FG20_Functional-pottery101

clay profile Position your inside finge outside finger and apply wheel head side finger slowly moving flat bottom profile with arrow representing thumb movement. When making a vertical inward to create the volc handS Pottery 101Repeat the pulling proces clay profile form in thickness from top wheel head illustration showing fingertip to clay pressure points and direction of vertical pull. clay profile volcano profile ©2009 Ceramic Publication Company beginning pottery projects and equipment lists

Pottery 101 Beginning Pottery Projects and Equipment Lists When you put your hands into clay, there’s a good chance you’ll never want to stop. Just go by any ceramics class or community craft center and look at the people working with clay and you’ll see one happy group of involved people of all ages enjoying the thrill of creating with their hands. Unlike a smart phone app, music download or video game, once you possess a pottery technique, it’s yours for life. But sometimes it is hard to know where to start. This helpful guide answers all your questions for getting started with clay. Getting Started: Equipment Lists Need help finding which tools to use when wheel throwing, hand building, or glazing? These helpful equipment lists will point you in the right direction if you’re just getting started with clay! Check the Ceramic Arts Network Directory or advertiser index of the latest issues of Ceramics Monthly and Pottery Making Illustrated for vendors of these products. Clay Slab Project: Plates By Amanda Wilton-Green Throwing on the W A good first project to get the feel of clay is to make slab plates. This project uses simple tools but has by Jake Allee endless possibilities. Using Chinet plates for molds, you can learn how to work with clay, make slabs and decorate pottery. Pinched Pitchers by Emily Schroeder Willis Tips for success large throw Pinch pots are often the first thing taught in a beginning pottery class because they require very few tools  Always apply and release pressure to and are a great way to get familiar with the properties of pottery clay. But that doesn’t mean you can’t make the clay slowly. sophisticated forms with this method. In fact, the beauty of this technique is that the only limiting factor is your imagination. In this project, coil potter Emily Schroeder Willis shows how to make a beautiful pinched pitcher.  Never allow water to collect in the bot- tom of the piece. Throwing: A 3-Stage Approach  Slow the wheel down in each step of the process.  Be persistent in your efforts. By Jake Allee diagram illustrating hand to clay pressure. cenTer Teaching throwing is challenging even to the best of pottery instructors. Jake Allee approaches the topic clay profile  Start with his students on several levels that include reading, visual diagrams, demonstrations, and hands-on wheel head that’s technique. Whether you want to teach throwing or you’re wanting to learn on your own, Jake has some hands advice for you. Ancho How to Glaze stabil By Annie Chrietzberg Wet y For a lot of people, glazing can be the party pooper for an otherwise extremely fun time. It doesn’t have to Slowly be. When glazing is done right, the piece you’ve spent so much time on can really be outstanding. Annie equal Chrietzberg offers 14 steps for successful glazing. move When spinni Once slowly ©2009 Ceramic Publication Comp www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 1

Getting Started: Equipment Lists Need help finding which tools to use when wheel throwing, hand building, or glazing? These helpful equipment lists will point you in the right direction if you’re just getting started with clay! Check the Ceramic Arts Network Directory or advertiser index of the latest issues of Ceramics Monthly and Pottery Making Illustrated for vendors of these products. https://ceramicartsnetwork.org/freebies/directory/ Basic Ceramic Tool Kit Helps shape, curve, and smooth clay. Long skinny knife commonly used to cut and smooth clay. Rib (wood, metal, rubber) Used to score and cut clay. Also called a needle tool. Fettling knife (wood, metal) Good for trimming and carving. Pin tool Stainless steel wire connected to handles. Cuts clay. Loop tool (various shapes and sizes) Work well for smoothing the clay surface and for cleaning. Wire tool Used to compress and clean pottery rims. Sponge Chamois Wheel Throwing Tools See above. Machine to assist in the speed and efficiency in producing pottery. Basic ceramic tool kit Hold water and other ceramic materials. Pottery wheel A flat disk that goes on top of the wheel to easily remove the pot. Buckets (water, slurry) Flat screws that attach throwing bats to the pottery wheel. Throwing bats Used for storing and transporting work. Bat pins Thin plastic is great for keeping your work moist. Wareboards (wood, cement board, dry wall) These are used to keep yourself clean or dry your hands. Plastic drop cloth for wrapping work Apron/towel Handbuilding Tools See above. Used for rolling slabs. Basic ceramic tool kit Machine that makes consistent and even slabs. Rolling pin Steel chamber that pushes clay through a die, like a caulking gun. Slab roller (optional) A tabletop wheel that is turned by the hand. Extruder (optional) Hold water and other ceramic materials. Banding wheel (optional) Used for storing and transporting work. Buckets (water, slip, scraps) Thin plastic is great for keeping your work moist. Wareboards (wood, cement board, dry wall) These are used to keep yourself clean or dry your hands. Plastic drop cloth for wrapping work Apron/towel Glazing and Decorating Tools Basic ceramic tool kit See above. Brushes (various materials and sizes) Used for applying materials to the ceramic surface. Buckets Hold water and other ceramic materials. Whisk, or drill with paint mixer attachment Used to mix ceramic glazing materials. Ladle Pour glaze into buckets or onto pottery. www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 2

Clay Slab Project: Plates by Amanda Wilton-Green Making slab plates is a great way to develop basic slab techniques, and using Chinet® plates for forms makes this an affordable class project. They also make perfect surfaces for exploring decorating techniques. Making a set of ceramic plates can be fun for the Equipment and Tools beginning student, but is also easily adapted for the more-experienced student. This project pres- • Large rolling pin ents a direct and fresh slab-forming approach result- • Cut-off wire ing in plates that become great canvases for surface • Sponge decoration. Materials are simple, inexpensive and • 25 lbs of clay with sand or grog readily available. to reduce warping • Fettling knife or needle tool After only a few hours of work, students learn • Chinet® paper plates. how to roll out a good, even slab, and can experience different stages of plastic clay and what the clay is Note: Chinet® plates do not have a plastic coating capable of at each stage. They become familiar with and absorb moisture from the clay. Avoid coated simple slump molds and start to consider the form and and plastic plates that will stick to the clay. function of their work. Most importantly, they learn how to handle clay in a direct and intentional way. These plates become a wonderful surface for les- sons on finishing, embellishing and glazing. I have expanded this lesson to include experiments with paper stencils and slip decoration, but that’s just the beginning. Try underglaze design work and glazing methods with this lesson as well. When the project is completed, students have a set of plates to use in their homes or give as gifts. Forming Plates 1 Roll out a slab to a desired thickness of ¼ to ½ inch. When rolling out a slab, start by throwing it across the table in different directions until it is some- where close to 3 inches thick. Roll the clay with the www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 3

rolling pin, taking care not to roll over the edges. Roll two or three times on one side. If you are working on canvas, you’ll notice that the clay stops stretching after the first few times because the clay holds onto the texture of the canvas. Carefully lift the slab creating as much surface area with your hand as possible, and leave the slab to stiffen to a soft leather-hard stage. The clay needs to be able to bend without cracking, but you don’t want fingerprints to show as you manipulate your clay. 2 Choose the size of your plate. Chinet® brand has 1 dinner, salad and dessert-sized plates as well as an oval platter. Place the plate upside down to use as a template for cutting the slab (figure 1). As you cut, keep your needle tool or fettling knife perpendicular to your work surface to create a square rim. 3 Remove excess clay and smooth out the rims. Slide your finger across the edge of the rim with firm and consistent pressure (figure 2). The sharp corner of the rim softens without flattening the edge. A damp sponge, chamois or a small piece of a produce bag also works. Stamp or sign the underside. 4 Flip the clay slab, smooth the top edge then place it into the paper plate, lining up the edges (figure 3). Experiment with pressing the clay into the paper plate 2 with your hands or sandwiching your clay between two plates (figure 4). The clay will have a different character depending on your chosen method. 5 Allow the plates to dry to a firm leather-hard stage in the bottom paper plate. Remove the clay from the mold to check to see if the plates stack nicely and sit on a flat surface without rocking. Take a moment to look closely at the rim of each plate to do any final shaping they might need. Decorating Plates These plates are adaptable to all sorts of decorative tech- niques at the leather-hard, greenware and bisque stages. The flat surface lends itself to painterly and expressive 3 underglaze or glaze work. These slab plates are simple enough for very young students and satisfying for the adult student. Slip decoration gives dimension to the plates and students draw on their own creative design ideas for the work. Textured dessert plates with slip inlay use found and inexpensive materials (see box) to create a design and a slip in contrasting color to further highlight the design. Paper stencils used with decorative slip can make bold, graphic borders or motifs for your set of plates (figure 5). With a little experimentation and practice, students come up with wonderful results. Making Sets 4 When we handbuild a set of plates, the student and experienced artist approaches each plate with a slightly different perspective. The experience of making the first www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 4

5 plate, bowl, mug or tile influences the next, as do things Interesting Texture Materials as simple as body position and energy levels. We’re thoughtful and inconsistent creatures and we can use Texture Ideas these characteristics to great benefit when done so with intention. A set of plates can be tied together with a Gently roll the following into your plate with a theme, color, position of image, size or concept. Because rolling pin: we’re used to seeing sets coming from a factory, the default definition in our minds can be limited to identical • Corrugated Cardboard objects. This lesson is a great way to discuss the many • Bubble wrap possibilities for sets in functional ceramics and can dem- • Lace remnants onstrate the benefits of using handbuilding techniques. • Mesh produce bags Textured Dessert Plates Stamping Ideas Roll out ¼- to ½-inch-thick slabs. Before cutting out the The following items can be pressed like stamps plate, place textured material along one side of the clay into the clay but don’t do well under a rolling pin: slab and gently roll into the clay. Once the material is flush with the top of the clay, peel it away. Clay is great for • Small plastic toys such as animals picking up the most delicate details and is quite beautiful • Beaded necklaces (I like the bathtub at this stage. drain chain, but be careful not to go too With texture along one side of the slab, place the paper deep with this or it can act like a perforation plate templates so that the location of the design will be and give your plate a long crack.) pleasing on a plate. Remove excess clay and smooth the rims of the plates, working on the top edge and then flip- with to keep them from overworking any one plate. Be- ping the clay to finish the bottom edge of the rim. Sand- sides, they learn so much from the results of the larger wich the clay between two paper plates and press the clay sample. into the bottom corners of the lower plate. Remove the top plate and paint a generous amount of contrasting slip Each paper stencil can easily be used two times, and over the textured area. Leave the clay in the bottom paper with care, up to four times. Keep a copy of the original plate and let dry until it is a very stiff leather hard. The design. I recommend students prepare by cutting as many amount of time varies depending on climate inside the stu- stencils as required before beginning the slip work. Trim dio. At this stage, use a metal rib to scrape away the top stencils so that there is about two inches of paper around layer of colored slip leaving behind only what is inlaid design. Soak paper in water until wet but not soggy and into the textured areas. then set onto paper towel to remove excess moisture. Posi- tion stencil and press down with a damp sponge. Paint slip Paper Stencils over design then remove paper stencil. If the stencil is too dry to adhere to the next plate, repeat soaking. Sometimes Use paper stencils on leather hard clay after clay is placed into the paper plate mold. I encourage beginning students •the stencil can be directly transferred to the next plate and to make twice as many plates that they hope to end up pressed with the sponge. www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 5

Pinched Pitchers by Emily Schroeder Willis The ceramic artist Greg Payce once said to me, “If you can’t ally build it in clay. The other reason I now see the impor- draw it, you can’t make it.” If I had heard this as a student, I tance of sketching is that my hands and fingertips need to be would have scoffed and kept on working as I had been, which in tune with the physical and/or mental image I’m creating. was to simply imagine the work I wanted to make in my head I use very few tools to shape my work (figure 1). My fin- and struggle through trial and error to execute my mental im- gers and my lap are my biggest tools and I sometimes even age. Now, however, as someone who builds pots primarily by use the slack of my apron in my lap to help shape larger pinching clay, I’ve come to see how important and true this slabs that I’m pinching into a form. So, I always start with a statement actually is. drawing of the form, and I always have that image present when I’m making objects. In many ways, making pots is drawing three dimension- ally; creating a handle, a spout, or a profile of a pot, is like Beginnings creating a line in space. Drawing on paper trains your eye to see more thoughtfully and be more critical of your work. To begin the form, I pinch out a small curved disk to use as I found that after sketching things like spouts and handles the bottom to create a foot. I enjoy surprising users when repeatedly, I saw a significant difference in the ease with they pick up my pots and find that the bottom is convex which I could create them. The simple gesture of putting rather than flat. To pinch a curved disk, start with a round pencil on paper several times to get a form right made an ball of clay about the size of a plum, pushing your thumb immense impact, solidifying how my hands needed to move into the middle of it, leaving about half of an inch of clay to create that element in my work when it was time to actu- between your thumb and the outer wall (figure 2). Then, www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 6

Process photos: Darcy Demmel 1 2 To build a pinch and coil pot, you’ll need a few knife blades, a Press your thumb into the plum-sized ball of clay and rotate needle tool, wooden modeling tools, scoring tools, and ribs. the ball as you thin the walls. 3 4 Slowly work your thumbs to the outer edges of the pinch Lay a coil on top of the inverted pinch pot after scoring the pot, until each are uniform in thickness. attachment area and adding slip. create the proper thickness by pressing a thumb into the working your way out to the ends. If at any time the coil clay, proceeding to rotate the ball in small, ½-inch, counter- starts to become uneven, simply pick it up, reshape it, and clockwise increments, slowly working to the outside edges squeeze it into shape. Be careful not to let your coils get too until each area is uniform in thickness (figure 3). thin—coils should always be thicker than the wall thickness you want on your work. This is the biggest misconception Creating Coils in creating coils. Some clay will be removed in the processes of attaching the coil and creating height. So, to achieve a It would be difficult to create an entire form by simply wall that’s ¼ inch thick and roughly 1½ inches high, use a pinching, so I add thick coils to help shape and add height coil that is approximately 1 inch thick. to the work. To make coils nice and round, start shaping the coil while wedging the clay. Begin wedging and slowly Attachments shift from wedging to rolling the clay into a thick log shape about 3 inches in diameter. From there, pick up the log, Place the pinched base onto a banding wheel. Heavily squeezing and twisting it into a slightly thinner log, roughly score the base (I use a tool made from needles stuck into 2 inches in diameter, which also helps to compress the clay a wine cork, see figure 1), put a layer of slip on top of the further. Make sure it’s uniform in thickness, then slowly base, and rescore the slip-coated area. Take a coil, lay it on start to roll out the coil, using your entire hand, held flat, top of the slip and cut each end at a 45° angle, pushing the rather than just your palms. ends together and smoothing them over (figure 4). Then use a round- or straight-edged wooden modeling tool to Gently but firmly apply even pressure onto the surface of attach the clay on the interior of the vessel, slowly rotat- the coil, keeping your hands as flat as possible, yet relaxed, ing the vessel with one hand and using your other hand as gliding them over the surface, starting in the middle and www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 7

5 6 Cut the coil at an angle, join, then use a wooden modeling tool Use your thumbs on the exterior and your index fingers to connect the coil to the pinch pot along the interior seam. on the interior to pinch the coil up, thinning the walls and adding height. 7 8 Level and score the surface, then place another coil on top. After joining the inside and outside of the coil, use thumbs and Join it to the pot using a criss-cross motion with your thumb. index fingers to pinch the coil up, turning the pot as you work. your working hand (figure 5). Using an X, or criss-cross, subtle vertical or diagonal spine shape on the vessel every 4 motion with your left thumb, push the clay down, starting inches around the circumference, which you can later smooth at the top right, pushing down to the bottom left, and then over with your fingers. If you want the shape to roll outward, lifting your thumb and pushing from the top left down to use more pressure on both index fingers and almost roll your the bottom right (see figure 7). Repeat this motion around thumbs backwards to create an arc in the form. If you want the entire vessel. Once the coil is properly attached, rede- the form to curve in, your thumbs become more dominant fine the interior space with the wooden modeling tool. and push the clay over both index fingers (see figure 10). Next, work on attaching the coil to the exterior using Adding Layers, Creating Form the same X motion on the exterior. After the coil is fully at- tached, flip the piece over and push out the bottom, which The most important element in making pinched work is pa- usually loses some of its shape when attaching the coil on the tience. It takes several days to create larger forms, so it’s best inside. Lastly, pinch the coil into its final shape so it fits the to work on multiple pieces at once. To add another coil of profile you want. I set my work on a taller banding wheel so I clay, the work must be sufficiently dry, but slightly softer than can see the profile of the vessel more easily. Place your hands leather hard. This can take anywhere from three hours to a in front of you with both thumbs on the exterior of the ves- whole day depending on the humidity/temperature/sunlight/ sel and both index fingers on the interior of the vessel. You’ll air circulation in your work space. If you try adding a coil too use both your thumbs and index fingers together to dictate early, it will be difficult to control the shape because the bot- the shape of the wall (figure 6). Pinch up, almost creating a tom can’t support the weight and the pressure of the new coil. www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 8

9 10 Trim the top edge of the pot with a knife before you add each Taper the pot in. With your thumbs on the outside, press in coil to remove the driest clay and to keep the walls an even against your fingers as you pinch the coil up into shape. height. 11 12 13 Create a handle by rolling out a coil to Begin creating a spout by rolling out a Gently shape an arch to the lip as you the appropriate diameter, then pinch short, tapered coil, scoring the rim of pinch the coil up to create the spout. up along the length to flatten and cre- the pot, and adding the coil. ate a spine. If you wait too long, the clay will be too dry to manipulate the exterior of the added coil first, that way while I’m smooth- into shape. Make sure that everything is as close to the same ing out the interior coil, I can begin to push the shape out. level of dampness before adding more coils. As long as I work with soft clay, I don’t have problems with cracking. If I want the vessel to curve in, I instead attach the Before adding on more coils, trim off a thin layer of clay, added coil on the interior first and pinch up while applying leveling off the pot (see figure 9). This removes the area that more pressure with my thumbs on the exterior (figure 10). By is usually drier than the rest of the vessel, creating a slightly doing this, when smoothing out the exterior coil, I can begin to more malleable area to add a coil to. Additionally, it allows push the vessel in and not worry about ruining what I have just the vessel’s height to increase at the same rate all around. Add shaped. To dramatically bring something in, I really compress a layer of slip on the exposed edge and score it with a serrated the clay as I’m pinching, almost as if I’m trying to squeeze it rib. I use a serrated rib rather than the cork needle tool because together. I find that if I overcompensate on flaring or constrict- the coil’s edge is thin, and the serrated rib creates a finer scored ing the form, it usually ends up spot on. area. Placing the coil on top, continue to attach the coil as in the first layer using the X motion with your thumb (figure 7), Making a Handle then pinching up to gain height. When you are ready to add another coil, level of the pot using an X-Acto knife (figure 9) Making a handle is very similar to making a coil. The thick- and then repeat the process. ness of the coil depends on the size of the object it will be attached to. Cups and pitchers require handles of different Tip: Once the base of the vessel has been established, I find thicknesses. For a tall or medium-sized pitcher, make the it easier to shape a vessel that is going to flare out by attaching www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 9

14 15 After you finish pinching and shaping the spout, cut the lip Cut the coil handle to length, thicken the ends, score and slip the down to the desired height and shape with an X-Acto knife. attachment points, then join the handle to the pitcher body. CHOOSING A CLAYBODY I prefer to work with porcelain, finding the smooth- ness excellent for capturing each mark my fingertips impress into the clay. I love the fresh bright palette I achieve through glazing when I use porcelain. I now use Porcelain For The People by Matt and Dave’s Clays (www.mattanddavesclays.com) because it’s a great color and they can ship 30 pounds of clay in USPS Express boxes, so I sometimes can get the clay delivered to my door within three days of placing an order. The finished, fired pitcher with multiple layers of glaze deco- tached and place the coil on the slipped area (figure 12). ration and resist decoration, ready to be put to use. When attaching the coil, gently shape an arch into the lip im- mediately (figure 13). Using a X-Acto knife, cut the lip down coil about 1 inch in diameter. Start at the bottom of the to the desired height (figure 14), and shape and smooth it over coil and pinch up, creating a spine up the middle of the coil with your fingers, creating a gradual and soft curve. (figure 11). Then, place the coil between your thumb and forefinger, flattening out the coil a bit more. Cut the ends Finishing Up of the coil at a 45° angle, tapping the ends to thicken them, making them easier to attach later. Hold the handle up to Attach the handle by first placing a ruler across the top of the vessel, checking the proportions and cutting it down to the pitcher so that one edge bisects the spout and rests on the size. Then, bend it into the desired curve and lay it on the opposite rim. Mark the rim of the pitcher where the handle table to dry sufficiently so you can attach it later without should be attached, then score and slip the top and bottom at- ruining the shape. tachment points. Attach the top part of the handle first, then, making sure that the arc of the handle and its length are appro- Creating a Spout priate, recut the bottom of the handle and proceed to attach it (figure 15). To create a spout, roll out a short coil that is tapered on each end. Score and slip the area where it will be at- Once finished, let the piece dry under plastic for at least three days and slowly open the plastic up over a series of days until it’s completely dry. Emily Schroeder Willis is an artist and instructor living in Chicago, Illinois. To see more of her work, visit www.emilyschroeder.com. Darcy Demmel is a photographer living and working in Chicago:  www.darcydemmel.com. www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 10

Throwing: A Three-Stage Approach W by Jake Allee hile conducting a workshop at the “Clay on excitement and raw energy to learn! I believe when the the Wall” symposium at Texas Tech, someone students are called upon to refer to information they’ve asked the question, “How do you approach teaching learned in stages 1 and 2 while engaging in stage 3, people to throw on the wheel?” This is a good question they get a phenomenon educators call “completing the and it’s something I’ve thought about often. I’ve always circle.” When you complete the circle you are being as held that all people have a mechanical intelligence related efficient as possible with your efforts toward teaching to manual dexterity as we all have cognitive intelligence. and directing the students to do the same with the act People have different aptitudes that translate into or af- of learning. fect their manual dexterity. Stage 1: Readings and Visual Diagrams Over the last several years, I’ve focused my teaching ef- forts on catering to all of these dispositions and to differ- This first category of learning methods, and the first ent learning styles with the goal of helping students learn stage in teaching throwing, is often ignored by the and develop good habits. After all, learning to throw on teacher because it takes work up front, and as educa- the wheel is about developing habits and you want the tors we’re already buried in paperwork! However, student to develop good habits first. I personally know the extra time used for preparation pays off and the what it’s like to feel the frustration of having to relearn students will be quicker to meet you half way. something after developing a bad habit, because I’m A worksheet designed to address all the critical points learn things slowly to begin with. The following should associated with habit forming for wheel throwing help you get quicker results from all your students. technique helps. I always begin by asking the students Many educational workshops use a lot of buzz words to read the worksheet through and I then present them and philosophical concepts to identify and measure with several questions to make sure they have read it. learning styles, but what a clay instructor needs is a sim- After that, I go over the content of the worksheet again, ple “nuts and bolts” method for attacking the problem. re-phrasing it with words that come more naturally. I resolved to strip down the basic learning methods into Any worksheet that addresses frequently asked ques- three categories and attack them individually in three tions can be used as a reference point by the students matching stages through my teaching: and ultimately make your job easier. A worksheet never takes the place of a verbal explanation from the Stage 1. Readings and visual diagrams instructor or a practical demonstration, but it certain- Stage 2. Practical demonstration and use of technique ly gives the student something to think about when Stage 3. Hands-on experience it’s placed in their hands, even if they’ve walked into the classroom late. The worksheet always reinforces Obviously hands-on experience is the part we quite stages 2 and 3. Flying solo with a worksheet for one often throw our students at first, and we answer ques- class might make a student think about showing up on tions after mistakes are made. However, reinforcement time. Revisiting the handout prior to practical demon- of information introduced first through readings and di- stration at the beginning of the next class will elimi- agrams then through practical demos is the best way to nate your feelings of guilt and give the late student a see results at stage 3. Using the three-stage process calls chance for redemption. upon the student to assimilate information in a manner Stage 2: Practical Demonstrationthat they don’t normally associate with art making, yet are familiar with through other subjects. As a teacher, After everyone has read the worksheet and I reinforce prioritizing these stages in learning a process in order and explain it verbally, I move to stage 2. The students from 1 to 3 is key to a student’s success, because they watch the practical demonstration while reference to the have the “blinders” on and will always prioritize them worksheet throughout the process. I slow way down and in the opposite direction, from 3 to 1 due to honest ask the students how I should be executing the tech- www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 11

nique according to the worksheet. I everyone is ready. Once everyone teaching. Look at the effort Val demonstrate all of the steps listed to gets to the point of pulling up on Cushing has put into point #1—the further reinforce the information. At the cylinder, they are all cut loose achievement of his students speaks this time I also talk about some of and begin to work on their own. of the value of his efforts. To the the “tricks” in my personal approach At this point I walk around and students reading this, please use for success. address all of the students one-on- this information to pull knowledge one, giving suggestions and helping from your teacher in a way that If I make a mistake in the process with the challenges they encounter. best fits your learning style, I’m while demonstrating, we discuss The whole process takes me about sure he or she will direct you to a what happened. I encourage the an hour to go through from start to good resource even if there’s no students to ask the following finish. I always start the next class worksheet available. Remember, questions. WHY did the mistake with a review through practical the classroom environment is a happen? WHAT should have been demonstration and check that every- 50%–50% situation with regards done differently? HOW can the one has their worksheet with them to effort, requiring equal amounts mistake be corrected? This shows for reference. from both student and teacher. students how to learn from the Realizing this helps speed everyone inevitable mistakes. They also refer This approach may not work for to what really counts, THE CON- to this experience of watching a all teachers, but the idea is to teach TENT OF THE WORK. Technique demonstration, and the trouble- from as many angles as possible is only the path to content and shooting that occurred, when and use each angle to reference the work ethic will drive you down working on their own pieces, so it other. Think about adapting this that path! GOOD LUCK! n helps and influences them as they method to your particular way of form their own habits. Lastly, it also puts them at ease with the Creating a Teaching Worksheet for Ceramics expert imparting the knowledge. #1 Identify the basic steps in the technical process. The first piece I make for a demo Double check the descriptive language used to convey these steps. is always destroyed at the end; this takes away the preciousness of #2 Develop drawings or high-contrast photographs as visual examples the object created. I then take the to these steps. opportunity to give my short talk All diagrams should be clearly labeled and the images should photo on how each person in the class dictates what is considered their copy well. first piece on the wheel. Will it be the piece that becomes an ashtray, #3 Identify and address frequently asked questions. or will it be the piece that is kept #4 Leave the “tricks” out and let that be a point of interest with the after they understand the control re- quired to make a thin wall and keep practical demonstration. the piece centered? The viewer may never know if the maker’s first piece was made on the very first day or at the end of the first year of practice. Stage 3: Hands-on Experience When I finally make it to Stage #3, everyone is ready to get started. I ask for one more exercise of pa- tience on the student’s part. Every- one goes through the steps of center- ing and opening simultaneously and no one moves to the next step until www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 12

Throwing on the Wheel by Jake Allee Tips for success large arrow indicates hand to clay contact area when throwing. Small arrow indicates wheel direction.  Always apply and release pressure to the clay slowly. right handed  Never allow water to collect in the bot- tom of the piece. left handed  Slow the wheel down in each step of the process.  Be persistent in your efforts. cenTering The clay  Start with a well wedged ball of clay that’s no larger than the size of your hands. diagram illustrating hand to clay pressure. Anchor your elbows to your knees for stability. Wet your hands and the clay. Slowly apply downward pressure equally to all sides of the clay until no movement exists within the mass. clay profile When the clay is “centered,” it will be wheel head spinning while your hands remain still. Once the clay is centered, relax and slowly pull your hands away. ©2009 Ceramic Publication Company www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 13

thumb opening up The clay clay profile thumb Place the tip of your thumb in the center of the clay mass. wheel head Slowly roll your thumb into the center of the large arrow represents thumb movement. Small clay maintaining pressure on the clay profile. arrows indicate hand to clay pressure. Stop ½ inch from the wheel head. thumb To create a flat bottom, use the same hand po- clay profile sition and pull straight back toward yourself. wheel head Any movement causing the piece to go out of flat bottom profile with arrow representing thumb “center” is reflected in the rest of the piece. movement. making a pull handS From this point on, manipulate the piece only at the 3 o’clock position relative to the wheel head (9 o’clock if left handed). Slowly apply and release pressure. Always use your fingertips when making a vertical pull and slow the wheel down. Position your inside finger slightly above the outside finger and apply pressure with the out- side finger slowly moving your hands upward. When making a vertical pull, pull the clay inward to create the volcano shape. Repeat the pulling process until the wall is uni- form in thickness from top to bottom. clay profile wheel head illustration showing fingertip to clay pressure points and direction of vertical pull. clay profile 14 volcano profile ©2009 Ceramic Publication Company www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 |

How to Glaze Photos of finished pieces by Harrison Evans. by Annie Chrietzberg GLAZING TRICKS “Auntie Myrtle: A Covered Dish.” Glazing complicated pieces requires pouring, dipping, and brushing of glazes. Practicing with various techniques ensures greater success with each piece you complete. Glazing, for a lot of people, is the bane of their tured elements, I use a combination of pouring, dipping ceramic lives. While there’s no specific glazing and brushing to get the color where I want it. Dipping system that fits everyone’s needs and preferences, the is the easiest way to ensure an even application, and more information you have allows you more options pouring, with a little practice, is the next. Brushing takes when you get into a glazing corner. My system for more practice, time and attention, and I only use it when glazing evolved with my own body of work, and as the the first two methods are not options for a tricky place work changes, I draw on various aspects of it to suit on a pot. the particulars of the pieces in front of me. The two troublemakers involved with glaze applica- For complex forms consisting of thrown and tex- tion are water and gravity. When a bisque pot becomes Process photos by Jonathan Kaplan. 12 www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 15

345 678 too saturated with water, it won’t accept glaze correctly, • Use a damp sponge instead of rinsing, which should be so use the least amount of water possible when glazing, kept to a minimum. Wring the sponge thoroughly and including when you are making corrections. And as for rotate it so each area is only used once. I tend to use half gravity, I doubt there’s anyone who hasn’t experienced a dozen or so of those orange round synthetic sponges the wayward drip of one glaze flowing toward the earth during any given glazing session (figure 4). across the perfect application of the previous glaze. • Glazes must be well mixed. I use an electric drill with a Jiffy Mixer attached (figure 5). If there is dry glaze Tips for Success caked on the sides of the bucket, sieve the glaze, then return it to a clean bucket. • Keep bisqueware clean. Lotions, or even the oils from • Glaze all the interiors of your pots first by pouring the your hands, can create resist spots where glaze adheres glaze in, then rolling it around for complete coverage. unevenly or not at all. Throughout all phases of the glaz- For complex pieces requiring a number of glazing steps, ing process, including loading and unloading the kiln, glaze the insides the day before to give you a drier handle bisqueware with a clean pair of disposable gloves surface to work with, especially for brushing (figure 6). (figure 1). If you think your bisqueware has been compro- • When removing unwanted glaze, scrape off as much of mised—splashed with something, covered with grime, or it as you can with a dental tool or a similar small metal maybe handled by a visitor—bisque it again rather than scraper to keep a sharp line. A damp sponge removes risk a crawling glaze. the remaining glaze with a few strokes, keeping water • Remove all dust before glazing including bisque dust, usage to a minimum (figure 7). studio dust and even household or street dust. Use an • Use a stiff brush to help clean glaze drips out of air compressor for foolproof results, but work outside texture (figure 8). or in a well-ventilated area away from your primary • For dipping glazes, select an appropriately sized workspace, as bisque dust is extremely abrasive to your container for the work at hand. I have lots of different lungs (figure 2). sizes of shallow bowls that are perfect for dipping the • Use silicon carbide paper to remove any rough spots you sides of my pieces. Wide shallow bowls allow me to see missed before bisque firing. Place your work on a piece of what I’m doing, so I even use them for smaller things foam to prevent chipping. After sanding, wipe with a damp that fit into the glaze bucket (figure 9). sponge to remove all traces of sanding dust (figure 3). www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 16

9 10 11 12 13 14 Brushes • When you can’t dip or pour, it’s small compact brush to wipe away time for brushing. Watch your glaze in areas you can’t reach with a I use sumi brushes, which have bisque as you brush—glaze is shiny sponge (figure 12). long bristles that come to a and wet when first applied, then • Don’t brush glaze from the big point, but in the past, I have also becomes matt as the bisque absorbs glaze bucket. Pour a small amount used hake and multi-stemmed the water. If you recoat too soon into a cup, then briskly stir it oc- hake brushes for large areas. over a damp coat, you’ll move casionally to ensure that it stays Experiment with all the long, the foundation layer rather than properly mixed. Keep a large, damp springy-bristled brushes. Mop imparting a second coat (figure 10). sponge nearby to keep the brush brushes might work for you, • Consider gravity when brushing handle clean. Stray drips often but don’t buy expensive water- and hold the pot both to encourage start with a handle full of glaze color brushes. Applying glaze is the glaze to go where you want it to (figure 13). a cruder application than wa- and to keep it from running where tercolor, and an expensive, fine you don’t want it (figure 11). If you’re glazing pots that don’t water-color brush won’t work as • If a drip flows onto a previously have a defined foot, push them well for a glaze as a cheap hake glazed surface, stop, set the pot across a piece of 220-grit silicon from the ceramic supply store. A down and wait. Resist the urge to carbide sandpaper. The sandpaper brush with long, springy bristles wipe the drip with a sponge. Let the removes some of the glaze from the that come to a point is best. Suc- drip dry, then carefully scrape it off contact areas, indicating where you cessful brushing not only relies with a dental tool or metal rib. Use a on technique of application, but •need to wipe off the remaining glaze also the glazes you’re using and the temperature you’re firing (figure 14). to. Some glazes lend themselves well to brushing, while others are more finicky. Make wide tiles representative of your surfaces and use them to test how well your glazes take to brushing. www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 17

JBOecoImNe aIMCeAmbNer Get Everything You Need to be a Better Ceramic Artist Included With Your RISK Membership, You Get: FREE TRIAL! p CLAYflicks CLAYFlicks Streaming Video Service Artist Portfolios p Subscriptions to Industry-leading Magazines p Archives: Access to Every Article We’ve Ever Publishsed p 20% Shop Discount p Shipping Discounts Magazine p Ceramic Recipes Database Subscriptions p Artist Portfolios p Workshops & Cultural Tours SECOND EDITION AHaSntuddbioook p Mentorship Program p Juried Show COLLECTION International Vince Pitelka CERAMIC Ceramic Recipes Database ARTISTS How-to Books, NETWORK Videos, and Much More CALENDAR Member: Leah Kaplan Learn more at ceramicartsnetwork.org/ican www.ceramicartsnetwork.org | Copyright © 2020, Ceramic Arts Network | Pottery 101 | 18