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Fire pottery AND glass in Paragon’s multi-purpose cone 10 kilns


24” wide x 22 ½” deep 15” high interior

Janus-1613 16 ½” wide 13 ¼” deep 8-sided interior


22 ½” wide 20 ¼” deep 10-sided interior


aragon Janus-series kilns can fire both pottery and glass. Heating elements are mounted in the top and sidewalls. Imagine the exciting pieces you could make in a Janus kiln.

Selection switch Select between glass and pottery with the flip of a switch. With the switch in the glass position, heat comes from the top elements and the middle sidewall element. With the switch in the pottery position, heat comes from only the sidewall elements. In the glass mode, fuse and sag large glass projects placed on a single shelf. In the pottery mode, fire to cone 10. You can also fire several shelves of smaller glass pieces using the pottery mode.

Pinless top elements The elements in the lid/roof are mounted in a firebrick “ball” groove that eliminates element pins. The element coils are wider than the groove opening, so the elements stay in place without pins. The groove dissipates heat efficiently.


28” wide 22 ¼” deep 12-sided interior

The Janus-24 has elements in the top, sides, back, and door. The top elements use our pinless firebrick groove.

Unique spring-assisted lid

• Glass/pottery selection switch The lids on the Janus-23 and Janus-27 • 3” insulating refractory firebrick walls top-loading kilns are easy to lift with the • Janus-24: Operate the door latch with exclusive, patented Paragon spring counter-balance. A truss permits the lid to float, allowing for expansion of the lid. This promotes the long life of the bricks. (Ask competitors if their lids have these features.) Lift the lid with only 13 pounds of pressure.

2” blank top bricks For easier maintenance, we use 2” high blank wall bricks in the top row of the Janus-23 and Janus-27. Since the brick is without element grooves, it is less susceptible to damage during loading.

Easy-access control box The patented control box on the Janus-23 and Janus-27 opens forward for easy maintenance. A folding support arm holds the box in the open position.

one hand.

• Sidewall elements in dropped, recessed brick grooves are easy to replace.

• Tapered peepholes for a wide view • A steel floor pan supports the entire brick bottom of each kiln.

• One year limited warranty • Available in 240, 200, 208, or 380 volt, 50 or 60 hertz, single or 3 phase.

• Since Janus kilns are designed for por-

celain, they also easily fire ceramics, china paint, decals, gold and, of course, glass. • The Sentry controller is mounted at the top of the switch box for comfortable operation. Ask about the AOP vent, which controls the KilnVent. Choose to automatically turn off the vent at firing maturity or at the end of cooling.

For more details, see your nearest Paragon dealer, or call for a free catalog.

Other Features

• Digital Sentry 2.0: Cone-Fire with programmed slow cooling and 20-Segment Ramp-Hold. Manufactured by the Orton Ceramic Foundation exclusively for Paragon.

Why buy two when one will do?

2011 South Town East Blvd. Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 Toll Free Fax 888-222-6450

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Page 4

April 2009

Volume 55 Issue 4

APRIL 2009



Totems By Rosanne Sloane and Jaun Aguilera A great hand-built project for the novice clay artist!

10 Sun Sconce By Amanda Roberts Brighten up your day with this sunny sconce!

16 Dragonfly Candle Bridge


By Tes Shea

APRIL 2009



Editor’s Letter






Readership Survey


Event Calendar


Shopper’s Guide


Advertising Index

This project bridges the gap between glass and metal clay.

20 Fantastic Frits: Sand Casting By Karen Reed Glass artist, Karen Reed, teaches us another technique for casting glass frit in the fifth piece of her six-part series.

29 3 Ways to Promote Fired Arts in Your Community By Ryan Jones Continental Clay is developing innovative stratedgies for creating new clay artists.

34 Pottery on the Wheel: Beginning Lids By Yosuke Koizumi and Cindy Gard-Koizumi Begin learning how to make lids for your hand-thrown vessels.

38 Protecting Our Planet By Duncan Staff Artist Inspire a love of ceramics and Earth in your children or grandchildren with this project.

45 What are High-Fire Glazes? By George Debikey

38 Fired Arts & Crafts, (USPS 499-530, ISSN 0009-0190) is published monthly by Jones Publishing, Inc., N7450 Aanstad Rd, P.O. Box 5000, Iola, WI 54945-5000, (715) 445-5000. Subscription rates: $39.95 per year (Canada/Mexico $59.95; International $69.95 drawn on U.S. Bank). Periodical postage is paid at Iola, WI 54945 and additional mailing offices. P OSTMASTER: Send ad dress ch an ges to J ones

Artist, George Debikey guides us on a whirlwind tour of high-fire glazes. Publishing, Inc., N7450 Aanstad Rd, P.O. Box 5000, Iola, WI 54945-5000. Publications Agreement No. 40049720. Please allow eight weeks for address changes to become effective. Copyright © 2009, by Jones Publishing, Inc. This book, or any article, design illustration or part thereof, may not be reproduced commercially without the written permission of the publisher. Printed in the U.S.A.

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letter Clay—Naturally Back in September when I was planning my editorial calendar for the year, I really wanted to create an issue celebrating Earth Day. And what better fired arts area to focus on than clay—a natural media? Why do I think it important to celebrate this relatively new holiday in the pages of the magazine? Well, for me, growing up on a working dairy farm in Wisconsin instilled the importance of environmental stewardship before I knew the term. I had ample farm and woodland to explore at my leisure, something few children today have at their expense. Gone are the childhoods where wildflowers are abundant, pinch pots are made with red clay dug from the backyard, and acres of field and forest are available for exploring. The importance of caring for our planet is no longer learned almost by osmosis—like it was for me and other farm and ranch kids. Thus, I value the day set aside every year to teach children about our relationship to the Earth, a concept that once came to us, well, naturally. I hope you enjoy the natural theme of the projects found in this issue, and I encourage you to try your hand at at least one of the projects within its pages. Good Luck,

Publisher William Bright, ext. 130

Editor Heidi Heideman, ext. 150

Graphic Designer Clay Miller

Advertising Manager Tina Ellingson, ext. 146

Advertising Assistant Tess Jacobson, ext. 131

Production Team Jean Barth & Cindy Boutwell

Staff Photographer Sarah Gloystein Peterson

Circulation Goldie Mortenson, ext. 1

Specialty Shop Sales Virginia Adams, ext. 128

Marketing Manager -

Heidi Heideman, Editor Correction: In the March 2009 issue of Fired Arts & Crafts, the wrong brand of brush was referred to in the materials list of the project, “Mum’s the Word.” The brushes used in the project are Series 250 Brushes by Unique Glass Colors, not Series 250 Brushes by Scharff as was indicated. This was an error in editing and should not reflect upon the artist, Paula Kinman.

Fired Arts & Crafts


q a

Can I fire ceramic items in my kitchen oven?

Most home ovens do not get hot enough to fire ceramics. Most low-fire greenware and glaze require temperatures between 1,800 and nearly 2,000 degrees Fahrenheit to be properly fired. Even if you left your items in the kitchen oven for days, it would never reach that high of a temperature. Even overglaze and decal firing go to over 1,000 degrees. It’s important that items are fired properly in a ceramic kiln.

4 Fired Arts & Crafts •

William Bright, ext. 130 Jones Publishing, Inc. P.O. Box 5000 • Iola, WI 54945 (800) 331-0038, (715) 445-5000 Fax: (715) 445-4053 Unsolicited manuscripts and materials will be returned only if accompanied with sufficient return postage. Fired Arts & Crafts (FAC) is published monthly by Jones Publishing, Inc., N7450 Aanstad Rd, P.O. Box 5000, Iola, WI 54945-5000, (715) 445-5000. Periodicals postage paid at Iola, WI 54945 and additional offices. Subscription $39.95 per year. Add $20 per year in U.S. funds for postage outside the United States to Mexico and Canada; $30 per year to all other locations outside the United States. Single copy price $5.99 each. POSTMASTER: Change of address notices are to be sent to P.O. Box 5000, Iola, WI 54945. Publications Agreement No. 40049720. Change of address allow eight weeks, include old as well as new address. Publisher assumes no responsibility for claims made in advertisements. Manuscript submissions are welcome but FAC assumes no responsibility for loss or damage thereto. Material accepted for publication is subject to such revision to meet the requirements of this publication and become the property of FAC. The information presented to FAC is from many sources for which there can be no warranty or responsibility as to accuracy, originality, or completeness. The magazine is sold with the understanding that the publisher is not engaged in rendering product endorsements or providing instruction as a substitute for appropriate training by qualified sources. FAC and Jones Publishing, Inc. cannot and will not assume responsibility for any actions arising from any information published in FAC magazine.

Member of ACS Copyright© 2009 Jones Publishing, Inc. All Rights Reserved

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Just Kidding

By Rosanne Sloane and Juan Aguilera Photography By Julie Brooks

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and building is a wonderful way to introduce any student to clay. This project gives novice potters a chance to learn simple slabbuilding techniques and a little bit about the use of totems in cultures around the world. We chose the beautiful designs and symbolism of the Northwestern American Pacific Coast tribes for this totem. Older children will be more engaged by the designing the surface and analyzing their designs. Younger children will enjoy the drama of the traditional tribal stories associated with the animal motifs. Adults will rapidly overcome any apprehension about their ability as they quickly complete this clever watering gauge. Step 1 Make a small amount of attaching slip by mixing small bits of clay with a little water in a container. Let it sit overnight, and then mix. The finished slip should be the consistency of drizzling frosting. Step 2 Cut a large piece of clay, about the size of a brick with the Cut-Off Tool. Wedge the clay (knead it as if it were bread dough for about 10 minutes) and lay it out on the Slabmat.



Lesson Plan Objectives • Create slip • Use a piece of paper as an armature • Carve decorative elements with a sculpting tool Materials Clay: by Laguna Clay Company 25 lbs Red Low-Fire Clay #EM207 Color: by Laguna EM8000 Series Glaze Colors (Underglazes) EM8001 Sunflower Yellow EM8020 Marble White EM8054 Cool White Creatable Colors (Glaze) EM2136 Clear Matte Tools: by Laguna Clay Company 18" x 3" Wide Rolling Pin TM-485-18 Cut-Off Tool K-35 Needle Tool PCN-X Carving Tools MR5 Brush EB-802 Throwing Bat TM-3032H 16. x 22. Slabmat N-290-16 Mini Ribbon Sculpting Tools 5" Set MRS By Axner Pottery Supply: Hardwood Thickness Strips #149450 Miscellaneous: Brand of Choice Hair Dryer Ruler Typing Paper Equipment: by Brent Slab Roller SR-14 (14”W x 36”L) Kiln Requirements: • Capable of firing to the temperature necessary for the clay used. • Large enough to accomodate the hand-built piece Contact the Artist Juan Aguilera


Julie Brooks April 2009 • Fired Arts & Crafts 7

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Step 3 Use the Slab Roller or a Rolling Pin (with Hardwood Thickness Strips for uniform thickness) to flatten the clay to an even ¼-inch thickness in a 16-by-16-inch square. Step 4 With a ruler, measure an 8-inch-long-by-1½-inchwide strip and cut it out with a Needle Tool. Step 5 Twist a piece of typing paper in a roll to place under the freshly-cut clay strip. Step 6 Place the strip of clay over the twisted piece of paper on a Throwing Bat and gently encourage the clay down on both sides, forming a gentle arc down the full length of the piece. Step 7 Mark the areas where any embellishments will be attached. Dab on a thin coating of slip on the marked area and score it. Score each embellishment, apply slip and press into place. Step 8 Coat the entire project with Marble White following the manufacturer’s instructions. Let the project dry for 15 to 20 minutes. This is a good time to discuss culture and history or discuss the simple organizing principles of design (repetition, variety, rhythm, balance, emphasis, economy and proportion) the students will use to complete the project. Dry any tacky surface with a blow dryer to prevent smudging. Step 9 Use a Sculpting Tool to carve in additional decorative elements. Leave about 2 to 3 inches from the bottom free of any design. Step 10 Carefully brush some of the emphasis colors (Sunflower Yellow and Cool White were used on the sample, but


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8 colors of choice can be used) onto the design, leaving a good deal of red clay showing. Step 11 Set the project aside until it is bone dry. Step 12 Apply Clear Matte over the underglazes following manufacturer’s instructions. Step 13 Bisque fire the piece to cone 06. To Use: Soak totem pole in water for 3 minutes. Do not over soak. Place wet totem pole in recently watered potted plant about 2 inches into the soil. As the plant needs water the totem pole

9 will change color from dark red to a lighter red, remoistening the plant. What Did You Learn? • If a slab roller is not available, you can improvise by using a rolling pin. • It is easy to create slip, just add a small amount of clay to water and allow the mixture to set overnight. • Dry tacky surfaces with a blow dryer to speed the drying process. FAC

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Sun Sconce

Glass & Stainless Steel

lesson plan

By Amanda Roberts

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Glass & Stainless Steel Lesson Plan

Objectives: • Work with stainless steel grids • Mount a sconce Tools: by Slumpy’s ST-352 Tarheel Pistol Glass Cutter ST-342 Tarheel ⅜-Inch Breaker/Grozer ST-340 Tarheel Tools Running Pliers ST-210 Precision Circle Cutter



tep 1 If priming the Grid Molds with Primo Primer heat the Grid Molds to 500°F. (260°C) and prime the Gird Molds when hot. Boron Nitride Spray Primer can be used instead for quick and easy application. Apply three to four coats of either product. Step 2 Cut two 12-inch, clear-glass squares into 11½-inch squares. This will ensure the piece will fit into the Sconce Bracket. For extra texture, cut the top clear sheet in pieces and piece it together gluing it atop the second sheet. Step 3 Cut out the black-and-white eyes from pattern sheet. Place each cut-out piece onto its correlating colored glass and trace shape onto glass with a permanent marker. Remove the paper and cut glass to shape. Buff edges with Diamond Glass Sanding Block. Set aside.

Glass: by System 96 (Spectrum and Uroboros, available through Slumpy’s) 2" x 3" 1009SF Black Opal 2" x 3" 200SF White Opal Scrap of 60-2702-96 Orange Opal 8" x 8" of 170.2SF Tangerine Transparent 6" x 6" 161SF Yellow Transparent 12" x 12" 110.2SF Pale Amber Transparent 2 12" x 12" Squares 100SFS Clear Smooth Transparent (Fusing Standard) Grid Molds: by Slumpy’s SS-852 12" Square Crimp Grid SS-860 12" Square Double Wrap Fuse Grid SS-858 12" Square Tight Tabby Fuse Grid Miscellaneous: by Slumpy’s US-7001 12" Square Light Sconce SP-4414 Slumpy’s Scientific Sticky Serum By 3M: Diamond Glass Sanding Block By Hotline: Fuser’s Glue Brand of Choice: Scissors Permanent Marker Wall Light Source Heat Set Glass Paint (Use a type of glass paint that is baked in an oven, not fired in a kiln as this will change the texture of the project.) Fiber Paper Primer or Boron Nitride Primer Kiln Requirements: • Capable of firing to 1,500ºF. • Of adequate size to accommodate the piece Contact the Artist Amanda Roberts 53 Ervin Street Belmont, NC 2801 1-866-SLUMPYS April 2009 • Fired Arts & Crafts 11

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Step 4 Place remaining pattern sheets under correlating transparent-colored glass and trace the shapes seen through the glass with the exception of the circle for the sun’s face. By the time all of these have been traced, the markings should be dry. Carefully cut out the traced-glass shapes. It is helpful to place the numbered pieces on the pattern paper to remind you which piece belongs to which number. Use the Diamond Sanding Block to smooth the edges as needed. For cutting the sun’s circle, place the pattern under the glass and align the Precision Circle Cutter with the outside diameter line. Carefully cut out the circle. Step 5 Clean the glass, but don’t worry too much about the markings—they should burn off in the kiln. Collect the primed Grid Molds and place each piece of glass face down on its correlating grid. Pay attention to how the grid lines will appear on the glass to ensure all the grid textures go in the correct direction. Place all grids with glass atop and clear sheet glass into kiln. Remember that the kiln shelf needs to be covered with fiber paper or kiln wash to prevent any molten glass from damaging the kiln. Schedule a contour fuse firing to 1,440°F (782°C) following the manufacturer’s instructions. Step 6 Remove the items from the grid. There should be a nice texture on each glass piece. Clean the glass if needed and piece together the sun pieces atop fused clear sheet. Place texture side up and glue glass pieces down as this is being done. Place the eyes, pupils, and the mouth on the face. Schedule a light tack-fuse firing to 1,325°F (718°C) following the manufacturer’s instructions.


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Step 7 Remove the glass from the kiln, clean as needed. Paint the eyelashes, nose, and lip line on the sun with glass paints. Bake if needed following the glass paints’ manufacturer’s instructions. Step 8 Decide where the light will be hung, and screw the bracket into the wall area. Use Slumpy’s Scientific Sticky Serum, a two-part glue application, to bond the glass and metal. Collect the Sconce Bracket and slide the glass into the bracket, apply the Activator Agent around the edges of the glass where needed, and apply the second part of the glue application, the Bonding Agent, onto the bracket. Hold the pieces for 15 seconds (or longer if needed) for the two glues to adhere.

What Did You Learn? • Grid molds can be used to add a touch of texture to a glass piece. • Prime grid molds in advance to ensure the best results. • Use tools such as the Precision Circle Cutter for near perfect results while cutting glass shapes.


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Enlarge pattern to desired size

14 Fired Arts & Crafts •

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Now, You Can Find It All Right Here!

One of the most comprehensive selections of pottery molds, equipment and supplies available. Everything for schools, art centers, finishedware and bisque producers, studios and hobbyists.

1518 S. Washington • Wichita, KS 67211 phone: 316-262-3350 • fax: 316-262-1396 April 2009 • Fired Arts & Crafts 15

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Glass & Metal Clay

lesson plan

Dragonfly Candle Bridge By Tes Shea

sing dark glass is a must for this project, as it creates a beautiful effect when paired with silver metal clay. You will love the sparkle of the silver on the darker glass. Remember: When fusing glass the pieces must share the same Coefficient of Expansion (COE) for the pieces to fuse properly; in this case the COE is 90. Step 1 Cut the dark glass piece (Deep Royal Blue was used for the example) to 5” x 8” and the clear glass to 5.25” x 8.25.” Make a good clean cut on glass using a glass cutter, cutting oil, and a straight guide (a stainless steel ruler with a cork 16 Fired Arts & Crafts •

back). Hold the cutter perpendicular to the glass, and lightly but deliberately pass the cutter along the ruler and glass without skipping. Never go over the lines a second time. When using a rotary cutter, support the ruler properly in order to keep it and the glass from shifting. Step 2 Clean the glass thoroughly before firing. There are several ways to clean the glass; generally I use a soft brush and grease-cutting dish soap, followed by a dip in vinegar water, and then a good rinse with clean water. Dry the piece completely with a lint-free towel or paper towel. Another tried-and-true method is to use glass cleaner. Regardless of

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the chosen method, it is important to make sure to get all of the cutting oil off of the piece without leaving residue of any kind on the glass. When handling the glass from here on, keep your fingers, thumbs and everything else away from the clean glass. All fingerprints and smudges can and usually show up as a scummy film on the finished glass—this is particularly true with dark glass. By the way, please be careful when cleaning these glass pieces. I joke about giving a little DNA in every project, but in all seriousness most of my bleeding happens when I am cleaning the oil from the edge of the glass. Step 3 Prepare the kiln shelf with kiln wash at least a day before firing the piece to prevent the glass from sticking to the kiln shelf, which can damage your kiln. Mix the kiln wash (which comes in a powder form) with the amount of water recommended by the manufacturer and apply three to four thin coats to the shelf in alternate directions, i.e. north-south, east-west, northwest-southeast, and allow the shelf to dry fully. Kiln (fiber) paper can also be used to prepare the kiln shelves as well. Either method of preparing your kiln has a potential for airborne particles, thus wearing a protective mask when using them is recommended.



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Glass & Metal Clay Lesson Plan

Objectives: • Cut, fuse, and slump glass into an attractive shape for holding and displaying a candle • Embellish fused glass with pure silver, and slump the sliver-clad piece to shape • Fine-finish silver that has been applied to a glass surface Materials Metal Clay: by Art Clay World, USA Art Clay Silver Overlay Paste Glass: by Bullseye 001114-0030-F-1010 Deep Royal Blue (or other dark glass) 001101-0046-F-1010 Clear Transparent Slumping Mold: By Bullseye 008903 One Candle Bridge Tools: Brand of Choice Kiln Wash Glass Cutter Ruler (preferably stainless steel with a cork back) Running Pliers Dragonfly Craft Punch (or large craft punch in desired shape) Scrapbooking Scissors (optional) Tweezers Fiber Paper Agate Burnisher Craft Knife Liner Brush Miscellaneous: Brand of Choice Dish Soap Soft Scrub Brush Cutting Oil Vinegar Distilled Water Glass Cleaner Lint-Free towel Shelf Liner (the type for lining kitchen cabinets) Cotton Make-Up Applicator Cotton Swabs Dust Mask Jewelry-Grade Silver Polish Soft Polishing Cloth Denatured Alcohol Kiln Requirements: • Electric, digitally programmable for multiple hold sessions • Large enough to hold candle mold with appropriate space around edges • Capable of holding at top temperature of 1,325ºF April 2009 • Fired Arts & Crafts 17

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Step 4 Layer the glass on the prepared shelf in the kiln with the darker glass on the bottom, and the clear covering it. If choosing to use an iridized glass, remember to trap the iridized side of the glass in the middle of the project. Perform a full fuse following this suggested firing schedule:



10 Technique Tip: Remember: All kilns fire at slightly different rates and temperatures, this is only a recommended firing schedule. Adjust the firing schedule accordingly for your kiln. If you do not own a kiln, a local glass or ceramic shop, as well as most bead stores or art shops, may fire the project for a fee.

18 Fired Arts & Crafts •

Segment Ramp 1 Ramp 2 Ramp 3 Ramp 4 Ramp 5


Set point

Hold time

400°F/hr. 600°F/hr. Full (AFAP) 150°F/hr. Full (AFAP)

1,250°F 1,480°F 960°F 700°F 70°F

30 min. 10 min. 30 min. 0 min. 0 min.

Step 5 As with the kiln shelf, a slumping mold must be prepared prior to use so that the glass will not stick to it during firing. Use kiln wash in the same manner as described in step 3. If the mold has any small holes drilled in it, be certain to keep the holes clear of kiln wash as this could have an adverse effect on the way the glass and mold perform. Step 6 Prepare the Silver Overlay Paste for painting by mixing in enough distilled water to thin the Overlay Paste to the consistency of skim milk. Step 7 Prepare the glass for painting by cleaning the glass thoroughly with denatured alcohol. Make a stencil using a giant craft punch and kitchen-style shelf liner. Shelf liner has a very light tacky backing which is perfect for temporarily adhering the stencil to the glass candle bridge. Place the homemade stencil where the silver will be applied, and press it neatly into place, removing any air pockets from underneath. Variation: Create interesting patterns with a scrapbooking scissors and shelf liner. Step 8 Use a makeup sponge and tweezers to dab the Silver Overlay Paste over the shelf liner and glass. Remove the stencil and use a fine liner brush to go over the design again. It is best to remove the shelf liner before the silver has dried completely. Cover the design with the thinned Silver Overlay Paste about three times. Allow the piece to dry completely between applying layers. Silver Overlay Paste should be applied to about 0.5mm thickness, as anything greater than this amount could delaminate after firing and polishing. The Overlay Paste should be fairly smooth on the glass with a minimal amount of bumps or ridges. Step 9 Clean up any stray marks with cotton swabs dipped in denatured alcohol. Also, use the denatured alcohol to clean up any residue from the shelf liner. Step 10 (Optional) Using a fine liner brush, paint any additional designs freehand such as cattails, etc. Whatever the chosen design, remember to apply three layers of thinned

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Silver Overlay Paste, allowing time to dry between each layer. Again, clean rough edges or stray lines with a cotton swab dipped in denatured alcohol. Silver Overlay Paste is watersoluble, making cleanup a breeze, but any stray marks or smudges will become a filmy haze on the completed project if not cleaned prior to slumping the glass. Step 11 Slump glass onto the candle bridge mold. Place the prepared mold on the kiln shelf and lay the glass designside up on the mold, balancing it so when slumped it will conform to the mold and stand level. The suggested firing schedule is as follows: Segment Ramp 1 Ramp 2 Ramp 3 Ramp 4 Ramp 5 Ramp 6


Set point

Hold time

300°F/hr. 300°F/hr. 300°F/hr. 600°F/hr. 600°F/hr. Full (AFAP)

250°F 500°F 750°F 1,150°F 1,325°F 960°F

25 min. 25 min. 25 min. 5 min. 5 min.

Ramp 7 Ramp 8

60°F/hr. Full (AFAP)

750°F 70°F (room temp.)

1 min. 1 min. ---

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Step 12 After slumping the glass, changes can still be made to the design by simply reapplying the Silver Overlay Paste as described in steps 8 and 10, and firing again. It’s easier to apply the paste over previous silver elements before polishing the silver, so if anything needs to be added or fixed, it must be done before any type of fine finishing is done to the piece. A recommended firing schedule for “fixes” is as follows: Segment Ramp 1 Ramp 2 Ramp 3 Ramp 4


Set Point

Hold Time

300°F/hr. Full (AFAP) 150°F/hr. Full (AFAP)

1,200°F 960°F 700°F 100°F

30 min. 30 min. 0 min. 0 min.

Allow the kiln to cool to room temperature before opening it to prevent thermal shock. Step 13 Shine the design with an agate burnisher—be careful not to scratch the glass. Finish with a polishing cloth. If the glass is scratched, put it back into the kiln for a fire polish to about 1,300º Fahrenheit. After the kiln cools, remove the piece, add a candle and enjoy! What Did You Learn? • Glass must be cleaned thoroughly prior to fusing to avoid cloudiness on the surface of the piece. • Overlay Paste can be used to accent a glass piece. • Overlay Paste decorations are applied prior to slumping. FAC


Contact the Artist FAC Projects 4535 Southwest Highway Oak Lawn, IL 60453

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Fantastic Frits

Sand Casting

lesson plan

By Karen Reed

s children, many of us delighted in playing in the sand, creating castles and many wondrous things. In the fifth installment of Karen’s series, “Fantastic Frits,” we will be using sand casting, to create images in sand. We will then fill them with glass and fire them for a lasting piece.

Step 1 Choose an object to be cast. The item needs to be solid and have no undercuts on the sides. In other words, the item to be cast must have flat sides to allow for easy removal from the sand without causing the sand to cave in. For this demonstration, a fired, unglazed ceramic frog was chosen. The legs of this particular frog are rather thin, only about a ¼ inch thick at the toes—too thin to allow an adequate deposition of glass frit, so the overall thickness of the frog will have to be increased. Note the hole in the bottom of the ceramic frog (the object to be cast). Such a hole is an added bonus in an item for sand casting, as it allows for the insertion of a bent wire handle. This handle will be helpful later in removing the item from the compacted mold. If the item for casting does not have a handle or a place to easily add a handle, it can still be used for casting, as the handle is optional. The most important consideration in choosing a casting item is that the sides be vertical (no undercuts) and the mold is at least a ½ inch thick.

1a 20 Fired Arts & Crafts •


Why Does It Do That? In glass casting, why does the amount of glass appear to reduce in the firing process? Glass frit is made up of many small pieces of glass. The frit is in the form of a solid when we are working with it and between each grain of glass is an air pocket. During the kiln firing the glass begins to take on more liquid characteristics and flows into the shape of the mold, filling in the air pockets and reducing the apparent volume of the glass. This is why molds should be over filled by at least one third before firing or topped off with additional frit during the firing process.



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Lesson Plan Objectives • Prepare an item for sand casting • Create a sand mold • Reclaim casting material

3 Step 2 Apply a layer of polymer clay to the underside of the object to be cast to eliminate any undercuts and increase the thickness of the piece. Insert a wire handle and continue to work softened polymer clay onto the mold. Keep in mind that the casting object will be placed in the sand casting material upside down. As the polymer clay is added, blend it into the body of the mold as smoothly as is possible. It is not necessary to smoothly finish the handle side of the casting object. Set the casting object aside while preparing the mold. Step 3 Gather the following materials and equipment before beginning this segment: stainless steel restaurant steam pan, mixing basin, mixing tool, protective gloves, dust mask, medium grit Olivine, Bentonite, measuring scale, water and riddling screen. Step 4 Put on a NIOSH-approved (N95) particle mask and protective gloves, and weigh the dry ingredients for the casting mix. For a small batch, weigh out 5 pounds of Olivine and place it in the mixing basin. Add 10 ounces of Bentonite and mix the two dry ingredients. Next, weigh 1 pound of water and add about one-fourth of the water to the dry mix and stir. To determine if the mix has enough water, pick up a fistful and squeeze it in your hand. It should stay together when lightly tapped and break when tapped with moderate pressure. If the mixture is too dry, it will crumble under light pressure. Add more water, mix and hand test again. If the mixture is too wet, liquid will drip from it when it is being squeezed. If the mixture does not break under moderate tapping, it has too much Bentonite. When the consistency is correct, cover the mixing basin with a plastic bag and let the mixture rest for at


Technique Tip: Consider mixing a larger batch of the casting mixture. Just store it indoors in a labeled airtight container and it will be ready to use!

Materials Glass: Brand of Choice Frit (of various sizes of the same COE) Tools: Brand of Choice Small Utility Knife Wire Cutters Measuring Scale Frit Applicators of Choice (in this example a small spoon was used) Small Artist Brush Stainless Steel Wire Brush Dental Pick (or similar tool) Various Stiff Bristle Brushes (toothbrush, nailbrush, etc.) Glass Grinder Glass Saw Wet/Dry Sandpaper Miscellaneous: Brand of Choice Items to be Cast Polymer Clay (optional) 6" 16-Gauge Wire (or paper clip) Olivine (medium grit) High Fire Kiln Shelf Separator Stainless Steel Restaurant Steam Table Pan (needs to be large enough to allow a least 1" between the cast object and the pan on all four sides.) Mixing Basin Stir Stick Protective Gloves Dust Mask (NIOSH-approved) Bentonite Water Riddling Screen High Fire Kiln Wash Fiber Mold Hardener ½" Dowel Leather Safety Gloves (welding gloves) Newspaper Pipette Kiln Requirements: • Kiln with pyrometer • Capable to firing to 1,600º Fahrenheit Contact the Artist Karen Reed April 2009 • Fired Arts & Crafts 21

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6a For Your Safety: Be absolutely certain to request a MSDS (Material Safety Data Sheet) when purchasing fiber mold hardener. Read it and keep the MSDS with the mold hardener.

least two hours. After an hour, check the consistency again and add more water if the mixture has become too dry and crumbles easily. Re-cover the basin. Step 5 While the casting mix is slaking (fully incorporating the water), mix up a batch of separator. This separator is a little different from the separators used in the previous casting articles. This time, fiber mold hardener will be mixed with the dry ingredients instead of water. In a container, mix one part high fire kiln wash or separator (dry) with five parts fiber mold hardener (wet). This mixture stores very well if kept in a sealed container. It does settle quickly so remix it well before and during use. Step 6 Place newspapers on the work surface and place the empty steam tray pan on the newspaper-covered surface. Next riddle (or push through a ¼-inch mesh screen) the Olivine mixture to break up any clumps in the mixture. As the pan fills, gently move some of the sifted mix to the corners and outside edges of the molding pan. Do not compress the material. Overfill the pan. Step 7 Pick up the mold and tap it twice on the work sur-

8b 22 Fired Arts & Crafts •



face; this will settle the Olivine mix just a bit. Do not tap more than twice. Step 8 Pick up the prepared casting object and position it in the center of the pan and firmly press it into the pan. Using variously shaped items, compact the Olivine around the casting item. Some areas around the casting item will require more Olivine mix. Riddle a pile of mix onto the newspaper and build up the areas that have been significantly diminished in the process of compaction. For compaction, I used the end of a stir stick, my fingers and the end of a ½-inch dowel to create a firm edge around the casting object. Step 9 Carefully and slowly begin to remove the casting object from the mixture. Watch for areas that may want to pull out with the casting item and push the Olivine mix back into the mold. If any “crumbs” of sand have fallen into the cavity of the casting object, gently remove them. Also, if any of the upper edges of the cavity walls look weak or crumbly, now is the time to fix them. This is also the time to enhance any details. Keep in mind that compressing the Olivine mix in the casting cavity will create a detail that sticks out on the finished piece where adding more Olivine mix will produce an indention on the final piece. Step 10 Apply the separator mix to the mold cavity, being certain to completely and thoroughly agitate the separator mixture as it tends to settle very quickly. Stir the mixture during the application.



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Technique Tip:

Technique Tip: Turn the mold pan during the application of the separator. This will allow coverage of all areas of the mold cavity. Step 11 It is not necessary to coat the entire surface of the mold, however, if the separator gets past the mold cavity and onto the mold surface, no harm will be done. I have found that although using a pipette for applying the separator to the mold cavity is slow, it allows for good coverage on the edges of the mold. If a separator with coloring is used, it is quite easy to see that no areas have been missed.

Why Does It Do That? Why does the sand casting mold have to be dried before it is fired? The casting mold must be dried before filling and firing the glass for two reasons: 1) The separator needs to be solidified to form a crust that is firm enough to hold the shape of the item. 2) All of the moisture in the casting mix must be dried off prior to filling the mold with glass to eliminate the possibility of trapping the expanded moist air in the casting. Remember, hot air rises!


A rule of thumb in using powder and/or fine frits in casting is to apply more than you think you will need. If you think you have applied enough...add a little more! Step 12 The last past of the mold preparation process is to dry the mold. Place the mold on kiln furniture in a kiln from which the kiln shelf has been removed and fire to 800º F. Keep the kiln door open a crack during the drying process and turn on the vent fan. Step 13 The mold can be removed from the kiln when it is cool enough to be handled. The above photo shows the fired, empty mold. Notice the area coated with separator is clearly visible. Step 14 Apply the details that will stand out on the surface of the cast piece. In this case, these areas will be the frog’s eyes, toes and the spots on its back. Remember, you are working upside-down and from outside to inside. Step 15 Begin to add frit to the mold with a small measuring spoon. Use a small artist’s brush to aid in moving the frit to precise areas, such as the frog’s back. When the entire surface area has been covered with powder or fine frit, use a slightly larger frit to complete filling the mold. As with all opentop casting molds, overflow the mold by at least one third.


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Note: Pieces of fiber paper have been inserted between casting areas to act as a dam where the overflowing of the mold may result in glass melting over rather than into the casting mold. Step 16 The program for the firing schedule is dependant on the size and thickness of the piece. The firing schedule below is suggested for casting a piece that is 4 inches long and 1 inch thick. When modifying the firing schedule to the casting size, measure the thickest section to be cast. This firing will be rather long in order to ensure all of the material as well as the mold have attained sufficient heat to melt the glass. Do not rush the firing! Note: The manufacturers of tested compatible glass have technical data available on their websites. Be certain to know which tested compatible glass is being used and double-check the company’s website for accurate firing information according to the thickness of the casting. Step 17 After the kiln has cooled to room temperature, remove the mold from the kiln and place on a work surface Segment Rate Ramp 1 Full On Ramp 2 Full On Ramp 3 75°F/hr.

Set Point

Hold Time


1 hr. 1 hr. End

950°F 750°F

covered with newspaper. At this point, put on leather gloves and safety glasses. It is likely that some small shards of glass will be on the surface of the casting as well as in the casting material; the leather gloves will protect your hands from injury. Step 18 Now work the casting out of the ‘sand.’ Start away from the casting and loosen the ‘sand,’ gradually working toward the casting. Take caution not to pry against the glass casting. Remove the casting from the steam tray and continue to clean off the remaining casting material

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using a stainless steel wire brush and any small tool (such as a dental pick) to get into the hard-to-reach areas. A wash using a series of stiff bristle brushes will help to remove even more of the casting material. A fingernail brush, bottle brush or even a toothbrush will come in handy according to the size and shape of the casting. Step 19 Remove any remaining sharp glass needles and clean up the edges that may have lost some definition during firing. This can be accomplished in a variety of ways. The glass grinder is a good place to start. By using some of the smaller grinding or drilling bits, one can reach most areas requiring cleanup. A glass saw or wet/dry sandpaper used on the casting in a basin of water can also be used to clean the edges of the piece. To Reclaim Used Casting Material: The fired Olivine mixture can be saved and reused indefinitely! After removing as much of the casting material as possible from the casting, press the dry casting material through a 1/8” mesh sifting screen. (Wear leather gloves and a particle mask for this procedure.) Throw out only the “stones” containing separator. The rest can be saved in a labeled, sealable storage container. Keep the used mix separate from the unused mix. To reuse, follow the same instructions beginning with step 5. What Did You Learn? • Olivine and Bentonite can be combined to create a sand-like substance that works great as a substitute for sand in sand-casting. • Always overflow a casting mold when filling it with frit as, when the glass is in a molten form, air pockets will disappear and extra frit will be needed to completely fill the mold. • A small artist’s brush can be a great tool to use to place frit in precise areas.FAC





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Talking Shop


3Fired Arts Ways to Promote

in Your Community

How Continental Clay is developing innovative strategies for creating new clay artists By Ryan Jones


If you ask around about the fired arts scene in Minneapolis, it will not take you long to find the main hub for clay artists in the area: the Continental Clay building. For over three and a half decades the Swartout family has been doing all they can to support clay artists in the Midwest. Mary Swartout, part-owner (along with three other siblings), is passionate about the fired arts, and has been developing creative ways to share that passion. She recently discussed three of these ways with Fired Arts & Crafts. 1. Support New Artists “There are lots of ways people become interested in fired arts,” says Mary. “Many people start out by going to art fairs; they see the ceramic products and it sparks something. They decide they want to try it themselves.” Mary and the rest of the staff at Continental Clay have helped hundreds of beginners throughout the years. She shares: “Oftentimes our customers had clay in grade school and then high school. Maybe they’ve done some-

thing with it in college. Now they’re looking to take it up as a profession. Many of them become serious clay artists. Some of them retain their full-time jobs. It makes for a good second income. Clay always remains steady in a down economy.” She recounts the story of one of her favorite customers. He first came in as a young middle schooler, just 13 years old or so, she recalls. His grandfather had just passed away. He came in looking for help in making an urn. She helped him with materials and techniques. The experience got him hooked on making pottery. He took up another project, then another and another. It is now over two decades later, and he has become a full-time potter. This is the kind of way new people are drawn into ceramics. Mary strives to make her staff a resource for beginning clay artists, and they offer free support, both by phone or in person: “We always have people to answer questions. We never want to be a company where people would

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think, ‘Oh, I can’t call them.’ Most of our employees are clay workers themselves, with firsthand knowledge. They love to help beginners.” There are lots of inexpensive, creative ways to help people break into the medium. For instance, rather than purchasing a special mix, end run clay—the mixture that is produced between two production runs—is very affordable for anyone. New artists can have their pieces fired and glazed right in-house, and thus, can gradually work their way into getting their own equipment. 2. Support Fired Arts Education Continental Clay is also a great resource for teachers, Mary relates: “A lot of teachers have had some introductory sessions in clay, but are not immersed in ceramics knowledge. Often new teachers come into a position where there has been an established fired arts program, but they are not sure how to run it themselves. Other times they are looking to start one from scratch. Many teachers have ideas about what they want to do, but have product, equipment, or repair questions. Lots of times, their questions are about kiln, 30 Fired Arts & Crafts •

wheel or equipment repair. We can talk teachers through replacing the elements in their kilns, or troubleshooting glaze issues, things like that. We deal with a lot of the same issues over and over.” Since many of the questions tend to repeat themselves, Mary is in the process of starting talk sessions for teachers. These will be mini-sessions where teachers can gather together with the Continental Clay staff and ask their questions in a group setting. Teachers will be able to benefit from group interaction and brainstorming new ideas. In addition, those just starting out with clay can have free training on how to use the kiln. Many teachers bring their classes in for tours of the facility. Students can see the process used to mix various clay bodies and the three machines that each mix must go through before it becomes the final product. “It’s a little bit like watching Play-Doh,” says Mary. All teachers or homeschool parents are welcome to schedule tours, which are best planned about a month in advance. Continental Clay also brings training classes directly to teachers, and their staff has demonstrated a variety of

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techniques during many inservices at local schools. Often they are able to resolve common questions in a simple manner. They have found that some teachers have tools they don’t even know how to use. It is always exciting when the lightbulb goes on and they realize, “Oh that’s what that’s for.” (District coordinators can set up an inservice by contacting Continental Clay.) Mary also notes that a great way to introduce third through fifth graders to clay is through the Empty Bowls program. Each year the program receives donations of clay from manufacturers like Continental Clay. Every student involved in the program makes a bowl to donate. When they are done, the entire class makes soup and holds a soup event to sell it. People who buy the soup get to keep the bowl that was made by the student. The proceeds are then given to a local food pantry. The program is a way to get kids excited about clay while giving back to the community. As Mary says, “For these kids, it comes from the heart. It appeals to kids and they can’t turn away from it because they like it.” 3. Create Community But Continental Clay is more than just a resource—it is a hub

of activity. “There’s a real community aspect to clay,” says Mary. “People feel connected just coming in.” That’s because artists are always stopping in and hanging out. Between artists and staff, there is always someone to talk to. “Shared conversation is one of the most exciting aspects of working with clay. There is always lots of talk and exchange amongst our customers,” says Mary. The retail store in the front of the building often serves as a link to art shows, fairs and other events like Art-A-Whirl in May. Plus artists can always find help in how to set up a booth (or how not to set up a booth). Since Mary got her start through various art fairs, she is always happy to help other artists navigate the tricky waters of their first few art fairs. The store includes an extensive public bulletin board with lots of people looking for studio mates or selling used equipment. You can find local galleries, like the Northern Clay Center, where an artist can rent studio space directly connected to a beautiful gallery, and where children’s programs and classes are also offered. Mary says, “One of the best ways to improve is to associate with the clay community.” When manufacturers and artists come together to promote fired arts, everyone benefits. FAC

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TRIPLE DISPLAY LOG MOLD NUMBER 3102 Triple Display Log 5.75”T x 17”L $75.00 PREPARATION: After removing cast from mold, place all holes for solar lighting and electrical as applies. Allow to dry and clean and fire to cone 04. BASECOAT: Basecoat with Chocolate Fudge. DRYBRUSH: With Chocolate followed with Medium Mocha, Light Umber and Buttermilk. REBASECOAT: Bark with Chocolate Fudge. Drybrush bark with Chocolate and Medium Mocha. Shade with Black. If desired apply Green Wash. GREEN WASH: If desired apply a green wash. Mix 1:1 Limeburst and Brightest Yellow plus 3 parts water. Apply to area over a sink with the water running. Apply paint mixture using a fan brush, using your fan brush retrieve water from

PREPARATION: After removing casts from molds slip attach attachments and place holes if desired for lighting. Allow to dry, clean and fire to cone 03-04. BASECOAT: With Medium Mocha. ANTIQUE: All pieces with a 1:1 mix of Golden Buckskin and Ginny Tan Twinkle, wipe off excess with a soft cloth. DRYBRUSH: With 2 coats of Medium Mocha and follow with 2 coats of Light Umber. Adding Buttermilk to your brush lightly drybrush the sides of the sea shore. Apply 3 to

TRIPLE SEA SHORE MOLD NUMBER 2863 TRIPLE SEA SHORE 11.25”T X 11”W $88.00 2864 TRIPLE SEA SHORE ATT. $12.00 2888 Life Ring and Three Starfish 4”x 4” and 3”to 4”$20.00


MOLDS BY CLAY MAGIC INC. P.O. BOX 148 • ROCKWOOD, MI 48173 Ph. (734) 379-3400 FAX (734) 379-4944

4 coats to the top (beach) area of the sea shore. Drybrush white sea shells with Buttermilk, pink sea shells and coral with Rich Rose followed with Buttermilk. Seaweed with Country Sage followed with buttermilk. APPLY WASH: Thin down Turquoise with a touch of White added. Using water apply to sides of sea shore, covering sea shells and seaweed and coral. Use more water or paint where needed for an even wash, use paper towel to dab off excess.

Clay Magic Inc. 21201 Russell Dr. P.O. Box 148 Rockwood, MI 48173 Ph. (734) 379-3400 Fax(734) 379-4944

ICE CREAM CONE BOX AND SPOONS MOLD NUMBERS 3034 Gangbuster Cone Box Bottom 2.25”T x 3.5”W $40.00 3126 Gangbuster Soft Serve Ice Cream Lid 3.5”T x 3.25”W $40.00 3127 Gangbuster Ice Cream Cone Spoon 4.5”T x 1.75”W $20.00

MAYCO STROKE AND COAT USED: SC-16 Cotton Tail, SC-2 Melon Choly, SC-75 Orange a Peel, SC-15 Tuxedo, SC-74 Hot Tamale, SC-42 Butter Me Up, SC-26 Green Thumb, SC-27 Sour Apple C-101 Blu - White Clear Dipping

PAINT: As desired. The following colors are the colors used.

the tap and apply on top of the green mixture adding more water and more paint until the item is covered, allowing it to drip freely, allow to dry undisturbed.

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BASECOAT: Frogs Accent Green. ANTIQUE: With Golden Buckskin, wipe off excess with a soft cloth. DRYBRUSH: Frogs with 2 heavy coats of Accent Green followed with 2 heavy coats each of Forest Green and Country Sage, continue with 2 lighter coats each of the following; Limeburst, Brightest Yellow and Buttermilk. PAINT: Eyes using Rich Blue for the irises.

HOP, SKIP AND JUMP FROGS MOLD NUMBERS 3128 “Hop” Frog 6.5”T x 7”W $45.00 3129 “Skip” Frog 6”T x 6.75”W $45.00 3130 “Jump” Frog 6”T x 6.5”W $45.00

MAYCO ACRYLIC STAINS USED ON THIS FLYER: SS-135 White, SS-45 Buttermilk, SS-198 Chocolate, SS-234 Medium Mocha, SS-57 Accent Green, SS-276 Forest Green, SS-19 Country Sage, SS-212 Light Umber, SS-24 Chocolate Fudge, SS-111 Brightest Yellow, SS-317 Turquoise, SS151 Rich Rose, SS-376 Limeburst, SS-335 Rich Blue and SS-138 Flat Black MAYCO TRANLSUCENTS USED ON THIS FLYER: TL-309 Golden Buckskin Twinkle and TL-310 Ginny Tan Twinkle MAYCO BRUSHES USED: AB-834 ¾”Basecoat, RB-138 3/8”Angled Shader, Various size RB and size 4, 6 & 8 round CB brushes, 10/0 Mini Liner CB 110, Script Liner CB 106, #4 Soft Fan CB-604, UB and round AB Drybrushes.

MAYCO PRODUCTS USED GLAZE: Matte Glazes – S-2218 Milk Chocolate, S-2200 Marshmallow White, Stroke and Coats - SC-46 Rawhide, SP- 201Speckled Pink A Boo, SP-216 Speckled Cottontail and SP-241 Speckled Brown Cow. Following manufacturers instructions apply colors as follows: Apply three coats of Raw Hide to cone bottoms and cone areas of spoons. Apply all other colors to areas as shown. Dip or glaze Stroke and Coats as desired.



GANGBUSTER FISH AND BUGS MOLD NUMBERS 3122 Gangbuster Fish 3”T x 4.5”L $40.00 3123 Gangbuster Bee 3.5”T x 4”W $40.00 3124 Gangbuster Ladybug 3.25”T x 3”W $40.00 3125 Gangbuster Grasshopper 3.75”T x 3”W $40.00

PREPARATION: Clean greenware in the usual manner, fire to cone 04. GLAZE: NOTE: The glazes shown on the dolphins were fired to a higher temperature than advised on the jar label. The higher temperatures will cause the glaze to flow more and could cause drips in the firing. To avoid this, brush on even coats and avoid heavy application of glaze. Avoid placing crystals near the base. STROKE AND COAT: Paint Tuxedo to all eyes. GLAZE: Using the appropriate size soft fan brush apply glaze to area as follows: Avoiding the very bottom of the piece, apply two coats of Monsoon Seas to the dolphin’s waves and the large dolphin’s pedestal; avoid placing crystals near the base of the pieces. Apply 2 coats of Oyster Shell over the entire piece staggering the second coat 1 inch from the base of the waves and pedestal areas. Apply 1 coat of Sea Spray to the dolphins. Apply one coat of Sea Spray beginning from the base of the wave or pedestal, feathering the glaze about 1/3 the way up the wave and/or pedestal. Apply extra blue Crystals from the Monsoon Seas to the top and upper areas of the waves and pedestal. Apply 1 to 2 coats of Snowfall as desired. Clean the bottom of the pieces with a wet sponge. Stilt and fire to cone 05.

DOLPHINS MOLD NUMBERS 1986 S-3 Dolphin 11.5”T x 13.5”W $98.00 3118 Gangbuster Dolphin 6”L x 3.25”T $50.00 3119 “Splish” Dolphin 5.5”T x 8.5”L $40.00 3120 “Splash” Dolphin 8”T x 5.75”L $40.00 3121 “Flash” Dolphin 5.5”T x 8.5”L $40.00

MAYCO GLAZES USED: Elements – EL101 Oyster Shell & EL 103 Sea Spray Specialty Glaze – SG 302 Snowfall. Crystalites – S 2712 Moonsoon Seas. Stroke and Coat - SC-15 Tuxedo.



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lesson plan

Pottery on the Wheel Pottery By Yosuke Koizumi

Photography and Article By Cindy Gard-Koizumi

Beginning Lids

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Lesson Plan Objectives • Make one of three different types of lids • Use double-ended calipers for measurement Materials Clay: Brand of Choice Any Type idded vessels are widely used around the world and are a seemingly necessary part of our daily lives. In any household one may find a variety of lidded vessels from sugar bowls and ginger jars to jewelry holders and urns. The following steps outline one of three different lid types and vessel shapes. Next months’ article, “Advanced Lids” will focus on the last two of these lidded vessels.

Tools: Brand of Choice Ribbon/Trimming Tools Needle Tool Small Sponge Metal & Rubber Ribs Double-Ended Calipers Miscellaneous: Brand of Choice Small String approximately 7" long Equipment: Brand of Choice Pottery Wheel Kiln Requirements: Brand of Choice • Capable of firing to the temperature necessary for the clay used • Large enough to accommodate the thrown pieces Contact the Artist, Photographer & Writer Yosuke Koizumi Cindy Gard-Koizumi (630) 881-8768

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Step 1 Create a vessel of any shape leaving the rim about twice as thick as usual. Flatten the rim using a small straight wooden tool. Make sure to support the clay from underneath. Step 2 Press down into the rim with a small wooden tool to create a flange or ledge for the lid to rest on. Again, make sure to support the clay from underneath. Step 3 Angle the rim wall slightly outward. Step 4 Measure the opening where the lid will need to lay using double-ended calipers. To do this, fit into the opening the side of the calipers curving out. Lay the calipers down carefully making sure to keep the measurement. Remove the vessel and set it aside. Step 5 Begin making a lid for the above vessel. When you begin opening this mound of clay, do not press your fingers down the center axis as you would normally. Instead press down on either side of the center axis leaving a little mound in the middle. This little mound will become a knob to lift the lid.

5 4b

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Step 6 Pull slightly up and out as if making a plate. Then shape the knob and the lid to fit the shape of the vessel in this case rounded down a bit. Step 7 Use the opposite end of the calipers to make sure the lid fits the vessel. Place the calipers around the outside of the lid. The lid should fit snuggly in between this end of the calipers. Remove lid and set it aside. Step 8 When the lid is leather-hard, trim the extra clay from the bottom. Remove as much clay as possible to ensure a light lid.



Technique Tip: This can be a bit challenging since there is a knob on the top. You must create a device, a chuck, for holding the lid upside down while trimming. Create a temporary chuck by rolling a small slab into a cup shape (without a bottom) and attach it to the wheelhead. Then, simply attach the lid, upside down, to the chuck.


What Did You Learn? • When making this style of lid, press you fingers on both sides of the center axis to create a small knob. • A small wooden tool is a necessity while making this type of lid. • Use a calipers to measure the pieces being worked with throughout the process to ensure a properly fitting lid. FAC

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lesson plan

Planet Our

By Duncan Staff Artist

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oday is the perfect time to think about conserving, saving, recycling, and discovering new, more efficient products to help us do the things we do every day. We’re not just talking about using newspaper to line the bottom of the parakeet cage! Consider some of the consequences of your choices, what should you avoid purchasing or doing, and what products are better for the Earth. This project motivates students to learn about organic gardening by developing their own research questions, conducting research, and gardening at their school. They can then create signs about their plants and present their research to the class so that other students can learn about each plant. For best results, please read all the instructions before beginning this project. Refer to the provided photo for color and design placement. Step 1 Dampen a sponge and lightly wipe the bisque piece to remove any dust. Step 2 Using masking tape, tape off a 3/8-inch-wide band around the bottom of the box. Step 3 Place a puddle of Bright Brown on a piece of foil. Using the No. 6 Sabelina, apply three coats of Bright Brown to the band and the bottom of the box. Let the piece dry after each coat. Once the piece is dry, remove the masking tape. Step 4 Place the clay carbon paper on the lid to transfer the sun face circle onto the lid. Lay the pattern over the carbon paper and trace it with a pencil. Remove the clay carbon paper and pattern. Repeat this process to transfer the design onto the bottom of the box. Step 5 Using a No. 6 Sabelina, apply three coats of Neon Yellow to the center circle. Let dry after each coat. Apply three coats of Neon Blue to the outer band and under the lip of the lid. Let dry after each coat.

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Cross-Curricular Lesson Plan Objectives • Learn new visual art vocabulary and use it in the course of the project. • Generate multiple designs with the use of color and release techniques. • Use multiple instructions to produce a hands-on project. • Understanding and applying media, techniques, processes. • Reflect upon and assess the characteristics and merits of their work and the work of others. • Making connections between visual arts and other disciplines.

Materials Bisque: by Duncan (Oh Four) 22682 Slant Round Box

Color: by Duncan Concepts Underglazes: CN 033 Dark Butternut CN 182 Bright Kiwi CN 201 Light Grey CN 282 Bright Brown CN 501 Neon Yellow CN 502 Neon Blue French Dimensions: FD 254 Black Licorice FD 265 French Straw Envision Glazes: IN 1001 Brush-On Clear Glaze Brushes: by Duncan BR 521 China Script BR 529 No. 4 Sabeline Round BR 585 No. 6 Sabelina BR 593 ¾" Economy Glaze

Miscellaneous: Brand of Choice Masking Tape Pencil Sponge Clay Carbon Paper Foil

Kiln Requirements: • Capable of firing to cone 06 • Of adequate size to accommodate the bisque pieces

Contact the Artist Duncan Enterprises 5673 E. Shields Ave. Fresno, CA 93727

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Cross-Curricular Connections Other Educational Objectives: Life Science: Understands relationships among organisms and their physical environment. Language Arts Connection: Write and illustrate a brief description of this project, include detailed descriptions of the materials used and what happened during this project. National Standards for the Arts: State Standards: Or refer to the Department of Education for a specific state. Resources for Further Study • • • • •, Art Educators tab, Learning tab to view the Standards-based Vocabulary and Language Instruction, Art Project Rubric and Writing Rubric documents 40 Fired Arts & Crafts •

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Step 6 Using a China Script, apply three coats of the following colors as designated, letting dry between coats: Dark Butternut: Seed Light Grey: Shovel Bright Kiwi: Shovel handle Neon Blue: Water drops Neon Yellow: Tiny sun Bright Brown: Branches of tree Bright Kiwi: Leaves of tree. Step 7 Transfer the design on the lid of the box for the face, rays and lettering. Step 8 Add the face details, lettering on the lid and plus and equal signs on box bottom, using Black Licorice. Apply French Straw creating the rays on the sun with two or more lines for each ray. Allow the Black Licorice and French Straw to dry thoroughly. Step 9 Using the No. 6 Sabelina and Economy Glaze as needed, apply two coats of Clear Glaze to all surfaces of each piece, being careful not to smear the design. Let the piece dry between coats. Step 10 Stilt and fire the piece to shelf cone 06. What Did You Learn? • A design can be easily transferred onto a bisque pieces using clay carbon paper. • A dimensional product, such as French Dimensions, can add a little extra texture to help details stand out when properly applied. • Apply glazes, such as Concepts, as evenly as possible to avoid streaking. FAC

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Size to fit bisque piece

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Finishing Touches

What are High-Fire Glazes? By George Debikey he description “high–fire glazes” determines a firing range of glazes or, to be more precise, it determines a type of ceramics. We cannot talk about a type of glaze without talking about the type of ceramics they relate to, because for a glaze to be fired at a certain temperature it needs to be on a clay body supporting that temperature. Ceramics falling into the high-fire range are stoneware and porcelain. These ceramics are fired to a temperatures range between cone 5 (2205ºF) and cone 10 (2381ºF) and higher, compared to what is called low-fire ceramics or earthenware and raku, which are generally, fired at temperatures between cone 012 (1620ºF) and cone 04 (1071ºF). Stoneware and porcelain bodies are formulated using refractory materials with generally feldspar as the flux. These ceramics will mature at the higher temperatures to a very dense and vitreous body. These bodies can have a level of absorption of 0% and no greater than 5%, making them completely nonporous, unlike earthenware or raku, which are very porous. Therefore, stoneware and porcelain are very hard, making them very suitable for utilitarian ware. They will hold very well under a lot of use and abuse and the extreme cycles of the dishwasher.

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Due to the density of stoneware and porcelain they are perfect materials to use for sculpture or other items for outdoor use. Pieces of stoneware and porcelain can be left outside for the winter where temperatures fall below freezing. The problem with outdoor ceramics is that if the piece is porous it will absorb moisture and when the temperature falls to freezing, that moisture will expend upon freezing and shatter the piece to tiny little fragments. Likewise, when a piece of utilitarian earthenware is used you will see crazing develop over time. This is due to the porosity of the earthenware body; as moisture penetrates through the dry foot or even if the piece is glazed all over, moisture can penetrate through a pin hole. When it does that, the body will expand and cause the glazed surface to crackle, and the more times the piece goes through the dishwasher cycle the more it will expend and contract and the more crazing will develop. Ceramic artists have generally chosen to work with lowfired (earthenware) ceramics because of the wide range of color glazes and underglazes that have been available for the lower temperature ceramics. Art pieces can be created this way to achieve very bright and shiny surfaces with as much controlled detail as the artist likes. High-fire (stoneware and porcelain) ceramics seem to be left mostly to the production potter who creates utilitarian ware. This is

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not to say that there are not as many artist/potters who use high-fire ceramics for their expressive and very colorful, very detailed and controlled work. Now we go back to our original question. “What are highfire glazes?” High-fire glazes fall under a variety of different characteristics. Utilitarian ware potters usually use flow type glazes that are fired to cone 10 (2381ºF) in a reduction atmosphere. These glazes are very rich in color and texture with amazing floats of rich crystalline patterns and/or contrasting shades of colors. When fired, they move a little creating wonderful effects. Due to their slight movement during the firing, potters use them in superposition one on top of the other. This technique increases and varies the effect pro-

duced compared to when used individually, thus increasing their palette of colors and effects. Examples of these are glazes like tommoku, shino, chun. Glaze formulas like these originated in Asia and have become very popular throughout the world. Another type of high-fire glazes is one based on wood or volcanic ash as a flux. These glazes produce a special wiggly effect when fired and are produced in a number of colors. Ash glazes are very elegant and are usually used on utilitarian ware although many artists/potters also use them in combination with other glazes for their special effect. Traditionally these glazes are fired in a reduction atmosphere to cone 10 (2381ºF).

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A third type of high-fire glazes is one that is very stable with very bright colors, from yellows, reds, purples or greens, and a smooth or very delicately textured surface. Glazes in this category have been used to produce very colorful utilitarian ware. However, these glazes are also used by the artist/potter to create very controlled designs in beautiful bright colors, knowing very well that the colors will come out of the kiln exactly as it was planed for it in the design. They are very dependable. We probably cannot stop talking about high-fire glazes at any one point, because they are as varied as there are glazes. There are beautiful transparent celadons, opaque copper turquoise mattes, iron saturated glazes of all kinds, and unlike the old copper reduction reds, new technology cadmium reds can be produced to work at high temperatures.

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With current technology we can also use underglaze or overglaze decoration to fire in a single firing with the base glaze. Zinc-free clear glaze is available to apply over the underglazes so that the colors will fire true and bright. American Art Clay (AMACO) has been producing dependable high-fire glazes with an extra advantage. Their Potters Choice series is a high-fire series mimicking the old reduction glazes without firing them in the reduction kiln. Their Tommoku, Blue Rutile, Saturation Gold and the rest of the series are fired in an oxidation kiln to cone 5 (2205ยบF) only, thus saving firing time and money instead of firing to cone 10 (2381ยบF). Likewise the AMACO Pompeian Ash Glazes produce the same wiggly effects as their reduction cone 10 (2381ยบF) counterpart, are also fired to cone 5 (2205ยบF) only. The Celebration Glazes are dependable and can be used where a controlled and colorful design is desired giving the artist potter a wide range of color combinations. Last but not least, the Velvet Underglazes are used under a clear high-fire glaze like the AMACO Zinc Free Clear and the Gloss Decorating Colors are used over a white high-fire glaze, and fired in a single firing. These two lines of products allow the artist to create painterly images on ceramics whether on pottery pieces or on flat and sculptural pieces where painterly detail is desired. FAC For more information, contact AMACO High Fire Glazes or the author of this article: George Debikey Artist Potter, Indianapolis, Indiana AMACO 6060 Guion Road Indianapolis, IN 46254 (800) 374-1600

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Readership Survey Please take a few moments to fill out the attached survey and return to the address listed below by mail or fax for a FREE month of Fired Arts & Crafts added to your subscription: Fired Arts & Crafts Readership Survey Jones Publishing N7450 Aanstad Road P.O. Box 5000 Iola, WI 54945-5000 Fax: (715) 445-4053 1) Check the types of projects that you are interested in: ❑ Mold-Cast Ceramics ❑ Hand Building ❑ Fused Glass ❑ Metal Clay ❑ Bisque Ceramics ❑ Pottery on the Wheel 2) What other kinds of crafts do you do? (Check all that apply): ❑ Beading/Jewelry Making ❑ Folk Painting ❑ Embroidery ❑ Sewing ❑ Knitting ❑ Scrapbooking ❑ Stamping ❑ Doll Crafting ❑ Other:___________________ 3) What is your age? ❑ 18 or younger ❑ 19-30 ❑ 31-45 ❑ 46-60 ❑ 61-80 ❑ 81 or older 4) What is your gender? ❑ Male ❑ Female 5) Annual household income: ❑ $20,000 per year or less ❑ $21,000-$50,000 ❑ $51,000-$75,000 ❑ $76,000-$100,000 ❑ $101,000-$200,000 ❑ More than $200,000 6) What type of profession are you in? (Check all that apply): ❑ The Arts ❑ Education ❑ Small Business ❑ Corporate Business ❑ Publishing ❑ Human Services

Name _______________________________________________________ Address _____________________________________________________ Email _______________________________________________________ Phone Number _______________________________________________

❑ Retired ❑ Other:___________________ 7) How are you involved in the fired arts? (Check all that apply): ❑ Hobbyist ❑ Traditional Ceramic Shop Owner ❑ Contemporary Studio Owner ❑ Fired Arts Studio Owner ❑ Other type of fired arts business ❑ Teacher 8) I find the following types of features helpful (Check all that apply): ❑ Talking Shop ❑ Just Kidding ❑ Finishing Touches ❑ Cross-Curricular Lesson Plans ❑ Hand-Built Projects ❑ Mold-Cast Projects ❑ Glass Projects ❑ Metal Clay Projects ❑ Pottery on the Wheel Demonstration ❑ Bisque Projects 9) I spend approximately this much on my fired arts hobby annually: ❑ Less than $200 ❑ $200-$500 ❑ $500-$1,000 ❑ $1,000- $2,000 ❑ More than $2,000 10) Do you own a kiln? ❑ Yes ❑ No 11) I have subscribed to Fired Arts & Crafts for: ❑ I do not subscribe ❑ 1-2 years ❑ 3-5 years ❑ 6-10 years

❑ 11 or more years 12) How many people read your copy of Fired Arts & Crafts? ❑1 ❑ 2-3 ❑ 4-5 ❑ 6-7 ❑ 8-9 ❑ 10 or more 13) I am likely to go into the following type of studio (Check all that apply): ❑ Traditional Ceramic Studio ❑ Contemporary Studio ❑ Glass Studio ❑ Metal Clay Studio ❑ Hand-Thrown Pottery Studio 14) I teach the following age group (Check all that apply): ❑ I do not teach ❑ Pre-K through 2nd grade ❑ 3rd grade through 5th grade ❑ 6th grade through 8th grade ❑ 9th grade through 12th grade ❑ College Students ❑ Adults ❑ Art Teachers ❑ Classes for hobbyists ❑ Classes for professionals involved in ceramics or fired arts 15) What other publications do you read or currently subscribe to? (Check all that apply): ❑ CCSA Today ❑ Glass Patterns Quarterly ❑ The Flow ❑ Profitable Glass Quarterly ❑ Ceramics Monthly ❑ Clay Times ❑ Pottery Making Illustrated ❑ Arts & Activities ❑ Bead and Button ❑ Art Jewelry Magazine ❑ The Crafts Report ❑ Doll Crafter & Costuming

❑ Craft ❑ Crafts ‘n Things ❑ Other:___________________ 16) What is your highest completed level of education? ❑ Less than High School ❑ High School ❑ Some College ❑ College Degree ❑ Post Graduate Degree 17) About how many events (shows) or special classes do you attend each year relating to ceramics or the fired arts? ❑ 1-2 ❑ 3-4 ❑ 5-6 ❑ 7-8 ❑ 9-10 ❑ 11or more 18) How often do you access the internet? ❑ Never ❑ Daily ❑ Twice a Week ❑ Weekly ❑ Twice a Month ❑ Once a Month ❑ Less than Once a Month 19) What other hobbies do you participate in: _____________________________ _____________________________ _____________________________ _____________________________ _____________________________ _____________________________ 20) Other Comments: _____________________________ _____________________________ _____________________________ _____________________________ _____________________________ _____________________________

April 2009 • Fired Arts & Crafts 45

FAC_04-09-EventCalendar:Layout 1





• Kansas City, MO March 20-21, 2009

Business Technology College 1775 Universal Ave

• Nashville, TN May 1-2, 2009

TN State Fairgrounds 625 Smith Ave

• Chicago, IL May 8-9, 2009

Dupage County Fairgrounds 2015 Manchester Rd

• Enumclaw, WA June 5-6, 2009

Enumclaw Expo Center 45224 284th Ave SE

• Vallejo, CA June 12-13, 2009

Solano County Fairgrounds 900 Fairgrounds Drive

Show Hours:

Fri. & Sat. 10:00 am To 4:00 pm Sun. 11:00 am To 4:00 pm

For show contracts go to Call: 479-409-4000 Fax: 479-751-7028

S o u t h we s t C e ram ic A s s o c i at i o n

57th Annual Ceramic and Doll Show

April 3 & 4, 2009

Rodeo Center Exhibit Hall 1820 Rodeo Drive Mesquite, TX 75149 Show Hours: Friday: 9 a.m. to 5 p.m. Saturday: 9 a.m. to 4 p.m.

For additional Show information

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EVENTcalendar CALIFORNIA May 16, 2009 Santa Cruz Arts & Antiques Spring Festival. Santa Cruz Elk's Lodge, 150 Jewell Street (turn off Ocean St at Graham Hill Rd two blocks, Santa Cruz, CA 92802. Arts & Crafts mixed with Antiques, including dolls, jewelry, teddy bears, fine to fibre to folk arts, a diverse assembly of interesting collectibles and the folks that make & find them. Saturday 10-5 Contact: Rowbear, (831) 438-5349, July 16-18, 2009 American Fired Arts Alliance Educational Event. St. Paul’s Armenian Church, Fresno, CA 93726. Ceramic and glass workshops by some of the top instructors in the industry. Contact: Mari Loomans (920) 296-3456,

GEORGIA July 11-15, 2009 National Doll Festival. Holiday Inn Select Capitol Atlanta, 450 Capitol Avenue, Atlanta, GA 30312. An elegant array for the connoisseur and the novice. Antiques, collectibles, modern dolls, original dolls, bears, toys, accessories, Ids and appraisals for antique dolls, bears, toys, etc. The public is invited to bring antique or vintage items for appraisals, restoration or consignment to sell with our help. Saturday preview 3 pm - 6 pm, General 6 pm-10 pm Sun 10 am - 9 pm, Monday and Tuesday 10 am - 5pm, Wednesday 10 am - 7pm Contact: Rowbear, (831) 438-5349,,

KANSAS April 18-19, 2009 Wamego Tulip Festival. Wamego City Park, 529 Lincoln Ave, Wamego, KS 66547. Wamego Tulip Festival Juried Arts and Crafts Fair. 9 am - 5 pm Contact: Kourtney Brase, (785) 456-7849,,

OHIO April 17-19, 2009 Midwest Ceramic and Doll Show. Dayton Hara Arena, Shiloh Springs Road, Dayton, OH 42502. Regional trade show and open competition Contact: Michael Roberds, (606) 423-3128

46 Fired Arts & Crafts • April 17-19, 2009 American Fired Arts Alliance Educational Event. Dayton Hara Arena, Shiloh Springs Road, Dayton, OH 42502. Ceramic and glass workshops by some of the top instructors in the industry. Contact: Mari Loomans , (920) 296-3456, September 25-27, 2009 American Fired Arts Alliance Educational Event and Show. Roberts Centre, 123 Gano Road, Wilmington, OH 45177. Ceramic and glass workshops by some of the top instructors in the industry, as well as exhibitors Contact: Mari Loomans , (920) 296-3456,

SOUTH CAROLINA June 12-13, 2009 41st Annual Ceramic Show. Jamil Temple, 206 Jamil Road, Columbia, SC 29210. Wholesale and retail sales of molds,bisque,tools and supplies, competition in ceramies,pottery, and dolls. 10:00 am to 5:00 pm Contact: Jim Manship, (803) 359-6401,

TEXAS April 16-18, 2009 Spring into Summer Doll Festival. Hobby Airport Marriott Hotel, 9100 Gulf Freeway, Houston, TX 77017. Hotel, 9100 Gulf Freeway, Houston Reservations 713-943-7979 special room rate. Doll artisan guild qualified doll competition, sales room, lectures, workshops, make-n-take projects. Turn in competition dolls on April 16, 2009. For information, competition or exhibitor registration, or group rates call: 281-614-0077 visit online: or Contact: Becca Hisle, (281) 614-0077,

WISCONSIN April 30-May 3, 2009 American Fired Arts Alliance Educational Event. Van Veghal’s Hall, De Pere, WI. Ceramic and glass workshops by some of the top instructors in the industry. Contact: Mari Loomans, (920) 296-3456,

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You will find Fired Arts & Crafts in the shops listed below.




Still Mid-Town Ceramics Anniston, (256) 236-3136

Fran’s House of Ceramics Muncie, (765) 288-7481

J M J Ceramic Supply Kipton, (440) 775-3212



Magic Brush Ceramics, Tole & Gifts 4-U, Fiesta Translucent Oils (614) 353-5178

Dean’s Ceramics & Gifts Montgomery (334) 262-5510

Knick Knack Mud Shack Wasilla, (907) 376-5793


Country Ceramics Queen Creek (480) 987-3935


R & R Ceramics Jonesboro, (870) 935-9686

CALIFORNIA Ceramics Castle Glendale, (818) 241-7644

Ceramics & Crafts Warehouse Chino (909) 627-4139 Lou’s Ceramics Spring Valley (619) 660-0307 Duncan Ceramic Supply Fresno, (559) 294-3288


Hobby Hut Ceramics Canon City (719) 275-8147


Connie’s Place of Ceramics Fort Meyers (239) 693-2501


Allison’s Mini Mall Havana (309) 543-4440 Bunny’s Ceramics Crystal Lake (815) 459-4376 Joliet Ceramic Arts & Craft Joliet (815) 723-8616

Brickyard Ceramics & Crafts Indianapolis (800) 677-3289

Evan’s Ceramic Supply Wichita, (316) 262-2551


Glass & More Cookeville, (931) 646-0720

Country Clay Springfield, (937) 323-7188

Bayou Ceramics Pineville, (318) 442-5420

Ohio Ceramic Supply Inc. Ravenna, (330) 296-3815



Jackie’s Ceramics Waldorf, (301) 645-2940

Ceramics Etc. Enid (580) 234-5190

Small Farm Ceramics Westminster (410) 876-7170

Ceramics of Intent Colcord, (918) 326-4494



Continental Clay Co. Minneapolis (612) 331-9332


Dogwood Ceramics Gulfport, (228) 831-4848 Ja Mar Enterprises Pelahachie (601) 854-8900 Mar-Lyn Ceramic Supply, West Point (662) 494-4849

NEW MEXICO New Mexico Clay Albuquerque, (505) 881-2350


T & D Ceramics Cheektowaga, (716) 894-9209 Rochester Ceramics & Greenware Webster, (585) 872-6190


North Carolina Ceramic Supply Linwood, (336) 853-8103

Rieck Ceramics Richardson (972)699-0048


DNA Crafters Warehouse (Crafts Are In Our Blood) Newport News (757) 814-6038

Lazy-Daisy Ceramics Charlottesville (434) 295-7801 Pottery Art Studio Norfolk, (757) 423-1518


Aura Ceramics & Supplies Easton, (610) 252-2872 Peggy&Renee’s Fired Art Studio Akron (717) 859-5566 Placid Ceramics Washington, (724) 225-6778

SOUTH CAROLINA Ceramic Central Monck’s Corner (843) 899-5333

Coastal Ceramic Supply Inc. Summerville, (843) 873-1211

SOUTH DAKOTA Country Time Ceramics Rapid City, (605) 342-2505 Herold’s Ceramics Memphis, (901) 386-2574

American Ceramic Supply Fort Worth (817) 535-2651

Just Ceramics Charlottesville (804) 296-7103

Georgie’s Ceramics Portland (503) 283-1387




Dragons Lair Ceramics Sequim, (360) 681-0880


Marcella’s Ceramics Inc. Beloit, (608) 362-5056 Northern Slopes Greenware Barn, Hortonville, (920) 757-9930 Roselyn’s Ceramics Wausau, (715) 298-0053


Atlantic News Halifax, NS (902) 429-5468 Ceramic Arts Limited Burlington, ON (905) 335-1515 Silver Lining Studio Oyama, BC (250) 548-4093

April 2009 • Fired Arts & Crafts 47

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New for 2009 FREE FREIGHT on any size order placed on our new website: Packing & handling charges apply

Everything you need is offered wholesale — if you do ceramics to make money — with 24 hour shipping & free freight — call for details — over 500 pages with 72 pages in color — Catalog FREE for $4.95 to cover postage & handling. Call toll free 888-THE-KILN. Fax 800-992-7675. Visit us on the internet:

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AFAA ............................................................25-28 American Ceramic Supply ......................................................15 Art Clay World, USA ..............................................................15 Clay Magic Inc. ............................................................32-33 Coastal Ceramic Supply Continental Clay Company ..........................................................31 Creative Hobbies ........................................................48 Creative Paradise ........................................................................5 Cress Mfg Co., Inc. ....................................................................52 Euclid Elements ......................................................................48 Exhibitors Association ......................................................46 Great Lakes Clay ....................................................................15 L & L Kiln Mfg, Inc. ......................................................................5 Laguna Clay ....................................................................5 Lamp ........................................................48 North Star Equipment ....................................................5 Olympic Kilns ..................................................................48 Paragon Industries, Inc. ................................................................2 Southwest Ceramic Show ....................................................................46 Starlite Mold Co. ..............................................................15 Please note: The Advertisers Index is published as a convenience to our readers. While every effort is made to obtain accuracy and completeness, last minute changes may occasionally result in unavoidable omission or errors.

48 Fired Arts & Crafts •

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Fired Arts & Crafts April 2009 digital edition  

Fired Arts & Crafts is a monthly publication for anyone interested in creative fired arts

Fired Arts & Crafts April 2009 digital edition  

Fired Arts & Crafts is a monthly publication for anyone interested in creative fired arts