each Art Institution Subscription!

n honor of art education month and art educators & clay guilds everywhere, Clay Times is introducing a very special arrangement so all can share in the knowledge and inspiration that comes with each issue of our magazine: For a limited time this spring, Clay Times is offering a special educational institution subscription rate of just $99 to cover a full year’s worth of issues for not only your school or clay guild library, but also an additional box of (44) extra free issues per edition to be shared with members of your classroom or clay guild! That’s right — your one-year $99 educator subscription (or new educator/guild renewal) qualifies your school or clay guild to receive a total of 45 issues of the magazine every season, for the entire upcoming year! Now why, you ask, are we doing this?

Student + Clay Times® = Spontaneous Creativity

Based upon subscriber surveys, we know that each issue of Clay Times reaches an average of five readers. Because so many are students on very limited budgets, we want to help foster their interest in clay and encourage lifelong pursuit of ceramic art by making it as interesting, inspirational, and accessible as possible during those special early years of claywork.

only more likely to continue to work with clay, but also more likely to continue to expand their clay knowledge and inspiration by subscribing to their own paid issues at renewal time.

In the case of clay guilds, we know that many members are often beginning or part-time artists who aren’t quite ready to commit to their own personal subscriptions. Yet we also know that each clay artist who has the opportunity to learn from his or her own copy of the magazine during the course of a full year is not

Simply log on to http://www.claytimes.com/ subscribe-renew.html or call our toll-free subscription line at 800.356.2529 (purchase orders welcome). Note: Please remember, this offer is for a limited time only and is available only to recognized art educators and clay guilds in the U.S.A. Meanwhile, to all of you students and guild members: time to nudge your teacher or guild director to order your group issues today! Questions? E-mail: CTcirculation@ gmail.com [ — Polly Beach, Editor

Visit www.hood.edu/ceramics for full schedule.

Joyce Michaud East Asian Coil Technique June 2-3

Ceramic Sculpture June 18-29

Kevin Crowe

Throwing Large Forms July 9-14

M.F.A. Exhibition

Evgenia-Vallentina D. Rementelas Coralations: Coral Relations, Core Relations, Correlations April 20-May 20 Reception: April 21, 5:30-7:30 p.m. Whitaker Commons Gallery, Hood College Hood College Graduate School Art Department (301) 696-3456 ∙ Fax (301) 696-3531 www.hood.edu/ceramics Hood College subscribes to a policy of equal educational and employment opportunities.

CLAYTIMES·COM n SPRING 2012

It’s hard for those students to fully glean all the great information each issue of Clay Times has to offer when they have only limited access to the publication. The issue is passed around, becomes tattered and torn, and is eventually lost or unreturned by one of its several readers.

So educators & clay guild directors ... don't delay! Subscribe or renew right away to take advantage of this great opportunity to share Clay Times with your students and fellow guild members!

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^ Conferences

‰ NCECA 2012, the 46th Annual Conference of the National Council on Education for the Ceramic Arts, takes place March 28-31 at the Washington State Convention Center in Seattle, Washington. Renowned guest speakers and ceramic artists including Christa Assad, Walter Keeler, Tip Toland, and Jason Walker will be demonstrating their techniques at the show, while manufacturers and suppliers of clay-related goods and services will offer their wares and expertise in the exhibit hall. On-site registration will be open daily at the convention center. For up-to-date conference programming and last-minute details, visit www.nceca.net. Information on available accommodations appears online at: http://www.nceca. net/static/conference_accommo dations.php

‰ The 32nd Annual Convention of the American Art Pottery Association takes place April 19-22 in Cleveland, Ohio and will include a two-day show and sale, tour, and art pottery auction. Seminars on understanding and collecting art pottery will feature Van Briggle pottery, Pillin pottery, and art pottery tiles. The tour will include the Museum of Ceramics in East Liverpool, as well as the Homer Laughlin China Company. All activities are open to the public (fees may apply). For details, e-mail anccats@yahoo. com or log onto www.AAPA.info ‰ For the fifth year, many of the Smoky Mountains’ most talented studio potters will gather to participate in a juried event to exhibit, sell, and demonstrate their craft during the Smoky Mountain Pottery Festival. The event takes place June 2 in Townsend, Tennessee, gateway to the Cades Cove entrance of the Great Smoky Mountains National Park. Highlights include 25 pottery booths showcasing a wide variety of styles and techniques. There will also be raku firings, handbuilding and wheel-throwing demos, an educational children’s tent, music, food and more. To learn more, visit http://www.smokymountainfestivals. org/#/pottery

Calls for Entries

Tile Show to open during the Silver City Clay Festival Aug. 3-5 in Silver City, New Mexico. Alfredo Ratinoff will jury the show. Download the prospectus at: http://clayfestival.com/ wp-content/uploads/2012/02/Clay CalltoArtistw-4-30.pdf ‰ Louisville Clay is calling for entries of ceramic bourbon bottles and shot glasses through May 1 for Bluegrass Bourbon: By the Bottle, By the Ounce. This national exhibition will be juried by Matt Long and will take place Nov. 2, 2012-Jan. 5, 2013 at the Kentucky Museum of Art and Craft. To learn more and download a prospectus, visit www.louisvilleclay.org ‰ The Workhouse Arts Center of Lorton, Virginia is accepting entries through May 2 of functional and/ or sculptural ceramic art for the Workhouse Clay National Ceramics Exhibition 2012. This year’s exhibit will take place July 25-Aug. 26 and will be juried by Peter Held. For details, visit www.workhousearts. org. To apply online, visit www.juried artservices.com ‰ The Kansas City Clay Guild is accepting entries through June 1 of teabowls 9" and smaller for its Teabowl National, to take place Aug. 17-Sept. 28. Bede Clarke, professor of Art at University of Missouri, will jury the show. Entry fee: $30. To learn more, visit www.kcclayguild.org or e-mail llywhite54@yahoo.com

‰ Entries are being accepted through April 30 for the Juried Art continued on next page

CLAYTIMES·COM n SPRING 2012

‰ The 23rd Annual California Conference for the Advancement of Ceramic Art (CCACA) brings the ultimate ceramic sculpture event to Davis, California from Apr. 27-29. Featured this year are 50 student exhibitions and three days of demonstrations and lectures by renowned artists including Janis Mars Wunderlich, Tony Marsh, Judy Onofrio, and John Roloff. For more information, visit http://184.168.230.152/?page_ id=334

• ceramic art world news • events • • calls for entries •

Hot Stuff I News & Events

What’s Hot

Hot Stuff I News & Events

What’s Hot (continued from previous page) ‰ Online entries of ceramic art made by California residents are being accepted through June 1 for the Orange County Fair Ceramics Competition, to take place July 13-Aug. 12. Accepted entries must be hand-delivered on June 29. For more information, visit www.ocfair.com/competitions or e-mail bthompson@ocfair.com

‰ Entries are being accepted through June 2 for the Associated Artists of Southport’s annual Summer Regional Show, to take place June 18-July 14. The event will showcase North and South Carolina 2-D and 3-D Artists, with awards to total $1700. Download the prospectus from the Website at http://www.franklinsquaregallery. com/2012sum%20pros%20rev2-22.pdf.

ODYSSEY

Asheville, NC

CENTER FOR CERAMIC ARTS

Charlie & Linda Riggs May 30- June 1 3-Day Workshop Naked Surfaces & Alternative Firing Cynthia Consentino June 4-8, Interpreting the Figure Fong Choo June 11-15, Diminutive Teapots Sang Roberson June 18-22, Soft & Shiny Slabs Akira Satake June 25-29, Imperfect Beauty Suze Lindsay July 9-13, Going Vertical Curt LaCross July 16-20, Sculpting the Human Psyche Jason Burnett July 23-27, Graphic Clay: Cut, Copy & Paste Susan Filley July 30- August 3, Porcelain: Form & Finesse

www.odysseyceramicarts.com

Cynthia Consentino

Susan Filley

CLAYTIMES·COM n SPRING 2012

‰ The Market House Craft Center of East Petersburg, Pennsylvania is accepting entries through June 2 (or through late entry deadline of June 10 with late fee) for the 2012 Strictly Functional Pottery National, to take place Sept. 15-Nov. 4, 2012. Jack Troy will jury this year’s show, which is open to residents of all U.S. states and the District of Columbia. Submitted work must be functional and offered for sale at prices up to $600. Eligible works must also have been produced during the past two years. Size may not exceed 30" in any dimension, or exceed 20 lbs. in weight. For full show details, log onto: http://www. strictlyfunctionalpottery.net/

Akira Satake

SUMMER 2012 WORKSHOP SERIES

Riggs

Questions? E-mail Joyce Grazetti at artslavenc@yahoo.com

Curt LaCross Suzy Lindsay

Sang Roberson Fong Choo

Jason Burnett

‰ Entries of ceramic work made in the U.S. are being accepted through June 13 for Ecumene: Global Interface in American Ceramic, to take place Aug. 29Sept. 20. The event is organized by NCECA and will be held in conjunction with the International Academy of Ceramics at Santa Fe Community College, Santa Fe, NM. Jurors are Jane Sauer, Linda Ganstrom, James Marshall, and Clark Baughan. Entry fee is $20 for NCECA members; $40 for non-members. To find out more, visit www.nceca. net or e-mail Linda Ganstrom at lganstro@fhsu.edu ‰ Entries are being accepted through June 14 for the Silver City Clay Festival’s Juried NeoMimbreño 2012 Exhibition, to take place Aug. 5-Sept. 5. Dr. Harry Shafer will jury the show, to feature awards totaling more than $1,000, plus signed copies of Dr. Shafer’s book, Mimbres

‰ Entries of all interpretations of the bowl are being accepted through June 15 from ceramic artists east of the Mississippi River for the 2012 East Coast Battle of the Bowls, to be held by the Academy of Fine Arts of Lynchburg and Amherst County High School, Amherst, Virginia. For prospectus, visit http://eastcoast battleofthebowls.blogspot.com ‰ Ceramic works created during the past two years by artists worldwide are being accepted through Aug. 1 for the 2013 NCECA Biennial. The event will be hosted by the Houston Center for Contemporary Craft from Jan. 26-May 5, 2013 in conjunction with the 47th NCECA conference.

Jurors: Cristina Cordova, Namita Gupta Wiggers, and Richard Notkin. Entry fee: $20 for NCECA members; $40 for non-members. To learn more, visit the Website at nceca.net or e-mail kate@nceca.net ‰ Entries are being accepted through Sept. 13 for “Craft Forms 2012,” the 18th International Juried Exhibition of Contemporary Craft, to take place Nov. 30, 2012-Jan. 26, 2013. More than $4,000 will be awarded. Digital entry fee: $40. For details, visit www.craftforms entry.com

‰ Entries of ceramic work made by U.S. students are being accepted through Sept. 20 for the 2013 NCECA National Student Juried Exhibition, to take place Feb. 15-Mar. 23, 2013 in the Glassell School of Art at the Museum of Fine Art, Houston, Texas. Jurors are Bonnie Seeman and Kevin Snipes. Entry fee is $15 for NCECA members; $30 for non-members. To learn more about this annual show, log onto www.nceca.net or send an email to Linda Ganstrom at lganstro@ fhsu.edu [

Hot Stuff I News & Events

Archaeology at the NAN Ranch Ruin. To download the prospectus, visit http://clayfestival.com/juried-neo-mimbreno-2012-exhibition/

To list your events, clay conferences, calls for entries, exhibitions, or ceramic news items in Clay Times®, please e-mail complete details to: claytimes@gmail.com, or click the events link at www.claytimes.com to fill out an online submission form.

CALL FOR ENTRIES

BLUEGRASS BOURBON by the bottle / by the ounce Nov. 2, 2012–Jan. 5, 2013

Juried by Matt Long Entry deadline May 1, 2012

www.louisvilleclay.org

CLAYTIMES·COM n SPRING 2012

A national juried exhibit of ceramic BOURBON BOTTLES and SHOT GLASSES

Watermelon Bunny by Vince Sansone. 24" x 8" x 11". Stoneware clay, 2011.

Boy Bunny Awaiting Girlfriend. 24" x 12" x 13". Stoneware clay, 2010.

Hare.Raising Secrets

STORY AND ART BY VINCE SANSONE PHOTOS BY LES STONE

abbits have appeared in my artwork before this current excursion into “Bunnidom.” About 12 years ago I made a whimsical series entitled Armored Cats. Wearing funny hats, several little, pompous, self-absorbed men sat in a large, tank-like, armored cat. Intent upon their mission, this comical group of characters was usually bent on some sort of mischief. One of my favorite sculptures from this series was called “Bunny Headhunters Signaling for a Left-Hand Turn.” The men wore bunny-head hats and signaled only for left-hand turns with their bunny ears. Thus, they only went in circles and never bagged their prey.

Last year, 2011, was the year of the rabbit in the Chinese calendar. That spurred my making as many rabbits as I had the time to make. As is often the case, my ideas for sculptures in this series were sparked by a play on words (i.e., alliteration, puns, rhymes). Alliterating the word “bunny” gave me the ideas that led to Buddha Bunny, Biker Bunny, and Bozo Bunny. Word play also became the inspiration for Hare Plane, Dust Bunny, and Karate Rabbit. The rabbits I have made over the last few years have taken on more and more human-like characteristics. To look in the eyes of one of these bunnies is to stare into the eyes of the character being reflected by the name. Doing this affords me endless ideas and personas to convey through the rabbit sculpture. In the Boy Bunny Awaiting Girlfriend series I have developed a story line behind the multiple forms I have sculpted of this one rabbit character. The boy bunny is eagerly awaiting his girlfriend, then getting bored

Pictured on this page, clockwise from top left: Vince Sansone assembles wheel-thrown bunny parts; “Rattle Brains;” “Buddha Bunny;” “Karate Rabbit.”

CLAYTIMES·COM n SPRING 2012

My rabbit-making lay dormant for about a decade as my teaching, preparing for other shows, and earning a living consumed my time. The impetus to resume sculpting rabbits came four years ago when I was invited to exhibit my work for a show called “Totems in the Garden” at the Orange County Library here in Orlando. Because I wanted animals as well as totems for this show, I decided to make rabbit sculptures for the garden.

Two- to three-feet tall, these rabbits were stout creatures, which were sitting upon their haunches and looking up at passersby.

as time passes, and finally starting to eat the carrots he brought for her. By the time his girlfriend shows up, the boy bunny has only one carrot left to present to her. Getting my inspiration from words works well for me. Word play becomes clay play. The transition from word-smithing to bunny-sculpting is comfortable yet challenging. I find each idea brings its own challenges, which, in turn, keeps me pursuing solutions. To me, each piece is practice for the next. Being challenged is what keeps me, as a working artist, searching for solutions. I began working with clay in 1968 while in college, and continue working with clay today because it remains challenging. With each piece I make there are always many more ideas that go unmade because my time is limited. An idea can come in a flash; however, each idea takes days, even weeks, to complete. So, I must choose which idea to pursue. Bringing my ideas into the world is to take a journey down a never-ending road with many detours and turns. Some ideas resist coming to fruition. It may be they have a longer gestation period, or I have not yet acquired the right skills or approached it from the right angle. There are some ideas I have lived with for years because no matter how much time passes, if they still seem like good ideas, there is still hope I may be able to make them happen some day. In the meantime, they sit on the back burner waiting for the right time.

CLAYTIMES·COM n SPRING 2012

After I choose an idea, I take the verbal concept and begin making simple sketches—basically cartoon drawings—of the rabbits. As the rabbits have become more anthropomorphized, their bodies and expressions have taken on more human-like characteristics than my earlier rabbits. To make rabbits do things no rabbit would do, (e.g., sitting like a person with its leg crossed over the other leg and holding a carrot in its hand), I have studied pictures of humans doing what I desired the rabbit to do. If I could not find the right picture, I would position myself in front of a mirror to figure out the correct proportions and positions of appendages, and then make my basic sketch.

Once I have drawn the figure, I make a maquette in clay. I include this step in the process so I have the opportunity to figure out how I will go about making the piece in its larger size. I do this by reducing the body parts of the rabbits to simple forms I can throw on the wheel. When I have completed making my miniature version of the newest rabbit, I have a better idea of how to proceed. It gives me something to look at as I put a larger version together.

As I begin the task of sculpting my large rabbits, I know I need about a week to accomplish throwing, assembling, and trimming one of these sculptures. Throwing is the most efficient way for me to make these forms. At the wheel I throw about seventeen pots of various size that will become the rabbit’s body parts: the torso, neck, head, one closed form for two ears, tail, two legs (one or two pots for each), two feet, two arms (two pots for each), two hands. Scraps of clay are needed for the two eyelids, two eyes, and the 20 pads on rabbit’s feet and hands.

The Assembly Process Fifteen pounds of clay will yield a medium-size rabbit that stands about two-feet tall. This size rabbit is easy to handle, especially when trying to fit the rabbit in the bisque kiln. I have found larger rabbits cumbersome, as well as difficult to get in and out of the kiln without something getting bumped or broken. After I throw the parts on a wheel, I place them on a ware board to dry outside. A sunny morning in Florida dramatically helps speed up the process. Putting the thrown clay pieces in the sun for 20 minutes is all that is needed before I am able to begin trimming and assembling. If I am able to put together most of the rabbit in the first day, the next day’s hand-building goes more smoothly as everything has had time under plastic to allow the moisture content to equalize. Even with the most thorough planning, there will be problems that arise. Some parts will turn out too large or too short. However, if I take some time to live with the piece for a while, I usually can see where to make adjustments, (e.g., making a leg thinner by cutting out a dart or adding a section to the neck), to properly shape and size the body parts. When assembling the parts I begin by putting the pads on the hands and feet of the rabbit. I then shape the face and put the eyeballs in place. The head is the first part I attach to the body. Next, I attach and position the ears. When the ears are in place I turn and tilt the head to project the desired emotion. I then add and position the other body parts. It is important to keep the sections or parts of the rabbit close to having the same moisture content to avoid having cracks. If I keep the rabbits under plastic for a second night I will have the opportunity to fine-tune the surface by making sure the texture of the fur is consistent and in every place it needs to be.

Once I have completed the rabbit, I will wrap it in plastic again so that it can dry slowly over the next several days. During this time I will remove the rabbit from the plastic for an hour or two each day until I feel it is safe to leave it out to dry completely. From start to finish, it takes me about a week to make a rabbit and get it into the kiln to bisque. After the rabbit is out of the bisque I can knock off any rough edges with a piece of coarse sandpaper. Most of the coloring added to the piece is done with underglaze. • The rabbit’s belly, tail, area around the eyes, and the muzzle are done with Amaco LUG-10 White. • The nose, footpads, and eye pupils are done with Amaco LUG-1 Black. • The irises of the eyes are done with Amaco V-390 Bright Orange. • The outer portions of the eyeballs are completed with Amaco LUG-31 Mahogany Brown. • The rest of the rabbit’s body is unglazed except for the inside of the ears, which I brush with a glaze called “Peach.” • If the rabbit is holding a carrot, Amaco V-390 Bright Orange is brushed on first, followed with a thin coat of the “Peach” glaze over the orange. • For the leafy part of the carrot a glaze called “Lime Green” is used. I fire the rabbit in a downdraft reduction kiln to Cone 11, about 2400° F. A typical firing takes eight to ten hours. I start the firing with one-and-one-half hours on low heat. Then I adjust the gas/air ratio by sound. (The gauges never last more than a few months, so I stopped replacing them years ago.) In a couple of hours or so—depending on how good my hearing was when I set the burners—I start the body reduction when Cone 07 is flat. Reduction is for one hour. Then I go back to oxidation. Once out of reduction, it takes about four to five more hours to make it to Cone 11. The glazes we use at our school react well to this firing schedule. After about twenty-four hours I unstack the brick door. It takes a lot of restraint to keep from taking the pots out when they are still hot. There are three tiers of shelves in the kiln. I always put the rabbits in the back tier on the top shelf with their legs dangling over the side. The legs are all I can see until the kiln is unloaded. I know, however, it is best to wait until the next morning to unload. No gloves are necessary by then, and I can unload with less chance of breakage.

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add Titanium Dioxide 20.0 *When thinly brushed on pottery, this glaze is a yellow-gold satin matte. When thickly applied, it becomes shiny.

LIME GREEN GLAZE Opaque • Cone 10-11 Reduction Nepheline Syenite 43.7% Barium Carbonate 36.1 Ball Clay 10.9 Silica 9.3 TOTAL: 100.0% add Copper Carbonate 4.4 Bentonite 1.1 Titanium Dioxide 5.0 Vincent Sansone uses the above glazes on Laguna’a Miller stoneware clay #901 fired to cone 10.

CLAYTIMES·COM n SPRING 2012

A whole night has gone by and the suspense has been building even in my sleep. After so many years of making stuff out of clay I would expect to be used to this by now. We have gone through a lot already before I have offered them up to the fire gods. The fire will make them or break them. (I hate using that word when I am talking about clay). The rabbits could come out toasty or fried. When I lift a rabbit from the kiln and see a bright, perky rabbit—whole and strong—I know we have done well. The fire gods have smiled upon me again! [

Vince Sansone holds an M.F.A. in ceramics from the School of the Art Institute of Chicago. He currently serves as Ceramic and Sculpture Department Director at Crealdé School of Art in Winter Park, FL. He may be reached via e-mail at: vincesansone@cfl.rr.com; Website at: www. sansoneart.com; or Facebook Page: Vince Sansone

CLAYTIMESÂ·COM n SPRING 2012

How to Control Drying & Keep Work from Cracking

BY PETE PINNELL

Instructions for Drying Ceramics: Go away! Do not return until the object is dry!

n theory, that’s all we have to do. However, as everyone finds out in their beginning class, successfully drying a clay object isn’t always as easy and straightforward as my facetious instructions would imply. This is because of two qualities that we’ve all noticed: when clay dries, it shrinks, and not all of that drying (and shrinking) occurs everywhere on the object at the same time. The average pottery body shrinks anywhere from 4% to 8% (linearly) when it dries, which is a pretty sizeable amount. Thin areas dry first, thick areas later. Areas that are exposed on both sides dry faster than areas exposed to the air on only one side, and both dry faster than areas that are completely enclosed and sheltered from the outside air. When we plan drying (and yes, we do need to plan drying), we always need to take into account how the object will dry and where the resulting shrinkage might create stresses.

When clay dries, water evaporates from the surface. Water within the body migrates to the surface to replace it, lowering the total level of water in the clay. This process continues until the level of moisture in the clay matches that in the surrounding atmosphere1. We know that the thicker parts of the piece will take longer to dry than the thinner parts. In addition, the forming of clay can sometimes create an alignment of clay particles, sort of like the grain in wood. Because it’s easier for water to follow the grain than cross it, water migrating to the surface can sometimes take a fairly circuitous route to the surface, further slowing down drying in certain areas. There are other variables, of course. Some portions of the object may be exposed to the air on only one side—say, the outside of the torso of one of our heroes—while other portions may be covered on both sides of the wall, like the soles of the two men’s boots. In the case of walls that are only exposed on one side, all the water must migrate to the outside surface, since almost no evaporation will take place into the closed interiors of the figures. In the case of covered portions (like the boot soles I referred to), all the moisture in the clay must migrate all the way to the exposed edges of their footwear in order to evaporate2. Taking these things together, you can see that the portions of our figures will tend to dry at very different rates. One of the figures is pointing, if you remember, so the index

finger will dry (and shrink) first, along with their ears, shirt collars, edges of clothing, musket barrels, and any other small, thin or highly exposed portions. Other portions of the figure—especially those that are thick and “trapped”—will remain quite wet, often long after those exposed portions are bone dry. The situation I’m describing here is referred to as a moisture gradient. We’re concerned about forming a gradient because of shrinking: when the parts of an object dry (and shrink) at different rates, then the resulting stresses can cause parts of the object to crack, especially at junctions between dryer and wetter sections. This is why we so often see cracks at the intersection between say, the body and the handle of a pitcher or mug. There are a number ways to deal with these stresses. First, if a clay body shrinks less, then there’s less stress on the piece, regardless of any moisture gradient present. Ceramic artists often add grog or other non-plastic filler to clay bodies. Pottery clays can contain up to 10% grog, and sculpture clays often contain up to 25%. This addition can both decrease shrinkage and help the clay to “stand” better. Another reason to add filler to a clay body is that these large, coarse particles tend to break any particle alignment created during the forming, making it easier for water to migrate from inside the wall to the outside surface where it can evaporate. Without the addition of these coarser, non-plastic particles, clay can be an excellent waterproofing material: the thousands of “earthen” dams in this country, some over a century old, stand as testament to the ability of clay to resist the

CLAYTIMES·COM n SPRING 2012

Imagine I’ve made a life-size statue of Lewis and Clark. The two figures are standing majestically, holding muskets and pointing into the distance (as artists like to do whenever portraying Lewis and Clark. Not to get off the topic, but if those two were anything like my wife and I, they’re probably pointing at an Indian and saying, “I don’t know how to get there, either—Let’s ask him.”) Now that I’ve finished building the figures, they’re ready to dry. Being an experienced ceramic artist, I know that I can’t just build a big object like this solid and have any hope of ever firing it. So, I’ve carefully built the figures hollow, leaving the walls a bit thicker where they need to be for structural reasons and thinning them out where I need to save weight or add smaller elements (a collar or cuff, for instance). What

would happen if I followed the instructions above and simply walked away? From my experience, the pieces would almost certainly crack, and might even fall apart.

Perspectives I As Far As I Know

A Very Dry Topic

continued on page 20

Perspectives I As Far As I Know CLAYTIMES·COM n SPRING 2012

Crack Prevention (from page 19) migration of water. In more contemporary use, clay is used to line toxic waste dumps to prevent the contents from leaching into the surrounding groundwater. A clay body that contains little or no filler will tend to dry unevenly, and will be much more prone to blowing up in a bisque firing from trapped water turning to steam. Fairly fine-grain fillers (such as 50- or 100-mesh grogs) work just fine for this if you want to avoid the texture of coarse grogs in a throwing body. Otherwise, the standard 30-mesh grogs that are commonly used work well for most clay bodies. Besides altering the clay formula, there are a lot of ways to control drying to prevent moisture gradients. The easiest is to orient the form differently once the object is stiff enough to support weight in an orientation other than vertical. For instance, an open form (like a bowl) will dry more evenly upside down, exposing only one side to the air. This is also the best way to keep the rim soft enough that it will remain flexible until the foot is trimmed. Complex objects can be turned on their sides onto soft foam to expose other sides to the air. One of my colleagues keeps his eyes open for old chairs and couches that students are always throwing out in college towns, and grabs the foam cushions. The covers can be discarded and the foam blocks trimmed or cut up. A band saw works beautifully for this, as does a sharp utility knife. I often have my students selectively wrap thin parts of pots or sculptures with plastic kitchen wrap. It’s a solution that I came up with 25 years ago when I first started making porcelain mugs. If I put a long pulled handle on the mug (that reached from near the top to near the bottom), an unacceptably large percentage of these handles would crack. I could see what was happening: the handle would dry first, then later the body of the mug would dry (and shrink), forcing the handle to bend after it was already rigid. My first solution was to paint the handles with wax when they were about half dry, delaying their drying until after the body dried. That worked, but the wax left a residue on the piece (even after bisquing) that made it difficult to glaze. Wrapping the stiffened handles in plastic wrap worked perfectly— you just need to remember to remove the plastic wrap before bisquing. Plastic bags work well to keep things wet, but they can also be used to slow down drying on fragile pieces. You can buy very thin, .5 or .6 mil transparent plastic trash

bags. (I buy the 16-gallon size—about 24" x 31"—for the students here. They’re sold online in boxes of 500 for less than 10 cents each.) The plastic in these bags isn’t thick enough to prevent evaporation, just to slow it down. Place the delicate piece on a slightly absorbent bat (like hard board) and put it into a bag. Inflate the plastic like a balloon (so it doesn’t tough the piece), seal it well and make sure it stays out of the sun. Depending on the relative humidity it can take a week or more for the piece to slowly dry. The bats can tend to grow mold, but I just wash that off and it doesn’t seem to harm the bat. A similar trick is to “tent” the piece in paper. For a small piece, simply put it into a paper bag, gently fold it shut so that the paper doesn’t touch the clay, and leave it. The paper slows down evaporation enough that the piece will dry evenly. This can even be used with very large pieces: tape newspaper together to create large sheets of paper, then fold and seam these to make a tent for the piece, making sure that the piece is completely enclosed and there are no openings in the tent. A paper-wrapped piece will dry faster than a plastic-wrapped one, but still very evenly. My friend and colleague Eddie Dominguez makes large-scale ceramic sculpture. He wraps his work in cloth and that works very well for him. Eddie often wraps a very large piece in a blanket, and he says that a polyester blanket slows down drying more than cotton or wool blankets. Cotton bath towels work well, and a double layer slows things more than a single layer. Bed sheets slow things down just a bit and sheets with a higher thread count will slow down drying more than a cheaper sheet. He doesn’t go out and buy any of these things new, of course— all of this stuff can be found inexpensively at thrift stores. In summary, we need to drive the process rather than simply abandoning the work and impatiently waiting for it. We need to look at each object, predict how it will dry, identify potential problems, and take action to prevent those problems. If cracking occurs anyway, try to analyze why it happened so you’ll know what action to take next time. In time this skill becomes automatic and you’ll find yourself cringing when you see work drying improperly, a sign that you’re mastering yet another part of our craft. Next time I’ll follow up with bisque firing and how to prevent cracking and save money. [

1. We call this stage “bone dry,” but clay may not be completely dry at this point, unless the air is completely dry. If the air is humid then there will still be some water in the clay. That’s a point we need to take into account when planning how to fire, and will be the topic of a future column. 2. Of course, several pinholes should be poked into any trapped interior spacing to allow air and moisture to escape during drying and firing. Peter Pinnell is Hixson-Lied Professor of Art at the University of Nebraska at Lincoln. You can reach him at ppinnell1@unl.edu or through his Facebook page at www.facebook.com.

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Perspectives I As Far As I Know

Footnotes:

Mix and Match Shot Glasses. Porcelain; luster. Each shot glass 2" tall. 2011. Sandwich Plate. Porcelain; luster. 7¼" x 7" x ½". 2011.

Photo captions here

Tea Set. Porcelain, variable heights from 3" to 7½" tall. 2009. Biking and Boozing Condiment Bowls. Porcelain; luster. 3½" diameter. 2011.

Club Scene Serving Plate. Porcelain; luster. 10" x 10½" x 2½".

Whiskey Set. Porcelain. 8½" tall. 2011.

Emerging Artist Spotlight:

AUTUMN HIGGINS

Fresh. BOLD! Original. and

Thought-Provoking.

These are but a few terms that come to mind when encountering the porcelain art of Autumn Higgins, a grad student from Oregon presently pursuing her M.F.A. in ceramics at Louisiana State University in Baton Rouge. Based on controversial themes mixed with childhood innocence, her work reflects her interest in “humor, absurdity, randomness, embarrassment, playfulness, and touch.”

“My work is meant to be used and enjoyed, and I want people to relate to it. I want them to have fun while they eat, and laugh while they drink their morning coffee.” Several of Autumn’s most recent pieces are presently on display at the new Clay Times Fine Arts Gallery in Hamilton, Virginia. Come check it out in person, or discover more online at the link below. [ To view additional images and learn more about Autumn and her ceramic art, log onto www.claytimes.com/extras.html

Cream and Sugar Set. Porcelain; luster. 6" tall. 2010.

CLAYTIMES·COM n SPRING 2012

Salad Bowls. Porcelain; gold luster (on left), 4½" x 9" x 7"; (on right) 4½" x 9¼" x 9". 2011.

CLAYTIMESÂ·COM n SPRING 2012

Technique: Angelique Tassistro

Step 2

Perspectives I Beneath the Surface

BY LANA WILSON

This is the second column on Angelique Tassistro’s unusual technique, developed by watching what happened when she washed off a mistake.

The significant lesson: Pay attention for possibilities in mistakes!

Step 3

Think: Can you use part of Tassistro’s process or vary it or cuddle up to your mistakes?

Wilson: Could you please explain each of the eight steps in your process? Tassistro: I tend to stick to a pretty structured process, but I have played around a lot. The variety in color is my favorite part of the process. I find the possibilities are endless ... and I have been doing this technique for about six years. 1. I wash a cone 05-bisqued piece off extremely well, and let it dry.

3. I coat it with a top color, and while it is still wet I carve designs into the top color, exposing the base color. Then I let it dry. 4. I add accent colors, usually three of them. 5. I draw designs in the wet accent top colors that are actually the third coat. Then I let the piece dry overnight. (Note: After

CLAYTIMES·COM n SPRING 2012

2. Next I cover the piece with a base color — a turquoise blue for the pictured butter dish — and let it dry again.

Steps 4 & 5

Perspectives I Beneath the Surface

Angelique Tassistro (continued from previous page) Tassistro demonstrated to my class at Penland, we didn’t let some of the pieces dry overnight and it did not work at all as well.) 6. Now the surprising water washing step: I wash the piece under water while doing repeated wipes with a sponge. Then I let it dry completely — at least overnight.

7. After the drying period, I take a cloth and rub firmly over any bumps or air pockets that are left from the water. Afterward, I outline shapes and colors with a black underglaze pencil.

Highwater white earthenware. My current favorite color is gray. I’ve been using it as a base, and love it! The other colors I love are orange, pink, and green. Wilson: You inspire me to watch for any mistakes and think about the possibilities. What do you currently enjoy making the most? Tassistro: Right now, I’m working on all new forms for an upcoming show. I’ve recently gotten into yoga; I wanted to know more about its origin. In the process, I have fallen in love with Indian culture, the colors of hand-dyed fabrics, the landscapes of India, the wooden handcrafted boats, and the architecture—especially the doorways and window trims. I saw a cool, old wooden boat in a magazine that said something about sailing in India. I looked online for more images, did some sketches, and then moved on to making test pieces. All of these elements have become inspiration for a new body of work. New forms keep popping up, and now that’s all I want to make! I do like to keep it fun; I am always trying something new. [ I repeat: The significant lesson: Pay attention for possibilities in mistakes. Think: can you use part of Tassistro’s process or vary it or cuddle up to your mistakes? Learn more about Angelique Tassistro and her techniques at www.flycoopstudios.com. Columnist Lana Wilson may be reached via her Website at www.lanawilson.com.

NEW

CLAYTIMES·COM n SPRING 2012

8. Now I let the piece dry for at least a day, sometimes more, before the glaze goes on. I use Amaco Glaze LG-10 Clear Transparent and fire the piece to cone 06. If there is any moisture left in the piece, it will cause problems. With this technique, I’ve also fired to cone 6. However, the colors were too ‘milky,’ so I’ve returned to low-fire.

Wilson: Can you offer a few more details on the colors and glazes you use? Tassistro: I do a higher bisque firing at cone 05, then glazefire slightly lower at cone 06 (the usual system of the bisque being higher than the glaze for low-fire work). I use mostly Amaco Velvets, and I mix a lot of them: I take the Velvet Hunter Green, add a little Bright Yellow and a little Blue to make my own green. I use Amaco Glaze LG-10 Clear Transparent. I’ve tried so many glazes, both commercial and mixed in my studio, and this one fits the best on my

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Visit us at NCECA booths 17-19

Shop Talk I Firing

Springing Forward

with a New Kiln BY MARC WARD

To begin with, can you build the kiln where you want to? Do you live in a neighborhood with strict association rules? Do you need zoning approval? Does the building inspector need to get involved? Does the fire marshal? Start at the lowest levels to begin making your inquiries. Ask the gas supplier (natural gas or propane) about the feasibility of building a kiln. These folks are going to sell you gas, so they have a strong reason to be positive about your plan. Many times, they can help direct you to the hoops you have to jump through. If you know a contractor, they may be able to help you on an informal basis with any regulations you might be unaware of. And, of course, seek out any potters in your area that have built kilns and learn what steps they had to take. Do these things first as there is no point in planning something that won’t happen. Kiln plans are hard to come by. They are out there, but they may be plans to a kiln you don’t want or need to build. Be prepared to modify any plans you may get. Its like a recipe? Changing some of the ingredients won’t ruin the dish and might make it better. Build your kiln around your work? Here’s what that means; Your work is going to dictate the size and type of shelves you are going to buy. Believe it or not, this is the very first part of your kiln plans. You build the kiln around the shelves and their footprint. You don’t build a kiln and then buy shelves. Look at shelves at suppliers or at other potter’s kilns. Pick them up. Hold them out in front of you. Bend over holding them. Are these shelves you can live with? Are these shelves that you can use day in and day out? If these shelves are going to work for you, you can now figure out how many of these will go on each layer, how tall each layer will be, and how many total layers you’ll have in the kiln. Once you have all this, you’ll have a good idea of the size and shape of your ware load. The kiln is the thing that goes around this.

So, you’ve determined you can build the kiln. You’ve figured out what shelves you’re using and how big the kiln is going to be. And, you know you can get the gas to fire it. Now you need to know what burners you are going to use to fire this beauty. Don’t assume the four burners you scored at a yard sale are going to fire your kiln under some of the parameters that you’ve already set out. They may, but don’t go merrily building your kiln with four burner ports only to find out you need six burners. If you do some advance planning, you’ll have a far better experience building your kiln and the chances of it working well are vastly improved. [ Marc Ward is owner and operator of Ward Burner Systems, PO Box 1086, Dandridge, Tennessee 37725. He invites you to sign up for his free newsletter, and can be reached by phone at 865.397.2914 or through the online catalog and Web site at: www. wardburner.com.

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OK, you now have a good idea about the size of the kiln you want. Are you going to use natural gas or propane? The size and construction of your kiln will determine how many BTUs you’ll need per hour. Know this number before you start buying and building. This heating number may stop your project cold. This number will determine things like meter capacity and pipe size in natural gas systems. The BTU number will also determine propane tank size. If the natural gas infrastructure in your area can’t support the kiln you want, there’s no use in building it. If the propane tank you need to fire the kiln won’t fit on your property because of size or setback requirements, there’s no use in building

it. Some of the saddest conversations I have is with folks that didn’t investigate this. They’ve put their time, money, dreams, and labor into building a kiln only to find out they don’t have a way to fire the kiln. Do your homework first.

The THE RefRacToRy REFRACTORY SupeR SUPER SToRe! STORE!

f you’ve never built a kiln before, it can seem like a daunting undertaking. What makes it even more daunting is the fact that most folks don’t know where to start. You visualize the kiln, but not the steps to get there. You dream about what you want and need, but can’t conjure up the bones of the project. Where to start?

Progression,

Form,

& Glaze STORY AND ART BY WILLIAM SCHRAN

CLAYTIMES·COM n SPRING 2012

Above: Wheel-thrown, assembled, white stoneware. 11" x 5½". Crystalline glaze colored with nickel; refractory slip; stoneware glaze. 2011.

At right: Wheel-thrown, assembled, white stoneware. 9½" x 6". Crystalline glaze colored with rutile; stoneware glaze. First development of combining crystalline and stoneware glazes, 2005.

In response to a message I recently posted on the ClayArt discussion group, Clay Times columnist Vince Pitelka wrote: “Your post should be the basis of an article. It is great material, spoken quietly from the heart.” ClayArt moderator Mel Jacobson wrote, “It is process. Different potters like different processes. It does not make them more noble, or better than, or wonderful. It is just their process.” Here was my response to Mel’s post: “I am one of those persons with the small electric kiln in my garage—uh, I mean, studio. I have a 1980s manual kiln, and a newer programmable kiln. I have a potter’s wheel, table, wedging/reclaim board, and lots of shelves all around. A one-car garage, with no water—perfect for one potter.”

work with crystalline glazes. Most everyone I know works with these glazes at cone 10. There are perhaps a couple hundred of us around the world working just on crystalline glazes. We have our own crystalline glaze online forum. There is so much information about the process now that anyone can get results first time out. But the process is so time-consuming and so technique-intensive, very few continue.

Above: Wheel-thrown, assembled, white stoneware. 13" x 6". Crystalline glaze colored with cobalt & copper; stoneware glaze. 2011.

At left: Wheel-thrown, assembled, white stoneware. 9½" x 6". Crystalline glaze colored with nickel; refractory slip; stoneware glaze. 2011.

Clay Times Magazine Volume 18 • Issue 93