September/October 2OO2 Pottery Making illustrated 1

The Lazy Way: Throwing a Vase Upside-Down...........................9by Sumi von DassowMaking elegant vases is easier than you think using this simple technique.

Two-Way Extruder...................................................................... 15by Tim FrederickAdd versatility to your extruder with this easy-to-build mounting system.

Lasting Impressions..................................................................... 18by Marj PeelerTips and techniques to help you explore the fun you can have making beads.

Maintaining Your Balance...........................................................22by Bob CyrImprove the accuracy of your triple beam balance scale.

The Education Directory 2002-2003 ..........................................25Continuous Education.................................................................................. 25Education Guide........................................................................................... 26Education Directory......................................................................................31

Wild Decoration...........................................................................43by Kurt WildTransfer designs and discover the glazing possibilities of soluble salts.

Throw, Cut & Trim Covered Containers.....................................49by Leon RoloffMake lidded containers using this step-by-step technique.

DepartmentsPMI Online.............................................................................................................6by Helen BatesDiscover a world of potters working together with this virtual tour of guilds around the world.

Safety First: Gloves for the Studio...................................................................... 54by Jeff ZamekProtect your hands with the right gloves when working in the studio.

Kid’s Corner: King Tut....................................................................................... 56by Craig HinshawTeach children a little about ancient Egyptian culture with a fun project.

Working with Rudy Autio................................................................................... 58by Louana M. LackeyA description of how world-famous Rudy Autio constructs his sculptures.

Down to Business: Tools and Toys..................................................................... 60by Chris CampbellEquip your studio wisely by knowing the difference between needs and wants.

Ideas from Clayart .............................................................................................. 61Ababi Sharon shares his technique for coloring clays.

Off the Shelf: Back to School..............................................................................62by Sumi von DassowReviews of textbooks to use in class or as references at home.

Cover: Sumi von Dassow throws the neck to a vase. Inset (left to right): Beads by MarjPeeler, covered containers by Leon Roloff, and transferring a design by Kurt Wild.

Editor’s CornerContinuous EducationWelcome to our back-to-school issue of PMI! With our move to six issues, it makes sense for the September/ October issue to feature educational venues so you can plan to begin or continue your ceramic education. From one-on-one training at a local private studio to colleges and univer­sities offering degree programs, the Education Directory contains more than 250 schools and teaching studios making it the most complete directo­ry of its kind anywhere.

All entries were submitted by instructors or directors typically via our free web site listing form (see www.potterymaking.org). Please note that the information is as accu­rate as possible, but to get the best results, make personal inquiries to the venues of your choice for detailed information.

If you provide ceramic instruction and you are not listed, please com­plete the free listing form to be included in the 2003-04 directory. Glaze Storm

I was fortunate to be able to attend this years Glaze Storm in Indian­apolis. Glaze Storm is a workshop sponsored by the University of In­dianapolis and Amaco to provide an opportunity for 5-8 invited artists to work together in a relaxed atmos­phere. It is an open exchange of ideas and information that is free of daily pressures and responsibilities. For more information about Glaze Storm, contact David Gamble at dgamble@amaco.com.

September/October 2002 Pottery Making illustrated

Attendees at this year’s Glaze Storm includ­ed (from left to right) Richard Zakin, Scott Bennett, Mark Richardson, George Debikey, Dee Schaad, David Gamble, and myself. Diana Faris (not shown) took the photo.

Features

3

Editor: Bill JonesProduction Manager: John WilsonCirculation Manager: Cleopatra G. Eddie

Graphic Design: Debi HamptonGraphic Production: Dave Houghton

Web Developer: Allison RuuskaAdvertising Manager: Steve HeckerAdvertising Assistant: Debbie Plummer

Proofreader: K.C. BranstetterPublisher: Mark Mecklenborg

Editorial Advisory BoardTim Frederich, David Gamble, Steven Hill, Anna

Callouri Holcombe, Mel Jacobson, Jonathan Kaplan, Dannon Rhudy & Anderson Turner

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www.potterymaking.orgPottery Making Illustrated (ISSN 1096-830X) is pub­lished bimonthly by The American Ceramic Society, 735 Ceramic Place, Westerville, Ohio 43081. Periodical postage paid at Westerville, Ohio, and additional mailing offices.Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ceramic Society.Subscription rates: 6 issues (1 year) $22, 12 issues (2 years) $41, 18 issues (3 years) $58. Add $18 per year for subscriptions outside North America. In Canada, add 7% GST (R123994618). All payments must be in US$ and drawn on a U.S. bank. Allow 6- 8 weeks for delivery.Advertising: Ad rates and ad information are available on the web site or by contacting Steve Hecker at the address above or by phone at (614) 794-5809.Change of address: Send your change of address via e-mail, to the Circulation Department, or on our web site. Allow six weeks advance notice.

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Photocopies: Permission to photocopy for personal or internal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, ISSN 1096-830X, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc. 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc.This consent does not extend to copying items for general distribution, for advertising or promotional pur­poses, or to republishing items in whole or in part in any work and in any format. Please direct republication or special copying permission requests to the Senior Director, Publications, The American Ceramic Society, P.O. Box 6136, Westerville, Ohio 43086-6136.Back Issues: When available, back issues are $5 each plus $3 shipping and handling for the first issue and $1 for each additional copy thereafter. For orders outside North America, add $6 ($2 for addi­tional copies). In Canada, add 7% GST.

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Pottery Making ILLUSTRATED

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All rights reservedwww.ceramics.org

September/October 20024

September/October 2OO2 Pottery Making illustrated 5

Pottery GuildsSome local and regional guilds provide members a variety of services, such as classes, sales venues, training, and educa­tional programs (some open to the gen­eral public). There may also be a studio where members may, for a reasonable fee, make, glaze, and fire their work. This can be very helpful for the emerging clay artist who needs time to plan and build a private studio.

A guild with a well-designed web site can further both its sales and the educa­tional aspects. I’ve tried to find ones that by Helen Bates are generally complete and functional,with a good database of members’ and

others’ work, and possibly useful information relevant to the ceramic arts field. You’ll find these and additional sites on the PMI Online page at www.potterymaking.org.The Berkeley Potters Guild (California)www. be rke I ey potte rs. com/This well-organized and functional site features links to Guild tours, an excellent members’ showcase, and a nice slide show "Making a Pot: Step by Step.” It also has a “Pressroom” section with links to text and images available for publication. Other fea­tures include links to maps, sales events, the Guild’s year-round weekend gallery.The Orchard Valley Ceramic Arts Guild (Sunnyvale, California)www.ovcag.org/This sophisticated web site has lots to view online, clear text and images and many cross-indexed text links throughout. Across the tops of the pages are clickable links to over a dozen subsections within the site. To see artists’ work, click on “Artists,” then on any of the small images or “thumbnails” to enlarge them. To navigate from artist to artist, click on the right arrow. Resources include shows, workshops, executives, classes, administration tools, member tools, book reviews, calendar, and more. Specially featured: links to numerous other pottery guilds.The Saskatchewan Potters Association “Sask Terra”www.saskterra.sk.ca/Quick loading and attractive, this site has a “featured” member profile section, bulletin board, and other resources. There are many images from recent guild-juried exhibi­tions including: “Hips and Lips,” “Best Foot Forward,” “Enough on Our Plate,” “Put a Lid on It,” “Thick as a Brick,” and others.The Victorian Ceramic Group (State of Victoria, Australia)www.vcglink.comThe members of this guild produce a high level of work. Visit the well-conceived Members’ Gallery and see especially the two Pat Emery Awards and the “Clatter” page in the “Report” section of the “Events” page. One of the strengths of these potters is their decorative painterly work and their strong showing in porcelain. Also click on the Thai Pottery Tour from any page with a menu on the left.The Ceramic Arts Association of Western Australiawww.ceramicartswa.asn.au/This is another Australian group with an excellent web site and excellent members’ work on view with artists’ work well presented and well photographed. The major link of interest is to images of tableware by top international and Australian ceramists from the virtual exhibition “Is The Dinner Party Dead,” as well as from other major ceramics events held in Western Australia. You’ll also find thought-provoking articles positioning contemporary ceramic arts within today’s broader fine arts world.The London Potters Guild (London, England)www.londonpotters.com/This is a site with good page-to-page cross-linking. The Members’ Gallery is set up in an alphabetical grid format that makes it easy to navigate, although you may need to scroll down to see the active links once you have arrived at a particular letter of the alphabet. The site has some useful links to U.K. potters’ associations, suppliers online resources, and a few members’ personal web sites.Helen Bates lives in Ontario, Canada. A connoisseur of the ceramic arts and amateur potter, Helen enjoys surfing the ‘Net to track doum and check out the work of fine potters and ceramic sculptors. Although she can't promise to answer all e-mails, you are welcome to send suggestions for new and interesting clay-relat- ed web sites to her at: nelhanell@yahoo.ca.

Pottery Making illustrated September/October 2OO2

8 Pottery Making illustrated September/October 2OO2

by Sumi von DassowI am a lazy potter. I love to throw but I don’t like to trim if I can avoid it, and I really don’t like to use a chuck for trim­ming. On the other hand, I really do like having a proper foot on my pots. So, I turn most of my pots upside down and trim a foot ring onto them, and it’s usually not a big deal.

However, when I began wanting to make vases with long necks for pit-firing, my spirit rebelled against the idea of trim­ming each one in a chuck. What to do? I adapted the technique I have long used to begin pots for coil-building, which involves throwing the bottom half of the pot upside down as a cone or egg shape, then when it is stiff enough to stand up, flipping it over and adding coils to finish the form.

For my new vases, I begin with about five pounds of clay. Working on a bat, I throw a form with a wide base. I then bring the rim of this form in until it clos­es over, and form the closed top into a foot. When the foot is leather hard, I turn it over, add some clay, and throw a neck onto it. The leather-hard base is stiff enough that it doesn’t collapse or twist as I work on the neck, allowing me to make a taller neck or a more flared lip than I could if I were throwing it in one piece.

Many of my students have tried this technique as well and had some great results. It is pretty straightforward, though as with any throwing technique, practice makes perfect. Once you have the hang of it, it really is easier than throwing a wide- shouldered form with a long or narrow neck the standard way. And, best of all, though I often do some trimming to refine the form after the whole piece is leather-hard, I can do it all right-side up and never have to deal with a chuck!

Septembcr/Octobcr 2002

Making this classic vase form is simple when done in two parts. Following a simple step-by-step technique, and with a little prac­tice, you can throw this elegant footed form. The raised ring around the neck was trimmed in before the neck was added.

Sumi von Dassow is a regular contributor to Pottery Making Illustrated. She teaches pottery at the Washington Heights Center for the Traditional Arts in Lakewood, Colorado. For comments, log onto her web site at www.well.com/~sumi.

9

Step 1

Center about five pounds of clay on a bat and make an opening all the way down to the bat. It’s important for the clay to be per­fectly centered. Widen the opening at the base leaving a hole in the center of the bot­tom. This hole is where the neck will be attached. The clay at the bottom should be about ¾-inch thick. Instead of making the bottom perfectly level, allow it to be slightly thicker toward the outside, which will make the shoulder rounded instead of flat.

Step 2

Bring up the walls as you would any cylin­der, being careful not to allow them to get wider toward the top.

Step 3

Begin to collar in the sides toward the top to form a cone shape. As it gets narrower, it will get thicker, so you will have to keep thinning the walls. Don’t thin the walls too much before you begin collaring in or the rim will buckle when you try to bring it in. Before the opening gets too small to get your hand inside, make sure the walls are of even thickness and the bottom is level. Sponge any excess water from inside.

Step 4

As the opening gets narrower, continue to thin the walls with one finger inside and one outside. You may have to cut a bit off of the rim with a needle tool before closing the form completely. Don’t thin the rim too much. Remember, this will be the foot of the vase, and it needs to be strong enough to support the weight of the vase as you add the neck.

Step 5

Continue to collar until the opening is so small you can finally push it closed with one finger.

Step 6

Once the pot is completely closed, push down the top to make it flat or slightly con­cave.

THROWING UPSIDE-DOWN

10 Pottery Making illustrated September/October 2002

Step 7

To form a foot, push clay out from the center of the concavity and up from below it until a thick ring of clay builds up.

Step 8

If necessary, trim the foot level with a nee­dle tool, then smooth it with a chamois.

Step 9

Smooth the side of the vase with a rib. Avoid the temptation to push on the form too much or the trapped air inside will cause the form to torque and possibly to tear at a weak point such as the joint between the foot and the body.

Step 10

Use a wood tool to cut away excess clay where the part that is to become the shoul­der joins the bat. You can trim a large amount away because trapped air supports the closed form. Set the vase aside to stiff­en. Ideally, the foot becomes leather-hard while the shoulder area stays fairly moist. Wire under the piece now or wait until later after it has stiffened up.

Step 13

Trim a little of the excess clay with your wood tool, then and cut it off the bat with a needle tool rather than a cutting wire.

Step 11

Begin the neck by centering a small amount of clay (V2 pound or so), and open it all the way down to the wheelhead. Widen the ring out until the inside is about as wide as the opening at the top of the vase base.

Step 12

Pull the walls of the ring a little, but make sure it is still short enough and wide enough to get your fingers into it.

Step 14

When the base of the vase is leather-hard, turn it right side up. It will have a hole where the neck is to be joined. Center the base and secure it to the wheel with wads of clay. If the foot is fairly substantial, and angles outward, the wads will hold it easily. Be careful when you are finished with the neck and want to remove the pot. You have to pull the wads of clay away from the foot. If you try to lift the pot straight up out of the wads, you may pull the foot right off (see the example on p. 13).

September/October 2OO2 Pottery Making illustrated 11

Step 15

Trim the vase around the shoulder. The hole in the center should be big enough to allow you to get a finger inside and feel how much trimming you need to do. If it isn’t, enlarge it with your needle tool.

Step 16

Set the freshly thrown ring of clay on the base, matching the opening in the ring with the opening in the base.

Tip: As long as the shoulder area of the base isn’t too stiff, you won’t need to score it or use slip to attach it.

Step 17

Center the ring by tapping it gently as the wheel spins, then join it to the base by pushing down on the base of the ring with a wet finger as the wheel slowly rotates. Work the neck and base together the same way on the inside.

Step 18

Once the ring is securely joined to the base, begin pulling it up and thinning it just as you would any small cylinder. Avoid allowing large amounts of water to run over the shoulder of the vase.

Step 19

Alternate pulling up with collaring in, as if you were working on a teapot spout. Be careful not to pull too fast or too hard because it is possible to pull the neck off the base or make the joint too thin. It is easy to get a very tall neck this way, but it is also easy to make the neck too tall to look really good.

Step 20

Allow the lip to flare, if desired, cut off any unevenness with a needle tool, then smooth with a chamois.

Step 22

The vase is now basically finished, and should be lightly covered so the wet neck doesn’t dry too quickly and crack loose from the base. I often trim it a little (right side up) once the neck has stiffened to leather-hard, just to refine the contour of the shoulder and neck, but this isn’t always necessary.

Step 21

Smooth and shape the neck with a rib as necessary, but be careful because it is easy to twist a tali neck doing this.

12 Pottery Making illustrated September/October 2002

A vase is not always the end product. If you open up all the way to the wheel head and don’t leave any clay on the bottom at all, this is what you’re likely to end up with when it’s turned right-side up.

September/October 2OO2 Pottery Making illustrated 13

It can be fun to add an interesting neck. There are lots of possibilities.

When I ruined the foot-ring (see Step 14), I threw a pedestal for it, black-fired it separately, and glued it on.

14 Pottery Making illustrated September/October 2002

by Tim Frederich

I have three extruders in my studio. Two of them are manually operated, and one is powered by air using a hydraulic cylinder. I use my extruders in both the vertical and horizontal position depending on the shape being extruded and the type of project being produced. One extruder is now dedicated to use for handles and is mounted in the horizontal position to the top of one of the work tables.

The other two extruders are used in both the ver­tical and horizontal positions.They need to be changed into position without any downtime or extra labor involved, which my simple mounting system allows. This system requires a sturdy, stable work table to sup­port the extruder mountings. When the extruders are not in use, they’re kept in the vertical position allowing the table to be used for other projects. This system allows flexibility in the way the extruder is used and saves pace in a smaller studio.

THE MOUNTING SYSTEMStep 1

The mounting system for the extruders are con­structed using common materials found at any home center or lumberyard. An extruder mount consists of two 7-foot long pieces of 2x10 boards layered together. Cut a 2x10 that measures exactly 1½ inch­es longer than the table height. Bolt this piece to the table leg. I have sturdy 4x4 legs on the table and was able to bolt this board directly to the leg of the table (Figure 2). If necessary, attach vertical spacers to the legs so the board will mount even with the table top.

Step 2Attach the remaining section of the 2x10 to the bolted vertical piece using two heavy-duty door hinges as shown in Figure 3.The hinges form a pivot point.

Step 3Using 2-inch-long screws, fasten another 7-foot- long 2x10 to the top section of the hinged 2x10 already mounted to the table. Test the swing of the board before you fasten it in place to ensure that it clears the floor in the upright position.

continued

Figure 1

In my studio, I have two tables bolted together in an “L” configuration, with the extruders mounted at the end of one of the tables.

Figure 2

Cut the 2x10 and bolt it to the table leg. The top of the board should be 1 ½ inches high­er than the table.

Figure 3

Use two heavy-duty door hinges to assem­ble the two boards, forming a pivot point.

September/October 2OO2 Pottery Making illustrated 15

Step 4Add two heavy-duty screw hook-and-eye sets to fas­ten the lower section of boards together when in the vertical position. Attach short sections of 2x4 on the back side of the extruder mounts to rest on the table when in the horizontal position, which keep it level (Figure 4). I left the top 2x10 almost full length so that there is a work table to support the extrusions when the extruder is in the horizontal position.This allows for manipulation of the clay as it is being extruded.

Tim Frederick is a sales and product support specialist for the Orton Ceramic Foundation. He has a B.F.A. in Ceramics from The Ohio State University and has been a professional studio potter for more than 32 years doing produc­tion stoneware and one of a kind pieces. Tim also teaches ceramics at the Delaware County Cultural Arts Center in Delaware, Ohio.

16 Pottery Making illustrated September/October 2002

Figure 4

A second 2x10 is attached to the top hinged section to form the mounting board for the extruder.

by Marj PeelerWorn out from mixing heavy clay and throwing lots of pots? How about a low-energy, fun

project to relax with? With a few common tools, you can make clay beads with an endless variety of impressed designs. And when you leave them unglazed, you can fire them directly on the kiln shelf in empty spaces around glazed pots or piled into a shallow unglazed dish.

Figure 1

Simple tools: pencil, long nail appropriately sized for bead hole (see Tip box), Popsicle stick, larger wood craft rounded stick, comb with crested back, round plastic ends of marking pens, half of a wooden spring clothes pin.

Figure 2

Using soft clay, roll out a ½- to ¾-inch thick coil. To make beads about the same size, cut the coil into equal-size slugs.

Figure 3

Roll clay pieces into balls between palms of hands.

TIPThe most important part of a bead is the hole. If the hole is too small, the cord can’t go through the fired bead. If the hole is too large, the beads slop around on the cord or leather thong. So, before deciding how big to make the hole, have some idea about the size of the cord that the beads will be strung on. Remember to allow for clay shrinkage.

Figure 4

To pierce the clay hole, twist the nail or pencil point as you push it through the clay ball. Make the holes neat.

Figure 5

Examples of the pattern each tool makes in the clay.

18 Pottery Making illustrated September/October 2002

Figure 6

With the ball of clay still on the nail/pencil, roll the clay over the back edge of a plastic comb.

Figure 7

Examples of long beads showing marks made by rolling the clay over a comb then adding “C” marks with a Popsicle stick.

Figure 8

Gently press and rock the Popsicle stick over the surface of the clay. Don’t just jab the clay with the tool. It’s rock and roll!

Figure 9

Repeated designs work best around the diameter of the beads. However, if you want to get wild and crazy, go ahead! It’s your bead!

Figure 10

Bisque containers hold a pile of beads—a great way to stack or keep each person’s beads separate.

Figure 11

To enhance the design, paint beads with iron oxide, then sponge off the excess leav­ing iron in the creases.

Note: Iron oxide stains clothing, so be careful.

September/October 2OO2 Pottery Making illustrated 19

Tip: Slightly dome the pendant so it will be less likely to warp in drying and firing.

Figure 12

To make a pendant, roll out a small slab. Find a lid the proper size and cut around it with a pointed knife, or simply cut out a freehand shape. Use your tools to impress designs.

Figure 13

Impress the design. Add a bead for the cord to go through.

A string of beads with an owl pendant. Beads are low-fired clay, two different- colored clay bodies with blue Egyptian paste bead accents.

Marj Peeler lives in rural Indiana where she and her husband, Richard, operated a pottery business

for 30 years before he died. Marj loves clay work of all kinds.

These beads were made of three different- colored low-fire clay bodies. High-fired stoneware and porcelain also make good beads, but they shrink more in the firing. Don’t forget to take that into consideration when forming the stringing holes.

A hanging “dangly” with beads and odd­shaped clay parts—just for fun!

A string of beads with a round pendant design impressed with Popsicle sticks and accents of green Egyptian paste beads.

20 Pottery Making illustrated September/October 2OO2

Maintaining Your Balanceby Bob Cyr

Potters frequently need to accurately weigh glaze ingredients, and they commonly use a triple beam balance scale for this purpose. To achieve this accuracy; it’s important to maintain the calibration of the scale.

Figure 1

The Ohaus 700 Triple Beam Balance commonly used by potters to accurately weigh glaze materials. This model is shown with three attachment weights used to extend the capacity of the unit and the tare weight used as a counterbalance when using the scoop.

Zero BalanceMost of us know the basics of adjusting the zero

point before making any critical measurements, but I found that there is more to it than this. When I consulted the owner’s manual of my Ohaus 700 Series Triple Beam Balance, I found that only the basic zero adjustment was described. I wanted to learn how to calibrate the entire unit and decided to develop my own procedure.

to drift. Lately I found that the drifting has to do with my studio practices rather than with any deficiency of the beam balance. While the owner’s manual recom­mends placing the unit on a smooth, flat surface, it does not mention that the scale is sensitive to the levelness of the surface. (Verify this by adjusting your beam bal­ance to exact zero and then slide a coin under the right side of the unit to simulate an out-of-level condition. You’ll see a small shift in the pointer.) After this dis­covery, I now routinely consider the first step to be lev­eling the scale before using it.Note: All the calibration steps in this article, includ­ing the simple zero adjustment, are based on the beam balance being on a level surface.

Figure 2

To adjust the scale to zero, remove everything from the platform then set all moveable poises (a “poise” is a known weight) to zero. Take care to align the pointer of the sliding gram weight to the exact zero point. Adjust the knurled knob located on the left side of the unit for an exact zero.

Is It Level?I’ve calibrated my scale countless times over the

years, but found that I had to fme-tune the adjustment more than expected. It was annoying to find that the zero point would not hold calibration and would seem

Figure 3

A beam balance resting on a leveling platform. The platform includes a bubble level and leveling screw on the right side.

Attachment Weight PivotsYour beam balance may include pivots for suspend­

ing attachment weights. Pivots are actually small, slot­ted screws threaded into the beam on the right side of the unit. Two pivots are included on the Ohaus Model 700 and play a part in the calibration. If your beam bal­ance does not include pivots, the only step required for calibration is the adjustment to zero as described above. If your scale has attachment weight pivots, but you do not use them, check that the pivots are tight. If needed, tighten them then recheck the zero adjustment.

22 Pottery Making illustrated September/October 2002

Figure 4

The beam balance includes two pivot screws for suspending extra weights. These pivots are small screws with companion nuts for locking them in place. If you do not use attachment weights, make sure the pivots are secure.

Adjusting Weight PivotsIf you use attachment weights, the pivots must be

attended to. The suspension point of the attachment weight can be adjusted by rotating the pivot screw in or out. Keep in mind that the position of the pivots influence the calibration of the instrument even when attachment weights are not used. Calibrate the scale as follows:Step 1. Assure that the beam balance is on a level sur­

face, then with no attachment weights suspended, accurately zero your unit by setting all of the poises to zero and adjusting the knurled knob on the left of the unit.

Step 2. Set the 100-poise to the 500-gram position, and place a container with at least a 500-mL capac­ity in the center of the platform, and add water to achieve an exact balance. When nearing the balance point, use a slip trailer bottle or pipette to add water a drop at a time.

Figure 6

With all poises set at zero, suspend a 500-gram attachment weight.If necessary, loosen the locking nut enough to free the turning of thepivot screw. Adjust the pivot screw then retighten the locking screw.

Step 4. Repeat steps 1-3 with the other beam. If the second beam needs significant adjustment, recheck the calibration of the first beam and adjust if necessary.

Step 5. There may be an interaction between the pivot screws and the zero adjustment made with the knurled knob. Recheck the scale for exact zero. If a significant adjustment of the knurled knob was required, recheck the calibration of the pivot screws.

Note: Do not adjust the knurled knob on the left of the unit to achieve balance.

Figure 5

With the 100-poise in the 500-gram position, the container and water are adjusted to equal exactly 500 grams.

Step 3. Move the 100-poise from the 500 position to the zero position then suspend the 500-gram attach­ment weight on the pivot nearest you. If the balance is not exact, adjust the pivot.

Figure 7

The weight of any container (such as the scoop shown here) is referred to as the “tare.” If your scale has a tare weight, suspend it from one of the pivot points. Use the knurled knob on the left to make any adjustments to zero the scale. If your scale does not have a tare weight, weigh the tare and add that number to any ingredient you are weighing out. Do NOT adjust either of the pivots.

Bob Cyr is a retired electrical engineer whose love of pottery started 15 years ago while biking through Vermont. He became fascinated with the hand-thrown pots he observed while staying at a country inn on a cross-country bicycle tour. Bob's e-mail address is rcyr@bluemoon.net

September/October 2OO2 Pottery Making illustrated 23

24 Pottery Making illustrated September/October 2OO2

2002 - 2003

Continuous EducationBecoming proficient in any skill is time-consuming and often involves repetitive practice. Working alone and teaching yourself is central to learning pottery, but knowing when you’ve reached a plateau is important. When both time and effort are needlessly wasted try­ing to master a new technique or discover the cause of a technical problem, it’s time to look to other sources for stimulation.College Programs

Colleges and universities offer four-year undergrad­uate and two-year graduate degree programs.The usual course of study in undergraduate programs is two years of basic design curriculum followed by two years of intensive specialization in ceramics. Most graduate and some undergraduate programs offer courses in art his­tory, glaze calculation, kiln building, raw materials and mold making. Graduate schools usually provide indi­vidual studio space for making pots that are critiqued periodically by the faculty. Each college offers a differ­ent array of courses and unique requirements to quali­fy for a degree.

Undergraduate and graduate schools require college entrance exams, portfolios of artwork and supplemen­tal information that’s dependent on the specific college considered. The advantages besides a college degree are the opportunity to work with other students and receive training in a formal course of study from an academically qualified instructor.

Each college has different strengths and weaknesses. Some colleges are strong in functional ceramics, while lacking incentive or expertise in the teaching of sculp­tural ceramics. Always visit the col­lege and contact the admission office for a tour of the campus grounds and buildings. Concentrate your time on campus by sitting in on as many ceramics classes as your visit will allow. Contact students currently in the program and get the names of students who have

Whether you’re beginning or continuing your ceram­ic education, hundreds of

choices are available among the schools, uni­

versities, art centers, craft schools and private stu­

dios. For example, Laloba Ranch Clay Center (right) is an art school dedicated solely to the advancement of ceramic arts. Emphasis

is on developing tech­niques and encouraging

individual creative vision. Tuition includes 24-hour studio access, semi-pri- vate room, 3 meals per

day, firing, spa, incredible sunsets and elk viewing.

recently graduated from the program. After a few ques­tions and phone calls, you can generally decide if the college is offering what you need.

Because a useful, enlightened education is a com­modity you’re buying, make every effort to investigate the content of the ceramics program. Try not to be unduly influenced by the degree-granting status of the institution or the amount of pottery equipment in their studios.Craft Centers

Craft centers offer an alternative to college-based ceramic arts programs. Several centers offer certificate programs consisting of studio space, classroom partici­pation and teacher critiques. A craft center can offer access to pottery equipment, kiln, wheels, slab rollers, tools and raw materials, at a relatively low cost as com­pared to equipping your own private studio. The artist- in-residence programs within some centers can offer unlimited studio use and the time required to develop a body of work. Many students enrolling in such pro­grams have college degrees in fields other than ceram­ics, and they’re returning to formal ceramics training to learn particular skills or to pursue a second career as a potter. Another major advantage of a craft center is the opportunity to interact with teachers and other students that often expose you to new techniques and concepts.Note: This article is an excerpt from “A Lifetime of Learningby Jeff Zamek that appeared in the Winter 1998 issue of PMI. -Ed.

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30 Pottery Making illustrated September/October 2OO2

AMERICAN CERAMIC SUPPLY CO. 817-535-26512442 Ludelle St. Fax: 817-536-7120Ft. Worth, TX 76105-1060 E-mail: sales@americanceramics.com Web: http://www.americanceramics.com

25 years educating the ceramics industry: traditional, contemporary, potters, art educators, finished-ware pro­ducers, providing certification seminars in all major color brands and specialty classes and consultation. Certified international teachers. Visit our website and click on classes for upcoming schedule and more information on facilities, directions and lodging.

970-923-3181 Fax: 970-923-3871

ANDERSON RANCH ARTS CENTER 5263 Owl Creek Rd.PO Box 5598Snowmass Village, CO 81615-5598 E-mail: info@andersonranch.org Web: http://www.andersonranch.org

Our ceramics program offers a time and place where clay artists can come together to discuss, interact, and make ceramic art and pottery. Summer workshops inform, chal­lenge, and inspire, and provide a broad range of instruction for beginners through professional ceramists and sculp­tors. Our winter residency program provides artists focused time for open exploration and completion of work in a sup­portive setting.

ANGELO STATE UNIVERSITY 915-942-2085 x222Station ASUPO Box 10906San Angelo, TX 76909E-mail: steve.apodaca@angelo.edu

All new BFA program and new ceramics facility (2600 sq. ft.). 2 Bailey gas kilns, 1 raku kiln, 18 Brent electric wheels, clay mixer and pug mill. Ceramic professor is Esteban Apodaca, (MFA Univ. of Arizona and BFA New Mexico State). Working relationship with San Angelo Museum of Fine Arts (major focus is ceramics) and local production potter for internships.

ANGELWOOD GALLERY AND STUDIO 419-832-0625 24195 Front St. Toll-free: 888-617-6565Grand Rapids, OH 43522 E-mail: angelwoodgallery@aol.com

Angelwood Gallery and Studio teaches pottery in its on-site studio by resident potter Julie Beutler, with a focus on beginning to intermediate students. Students learn in a car­ing, open environment. Our class size is small for hands-on approach to learning. The space also features an art gallery.

ANNIE’S MUD PIE SHOP 513-871-25293130 Wasson Rd. Fax: 513-871-5576Cincinnati, OH 45209 Toll-free: 866-GET-CLAYE-mail: annie@anniesmudpieshop.com Web: http://www.anniesmudpieshop.com

Annie’s Mud Pie Shop offers classes in both handbuilding and throwing on the wheel. Both classes take students through the entire sequence of steps required to go from wet clay to a glazed and fired finished product. Classes are offered in a 6-week cycle throughout most of the year.

ANTJE’S POTTERY STUDIO 519-664-23724 High Crest Lane West Fax: 519-664-3082St. Jacobs, Ontario, NOB 2N0 CanadaE-mail: antjespottery@rogers.com Web: http://www.antjespottery.com

European Trade Master, wheel and sculpting potter with unique developed talent, shares knowledgable workman­ship with students.

APPALACHIAN CENTER FOR CRAFTS 615-597-6801Tennessee Tech University Fax: 615-597-68031560 Craft Center Dr.Smithville, TN 37166E-mail: craftcenter@tntech.eduWeb: http://www.craftcenter.tntech.edu

The Appalachian Center for Crafts, a division of Tenn.Tech Univ., offers a BFA degree, craft certificate program, artist residencies and non-credit workshops in ceramic studies. The 10,000 sq. ft. ceramics studio offers a variety of firing and glazing options. Vince Pitelka, Assoc. Prof. and author of Clay: A Studio Handbook, heads the program.

ARCHIE BRAY FOUNDATION 406-442-25212915 Country Club Ave. Fax: 406-443-0934Helena, MT 59602-9240 Toll-free: 800-443-6434E-mail: archiebray@archiebray.org Web: http://www.archiebray.org

A non-profit organization dedicated to the enrichment of the ceramic arts, offers artist residencies to potters and ceram­ic sculptors from around the world, as well as community ceramics classes for adults and children. Residents have access to a variety of kilns and equipment.

561-832-1776 Fax: 561-832-0191

Toll-free: 888-276-6791

ARMORY ART CENTER 1703 S. Lake Ave.West Palm Beach, FL 33401 E-mail: armory@bellsouth.net Web: http://www.armoryart.org

Year-round classes in all mediums. State-of-the-art facility for all levels of ceramic artists. Master artist workshops offered January through March. Under the direction of ceramics chairman Harvey Sadow, the clay program also fea­tures assistantships, a residency program, foreign exchange program and the Ceramics National Invitational Exhibition.

ARROWMONT SCHOOL OF ARTS & CRAFTS 865-436-5860 556 Parkway, PO Box 567 Fax: 865-430-4101Gatlinburg, TN 37738 E-mail: info@arrowmont.org Web: http://www.arrowmont.org

Arrowmont offers one- and two-week, and weekend art intensives during spring, summer and fall. Wheel throwing and handbuilding clay techniques taught by nationally and internationally recognized faculty. Credit is offered through the Univ. of Tennessee. Residencies, studio assistantships, work-study and scholarships available.

ART & CLAY 505-989-42781804 Espinacitas St.Santa Fe, NM 87505 E-mail: artandclay@earthlink.net Web: http://www.artandclay.com

Art and Clay is a ceramic and arts center. We offer year- round classes in pottery, sculpture, drawing, writing and painting for kids, teens and adults.

ART CENTER AT FULLER LODGE 505-662-93312132 Central Ave. Fax: 505-662-9334Los Alamos, NM 87544 E-mail: artful@losalamos.com Web: http://www.artfulnm.org

Beginning and intermediate classes taught by professional artists, children’s classes, clay sculpture, functional and decorative art, studio rental available.

ART LEAGUE SCHOOL 703-683-5358Ceramics Program305 Madison St.Alexandria, VA 22314E-mail: dalel.marhanka@verizon.netWeb: http://www.theartleague.org

Our program offers a diverse range of classes in hand­building and throwing, functional or non-functional, a resi­dency and assistants program. A fully equipped studio with4 electric kilns, a 32 cu. ft. gas kiln, 32 wheels, 2 extruders,2 slab rollers and a fully stocked glaze lab.

Adult or children demonstrations and classes in functional pottery, stoneware, raku, slab, extruded and wheel work.

ATELIER 64 55-193-886-2356Rua Parati 6413280-000 Vinhedo SP, Brazil E-mail: svenjakalteich@hotmail.com

International studio which offers classes for beginners and advanced students in handbuilding and throwing. We speak English, German and Portuguese and offer weekly classes as well as international workshops and accommodations for foreign students for longer periods. Kilns include elec­tric, gas, raku and anagama.

AZUSA PACIFIC UNIVERSITY 626-815-6000901 East Alosta Ave. Fax: 626-815-3880Azusa, CA 91702-7000 E-mail: sney@apu.edu Web: http://www.apu.edu

APU offers a sound all around art degree (BA) with a con­centration in ceramics. We believe that traditional throwing and formation of aesthetically pleasing functional vessels are skills all should master before moving in an individual direction. 18 wheels, 3 large gas kilns, smaller electric kilns, clay mixer, outdoor workspace and proximity to galleries are advantages to our near-LA location.

BAKER UNIVERSITY 785-594-4537PO Box 65 Fax: 785-594-2522Baldwin City, KS 66006 Toll-free: 800-873-4282E-mail: balch@harvey.bakeru.edu Web: http://www.bakeru.edu

Strong, small art department offering a BA in studio art, art history or art education. Gas and electric kilns, raku, 12 electric wheels, slab roller, spray booth, 2 galleries (one student run). Home of the International Edward Orton Cone Box Show. 4 full-time professors, 1 in ceramics.

BALL STATE UNIVERSITY 765-285-5800Art Dept/Ceramics, AJ Bldg.Muncie, IN 47306 E-mail: larndt@bsu.edu Web: http://www.bsu.edu

We offer a BFA program in a new state-of-the art facility. We have two instructors (MFA, Cranbrook and Edinboro, PA) 3 large gas Alpines, 9 electrics, outside raku and pitfire area. Lots of room, beautiful environment and emphasis on indi­vidual and personal attention to each student.

BALTIMORE CLAYWORKS 410-578-19195706 Smith Ave. Fax: 410-578-0058Baltimore, MD 21209E-mail: leigh.mickelson@baltimoreclayworks.org We b: htt p ://ww w. bait i m o rec I ay wo r ks. o rg

Baltimore Clayworks provides affordable studio space, equipment and opportunities for ceramic artists; a year­long fellowship for an emerging artist based on a national search: year-round, hands-on studio classes and work­shops for adults and children; teachers who are profes­sionals in the field; and both on-and off-site exhibitions.

BARECLAY 1103 Michigan Ave.Columbus, OH 43201 E-mail: lbareclay@aol.com Web: http://www.bareclay.com

Classes at Bareclay Studio are fun! The classes are small (five students per class) and run in 6-week sessions. Students are given the freedom to express themselves through clay on the wheel, handbuilding, sculptural and surface techniques. Classes are open to all levels of skill and are taught in Columbus, Ohio. For a registration form and current schedule go to www.bareclay.com.

ARTIFACT POTTERY 508 North Shore Dr. Kendallville, IN 46755 E-mail: deb@noble.cioe.com

219-347-1669

BENNETT’S POTTERY SUPPLY 431 Enterprise St.Ocoee, FL 34761

A BETTER POTTER 292 Ridge Rd. Ste. 9 Lafayette, LA 70506 E-mail: k_simar@bellsouth.net

407-877-6311

337-988-5456

September/October 2002 Pottery Making illustrated 31

Formed in May of 2002 to assist others in improving their pottery skills. Includes wheel instruction and handbuilding. Also introduces students to processes such as spraying glazes, mold making, pug-mill introduction, slab roller use, glaze formulation, and kiln use. Strives to make students more self-sufficient.

BIRCH MOUNTAIN POTTERY 860-875-0149223 Merrow Rd., PO Box 422Tolland, CT 06084E-mail: sgclayboat@aol.com

Birch Mountain Pottery offers 8 week sessions for adult beginner through advanced. Classes meet once a week for 2-1/2 hours and include handbuilding, throwing on the wheel, glazing and decorating techniques. Also special workshops for private groups.

BLACK HAWK COLLEGE 309-796-13116600 34th Ave.Moline, IL 61265-5899 E-mail: bgeise@netins.net

Beginning and advanced courses in handbuilding and wheel-thrown ceramics. Cone 10 reduction in both electric and gas kilns. 50+ year old 2-yr. college AA degree program leading to Univ. of Iowa or Western Illinois Univ. programs.

BLOOMINGTON AREA ARTS COUNCIL 812-334-3100 John Waldron Arts Center Fax: 812-323-2787122 South Walnut St.Bloomington, IN 47404 E-mail: meridith@artlives.org Web: http://www.artlives.org

The Center offers children’s, teen’s and adult ceramic class­es four times a year. Classes meet once a week for either a 6, 8 or 13 week session.

BODINE POTTERY & ART STUDIO 228-863-4734108 Jeff Davis Ave. Fax: 228-864-3596Long Beach, MS 39560 E-mail: hukmut1@bellsouth.net Web: http://www.bodinepottery.com

In downtown Long Beach, Mississippi, just blocks from the beach, this full-time working studio offers classes in wheel throwing, handbuilding, raku and precious metal clay. Week long clay camps are held in the summer for kids (or adults). Tour groups are offered 4 hr. mini-classes, 45 minute tours or demos.

BRECKSVILLE CENTER FOR THE ARTS 440-526-6232 8997 Highland Dr. Fax: 440-526-1214Brecksville, OH 44141 E-mail: iguanatod@aol.com Web: http://www.digitalprime8.com/todd

Beginners will learn the basics of throwing on the potters wheel and basic handbuilding techniques. Experienced stu­dents will refine and expand their skills while learning new techniques. Open to adults at all levels.

BUFFALO STATE COLLEGE 716-878-4414Design Dept. Fax:716-878-42311300 Elmwood Ave.Buffalo, NY 14222E-mail: woodrl@buffalostate.eduWeb: http://www.buffalostate.edu/~des

A comprehensive State University of New York (SUNY) undergraduate liberal arts college with the largest visual arts program in the SUNY system offering a BFA and BS degree. A 10,000 sq. ft. well-equipped studio space includ­ing 3 primary classrooms/studios, clay and glaze mixing rooms, 30 wheels, slab roller, extruder, 15 kilns, and more.

BURLINGTON ART CENTRE 905-632-77961333 Lakeshore Rd. Fax: 905-632-0278Burlington ON L7S 1A9, Canada E-mail: program@burlingtonartcentre.on.ca Web: http://www.burlingtonartcentre.on.ca

The largest collection of contemporary Canadian ceramics in the world. Exhibitions and educational activities in a full range of craft and art subjects throughout the year. A pub­lic non-profit organization.

BYRDCLIFFE ART COLONY 845-679-2079Woodstock Guild, 34 Tinker St. Fax: 845-679-4529Woodstock, NY 12498 E-mail: wguild@ulster.net Web: http://www.woodstockguild.org

Byrdcliffe is a multi-faceted art colony which offers summer residencies, community classes and workshops. Summer residents in ceramics receive private studio and housing from May to October. Facilities include gas, soda, raku and electric kilns. Clay mixing and raw materials room. Please specify ceramics with all inquiries.

CAMPBELL’S CERAMIC SUPPLY INC. 703-750-9437 5704 D General Washington Dr. Fax: 703-750-9442Alexandria, VA 22312 Toll-free: 800-657-7222E-mail: claysupply111@aol.com Web: http://www.claysupply.com

CARBONDALE CLAY CENTER 970-963-2529135 Main St. Fax:970-963-4492Carbondale, CO 81623 E-mail: carbondaleclay@aspeninfo.com Web: http://www.carbondaleclay.com

Carbondale Clay Center’s mission is to serve the communi­ty, both locally and beyond by offering strong, diversified, high-quality ceramic arts educational programs and provid­ing support for working ceramic artist/potters through res­idency, teaching, exhibiting and educational opportunities.

CARLOW COLLEGE 412-578-6033Art Department 3333 Fifth Ave.Pittsburgh, PA 15213 E-mail: dhuffman@carlow.edu Web: http://www.carlow.edu

Carlow is a small, Catholic, urban, liberal arts college. We offer a BA in Art and in Art Ed. We have a 1500 square foot throwing and handbuilding studio, an outbuilding for gas and raku kilns, and wood kiln access.

CASPER RECREATION CENTER 307-235-83831801 E. 4th Casper, WY 82601E-mail: savanvleck@caspercollege.edu

We provide a program of handbuilding and thrown pottery to all ages and skill levels. Current staff includes myself, for adult pottery, and teachers for youth pottery and china painting. Facilities limited to oxidation firing only. Classes usually limited to ten students.

CENCAL 351-262-840-110Rua Luis Caldas Fax: 351-262-842-224Apdo 39Caldas da Rainha 2504-909, Portugal E-mail: crc@cencal.pt Web: http://www.cencal.pt

A professional ceramics school since 1985, located in a tra­ditional region of ceramics in our country. The ceramics industry is very important in our region, so this school offers everyone a foundation in ceramics.

CENTRAL FLORIDA CERAMIC SUPPLY 407-657-1505 4760 Palmetto Ave. Fax: 407-681 -4151Winter Park, FL 32792 E-mail: info@ceramic-store.com Web: http://www.ceramic-store.com

Seminars/classes held throughout the year nearly every weekend, usually one to two days. Cover various aspects of the fired arts; cast pieces, coil, slab, handbuilding, glass, glazing, scraffito, decals, firing instruction, kiln repair. Fees range from $30.00 to $75.00.

CENTRAL MICHIGAN UNIVERSITY 517-774-1157Art Department Fax: 517-774-2278132 Wightman HallMt. Pleasant, Ml 48859E-mail: hanes1ha@cmich.eduWeb: http://www.cmich.edu

Our Art Department offers a BA, BFA, MA and MFA in ceramics. We have a diverse program with a large and well- equipped facility in mid-Michigan.

CERAMIC ASSOCIATION OF THAILAND 66-2-223-279018/3 Soi Nakbumrung Fax: 66-2-226-0327Bumrungmuang Rd., PamprabBangkok 10100, ThailandE-mail: phunnaya@dextragroup.com

Private studio with one-on-one instruction.

CERAMIC CORRESPONDENCE INSTITUTE 614-794-5817 735 Ceramic Place Fax:614-794-5812

Westerville, OH 43081 E-mail: cci@acers.org Web: http://www.ceramics.org/cci

The American Ceramic Society’s Ceramic Correspondence Institute (CCI) offers courses that are proven tools for gain­ing practical education in ceramic technology. CCI courses offer the convenience of studying at home and setting your own pace. Students receive the personal attention of a qual­ified instructor. Ten courses are currently offered including Glaze Technology and Art.

CERAMIC DESIGN AND CREATION 603-889-084399 Factory St.Nashua, NH 03060 E-mail: richmore1@netzero.net

We make our own casting molds from plaster. We use cast­ing rubber to make master molds for mold reproduction. We have classes for mold and slip casting!

CERAMIC TILE EDUCATION FOUNDATION 864-222-2131 5326 Hwy. 76 Fax:864-222-1299Pendleton, SC 29670 E-mail: info@tileschool.org Web: http://tileschool.org

Classes for aspiring tile installers, floor covering installers, salespersons, architects, designers, contractors and con­sumers. CTEF classes cover information regarding ceramic tile, tile setting materials and installation techniques. Students use the latest in tools and materials to install a variety of ceramic tiles in room-sized practice modules under real world conditions. All the information presented in the classroom is based on current tile industry specifica­tions and standards.

CERAMICSPLUS 410-666-023849 Cedar Knoll Rd. Fax: 410-666-0239Cockeysville, MD 21030 E-mail: tangle1952@comcast.net Web: http://www.ceramicsplusstudio.com

Classes for adults and children in a studio setting that focuses on stoneware clay techniques on the wheel and handbuilding. Also available are slip cast ceramic pieces with myriad glazes and non-fire applications. Birthday par­ties and work with private and public schools. We also teach art as therapeutic experience.

CHASTAIN ARTS CENTER 404-252-2927135 W. Wieuca Rd. NW Fax: 404-851 -1270Atlanta, GA 30342

Gas kiln, electric kiln, raku kiln, kick wheels and electric wheels, and a separate handbuilding room.

CHELTENHAM CENTER FOR THE ARTS 215-379-4660 439 Ashbourne Rd. Fax: 215-663-1946Cheltenham, PA 19012

Cheltenham Center for the Arts offers classes for beginners and a professional clay guild. Faculty inspire students through handbuilding, pottery, tile making, sculpture, raku, glaze chemistry and more. Our studios include: 1 gas, 1 raku and 3 electric kilns, a pit-firing area, 10 electric wheels and low- and high-fire glazes.

CHEROKEE COUNTY ARTS COUNCIL 770-704-6244PO Box 1503Canton, GA 30114E-mail: cherokeecoarts@alltel.orgWeb: http://www.cherokeearts.org

Various levels of clay classes offered throughout the year for adults and children. Open studio time for students.

CHESTER RIVER ARTWORKS 410-778-6300PO Box 606Chestertown, MD 21620 E-mail: artworks@dmv.com

Chester River Artworks is a non-profit art center offering classes and workshops in fine arts and crafts. We are locat­ed in a rustic mill in historic Chestertown on the eastern shore of Maryland. Please call or write us for information on current classes and workshops in the clay studio.

CHILDREN’S AID SOCIETY 212-254-3074Greenwich Village Center Fax: 212-420-9153219 Sullivan St.New York, NY 10012 E-mail: msholtis@yahoo.com

Children’s Aid Society offers pottery classes for children,

32 Pottery Making illustrated September/October 2OO2

teens and adults in both handbuilding and wheel throwing. The facilities include 4 electric wheels, 3 kick wheels, 2 electric kilns and a slab roller. The children enjoy painting with the bright underglazes while the teens and adults learn to use Cone 6 glazes.

CIRCLE D CERAMICS INC. 719-632-1188706 Arrawanna Fax: 719-632-1157Colorado Springs, CO 80909 E-mail: circledceramics@juno.com Web: http://www.circledceramics.com

Certified teachers, hobby ceramics class, Coloramic Education program.

434-970-3269 Fax: 434-970-3596

CITY OF CHARLOTTESVILLE PO Box 911 Charlottesville, VA 22902 E-mail: dawnswir@ci.charlottesville.va.us

Throwing and handbuilding for beginners, intermediate and advanced students, fall, winter and spring. Open studio with8 wheels available to enrolled students. High energy, expe­rienced, supportive staff. Individualized attention given to students. Electric, cone 6. Fee: $115 includes clay, glazes and firing.

CITYARTS CENTER 405-951 -00003000 General Pershing Blvd.Oklahoma City, OK 73107 E-mail: cacoct@swbell.net Web: http://www.cityartscenter.com

13 electric wheels, a high-fire gas kiln and a large spacious studio.

914-937-2047 Fax: 914-935-1205

CLAY ART CENTER 40 Beech St.Port Chester, NY 10573 E-mail: mail@clayartcenter.org Web: http://www.clayartcenter.org

The Clay Art Center, dedicated to the teaching and nourish­ment of ceramic artists, has been a nationally recognized center for the advancement of the ceramic arts since 1957. The center offers classes for adults and children.

THE CLAY GARDEN 609-466-263734 Second St. Fax: 609-333-0732Hopewell, NJ 08525 E-mail: theclaygarden@hotmail.com Web: http://www.theclaygarden.com

The Clay Garden offers handbuilding and potters wheel classes for children, teens and adults, as well as workshops for scouts and birthday parties. Artist creates unique white stoneware and porcelain pieces which are for sale directly from her studio.

ing 3 hours once a week with additional open workshop times. Enrollment is limited and instructors are profession­al clay artists from our Resident Artist program. We also offer workshops in conjunction with our lecture series of nationally known artists.

THE CLAYGROUND POTTERY STUDIO 704-523-6585 4836 Park Rd.Charlotte, NC 28209E-mail: claygroundpottery@yahoo.comWeb: http://www.geocities.com/claygroundpottery

The Clayground specializes in beginner and intermediate level wheel instruction, and handbuilding techniques for adults. The studio has a 24-hour access policy for current­ly enrolled adults. We also offer birthday parties, private lessons and summer camp programs for kids. We use Cone 6 stoneware and oxidation firing.

CLAYMAKERS 919-530-8355705 Foster St. Fax:919-530-8306Durham, NC 27701 E-mail: claymakers@mindspring.com

Claymakers is a full-service center for potters and ceramic artists offering several classes for beginners and continuing potters. Teachers are professional potters who also enjoy teaching and sharing.

CLAYSPACE ON PUGET SOUND 360-598-3688PO Box 1339 Suquamish, WA 98392 E-mail: mtimes@telebyte.net

ClaySpace offers workshops with internationally known potters and sculptors. Our focus is on handbuilding, archi­tectural ceramics and sculpture. Located on scenic Puget Sound with views of Mount Rainier, ClaySpace is just 45 minutes from downtown Seattle.

CLAYWORKS ON COLUMBIA, INC. 718-694-9540195 Columbia St. Fax: 212-656-1697Brooklyn, NY 11231 E-mail: info@clayworksoncolumbia.org Web: http://www.clayworksoncolumbia.org

Our mission is to provide learning opportunities through the use of clay for artistic expression. We offer our services to all ages and levels of ability. We also provide master pot­ters with equipment, glazes, kilns, exhibitions and support to enhance skills and improve access to Brooklyn’s expand­ing art communitiy.

765-552-6018 Fax: 765-552-3946

CLAY HORSE STUDIO 1806 South 800 East Elwood, IN 46036 E-mail: tkwiley44@yahoo.com

Clay Horse Studio specializes in educational programs for children. Emphasis is on the basics of handbuilding tech­niques. Classes and studio space are also offered for adults.

THE CLAY QUEEN POTTERY 703-549-77752303 Mt. Vernon Ave.Alexandria, VA 22301 E-mail: theclayqueen@aol.com

I teach adults and children how to make functional pots on the wheel. Slab work and handbuilding are also available. Classes are limited to 10 people each Monday, Tuesday or Thursday nights from 7-10PM and on Saturday there is a practice session from 12-5 PM. 10 weeks for $290.

THE CLAY STUDIO OF MISSOULA 406-543-0509910 Dickens St.Missoula, MT 59802 E-mail: jwills@bigsky.net

The Clay Studio of Missoula is a nonprofit community clay center offering classes and studio work facilities for adults and children.

THE CLAY STUDIO 215-925-3453 x11139 N. Second St. Fax: 215-925-7774Philadelphia, PA 19106 E-mail: kathryn@theclaystudio.org Web: http://www.theclaystudio.org

The Clay Studio offers daytime and evening classes meet-

COASTAL CLAY CO., INC.59 Luther Warren Dr.St. Helena Island, SC 29920 E-mail: bosworth@hargray.com

Private and group lessons.

COLSON SCHOOL OF ART, INC.1666 Hillview St.Sarasota, FL 34239 E-mail: fcolson@earthlink.net Web: http://www.colsonart.com

Workshops available in many phases of ceramics and bronzecasting. Apprenticeships available. Contact us for information.

CONNER PRAIRIE 317-776-600013400 Allisonville Rd. Fax: 317-776-6013Fishers, IN 46038-4499 Toll-free: 888-508-1836Web: http://www.connerprairie.org

CORNING COMMUNITY COLLEGE 607-962-92971 Academic Dr.Corning, NY 14830E-mail: herbst@corning-cc.eduWeb: http://www.corning-cc.edu

Associate degrees and transfer program offers beginning, intermediate, independent study courses, well-equipped studio with clay mixing facility, 13 electric wheels, 2 large electric kilns, visiting artists, active school gallery. Corning is a great arts town in western New York.

COYOTE CLAY SCHOOL & STUDIOS 505-344-22505125 Edith Blvd. NEAlbuquerque, NM 87107E-mail: clayncolor@aol.comWeb: http://www.coyoteclay.com

Coyote Clay School is dedicated to providing expert quality instruction in a relaxed and supportive atmosphere. We teach all skill levels, from complete beginner to practicing professional. We also rent studio space, and sell supplies manufactured by our sister company, Coyote Clay & Color.

314-725-1177 Fax: 314-725-2068

216-421-7353 Fax: 216-421-7333

Toll-free: 800-223-4700

CLEVELAND INSTITUTE OF ART 11141 East Blvd.Cleveland, OH 44106 E-mail: jsalomon@gate.cia.edu

The C.I.A. is a 5 year BFA undergraduate program. The pro­fessors are Judith Salomon and William Brouillard. Working in the ceramic studio involves pottery making, vessel making, architectural ceramics and sculpture. We have a well-equipped studio facility, about 6000 sq. ft. and a kiln facility with gas, electric and raku kilns.

CLEVELAND STATE UNIVERSITY 216-687-208624th and Euclid Ave. Fax: 216-687-2275Cleveland, OH 44115 E-mail: r.schneider@csuohio.edu Web: http://www.allfired-up.com

BA in Art. We have a large studio space, 15,000 sq. ft. Our equipment consists of the following: gas and electric kilns,3 slab rollers, pneumatic extruder, jigger wheel, mold mak­ing equipment, casting equipment, 22 wheels (electric and kick), spray booth, Venco extruder, Soldner clay mixers. Emphasis is on functional ware and sculpture.

843-838-7040 Fax: 843-838-1187

Fax: 941-953-5892 Toll-free: 888-211-3740

CRAFT ALLIANCE 6640 Delmar Blvd.St. Louis, MO 63130E-mail: mallariez@craftalliance.orgWeb: http://www.craftalliance.org

Established in 1964, Craft Alliance is a not-for-profit visual arts center dedicated to excellence in arts education and reaching a diverse public through instruction and exhibition of fine art in the craft media.

CRAFT STUDENTS LEAGUE 212-735-9804610 Lexington Ave. Fax: 212-223-6438New York, NY 10022 E-mail: eday@ywcanyc.org Web: http://www.ywcanyc.or/csl/ceramics.html

The ceramic studios are spacious, air-conditioned and fully equipped with electric wheels, slab rollers, extruder, sepa­rate glaze laboratory and storage and lockers. Firing is Cone 6 oxidation. Surface decoration and studio glazes are included in all courses. Instructors are artists with excellent training, teaching skills and professional backgrounds.

THE CRAFTS CENTER NCSU 919-515-2457Corner of Jenson & Dunn Fax: 919-515-3679Campus Box 7320Raleigh, NC 27695-7320E-mail: teresa_peters_sneed@ncsu.eduWeb: http://www.ncsu.edu/crafts

The Crafts Center at NC State offers college level classes in a wide variety of traditional studio crafts. The Crafts Center provides one of the most specialized and unique programs of its kind on any university campus. Class sizes are limit­ed to ensure an optimum student/instructor ratio and many classes fill up within a few days of the start of registration.

CREATIVE ARTS GROUP 626-355-8350108 N. Baldwin Ave.Sierra Madre, CA 91024E-mail: lrioli@cs.comWeb: http://www.creativeartsgroup.org

Creative Arts Group, a non-profit art center, offers ceramic classes taught by talented and professional instructors for adults and children in all phases of wheel throwing, hand­building techniques in small intimate studio. Cone 10 stoneware clays and procelain are predominately used. All work fired on site.

CREATIVE ARTS WORKSHOP 203-562-492780 Audubon St. Fax: 203-562-2329New Haven, CT 06510 E-mail: arts@creativearstworkshop.org

Various techniques are taught in an encouraging environ­ment to students of all ages and skill levels. Our very tal­ented and highly accredited faculty provide a diverse range of skills and expertise to continually challenge and educate students. Studio potters manage the studio.

CREATIVE CLAY STUDIOS 5704D General Washington Dr.

703-750-9480 Fax: 703-750-9442

September/October 2OO2 Pottery Making illustrated 33

Alexandria, VA 22312 Toll-free: 800-657-7222E-mail: pridgegb@aol.com Web: http://www.claysupply.com

Creative Clay Studios offers studio rentals, beginning to advanced pottery classes, special interest workshops and reduction firings for the clay artist in the D.C. area.

CREATIVE INDUSTRIES 619-449-18341946 John Towers Ave. Fax: 619-449-1854El Cajon, CA 92020 Toll-free: 800-748-5530E-mail: potwheel@creative-ind.com Web: http://www.creative-ind.com

CYNTHIA CURTIS POTTERY 978-546-618680 Pigeon Hill St.Rockport, MA 01966E-mail: cynthiacurtispottery@earthlink.net

I teach pottery classes to adults and children year round in Rockport, MA. Classes include instruction on wheel and handbuilding and glazing. Classes are small and one-on- one instruction a main focus.

DART STUDIO 253-404-1130747 S. Fawcett Ave. Fax: 253-627-5889Tacoma, WA 98402E-mail: dartceramics@yahoo.comWeb: http://www.geocities.com/dartceramics

We are a non-profit organization offering studio space for rent for artists and classes in wheel throwing, handbuilding and sculpture. For more details check our website.

We offer evening clases year around for 13 years to adult. Summertime children’s classes offered starting in June or July and run for 7 classes. These are divided by age, 3-6 years and 7-13 year olds. Older children will be introduced to the potters wheel. Call for more information.

EAST CAROLINA UNIVERSITY 252-328-6665School of Art Fax: 252-328-6441Jenkins Bldg. No. 2000Greenville, NC 27858E-mail: chamberlainc@mail.ecu.eduWeb: http://www.ecu.edu

We offer BA, BFA, MA, MFA degrees. 4 faculty: salt, raku, 3 high-fire, wood coffin-type and 9 electric kilns; 28 wheels,2 slab rollers. NASAD accredited.

EAST CENTRAL UNIVERSITY 580-310-5353Art Department Fax: 580-436-3329PO Box L-3 ECU Ada, OK 74820E-mail: bjessop@mailclerk.ecok.edu Web: http://www.ecok.edu

ECU offers a BA or a BA with Teachers Certification. Facilities include 8 new Lockerbie kickwheels, a Bailey high- fire kiln, two electric kilns, two raku kilns and a wood fire kiln. Courses include Ceramics l-IV and are taught by Wayneath Weddle.

781-259-0505 Fax: 781-259-3651

DECORDOVA MUSEUM Dept, of Education 51 Sandy Pond Rd.Lincoln, MA 01773 E-mail: info@decordova.org Web: http://www.decordova.org

DeCordova’s Department of Education offers a comprehen­sive studio program for all levels of ceramics artists. Each term includes a range of workshops to ensure students have access to a broad array of topics pertaining to the ceramic arts. Programs can be found on our website or call for a copy of our free brochure.

DRAGONFLY JOURNEYS 505-751 -3220PO Box 2539 Fax:505-751-0131Taos, NM 87571E-mail: dragonfly@taosartretreat.com Web: http://www.taosartretreat.com

On the high road to Taos a river flows through ancient cedar trees at Taos Art Retreat. In addition to a clay studio, raku area and b&w darkroom space, workshops and art instruc­tion by two award winning artists, we offer fine art for sale and nightly accommodations with full breakfast.

EARTH ‘N VESSEL POTTERY STUDIO 631 -665-0060 67 W. Main St.Bay Shore, Ny 11751

Earth ‘n Vessel Pottery Studio offers beginner and interme­diate classes four times per year. Students learn a wide range of wheel-throwing techniques, including open and closed forms, as well as slip and glaze applications. Advanced techniques are offered as mini-workshops by regular instructors and guest potters.

EARTH WORKS POTTERY SCHOOL 413-525-5075Heritage Park Plaza 436 N. Main St.East Longmeadow, MA 01028 E-mail: tmecki@attbi.com Web: http://www.earthworksclay.homestead.com

We are a non-profit organization offering pottery and ceramics classes for all ages, kids to seniors. Our classes encompass many techniques including wheel throwing, handbuilding, and some decorating of pre-cast ceramic forms. We also offer many programs to fit your individual needs as well as clay for kids.

FIRE & CLAY POTTERY 321-582-768944 North Lake St.Boyne City, Ml 49712 E-mail: megpots@voyager.net

We teach the fundamentals of handbuilding in 4 sessions to small groups of people (5 or 6). Students spend 3 classes making pots and they glaze in the fourth. After a student has completed the basic session, wheel throwing is offered one-on-one sessions with studio time available for practice.

954-455-3099 Fax: 954-977-9012

830-990-7938 Toll-free: 888-990-7938

EARTHSTONE POTTERY 7221 West North Ave. Wauwatosa, Wl 53213 E-mail: ritr5536@aol.com

414-443-9402

ENCHANTED EARTH 603 Ivydale Rd. Ste. 1102 Fredericksburg, TX 78624 E-mail: mosherm@hotmail.com Web: http://www.enchantearth.com

An artist’s studio open to the public for classes in hand­building and private lessons on the wheel. Personal creativ­ity is encouraged. Pleasant and clean working environment. All classes taught by professional artist with MFA degree.

EXPRESSIONS POTTERY WORKSHOP 860-844-01389 School St.Granby, CT 06026E-mail: jennifer-boyd@attbi.comWeb: http://www.expressionspottery.com

A cooperative studio started in 1972. There are 25 mem­bers with many different and unique styles and talents. Expressions is maintained without an overall manager, all work performed by the members. This includes clay and glaze making, bisque, stoneware and raku kiln firings, teaching and gallery maintenance. We offer beginner and intermediate pottery courses.

FAT CAT POTTERY INC. 910-395-2529436-A Raleigh St. Fax: 910-395-4684Wilmington, NC 28412E-mail: fatcatpott@aol.comWe b: http ://www.fatcatpottery.com

Fat Cat Pottery offers classes and workshops for all ages as well as all levels of ability. We have a large, fully-equipped studio. Our teachers have had many years in the pottery field and can help expand and fire your imagination.

FERNANDO ARRANZ 54-011-4568-1071Moliere 2255Buenos Aires 1408, Argentina E-mail: kuquina@yahoo.com.ar

FERNHILL STUDIOS 253-404-11308304 S. ParkTacoma, WA 98408E-mail: fernhill98408@yahoo.com

Fernhill Studios is a great place dedicated to providing an inexpensive facility for artists to create. We have a great gallery for displaying and selling work. Lessons are offered in clay sculpture, pottery and glass. Private art studios are available for rent.

THE FINE LINE CREATIVE ARTS 630-584-9443CENTER Fax: 630-584-94906N 158 Crane Rd.St. Charles, IL 60175 E-mail: finelineca@aol.com

Classes are taught to adults from beginning to advanced. Emphasis is on self expression through the arts. Low fire, high fire, reduction/oxidation, raku and other alternative fir­ing methods are explored during classes and workshops. Gallery has monthly exhibits of local and national artists.

FIRE AND MUD CERAMICS 134 NE 1st Ave.Hallandale, FL 33009 E-mail: erik@fireandmud.com Web: http://www.fireandmud.com

We are an open ceramics studio inviting potters and hand- builders of all skill levels to create in a relaxed environment. Studio access available by the day or through monthly memberships. Bring your tools, friends, creativity and come join us! We also have classes in beginning wheel. Check us out on the web for more information.

FIREFLOWER POTTERY 216-851-355510 West Mather Lane Fax: 216-851 -3555Bratenahl, OH 44108 E-mail: rvbenson@prodigy.net

Small classes, individually geared to students ability and experience, hand building and throwing and mold pouring. Have apprentices teach.

FLETCHER FARM SCHOOL FOR THE 802-228-8770ARTS & CRAFTS Fax: 802-228-7402611 Rt 103 SouthLudlow, VT 05149E-mail: ffcrafts@vermontel.netWeb: http://www.fletcherfarm.com

Contact us for workshop offerings and course listings.

FORT HAYS STATE UNIVERSITY 785-628-4273600 Park St. Fax: 785-628-4087Hays, KS 67601 Toll-free: 800-628-3478E-mail: lganstro@fhsu.edu Web: http://www.fhsu.edu

Students explore ceramics as a material self-expression in functional pottery, the vessel, ceramic sculpture and instal­lation. Developing a personal style in clay is pursued in our fully equipped large studio space. Electric, gas, wood, raku kilns, pitfire. Career plan developed. Workshops and trips. BA, BFA, MFA degrees.

843-661-1535 Fax: 843-661-1529

FRANCIS MARION UNIVERSITY PO Box 100547 Florence, SC 29505-0547 E-mail: dgray@fmarion.edu Web: http://www.fmarion.edu

Francis Marion offers a BA degree in Visual Arts and a BS degree in Art Education. Visual Arts majors can specialize in painting, photography, graphic design and ceramics. All programs are nationally accredited through NASAD. The ceramics program offers instruction in pottery, sculpture, glaze formulation and various firing processes. Financial assistance and work-study positions are available.

FROSTBURG STATE UNIVERSITY 301-687-4797Visual Arts Dept.101 Braddock Rd.Frostburg, MD 21532 E-mail: jackiehb@hereintown.net Web: http://www.frostburg.edu

BFA degrees in ceramics, printmaking, sculpture, photo, painting, graphic design. Also art certification program. Small rural setting, a great learning environment. Soda, wood, reduction, raku, electric kilns. Glaze chemistry class offered.

GEORGE GRIFFIN POTTERY 850-962-9311& SCHOOLOne SunCat’s RidgeSopchoppy, FL 32358

A spirited approach to clay. Individualized functional stoneware, single-fire oxidation, fast-fire wood, business as an art form. Fee $400 includes materials, firing, lodging. Beginning and intermediate. Limited to four students. For dates contact George Griffin Pottery, One SunCat’s Ridge, Sopchoppy, Fla. 32358, (850) 962-9311.

34 Pottery Making illustrated September/October 2002

GREAT NECK ADULT PROGRAM 516-773-171330 Cumberland Ave. Fax: 516-482-8685Great Neck, NY 11020-1499 E-mail: ceramicrose@aol.com

Our goal is to give students a love of clay. We emphasize both wheel throwing and handbuilding. By learning the techniques used by potters, old and new, one comes to understand the qualities of the clay.

940-382-2787 Fax: 940-566-1486

GREATER DENTON ARTS COUNCIL 207 S. Bell Denton, TX 76201 E-mail: sharvey@dentonarts.com Web: http://www.dentonarts.com

The Center for the Visual Arts is operated by the Greater Denton Arts Council (GDAC), which is a nonprofit organiza­tion serving Denton and the surrounding North Texas area. GDAC provides facilities, exhibitions, programs, classes, artist-in-school programs, support, services, original pro­gramming, and arts education opportunities for all ages.

GREENBELT COMMUNITY CENTER 301-397-2208City of Greenbelt15 Crescent Rd.Greenbelt, MD 20770 E-mail: mjgitlis@earthlink.net

The City of Greenbelt offers a series of ceramic courses including introduction to the wheel, handbuilding for chil­dren and adults, tilemaking, daily open studio and work­shops with visiting artists. Studio facilities include 10 elec­tric wheels, slab roller, extruder, and 2 electric kilns.

GREENWICH HOUSE POTTERY 212-242-410616 Jones St. Fax:212-645-5486New York, NY 10014E-mail: pottery@greenwichhouse.orgWeb: http://www.gharts.org/greenwichhousepottery

Since 1909, Greenwich House Pottery has been a major center for ceramic arts, offering quality instruction to all ages in handbuilding, sculpture, wheel throwing and tech­nical processes. The Jane Hartsook Gallery maintains an ongoing exhibition series and the pottery also offers artist residencies and intern opportunities.

210-656-0360 Fax: 210-656-2234

GSM ENTERPRISES KILN REPAIR 5847 Castle Hunt San Antonio, TX 78218-4112 E-mail: gsm_ent@msn.com

Kiln repair and firing seminars. Also seminars in ceramics, stoneware and porcelain, glass painting-fusing-draping and slumping. Also teach kiln safety, operation and rebuild.

HAND WORKSHOP ART CENTER 804-353-00941812 W. Main St. Fax:804-353-8018Richmond, VA 23220 E-mail: christineshorr@handworkshop.org Web: http://www.handworkshop.org

The Hand Workshop Art Center offers a wide range of ceramic classes for children and adults. Classes have dif­ferent skill levels including beginner, intermediate and advanced. HWAC has been bringing art to the community and community to art since 1963.

HANDS ON CLAY, INC. 631-751-0011128 Old Town Rd. Fax: 631-751-9133East Setauket, NY 11733 E-mail: randy@handsonclay.com Web: http://www.handsonclay.com

Hands on Clay is a center for learning and the appreciation of the ceramic arts. Our mission is to provide classes and workshops that are available to everybody, beginner through advanced, and all ability levels. We aim to provide an environment for self-expression and creativity.

HARRISBURG AREA COMMUNITY COLLEGE 717-780-2435 1 HACC Dr.A120Harrisburg, PA 17110 E-mail: rttroxel@hacc.edu Web: http://www.hacc.edu

Contemporary Crafts Marketing AA degree or Certificate emphasizes production and marketing practices. We sup­port 2 large ceramics studios with 25 wheels, 6 electric kilns, gas car kiln, wood salt kiln, slip casting/moldmaking area, 2 mixers, extruders and raku. Jewelry, metal and glass blowing studios encourage mixed-media production.

HARTFORD ART SCHOOL 860-768-4029200 Bloomfield Ave.West. Hartford, CT 06117 E-mail: towers@mail.hartford.edu

The Hartford Art School at the University of Hartford offers a BFA in Ceramics as well as a Special Student Program one-year post-baccalaurate. The fully-equipped studio offers 25 potters wheels and gas, electric, raku and soda kilns. There is a separate glaze lab as well as a clay mixing room with three clay mixers. Private studio spaces are available for ceramic majors and special students.

HARVARD UNIVERSITY 617-495-8680Ceramics Program Fax:617-496-9787219 Western Ave.Boston, MA 02134E-mail: selvage@fas.harvard.eduWeb: http://www.fas.harvard.edu/~ofa

A university-based program with community/professional participation offering excellent instruction from profession­al faculty: 10,000 sq ft studio facility; classes, independent study, and specialized seminars in architectural ceramics, ceramics history, and glaze chemistry; visiting artists; shared workspace; gas, electric, soda, raku kilns; exhibition opportunities; diverse enrollment of students, professionals and life-long learners.

HAYSTACK MOUNTAIN SCHOOL OF CRAFTS 207-348-2306 PO Box 518 Fax:207-348-2307Deer Isle, ME 04627 E-mail: haystack@haystack-mtn.org Web: http://www.haystack-mtn.org

Haystack is a studio program in the arts providing summer workshops in ceramics and other media.

Mexico. Both our travel programs and our scenic location in western MA draw staff and participants nationwide, with workshops structured for all levels.

202-806-7073 Fax: 202-806-9258

609-518-7808 Fax: 609-518-7809

HEART IN HAND POTTERY Mill Race Village, 37 White St.Mt. Holly, NJ 08060E-mail: hihpottery@comcast.netWeb: http://www.heartinhandpottery.com

Small classes in handbuilding and workshops with electric kiln, raku, sagger and pit firing. Held in studio area adjacent to retail gallery. Taught by resident potter Annie Smith. Occasional guest artists.

HERRON SCHOOL OF ART, IUPUI 317-920-24161701 N. Pennsylvania St. Fax: 317-920-2401Indianapolis, IN 46202 E-mail: herrart@iupui.edu Web: http://www.herron.iupui.edu

Our $3 million sculpture and ceramics facility houses a metal fabrication shop; bronze and aluminum foundry with a 5-ton overhead crane system; wood sculpture shop, 3 ceramic studios; ceramic kiln space; studios for wax, plas­ter, figure modeling, fiberglass and resin; a 1,000 sq. ft. gallery and 4,000 sq. ft. of covered courtyards.

256-386-0099 Fax: 256-383-5403

HOLLAND POTTERY 408 West Portage Ave.Muscle Shoals, AL 35661 E-mail: jeholand@hiwaay.net

BS degree in fine arts from the University of North Alabama. Ceramic pottery shop for twenty years with classes for indi­vidual students.

HOOD COLLEGE CERAMICS PROGRAM 301-696-3456 401 RosemontAve. Fax:301-846-0035Frederick, MD 21701 E-mail: jmichaud@hood.edu Web: http://www.hood.edu/art dept

Courses and hands-on workshops for all skill levels.. Small classes allow for individual attention. Through study, studio experience and subjective analysis students will develop technical proficiency and focus on universal design princi­ples to refine personal expression. Our accelerated format and weekend scheduling meets the special needs of stu­dents, teachers and professionals.

HORIZONS 413-665-0300108 N. Main St. Fax:413-665-4141Sunderland, MA 01375 E-mail: horizons@horizons-art.org

Horizons has two bases of operation—our western MA art center with housing for up to 80 people and our interna­tional and nationwide travel programs, which include clay workshops in New Mexico, southern Utah, Spain, Italy and

HOWARD UNIVERSITY Dept, of Art-Ceramics Program College of Arts and Science Washington, DC 20059 E-mail: wowens-hart@fac.howard Web: http://www.howarduniversity.edu

The ceramics program offers a BFA and MFA. Located with­in minutes of the Smithsonian museums. The instructors: Reginald ‘Yazid’ Pointer is an expert on the wheel and shows nationally. Winnie Owens-Hart shows internationally and has been the steward for African and African American ceramics. The studio is equipped with Brent and Randall wheels; a pugmill and clay mixer; three electric kilns, one downdraft gas kiln, raku and smoke-firing facilities.

HUNTINGTON COLLEGE 219-359-42722303 College Ave.Huntington, IN 46750 E-mail: rcoffman@huntington.edu

We are a Christian liberal arts college. Students are intro­duced to handbuilding and throwing in Ceramics I. In Ceramics II students have the opportunity to develop their skills in firing kilns, developing clay and glazes and throw­ing and handbuilding techniques. Our Ceramic Sculpture course provides the students with the opportunity to explore a variety of sculptural techniques and concepts.

HURRICANE MOUNTAIN CLAY STUDIO 518-576-912124 Hurricane Rd. Fax:518-576-9121Keene, NY 12942E-mail: hurricanemtnclay@yahoo.com Web: http://www.hurricanemtnclay.com

In the magnificent Adirondack mountains of New York, HMCS offers classes for people from beginners through professionals who love to play with clay. Large, new studio space and excellent equipment provide for enjoyable learn­ing. We are both a school for the greater community and a summer residency.

HYDE PARK CRAFT STUDIO 813-259-1687702 S. Albany Fax:813-274-7744Tampa, FL 33606E-mail: katharine.walker-herbert@ci.tampa.fl.us Web: http://www.tampagov.net/recreation

A low-cost, high-quality ceramics program funded by the city of Tampa. Equipment includes 12 wheels, slab roller, extruder, electric, raku, salt and gas firings up to Cone 10. Talented and experienced instructors make this studio a special environment for all ages and levels.

IDYLLWILD ARTS 909-659-2171PO Box 38 Fax: 909-659-5463Idyllwild, CA 92549

The Idyllwild Arts Foundation, an uncompromising force in arts education for all ages since 1950, offers both a sum­mer program and the arts academy, a private residential arts high school, during the academic year. The Laura Steere ceramics studio is well equipped and supports hand- built and wheel-thrown functional and sculptural forms. Firings include gas, wood, salt, raku and saggar.

INDIAN HILLS COMMUNITY COLLEGE 641-683-5149 525 Grandview Ave., Bldg. 6 Fax: 641-683-5206Ottumwa, IA 52501 Toll-free: 800-683-5000E-mail: mmcwhort@ihcc.cc.ia.us Web: http://www.ihcc.cc.ia.us

AA degree offered. We have two instructors teaching in the ceramics area. Work is mainly in mid- to high-fire stoneware and raku.

INDIANA UNIVERSITY 812-855-7766School of Fine Arts Fax:812-855-7498Fine Arts R123 Bloomington, IN 47405 E-mail: goodhear@indiana.edu Web: http://www.fa.indiana.edu

The ceramics program emphasizes the student’s growth and development as a creative clay artist. A conceptual foundation, technical expertise and a commitment to art are considered essential qualities for ceramic students. Students explore aesthetic interests ranging from vessels to ceramic sculpture; students are expected to develop a

September/October 2OO2 Pottery Making illustrated 35

knowledge of art history and a critical understanding of contemporary art issues.

INSTITUTION LA MERIDIANA 39-0571-660084Loc. Bagnano 135 Fax: 39-0571-660821Certaldo 50052 ItalyE-mail: pietro@pietro.net Web: http://www.pietro.net

La Meridiana is a professional and well equipped ceramic studio that in the last decade has become an international center for seminars and workshops. The beautiful geo­graphical setting in Tuscany and the standard of the faculty has made it an ideal place for a short and intensive practice in ceramics.

INTERLAKEN SCHOOL OF ART PO Box 1400 Stockbridge, MA 01262 E-mail: makeart@bcn.net

413-298-5252Fax:413-298-0274

603-942-8829

E-mail: rbuncamp@kean.edu Web: http://www.kean.edu

Ceramic program with a broad approach. Stress is on basic techniques in beginning courses to allow students to gain the skills, techniques and critical skills necessary to do advanced work and explore sculptural, vessel and produc­tion techniques. MA program in studio arts designed specifically for teachers and portfolio development.

KENTUCK ASSOCIATION 205-758-1257503 Main Ave. Fax:205-758-1258Northport, AL 35476 E-mail: kentuck@dbtech.net Web: http://www.kentuck.org

The Kentuck Art Center is home to the Gallery at Kentuck, the Kentuck Museum, the gallery gift shop, artist studios and the Kentuck Festival of the Arts. Both the gallery and museum offer exhibitions to craftspeople, while the gallery shop and the Kentuck festival feature many artists. Kentuck’s studio artist, Mark Rigsby, teaches all levels of pottery.

JEFF BROWN POTTERY162 B, 1st NH Turnpike Northwood, NH 03261 E-mail: jeff@jeffbrownpottery.com Web: http://www.jeffbrownpottery.com

Beginners/intermediate/experienced. There will be many demonstrations, and one-on-one instruction, with a little coaxing to experiment with clay in new ways. Clay and glaze will be provided with the class fee. Ambitious potters may buy more clay and kiln space if desired. Twenty-three years experience with clay.

JEWISH COMMUNITY CENTER OF 301-881-0100 x6734 GREATER WASHINGTON Fax: 301-296-24896125 Montrose Rd.Rockville, MD 20854 E-mail: agreene@jccgw.org

We offer a high-level recreational art program. Classes are offered to preschool through adult in both fine art (painting and drawing) and ceramics.

JOHN C. CAMPBELL FOLK SCHOOL 828-837-27751 Folk School Rd. Fax: 828-837-8637Brasstown, NC 28902-9603 Toll-free: 800-365-5724Web: http://www.folkschool.com

JOHN MICHAEL KOHLER ARTS CENTER 920-458-6144 608 New York Ave., PO Box 489 Fax: 920-458-4473Sheboygan, Wl 53082 E-mail: kcridler@jmkac.org Web: http://www.jmkac.org

The Arts/Industry artist-in-residence program has given hundreds of artists worldwide access to the plumbingware firm, Kohler Co., through 2- to 6-month residencies and other programming. Available media: vitreous china, iron, enamel, and brass. Residencies include 24-hour studio, materials, housing, travel reimbursement (within continen­tal U.S.), and a weekly stipend.

JOYCE MICHAUD GALLERY 301-698-09299043 W. Allington Manor Cir. Fax: 301 -846-0035Frederick, MD 21703 E-mail: jmichaud@hood.edu Web: http://www.hood.edu/artdept

Joyce Michaud is an internationally recognized master pot­ter as well as a ceramics professor at Hood College. An MFA from George Washington Univ., Joyce is available to teach master-level skills, eastern coil, glaze application and design techniques.

KANSAS STATE UNIVERSITY 785-532-6605322A Willard Hall Fax: 785-532-0334Manhattan, KS 66506-3705 E-mail: aholcom@ksu.edu Web: http://www.ksu.edu/artdept.html

The Ceramics area at KSU has an active graduate program. Graduate students are given private studio space and undergraduate majors have shared studio space. A variety of kilns are available for reduction, oxidation, wood, soda and raku. Students have the opportunity to study abroad in summer programs such as the Faenza, Italy program, or on exchanges with schools in Scotland and England.

THE KILN DOCTOR INC. 540-636-6016202 East Main St. Fax: 540-635-8699Front Royal, VA 22630-6179 Toll-free: 877-KILNDOCE-mail: swauger@rmaonline.net Web: http://www.thekilndoctor.net

Workshops on kiln safety and preventive maintenance.

KRUEGER POTTERY INC. 314-963-01808153 Big Bend Blvd. Fax: 314-963-7712St. Louis, MO 63119 Toll-free: 800-358-0180E-mail: dennis@kruegerpottery.com Web: http://www.kruegerpottery.com

Krueger Pottery offers classes for adults and children in wheel throwing and handbuilding techniques. We also have specialty workshops taught by guest artists.

417-725-2606 Fax: 417-725-2607

Toll-free: 877-454-3914

L&R SPECIALTIES INC 202 East Mount Vernon PO Box 309 Nixa, MO 65714 E-mail: claydogs@aol.com Web: http://www.claydogs.com

Wheel-throwing classes, meeting one evening per week from 6:30 to 8:30 p.m. for six weeks. We also host a Raku Day annually the first Sunday in November. Glazes, kilns and assistance are provided. Bisque ware can be purchased or call for details on bringing your own.

603-528-4997 Fax: 603-528-0498

KEAN UNIVERSITY 1000 Morris Ave. Union, NJ 07083

908-527-2831 Fax: 908-527-2804

LACONIA POTTERY45 Court St.Laconia, NH 03246E-mail: meverhoeks@metrocast.net

Learn wheelthrowing basics from a potter with 30 years experience. Classes are small and casual. High fire stoneware and raku functional and decorative techniques are emphasized.

LAKESIDE POTTERY 203-323-2222543 Newfield Ave.Stamford, CT 06905E-mail: mbachar@lakesidepottery.comWeb: http://www.lakesidepottery.com

Lakeside Pottery offers classes for the beginner, intermedi­ate and advanced potters, adult and children using the wheel, hand-building and glazing. Open studio, custom classes, summer camp, workshops and demonstrations for families and organizations are also available.

LALOBA RANCH CLAY CENTER 970-870-6423PO Box 773628 Fax: 970-870-6452Steamboat Spgs., Co 80477 E-mail: info@lalobaranch.com Web: http://www.lalobaranch.com

Laloba Ranch Clay Center is an art school dedicated solely to the advancement of ceramic arts. Emphasis is on devel­oping techniques and encouraging individual creative vision. Tuition includes 24-hour studio access, semi-private room, 3 meals per day, firing, spa, incredible sunsets and elk viewing.

LANGARA COLLEGE 604-323-5711100 West 49th Ave. Fax: 604-323-5555Vancouver BC V5Y 2Z6, Canada E-mail: mmaloney@langara.bc.ca

Fine arts program with approximately 20 faculty members.

LEON NIGROSH/CERAMIC DESIGNER 508-757-040111 Chatanika Ave.Worcester, MA 01602Web: http://www.leonnigrosh.com

A unique opportunity to study one-on-one with an acknowl­edged master of the ceramic arts and author of the best­selling ceramic text, daywork: Form and Idea in Ceramic Design. Each course is tailored to suit individual needs. Rolling enrollment.

LEXINGTON ARTS & CRAFTS SOCIETY 781-862-9696 Ceramics Guild 130 Waltham St.Lexington, MA 01730E-mail: lindac@midgaard.netWeb: http://www.lexingtonma.org/lacs/index.html

The Ceramics Guild is one of many guilds within the Lexington Arts & Crafts Society. We have a fully-equipped studio. Adult and teen classes are offered with a waiting list being maintained. Membership is available pending a prospective membership period.

LIBERTYTOWN ARTS WORKSHOP 540-371-7255916 Liberty St.Fredericksburg, VA 22401

Our pottery school offers a wide range of classes from beginner to advanced for both children and adults. While most of our classes are structured for amateurs, we also provide a means for serious pottery students to grow. Facility includes two classrooms, practice studio and gallery.

LONDON POTTERS GUILD 519-659-2911East Lions Artisans Ctr. 1731 Churchill Ave.London, ON N5W 5P4, CanadaE-mail: londonpotters@home.comWeb: http://www.members.home.net/londonpotters

The London Potters Guild offers classes from September through June on an annual basis. Classes are held in the Guild’s studio and meet for weekly three-hour sessions for an eight-week period. More information is on our website.

LONG BEACH ISLAND FOUNDATION 609-494-1241 OF THE ARTS & SCIENCE Fax: 609-494-0662120 Long Beach Blvd.Loveladies, NJ 08008E-mail: office@lbifoundation.orgWeb: http://www.lbifoundation.org

The Foundation offers ceramic workshops and classes for all levels. Workshops with visiting artist held primarily in the summer months. Large ceramic studio with electric, gas and raku kilns.

LONG ISLAND UNIVERSITY ART DEPT 718-488-1051 1 University Plaza, Brooklyn Campus Fax: 718-488-1372 Brooklyn, NY 11201 E-mail: bob.barry@liu.edu Web: http://www.liu.edu/bfastu

Located in the heart of NYC, LIU’s art dept, offers access to major museums, galleries and artists. Our skylit studio looks out over lower Manhattan and downtown Brooklyn. Every summer we offer the only raku workshop in NYC. We are strong on individual mentoring and offer a BFA in Studio Art. We also offer special woodfire workshops.

L0NGW00D COLLEGE ART DEPT. 434-395-2287201 High St Fax: 434-395-2775Farmville, VA 23909 E-mail: redmonso@longwood.edu Web: http://www.lwc.edu

Well-equipped state college ceramics program with empha­sis on functional, high-fire pottery. Electric, gas and raku kilns. Access to salt kiln, anagama kiln and noborigama kiln at nearby professional studios. One full-time professor. Active visiting artist program. Offers BFA degree in crafts.

LOOKOUT MOUNTAIN POTTERY 706-398-32323005 Plum Nelly Rd.Rising Fawn, GA 30738 E-mail: ashpots@aol.com

Lookout Mountain Pottery, home of potter Mark Issenberg,

36 Pottery Making illustrated September/October 2OO2

has electric kilns, raku kiln, and Cone 10 gas kiln. Mark does mostly ash glazes on high fire stoneware. Mostly spraying ash glazes, learning the proper techniques. Also 2 miles from Cloudland Canyon State Park and only 30 min­utes from Chattanooga, Tenn.

M.T. SHERMAN CERAMICS CENTER 503-581-7275 1220 12th St. SE Fax:503-581-9801Salem, OR 97302 E-mail: at350f@aol.com Web: http://www.salemart.org

A 6800 sq. ft. studio equipped with 22 wheels, slab roller, extruder, 60 cu. ft. reduction kiln, 3 computerized bisque kilns, 2 glass kilns and 2 raku kilns. Professional artists teach lessons in: wheelthrowing, sculpture, handbuilding, raku, mosaic, stained glass, cast and fused glass, and other specialized classes. Our workshops are presented by local and internationally recognized artists.

MANASSAS CLAY 703-330-10409122 Center St. Fax: 703-330-1040Manassas, VA 20110 E-mail: fnewq@aol.com Web: http://www.manassasclay.com

Manassas Clay is a gallery featuring the work of over 40 local potters and offering classes in wheel and hand­building. We have studio memberships, rentals and carry a full line of supplies.

MARIE WYNN STUDIO 631-725-119527 Bay View Rd. Fax:631-725-1195Sag Harbor, NY 11963 E-mail: tkuhl@optonline.net

MFA Alfred Univ. retired professor of art Southampton College of Long Island University teaching ceramics, pot­tery, handbuilding, wheel and sculpture. Individual atten­tion, beginner or advanced. Fee $180 for 6 3hr. Sessions. All materials and tools provided. Beautiful studio on the water in the Hamptons.

fication of ceramic materials. The unique process of reduced saggar lusters on terra sig and low fire reduced copper reds. Guided tour of Guatemalan Mayan Highlands and traditional potters.

MENDOCINO ART CENTER 707-937-581845200 Little Lake St., PO Box 765 Fax: 707-937-1764Mendocino, CA 95460 Toll-free: 800-653-3328E-mail: mendoart@mcn.org Web: http://www.mendocinoartcenter.org

Located in Mendocino, a picturesque Victorian northern California coastal village about 150 miles north of San Francisco. Hosts a prestigious visiting faculty for weekend workshops at all levels. The year-round art/retreat campus has two ceramics studios equipped with wood, salt, soda, raku, sagger, reduction and electric kilns.

METCHOSIN INTERNATIONAL SCHOOL 604-478-5591 650 Pearsons College Dr. Fax: 604-370-2324Victoria, BC V9C 4H7, Canada E-mail: missa@pearson-college.uwc.ca

MILE HI CERAMICS INC. 303-825-457077 Lipan St. Fax: 303-825-6278Denver, CO 80223 Toll-free: 800-456-0163E-mail: milehi@milehiceramics.com Web: http://www.milehiceramics.com

MILKHOUSE POTTERY 860-672-645030 Sharon River Rd.Cornwall Bridge, CT 06754 E-mail: milkpot@juno.com

Personalized small classes of 3 or 4 students 9 years old to adult. I’m an experienced professional potter and teacher. I’ll be happy to give references.

304-696-6760 Fax: 304-696-6505

Toll-free: 800-642-3499

MARSHALL UNIVERSITY 400 Hal Greer Blvd.Huntington, WV 25755-2200 E-mail: allene@marshall.edu Web: http://www.marshall.edu

Students who pursue the BFA or MA degree in ceramics have 24-hour access to a well-equipped ceramic facility, which includes separate areas for handbuilding, wheel throwing, glaze formulation and clay making; a kiln room equipped with updraft and downdraft gas kilns and outdoor raku and primitive firing area.

620-241-0731 Fax: 620-241-8443

MCPHERSON COLLEGE 1600 E. Euclid McPherson, KS 67460 E-mail: conyerw@mcpherson.edu Web: http://www.mcpherson.edu

McPherson College is a small 4-year liberal arts institution that offers a BA in art. Students in ceramics work with stoneware, raku, porcelain, terra cotta, oxidation and reduc­tion firing and some salt firing. Emphasis is on functional thrown pottery.

MEIKLEM KILN WORKS 860-887-5182139 Yantic Rd., PO Box 225 Yantic, CT 06389E-mail: meiklemkilnworks@yahoo.com

Meiklem Kiln Works is a privately run teaching studio which offers beginner and intermediate pottery classes for adults and children. Classes are 8 weeks long, 1 class per week with additional studio time offered. Class size is limited to10 students. All classes are instructed by Lyndsay Rae Meiklem. In addition to her own pottery business, Meiklem has taught pottery in Montreal, Quebec and Maine.

MELINDA COLLINS CLAY STUDIO 011-502-832-435632 Callejon del BurritoAntigua, GuatemalaE-mail: melron@conexion.com.gt

With professional potter and geologist, explore Guatemala, dig your own materials for micaceous clay pots and identi-

including Brent wheels, spacious handbuilding stations, slab roller, extruder, hand tools, slump molds and a library. We have four kilns and daily firings. Monthly and annual memberships available.

MUDFLAT POTTERY SCHOOL & STUDIO 617-628-0589 149 Broadway Fax:617-628-2082Somerville, MA 02145 E-mail: lynn@mudflat.org Web: http://www.mudflat.org

Mudflat offers classes and workshops in wheelthrowing, handbuilding and sculpture for adults and children in 3 semesters each year. Mudflat also offers studio rentals for 20 clay artists, including one funded artists residency stu­dio. Facilities include 3 classrooms with 27 electric wheels and 3 gas and 3 electric kilns.

MUDPIE POTTERS 413-548-393913 Montague Rd., PO Box 3Leverett, MA 01054E-mail: mudpiepotters@crocker.comWeb: www.community.masslive.com/cc/mudpiepotters

Mudpie Potters Community Clay Center offers instruction in all aspects of working with clay. Anyone may take small classes, join our shared studio for independent learning or take a summer workshop taught by guest potters and sculptors who are accomplished in their field.

718-218-9424 Fax: 718-218-9424

704-337-2000 Fax: 704-337-2101

MINT MUSEUM OF ART 2730 Randolph Rd.Charlotte, NC 28207E-mail: jwest@mintmuseum.orgWeb: http://www.mintmuseum.org

The museum offers a wide variety of educational opportu­nities in connecting artists, collectors and the public. An active schedule of changing exhibitions, lectures, artist demonstrations, workshops, guided tours and travel oppor­tunities are available.

MONTGOMERY COMMUNITY COLLEGE 910-576-6222 PO Box 787 Fax:910-576-2176Troy, NC 27371-0787E-mail: hammondp@mcc.montgomery.cc.nc.us Web: http://www.montgomery.cc.nc.us

Clay curriculum designed to prepare individuals for employment as professional potters in pottery related fields. Using traditional and contemporary concepts, instruction includes technical knowledge, design skills, and marketing/business essentials. Course work includes development of basic and advanced throwing skills with emphasis on form and design.

MT. HOOD COMMUNITY COLLEGE 503-491-714926000 SE Stark St. Fax: 503-491 -6949Gresham, OR 97030 E-mail: mickeys@mhcc.cc.or.us Web: http://www.mhcc.cc.or.us

Vessel-oriented program that teaches both recent high school grads and returning adults. Three instructors with strong vessel orientation. Anagama wood firing and soda firing are strong components. Ceramic club for fundraising and field trips.

MUD ALLEY POTTERY 856-858-6790105 Emerald Ave.Westmont, NJ 08108 E-mail: kbeden@comcast.net

All students are welcome, as I will approach each one on their own level. I encourage each student to express him/herself through good technique, a thorough under­standing of clay and various glazing techniques.

MUDFIRE 404-931-49351441 Dresden Dr. Ste. 260Atlanta, GA 30319E-mail: info@mudfire.comWeb: http://www.mudfire.com

MudFire pottery studio is housed in a sunlit loft in Atlanta. Open daily until 10pm. Furnished with new equipment,

THE MUDPIT 228 Manhattan Ave.Brooklyn, NY 11206 E-mail: mudpitnyc@aol.com Web: http://www.mudpitnyc.com

The Mudpit is a fully-equipped clay studio offering classes in all aspects of clay. Learn wheelthrowing, handbuilding, tilemaking, mosaics or moldmaking in an informal and relaxed atmosphere. As of summer 2002, The Mudpit also offers raku in the city. Hourly and monthly studio rentals as well as firing and supplies also available.

MUNSON WILLIAMS PROCTOR 315-797-0000 x2176 ARTS INSTITUTE Fax: 315-797-9349310 Genesee St.New York, NY 13501 E-mail: bmcgrath@mwpi.edu Web: http://www.mwpi.edu

Foundation studies in studio art (freshman and sophomore years) include ceramics at the introductory level; estab­lished continuing education program; beginning through advanced ceramics courses offered in our newly renovated completely equipped studio.

740-826-8102 Fax: 740-826-8109

MUSKINGUM COLLEGE ART DEPT.163 Stormont St.New Concord, OH 43762 E-mail: kenm@muskingum.edu Web: http://www.muskingum.edu/~art

We offer all levels of sculpture and ceramics. We also offer opportunities for our students to show their works in our gallery as well as other exhibitions.

NEIL ROYSTON WARR POTTERY 978-263-270915 Waushacum Ave.Sterling, MA 01564 E-mail: neilwarr@hotmail.com

Private classes in my studio, maximum 3 students per night. Teaching is at your pace and level from beginner to expert. Throwing classes are blocks of ten nights, Tuesday, Thursday or by private arrangement.

NETRAARTS 91-5122923907/128 Swaroop Nagar Kanpur Uttar Pradesh 208002, India E-mail: catty27@yahoo.com

NEW ART CENTER 61 Washington Park, PO Box 330 Newtonville, MA 02460-1915 E-mail: ruths@newartcenter.org Web: http://www.newartcenter.org

New Art Center provides students an opportunity to devel­op their aesthetic eye and technical ability in clay. Classes focus on wheel work, offering handbuilding for those inter­ested. Students may also pursue individual projects, exchanging ideas and approaches to the process in group critique and independent study.

617-964-3424 Fax: 617-630-0081

September/October 2002 Pottery Making illustrated 37

NEW HAMPSHIRE INSTITUTE OF ART 603-623-0313 x548 148 Concord St. Fax: 604-641 -1832Manchester, NH 03104-4858

Adult education offering lifelong learning, certificate pro­gram and Bachelor of Fine arts degree with a concentration in ceramics. Courses are available for all levels of interest and expertise. Faculty consists of noted New Englandceramic artists with workshops taught by regionally andnationally known artists.

NEW WORLD SCHOOL OF THE ARTS 305-237-3593 300 NE 2 St. Fax: 305-237-3794Miami, FL 33132 E-mail: sbanks@mdcc.edu

New World School of the Arts offers a BFA in Visual Arts. The pottery program at this time is part of the sculpture major and is not an independent major. The facility offers potters wheels, a clay mixer and oxidation firing.

NORTHERN VIRGINIA COMMUNITY COLLEGE703-845-6075 Alexandria Campus Fax: 703-845-60603001 N. Beauregard St.Alexandria, VA 22311 E-mail: wschran@nvcc.vccs.edu Web: http://www.nv.cc.va.us

The Alexandria campus ceramics program offers a range of courses and study, from beginning basic handbuilding to advanced, individually based, self study.

NOTTINGHAM CENTER FOR THE ARTS 760-752-1020PO Box 460San Marcos, CA 92079E-mail: tsullivan@nottinghamarts.orgWeb: http://www.nottinghamarts.org

Supports the studio arts in north San Diego county with meeting space, event assistance, workshops, artist residen­cies and facilities use for artists. Our main focus is in the 3- D arts such as ceramics.

NY/NJ ACADEMY OF CERAMIC ART 201 -432-9315 279 Pine St.Jersey City, NJ 07304E-mail: fbacarts@aol.comWeb: http://www.nynjceramics.com

Variety of classes offered both day and night with excellent clean facility and wonderful people. Friendly, clean and pro­fessional - a cut above the rest!

OCEAN SPRINGS PARK COMMISSION 228-875-8460 Moving Arts Center Middle St.Ocean Springs, MS 39553 E-mail: sburtt@bellsouth.net

A community-based program teaching nine classes each week in wheel-thrown pottery. Classes meet once a week for three hours. Eight wheels and two kilns.

ODYSSEY CENTER FOR THE 828-285-0210CERAMIC ARTS Fax: 828-253-3853236 Clingman Ave., PO Box 18284 Asheville, NC 28814 E-mail: odyssey@highwaterclays.com

The mission of the studio school is to promote under­standing, appreciation and professional development in the ceramic arts. This is accomplished through a com­munity-based educational program which includes lec­tures and gallery exhibitions, as well as hands-on class­es and workshops for beginners, pre-professional and professional artists and craftspeople.

THE OHIO STATE UNIVERSITY 614-292-5072146 Hopkins Hall Fax:614-292-1674Columbus, OH 43210 E-mail: harvey.113@osu.edu Web: http://www.osu.edu

We have a deep commitment to the development of an indi­vidual proficiency in the medium at OSU. Faculty: Mary Jo Bole, Rebecca Harvey and Steven Thurston. Paul Simon: ceramic area technician. Visiting Faculty Program has been a significant part of the department for over 20 years. Artists brought in for 10-week residencies each quarter.

OHIO UNIVERSITY 740-593-9725The School of Art Ceramics Dept.Athens, OH 45701-2979E-mail: schwiege@ohio.eduWeb: http://www.ohiou.edu/~artdept/soamain.html

Emphasis on realization of individual goals, diversity, chal­lenging contemporary standards while producing work of exceptional craftsmanship. Fully-equipped studio including electric wheels; clay mixers; dry materials room; slab rollers; ball mills; sandblaster; Slipomatic; spray booth; extruder. Kilns: electric, salt, soda, wood, reduction, gas car kiln. Visiting artists program.

OKLAHOMA PANHANDLE STATE UNIV. 580-349-1484 Aggie Blvd., PO Box 430 Fax: 580-349-2302Goodwell, OK 73939 Toll-free: 800-664-6778 x1484 E-mail: elder@opsu.edu Web: http://www.opsu.edu

We offer AAS, BA and BFA degree programs in art. In our program we emphasize marketing skills for the finished work of art. We have a close relationship with regional art galleries where student work is exhibited and sold.

OLD CHURCH CULTURAL CENTER 201 -767-7160SCHOOL OF ART Fax: 201 -767-0497561 Piermont RdDemarest, NJ 07624E-mail: programs@occcartschool.orgWeb: http://www.occcartschool.org

Our courses are designed to give students a basis in aes­thetics as well as technique. We also host Annual Pottery Show and Sale held the first weekend in December every year, an incredible opportunity for clay lovers to view muse­um quality work.

OLD DOMINION UNIVERSITY 757-683-4779Art Department Fax: 757-683-5923113 Studio Art Bldg.Norfolk, VA 23529 E-mail: scarpent@odu.edu Web: http://odu.edu/al/art

Small clay studio with electric kilns, gas kiln, raku kiln; clay sculpture courses, advanced independent study (sculpture) courses.

ONEILL POTTERY 707-964-131018125 N. High One Fort Bragg, CA 95437 E-mail: mendohop@mcn.org

A graduate from OCC in Michigan with a ceramic tech degree, my studio is nestled on the coast of Mendocino with tropical gardens. Offer a 6 week class in handbuilding and wheelthrowing to finished glazed projects with a high fire white stoneware body. All tools and materials included.

OPELIKA ARTS CENTER 334-705-5558PO Box 267Lafayette, AL 36862E-mail: wgedwards39@usa.net

Comprehensive techniques involving all aspects of pottery and handbuilding classes are designed for one-on-one and independent study. Apprenticeships occasionally available.

OREGON COLLEGE OF ART AND CRAFT 503-297-5544 8245 SW Barnes Rd. Fax: 503-297-9651Portland, OR 97225 Toll-free: 800-390-0632E-mail: admissions@ocac.edu Web: http://www.ocac.edu

BFA and certificate degree in craft, post-Baccalaureate stud­ies with portfolio development and business practices, as well as studio school. We support both pottery and sculp­ture. Facilities include handbuilding and wheel throwing areas; electric, gas-fired-reduction, vapor glaze, and raku kilns; spray booth; sand blaster; welding equipment.

OTAGO POLYTECHNIC 64-3-477-3014Cnr Albany St. & Anzac Ave.Dunedin, New Zealand E-mail: ngrant@tekotago.ac.nz Web: http://www.tekotago.ac.nz/art

The only art school in New Zealand offering full-time mas­ters and bachelor degrees and a diploma in ceramic arts. The school where Matrix Glaze Software was developed.

OX-BOW SUMMER SCHOOL OF ART 312-899-7455 3435 Rupprecht Way Fax: 312-899-1453

Saugatuck, Ml 49453 Toll-free: 800-318-3019Web: http://www.ox-bow.org

PAINT-N-POT CLAY STUDIOS 775-324-10221705 Zephyr WaySparks, NV 89431E-mail: kbwitt@moondog.netWeb: http://www.paint-n-pot.com

We bring in local artists to make it more interesting and educational.

PALMS UP POTTERY 386-428-3726413 Flagler Ave.New Smyrna Beach, FL 32169 E-mail: palmsup@cfl.rr.com Web: http://www.palmsuppottery.com

Palms Up Pottery is a full-time production studio featuring wheel thrown, handbuilt and sculpted stoneware. We also offer a 6 week basic wheel throwing course. The class is limited to only 6 per session, which allows me to focus on each person’s needs. For intermediate potters we also offer private sessions with the instructor. You can contact us 10- 5:30, 7 days a week.

PENLAND SCHOOL OF CRAFTS 828-765-2359 x20PO Box 37 Fax: 828-765-7389Penland, NC 28765-0037 E-mail: clay@penland.org Web: http://www.penland.org

Penland School of Crafts is a national center for craft edu­cation located in the North Carolina mountains offering res­idential one-, two- and eight-week workshops in ceramics and other media. Classes include wheelthrowing, hand­building, functional ware, sculpture and many firing options, including wood. Guest instructors are invited from around the country and internationally.

THE PERSIAN POTTER 928-284-339925 Sierra Roja Cr.Sedona, AZ 86351E-mail: marvs@verdenet.comWeb: http://www.persianpotter.com

My classes are small (5-7) so that I can work closely with each student. We produce sculptural pieces, tiles and func­tional pottery fired from cone 5-10 in oxidation and reduc­tion, raku and vapor.

PETERS VALLEY CRAFT EDUCATION CTR. 973-948-5200 19 Kuhn Rd. Fax:973-948-0011

Layton, NJ 07851 E-mail: pv@warwick.net Web: http://www.pvcrafts.org

Peters Valley ceramics offers a diverse range of workshops from handbuilding and sculpture to wheel thrown pottery and offers students opportunities to participate in the firing of our wood kilns. Summer workshops are typically 2-12 days long beginning in May and running through September. A full listing of workshops is available online.

PEWABIC POTTERY 313-822-095410125 E. Jefferson Ave. Fax: 313-822-6266Detroit, Ml 48214 E-mail: pewabic@pewabic.com Web: http://www.pewabic.com

Pewabic Pottery, Michigan’s only historic pottery, produces nationally renowned vessels, tiles, architectural ornamenta­tion for public and private installations. We are a multifac­eted institution with active and growing education, exhibi­tion, museum as well as design and fabrication programs.

PORCELAIN PAINTERS INT’L ONLINE 615-824-2609 125 Vulco Dr.Hendersonville, TN 37075E-mail: rxguitar@home.comWeb: http://www.porcelainpainters.com

Online lessons on porcelain painting, luster/gold work (overglaze) plus a free mailing list discussion group which provides networking for porcelain artists all over the world.

THE POTTER’S OBSESSION 816-941-2555512 East 135th St. Fax: 816-331 -3951Kansas City, MO 64145 E-mail: obpotter@kcnet.com

The Potter’s Obsession, celebrating its 10th year, offers six classes a week at its well-equipped studio in south Kansas City, Missouri. Judy Thompson and a friendly, knowl-

38 Pottery Making illustrated September/October 2OO2

edgable staff, instruct students in beginning through advanced wheel throwing and handbuilding, as well as Cone 6 electric kiln decorating techniques and glazes.

POTTERS GUILD OF BALTIMORE 410-235-48843600 Clipper Mill Rd.Baltimore, MD 21211 E-mail: kschuetz@foxglove.net Web: http://www.pottersguild.org

The Potters Guild of Baltimore is a cooperative of clay artists providing a year-round program of pottery instruc­tion for adults. Classes in throwing, handbuilding, sculpture and a variety of special topic workshops are offered to the public. For more information, visit our website at www.pot- tersguild.org.

POTTERS OF HICKORY STREET 915-673-6445802 Hickory St.Abilene, TX 79601E-mail: angelatpotters@aol.com

No tests and no grades. We teach non-traditional students beginning handbuilding and wheelthrowing, electric glaze firing, pit fire and more. Thirty years experience.

THE POTTERS SCHOOL 781 -449-768731 Thorpe Rd. Fax: 781-449-9098Needham, MA 02494 E-mail: sbranfpots@aol.com

Professional school/studio offering classes for children through adults and at all levels. Well-equipped facility with 10 wheels, slab roller, extruder, electric and gas kilns. Resident and non-resident potter memberships, internships, work-exchange and staff positions available. Established in 1977.

THE POTTERS WHEEL 718-441-6614120-33 83rd Ave.Kew Gardens, NY 11415E-mail: potterswheelny@earthlink.netWeb: http://www.potterswheelny.com

Peaceful and supportive work environment with a wide vari­ety of teacher artists who can instruct and develop throw­ing and handbuilding skills at all levels. Those with little or no experience are welcome. A wide variety of classes. Beautiful and spacious studio setting.

POTTERY CENTRAL 704-537-44773534 Central Ave.Charlotte, NC 28205E-mail: potterycen@cs.comWeb: http://www.potterycentral.com

The primary function of Pottery Central is to provide quali­ty instruction in an environment that will foster creativity. To do this, we provide many different options for firing, con­structing and decorating, as well as many different types of clay. The Basic 8 week class @ $150.00 includes: 2.5 hours of class instruction and 7 hours per week of open studio, 25# of clay, bisque and glaze firing.

THE POTTERY STUDIO 610-987-0273313 Main St. Fax:610-987-0274Oley, PA 19547E-mail: email@classicflowers.com

Adult and children’s classes, children’s summer art pro­gram. Concentration in handbuilding.

THE POTTERY WORKSHOP 2 Lower Albert Rd Hong Kong 00000 ChinaE-mail: info@ceramics.com.hk Web: http://www.ceramics.com.hk

THE POTTERY WORKSHOP 86-21 -6445-09022nd FI. 220 Taikang LU Fax: 86-21 -6445-0937Shanghai 200025, China E-mail: info@ceramics.com.hk Web: http://www.ceramics.com.hk

PRIDDY CLAY STUDIO 252-504-2622308 Moore St.

Beaufort, NC 28516 E-mail: priddyclay@usa.net Web: http://www.angelfire.com/nc/clayworkshop

Priddy Clay Studio provides private classes in production and design for clay workers at any level. Clay workshops can be arranged on site or at the client’s studio or work­shop. PCS specializes in production design and brush painting. Group classes and references available.

PROVIDENCE COLLEGE 401-865-2401River Ave. Fax: 401 -865-2410Providence, Rl 02918 E-mail: jdicicco@providence.edu Web: http://www.providence.edu

Providence College is a liberal arts college offering a BA with a concentration in ceramics. Two gas kilns, four elec­tric kilns, area for raku, smoke and soda firings. Two slab rollers, two extruders, twelve electric wheels, two kick/motor wheels and two clay mixers. One full-time day school instructor and two evening instructors. We have one studio technician and student work program.

852-2525-7949 Fax: 852-2525-7091

RAINBOW CENTER 301-872-513414741 MacArthurWay Scotland, MD 20687 E-mail: rrainbow@mindspring.com

Sharing knowledge and skills.

RAY F. SENNETT MIDDLE SCHOOL 608-221-6600502 Pflaum Rd., Rm. 110 Madison, Wl 53716 E-mail: mduer@madison.k12.wi.us

Our pottery club program introduces clay as a serious medium. The students work with basic building technique and glaze application. The afterschool pottery club is oper­ated to give those interested in going further with clay an opportunity to learn wheelthrowing techniques. We are also adding raku capability. Adults from the community are wel­come to participate. The club runs October through April.

RED STAR STUDIOS 816-474-7316821 W. 17thKansas City, MO 64108

September/October 2OO2 Pottery Making illustrated 39

E-mail: rstarhill@aol.comWeb: http://www. redstarstud ios.org

Steven and Susan Hill’s Red Star Studios features a gallery of contemporary functional clay, ceramics classes and pri­vate/shared studio space. Red Star is a large, well-equipped facility with reduction, soda and electric kilns. Workshops presented regularly by renowned potters, including Steven Hill’s single-firing workshops, are a highlight.

RIVER STREET POTTERY 518-274-2722621 River St.Troy, NY 12180E-mail: barbarareeley@aol.com

Emphasis on throwing from beginning to advanced students. Six students per class with practice time after classes and one evening a week. Individual instruction stressed. Fully equipped teaching studio plus 22 working studio spaces. Cone 6 oxidation and cone 10 reduction firing for classes.

845-358-0877 Fax: 845-358-0971

ROCKLAND CENTER FOR THE ARTS 27 S. Greenbrush Rd.West Nyack, NY 10994Web: http://www.rocklandartcenter.org

The Rockland Center for the Arts offers a ceramics program for both children and adults. Well equipped with potter’s wheels, a slab roller, and gas, electric, raku and wood firing kilns, the Center offers courses in sculpture, wheel throw­ing and handbuilding. Call for catalog.

ROSWELL MUSEUM AND ART CENTER 505-624-6744100 W. 11th Fax:505-624-6765Roswell, NM 88201 Web: http://www.roswellmuseum.org

We are a non-graded K through adult ceramics program in which a structured yet individualized program is taught. We fire Cone 7 stoneware, soda, saggar, raku both hand build and thrown. 8 week term in fall, winter, spring and summer. Our workspace is 28x78 with attached storage, studio, kiln yard and raku yard.

RUBY’S CLAY STUDIO & GALLERY 415-558-9819 552 A Noe St.San Francisco, CA 94114 E-mail: rubys@mindspring.com Web: http://rubysclaystudio.org

Ruby’s Clay studio is an arts center whose primary objec­tives are to promote community appreciation of the ceram­ic arts and to encourage self-expression, technical and artistic development through exhibitions, classes and the resources provided by a shared learning facility.

RUSSO PARK RECREATION CENTER 215-685-8747 Cottman and Torresdale Avenues Philadelphia, PA 19135 E-mail: indsoccer@yahoo.com

We hold affordable pottery classes for both youth and adults. Each two-hour class is held once a week and runs for ten weeks. Local clay artist teaches all levels of students all aspects of handbuilding in order to create functional and sculptural objects. Other topics include handmade tiles, mosaics and moldmaking.

RUTH’S POTTERY 770-924-11741178 Wiley Bridge Rd.Woodstock, GA 30188E-mail: ruthspottery@mindspring.comWeb: www.hycomdesign.com/pages/ruthspottery.html

Pottery classes in my private studio. Small classes in wheel pottery and handbuilding. Individualized instruction with encouragement in personal creative expression. All levels, days or evenings.

SAN DIEGO MESA COLL. CERAMIC PROGAM 858-627-2612 Mesa College Dr.San Diego, CA 92111E-mail: johnconrad17@hotmail.com

Seven ceramic classes with a comprehensive handbuilding and wheel throwing program with extruders, 6 electric and5 gas kilns, slab roller, ram press and much more.

SAN DIEGO STATE UNIVERSITY 619-594-6511School of Art, Design and Art History Fax: 619-594-1217 San Diego, CA 92182-4805 E-mail: artinfo@mail.sdsu.edu Web: http://www.sdsu.edu/art

SDSU offers a full ceramics program with BA and MFA

degrees, as well as great facilities, including soda and wood-fired kilns.

SANDY RECREATION CENTER 503-668-556915500 Proctor Sandy, OR 97055E-mail: demetersdoulas@yahoo.com

Emphasis on creative exploration of self, life and living. Students are free to participate in demonstration projects or run off in a direction of their own under the guiding hand of the instructor. Child and adult classes in hand building and basic sculpture at this facility.

SANTA FE CLAY 505-984-11221615 Paseo de Peralta Fax: 505-984-1706Santa Fe, NM 87501 E-mail: sfc@santafeclay.com Web: http://www.santafeclay.com

Santa Fe Clay is a full ceramic art center. We offer year- round classes and workshops for all ages: children, teens and adults. We also have a gallery representing national clay work and a full retail ceramic supply operation. We have 25 resident artists in 14 private studios on site as well as approximately 150 students a week.

Professional artist studio and gallery with a fully-equipped teaching facility offering an array of classes and space rentals in a creative and stimulating environment. Our waterfront location, coupled with blue skies, palm trees and gentle breezes serve to further enhance your experience.

SHERIDAN COLLEGE 905-845-9430 x25891430 Trafalgar Rd. Fax: 905-815-4043Oakville, ON L6H 2L1, Canada E-mail: bruce.cochrane@sheridanc.on.ca Web: http://www.sheridanc.on.ca

In our three-year diploma program we offer students a thorough education with an emphasis on production skills. Our 7500 sq. ft. studio is well equipped and offers many solutions from electric and gas kilns to salt/soda and wood firings. Field trips to Toronto round out the students expe­rience and access to markets.

408-249-8206 Fax: 408-249-2971

SARA SWINK HOME STUDIO 669 Salberg Ave.Santa Clara, CA 95051E-mail: sara_swink@worldnet.att.net

Emphasis is on fueling creativity with a process approach to clay. Multimedia exercises to mine the unconscious for imagery and following that imagery in clay, wherever it takes you. Public and private workshops and small, private ongoing studio classes. Suitable for all levels of experience.

SCHOOL OF ART 806-745-60182222 East CR 7130 Lubbock, TX 79404 E-mail: jeaniejones@door.net

Jeanie Jones, BFA, Art Ed, Elementary Ed. TTU. Twenty years teaching experience. Country studio, near city, fea­tures six electric wheels, with oxidation, reduction, raku and salt firings. Plenty of studio and kilnhouse room. Year around access, with classes. We sponsor workshops by well known potters.

SCHOOL OF THE ART INST. OF CHICAGO 312-899-5219 37 S. Wabash Fax:312-899-1840Chicago, IL 60603-3103 E-mail: admissions@artic.edu Web: http://www.artic.edu/saic

BFA and MFA degree programs.

SCOTLIN CERAMICS 319-873-2289236 Main St., PO Box 179 Fax: 319-873-2366McGregor, IA 52157-0179 E-mail: scotlinceramics@yahoo.com

We provide instruction and certification in various finishing media. We teach everything from handbuilding to brush- work and accessorizing. We have certified staff and guest professional instructors.

SECOND WIND POTTERY 717-246-235490 Yoe Dr.Red Lion, PA 17356 E-mail: pellyfarm@suscom.net

Daytime and evening classes offered with emphasis on wheel throwing; however, basic handbuilding instruction also available. Classes run 6 weeks, 2-1/2 hrs. per class, four or five times a year. E-mail for current schedule.

SIERRA NEVADA COLLEGE/LAKE 775-831-1314 x5039 TAHOE Fax:775-832-1727999 Tahoe Blvd. Toll-free: 800-332-8666Incline Village, NV 89451 E-mail: sleigh@sierranevada.edu Web: http://www.sierranevada.edu/ceramics

SNC, Lake Tahoe, is located on the north shore of the gor­geous, inspirational lake. The studio is well equipped with 6 electric, 2 gas, wood fired kiln, 2 raku kilns, 20 electric wheels, extruder, Soldner mixer and pugmill, and fully equipped glaze room with spray booths. BA and BFA degrees. Great summer workshops!

SOUTHERN OREGON UNIVERSITY 541-552-63311250 Siskiyou Blvd. Fax: 541 -552-6047Ashland, OR 97520E-mail: ecpcontact@sou.eduWeb: http://www.sou.edu/ecp/staff.htmI

The Southern Oregon University Ceramics Dept, boasts a new (2002), fully equipped, state-of-the art studio which accommodates the full spectrum of contemporary ceramic arts endeavors. Internationally acclaimed artist Jim Romberg (MFA, Clairmont) head the department, and Jack Coelho (MFA, Instituto Allende) offers ceramics through the Extended Campus Program.

SOUTHWESTERN UNIVERSITY 512-863-1370Art Department Fax:512-863-1422Georgetown, TX 78626 E-mail: veerkamp@southwestern.edu Web: http://www.southwestern.edu

Small classes with individualized instruction. Excellent facilities including woodfire kiln, vapor glaze kiln, reduction kilns, raku kiln, electric kilns, clay mixing and pugging equipment, fully-equipped glaze room and workshop. Visiting artist program, 2000 sq. ft. gallery for display of student and professional ceramic exhibitions, and scholar­ships ranging from $3000 to $5000 per year.

540-987-1000 Fax: 540-987-8770

724-830-1020 Fax: 724-830-1294

Toll-free: 800-826-6234

SETON HILL UNIVERSITY College Dr.Greensburg, PA 15601 E-mail: thompson@setonhill.edu Web: http://www.setonhill.edu

BA or BFA in clay combined with a liberal arts foundation. Stoneware, raku; functional and sculptural approaches. Mixed media and series or thematic work.

SHADOW BAY POTTERY STUDIO 561 -692-9712AND GALLERY Fax: 561 -285-2663344 NW Alice Ave.Stuart, FL 34994E-mail: shadowbaystudio@aol.com Web: http://www.shadowbaypottery.com

SPERRYVILLE POTTERY 42 Main St., PO Box 408 Sperryville, VA 22740 E-mail: zylonis@earthlink.net

Quaint pottery in the foothills of the Blue Ridge now offer­ing classes for beginning and advanced throwing and hand­building. Functional and non-functional work alike. Small classes emphasize classic learning and exploration. Bi­annual student show and sale.

SPOKANE POTTERS’ GUILD 509-533-37701404 N. FiskeSpokane, WA 98202E-mail: maripowers@yahoo.com

We are a non-profit organization offering four evening classes and two morning classes in beginning to interme­diate throwing and handbuilding, oxidation and reduction firings, and raku firings.

SPRINGHOUSE SCHOOL OF THE ARTS 802-482-2840 206 Commerce St. Fax: 802-482-2841Hineburg, VT 05461 E-mail: sprnghse@together.net Web: http://www.springhousearts.com

40 Pottery Making illustrated September/October 2OO2

Springhouse is a school for all arts, but we focus on ceram­ics. We have a large handbuilding and wheel throwing stu­dio with 12 wheels. Our kiln room exists of three electric kilns and access to a wood kiln. Classes are held year round and are for both children and adults. We are located 15 miles southeast of Burlington.

ST. PAULS SCHOOL 61-07-409-00241Torres Strait Moa IslandQueensland Thursday Island AustraliaE-mail: principa@edu.qld.com

A ceramics art education program is established in our small island school.

STARFLOWER STUDIOS 207-525-3593941 Jackson Rd.Monroe, ME 04951 E-mail: kjking@unity.edu

Located in mid-coast Maine, the studios have ample space for any kind of artistic endeavor. Guests are housed in a ren­ovated 175-year-old farmhouse surrounded by 110 acres of gardens, fields, pond and woods. Calm atmosphere allows immersed relaxation and focus. Our teaching enhances and strengthens personal art practices. We interweave contact with clay with contact with one’s fundamental self.

STATE UNIVERSITY OF 55-19-3788-7172CAMPINAS-UNICAMPCaixa Postal 6159Sao Paulo 13084-570, BrazilE-mail: dangelo@iar.unicamp.brWeb: http://www.iar.unicamp.br

Art institute with laboratory of students ceramics.

STIRLING HALL 847-615-748060 E. Old Mill Rd. Fax:847-615-4251Lake Forest, IL 60045E-mail: cplummer@ameritech.netWeb: http://www.citylf.lfc.edu/cs/rec/cs_rec2d4.htm

Located on twenty-seven wooded acres, Stirling Hall is a brand new, state-of-the-art ceramic studio. The south walls of the classrooms are virtually all glass, providing a relax­ing and inspirational view of the wooded campus. A high fire gas kiln, raku kiln, slab roller, pottery wheels and an experienced faculty are available to beginning and advanced students for classes and open studio times.

STUDIO POTTER 603-669-160176 N. Adams St.Manchester, NH 03104 E-mail: loveofclay@aol.com

Small classes for the beginner and intermediate student. Studio has 3 wheels and ample handbuilding space.

SUBURBAN FINE ARTS CENTER 847-432-18881933 Sheridan Rd.Highland Park, IL 60035 E-mail: art@sfac.net

SFA provides beginning through advanced wheel throwing instruction with opportunities for lowfire, mid-range and raku firings. Classes for children and adults available.

SUNFLOWER POTTERY 352-529-26991391 NE 157th Terrace Fax: 352-529-2699Williston, FL 32696E-mail: annmarievl@aol.comWeb: http://www.hometown.aol.com/annmarievl/mypot-tery.html

I offer lessons in handbuilding, wheelthrowing, glaze mak­ing, raku art as well as raku firing. Lessons are private. You must make an appointment. Visit our web address for more details.

TAOS ART SCHOOL PO Box 2245Ranchos de Taos, NM 87557 E-mail: tas@laplaza.org Web: http://www.taosartschool.org

TAOS INSTITUTE OF ART 505-758-2793108 Civic Plaza Dr. Fax: 505-737-2466Taos, NM 87571 Toll-free: 800-822-7183E-mail: tia@taosnet.com Web: http://www.taosnet.com/tia

TEXAS A&M UNIVERSITY 361 -825-59876300 Ocean Dr.Corpus Christi, TX 78412 E-mail: louis.katz@mail.tamucc.edu Web: http://www.2tamucc.edu/~dvpa/artsite/default.html

A small yet diverse program with close personal attention. Two instructors, a soda kiln, raku and good studio space. We offer an MFA, MA, BA and BFA, as well as a BFA with teacher’s certification. We also offer an MA in interdiscipli­nary studies.

TUSCARORA POTTERY SCHOOL 775-756-5526PO Box 6 Fax: 775-756-6598Tuscarora, NV 89834-0006

During the summer we offer three, two-week sessions for all skill levels.

UNIVERSITY OF ALASKA ANCHORAGE 907-786-1321 3211 Providence Dr. Fax:907-786-1799Anchorage, AK 99508-8116 E-mail: afrsb1@uaa.alaska.edu Web: http://www.uaa.alaska.edu

The Art Department at UAA offers BA and BFA degree pro­grams. Two ceramic faculty members teach in traditional handbuilding and wheel throwing studios.

505-758-0350 Fax: 505-758-0350

UNIVERSITY OF FLORIDA 352-392-0201 x218CERAMICS PROGRAM Fax: 352-392-8453School of Art & Art History 302 FACGainesville, FL 32611E-mail: nan@ufl.eduWeb: http://www.arts.ufl.edu

The Ceramics Program at the University of Florida is one of the major programs in the southeast. The program is designed to promote growth in aesthetics, technical knowl­edge and conceptual approaches. The strength of the pro­gram lies in its diversity: no one style, aesthetic, or techni­cal focus is stressed over others. Experimentation is encouraged. Excellent well-equipped facilities.

UNIVERSITY OF LOUISVILLE 502-852-6796Hite Art Institute Fax: 502-852-6791104 Schneider HallLouisville, KY 40292E-mail: mdcoakOI@athena.louisville.eduWeb: http://www.louisville.edu

We offer a BA, BFA and MA in Studio Art. Ceramics program features an emphasis on functional pottery, but all expres­sions are supported. Scholarships and assistantships are available. A good place to build a strong portfolio.

September/October 2002 Pottery Making illustrated 41

612-624-6800 Fax: 612-625-2568

662-915-6985 Fax: 662-915-5013

UNIVERSITY OF MINNESOTA-SPLIT ROCK ARTS PROGRAM306 Wesbrook Hall77 Pleasant St SE Minneapolis, MN 55455-0216 E-mail: srap@mail.cee.umn.edu

UNIVERSITY OF MISSISSIPPI Art Department 204 Bryant Hall University, MS 38677 E-mail: ardale@olemiss.edu Web: http://www.olemiss.edu

BFA, MFA degrees offered. Maintain a diverse program, with equal emphasis on ceramic sculpture and pottery. Work in all temperature ranges. Well-equipped studio with gas reduction, salt/soda, raku and electric kilns. Ron Dale is area head (BA Goddard College, MFA LSU).

UNIVERSITY OF 573-882-7120MISSOURI-COLUMBIA Fax:573-884-6807A 126 Fine Arts Bldg.Columbia, MO 65211E-mail: clarkerb@missouri.eduWeb: http://www.bedeclarkestudio.com

BA, BFA and MFA offered in ceramics. Vessel and sculptur­al orientations. Facilities include 2 wood kilns, soda kiln, electric, gas and raku kilns. Professor Bede Clarke, Professor David East.

arts. 65 classes per year, plus clay workshops, private lessons, studio rental, a traveling Claymobile, firing ser­vices and lending library.

VISUAL ARTS STUDIOS 805-987-0746470 West Highland Dr. Fax: 805-987-0746Camarillo, CA 93010 E-mail: visartstdo@aol.com

We offer a comprehensive art experience for all ages K-12 in a 16-week after-school program of drawing, painting, print making, sculpture and ceramics. Age and ability- grouped classes of 6 or less and adult evening classes.

925-943-5800 x407 Fax: 925-937-ARTS

785-231-1010 Fax: 785-231-1089

904-620-2650 Fax: 904-620-2652

UNIVERSITY OF NORTH FLORIDA 4567 St. Johns Bluff Rd. S.Jacksonville, FL 32224 E-mail: kmcmilla@unf.edu

The main thrust of the 30-year-old ceramic program is the development of the individual student as an artist. New $26 million Fine Arts Center with equipment arriving weekly to complement the 18 wheels and 6 kilns that we already have. BA and BFA degrees. Located in 1000-acre woods and close to the beach and large metro area.

UNIVERSITY OF SOUTH CAROLINA 803-777-7077 McMaster College Fax: 803-777-05351615 Senate St.Columbia, SC 29208 E-mail: scotchie@gwm.sc.edu Web: http://www.sc.edu

State-of-the-art ceramic facility with 10 computerized elec­tric kilns, salt, raku and gas car kiln. Private studio space and assistantships for MA and MFA graduate students. Three-year program with individual attention, artistic free­dom and international student body.

WALNUT CREEK CIVIC ARTS EDUCATION CLAY ARTS GUILD 1313 Civic Dr., PO Box 8039 Walnut Creek, CA 94596 E-mail: artsed@arts-ed.org Web: http://www.arts-ed.org

WASHBURN UNIVERSITY 1700 College Topeka, KS 66621 E-mail: zztayl@washburn.edu Web: http://www.washburn.edu/cas/art

After building a solid foundation of knowledge about clay and glazes in beginning classes, students are encouraged to follow their own ceramic interests. Past students have explored wall tiles, photographic images, figure sculpture, paper clay, pottery, raku, alternative firing, multimedia con­struction and more. Students and faculty work together to achieve aesthetic and technical goals.

303-987-5436 Fax: 303-987-5437

213-740-2787 Fax: 213-740-8938

UNIVERSITY OF SOUTHERN CALIFORNIA School of Fine Arts Watt Hall 104 University Park Los Angeles, CA 90089-0292 E-mail: finearts@usc.edu Web: http://www.usc.edu/dept/finearts

USC Fine Arts offers a BA, BFA and MFA with emphasis in fine art ceramics/sculpture. Internationally known ceramic sculptor Ken Price heads our dynamic program, along with majolica expert Karen Koblitz and production expert Kevin Myers. Huge, well-equipped studios. MFA Teaching assist­antships available.

THE UNIVERSITY OF TEXAS OF 915-552-2287THE PERMIAN BASINVisual Arts Studio4901 East UniversityOdessa, TX 79762-0001E-mail: stanley_c@utpb.eduWeb: http://www.utpb.edu/courses/arts4365

All levels of ceramics from introductory to clay and glaze calculation and kiln building. We have two wood kilns, a soda kiln, a raku kiln, and two Alpine gas kilns. We also teach printmaking, painting, drawing, graphic design, art history and photography. BA in art only.

VERMONT CLAY STUDIO 802-244-11262802 Waterbury Stowe Rd Fax: 802-244-8760Waterbury Center, VT 05677 E-mail: info@vermontclaystudio.com Web: http://www.vermontclaystudio.com

A nonprofit educational center, dedicated solely to the clay

WASHINGTON HEIGHTS CENTER 6375 W. 1st Ave.Lakewood, CO 80226 E-mail: sumi@well.com

Once-a-week classes for students of all skill levels cover handbuilding, wheel throwing, glazing and decorating. Equipment includes electric and kickwheels, slab roller, an extruder and a spray booth. Firing is to Cone 6 in oxidation. Occasional special classes and workshops include raku, Southwest pottery, pit firing and children’s classes.

WASHINGTON UNIVERSITY 314-935-8408ST. LOUISThe Lewis Center721 Kingsland Ave.St. Louis, MO 63130 E-mail: refondaw@art.wustl.edu

Focus is on preparing young artists with the technical and conceptual framework to pursue a career in the ceramic arts. Much time is spent in critique of what a good idea is and why it is meaningful to ceramic history. We have a very open definition of ceramics. We are equipped with 4 gas and 9 electric kilns, hot glass and a foundry.

WESLEYAN POTTERS 860-347-5925350 S. Main St. Fax:860-343-1096Middletown, CT 06457'E-mail: wesleyan.potters@snet.net Web: http://wesleyanpotters.com

Instruction in pottery and other crafts is scheduled during four terms each year, with one class offered per week for nine weeks. Equipment includes two large gas kilns suitable for high-fire reduction stoneware and porcelain, as well as five electric kilns used for bisque and low fire.

WESTERN STATE COLLEGE OF 970-943-3083COLORADO Fax: 970-943-2329Adams St.Gunnison, CO 81231 E-mail: acaniff@western.edu Web: http://www.western.edu

The department offers several multilevel courses in pottery, sculpture and theory. Complete clay facilities are available for students: several styles of wheels, bulk materials clay, slip, and glazes. Most styles of kilns are available, including soda and raku, as well as separate facilities for electric and reduction firing.

WHITE MOUNTAIN ACADEMY OF 705-848-4347THE ARTS Fax: 705-848-058899 Spine Rd. Toll-free: 800-368-8655Elliot Lake, ON P5A 3S9, Canada E-mail: ncalcaterra@whitemountainacademy.edu Web: http://www.whitemountainacademy.edu

THE WICHITA CENTER FOR THE ARTS 316-634-2787 9112 E. Central Fax:316-634-0593Wichita, KS 67206 E-mail: school@wcfta.com Web: http://wcfta.com

Pottery and ceramics classes for ages six through adult offered trimesterly. Previous workshops by Eddie Dominguez, Ken Ferguson, Marko Fields, Scott Dooley, Michael Smith, Paul Soldner and Chris Staley. Home of the Wichita National. Features gas, electric, wood-fire kilns; soda kiln in development.

WICHITA STATE UNIVERSITY 316-978-35181845 Fairmount Fax: 316-978-5418Wichita, KS 67260-0067 E-mail: hiltner@twsuvm.uc.twsu.edu

The focus of our program is to develop a personal state­ment through the use of the ceramics medium by idea development and excellence in craftsmanship. Our program supports a wide range of artistic investigation. Functional pottery, interpretation of the vessel, sculptural ceramics, and installation are all supported by our program.

WINDMILL HILL POTTERY 802-348-9300842 Grassy Brook Rd.Brookline, VT 05345E-mail: trelex88@hotmail.comWeb: http://www.fireandfiber.com

Small classes, adults and children. Electric firing at Cone 6. Instructor trained in Switzerland; can offer bauernmalerei design instruction. Instruction in handbuilding and throwing.

WOMEN’S STUDIO WORKSHOP 845-658-9133PO Box 489 Fax: 845-658-9031Rosendale, NY 12472 E-mail: wsw@ulster.net Web: http://www.wsworkshop.org

The WSW clay program offers residencies, fellowships and classes. Studios are equipped for potters and sculptors. A limited number of residencies are available for potters to trade bowls for time. Summer weekend workshops in clay sculpture and functional ceramics are taught by top profes­sionals from across the country.

WORCESTER CENTER FOR CRAFTS 508-753-8183 x301425 Sagamore Rd. Fax: 508-797-5626Worcester, MA 01605E-mail: craftcenter@worcester.orgWeb: http://www.craftcenter.worcester.org

The Worcester Center for Crafts ceramics studio provides education and direction to students of all skill levels and ages in a creative, supportive environment. A broad range of classes, workshops, and special events are provided in our spacious, well-equipped studio. We also offer a full­time two-year certificate program and an artists-in-resi- dence program.

YOUNGBERG POTTERY 203-319-07061159 Bronson Rd. Fax: 203-254-2701Fairfield, CT 06430E-mail: youngbergpottery@aol.comWeb: http://www.youngbergpottery.homestead.com

A studio pottery run by potter, Trevor Youngberg. Children and adults welcome for weekly classes. Class size is 1-3 students at a time. Glazed terra cotta pots and sculpture are emphasized.

YOUTH ARTS CORPS 727-552-18251000 28th St. South Fax: 727-893-1660St. Petersburg, FL 33712 E-mail: cmdavis@youthartscorps.org Web: http://www.youthartscorps.org

A free after-school and summer arts and job training pro­gram for youth ages 13-17. Clay classes offered include beginning and advanced instruction in hand building, wheel and commercial production.

970-249-6819 Toll-free: 877-504-6819

ZAPPA POTTERY 18800 P-61 Trail Montrose, CO 81401 E-mail: info@zappapottery.com Web: http://www.zappapottery.com

Full-time potters for over 25 years. We teach privately and have a wonderful studio set up. We work with people who have never touched clay to those who have had a lot of experience. We do raku, cone 10 gas firing.

42 Pottery Making illustrated September/October 2OO2

Transferring patterns from photocopies is a simple way to get elegant designs onto a surface. On these vases, I repeated the design three times.

This article focuses on my work at cone 9 reduction, but some of the information is not necessarily cone 9 specific. For example, the process of making and trans­ferring multiple copies of an image to an unfired glaze surface can also be applied to low fire, the popular mid­fire cone 6 work, and to bisqueware for underglaze painting. As for the soluble salts, the original source of information for my work came from Karl Martz’s arti­cle “The Lively Art of Earthenware—Soluble Colorants: Quick, Versatile...” (Ceramics Monthly; January 1960). The material presented here expands on my earlier articles “Using Soluble Colorants at Stoneware Temperatures,” (Ceramics Monthly September 1996) and “Paths to Surface Design” (Clay Times, May/June 2001).

In the last few years I have been purchasing thrown bisqued pots from other potters simply because I’d much rather spend my time decorating than throwing.I usually glaze a group of pots by pouring the insides and spraying the outsides. I prefer the even coat of glaze that spraying affords me.

Covered jar, 15% inches, high, thrown by Bill Gosman with glazing and decoration by Kurt Wild.

Sometimes I begin the decorating process by search­ing through my collection of sketches and photos until I find an image that I feel like working with that day. Next I look at my available bisqueware for a pot I feel will work with the image I’ve selected. Alternatively, I may select a bisqued pot and then search through my sketches and photos for an image I feel might work with that pot. Next, I scan the image into my comput­er then “play” with it by manipulating and stylizing the image, using Photoshop software, to adjust the image proportions to fit the selected pot. Four copies of the final image are printed and drawn over with a perma­nent felt marker in preparation for transfer to the pot. Those copies are set aside until later.

Step 1

The image I chose for the pot for this article is a woodpecker. From left to right, the original sketch, the manipulated image and a copy of the final image drawn over with a black permanent felt marker.

September/October 2002 Pottery Making illustrated 43

I have been purchasing thrown bisqued pots in the last few years because I’d much rather spend my tyime decorating than throwing. These bottles were decorated with soluble salts over a base glaze.

by Kurt Wild

Step 2

I wanted to repeat the image two times on the pot, so the next step was dividing the pot into four divisions to assure proper alignment. The glazed but unfired pot was set on a turntable fixed with a “Dividing Web” (see “Dividing Web” by Sylvia Shirley, PMI, Summer 2001). Vertical guidelines were lightly drawn on the pot with a felt marker.

1 he cone V glaze 1 currently use almost exclusively, is a slight modifi­cation of a glaze found in Introduction to Ceramics by Graham Flight.

Note: I have a reference number system for glazes and I refer to glazes based on this recipe, for example, FBGN for Flight Book Glaze No-iron.

FBGN Base GlazeCone 9

Cornwall stone..............................60EPK (kaolin)................................. 20Dolomite...................................... .20

100

Following are my current four favorite color variations on the FBGN base.

Step 3

Standard 20-pound computer paper mea­sures 8 1/2 x1 1 inches, but a sheet that size and shape will not satisfactorily bend to the contour of most pots. In most cases, I cut the pattern into strips that will more easily conform to the contour of the pot.

FBGNAdd Mason stain #6407.................7.0%Pale cream.

FBGN-CAdd Cobalt carbonate .................0.30%

Red iron oxide ......................0.05%Cobalt blue.

FBGN-C3Add C3 mix........................................ 0.33%Softer blue than FBGN-C, more like a pale blue sky.

C3 MixCobalt carbonate............................ 24 partsRed iron oxide.................................. 4 partsMason stain #6266........................... 6 parts

FBGN-EAdd Chromelcobalt mix .................... 0.45%A little softer than grass green.

Chrome/Cobalt MixChromium oxide............................... 3 partsCobalt carbonate.............................. 2 parts

FBGN-EEMason stain #6378............................5.0%Turquoise on the bluish side.

Note: Use 91% rubbing alcohol, although the standard drugstore 70% will work OK. Periodically check to ensure sufficient transfer of the image.

I useVee Gum Cer as a suspen­sion agent and to help prevent the glaze from rubbing off easily while decorating. I usually make a fairly large batch of the solution by adding 100 grams ofVee Gum Cer to 300 ounces of water in a five- gallon pail and mixing it well with a power drill mixer. I let the gum/water mixture soak for a day or so and mix it again before use.

When I mix my glazes, I add slightly less than 0.9 oz. of the solu­tion to every 100 grams of dry glaze. For example, 10 times the FBGN recipe equals 1000 grams of dry glaze. I put 22 ounces of water in a bucket (additional water may be added later if desired), and add 9 ounces ofVee Gum Cer solution (0.9 times 10) and mix well. Then I add the glaze ingredients, mix and sieve it through a 30-mesh sieve.

44 Pottery Making illustrated September/October 2OO2

Step 4

To transfer the pattern, hold the strip in place with the felt marker side toward the pot, then daub the whole strip with a cloth saturated with rubbing alcohol.

Steps 5A and 5B

Front and back views of the vase showing transferred image.

Step 6

After a drawing is transferred to a pot, I continue to stylize and manipulate while sgraffitoing the transferred shapes using drafting templates (see Step 2). I also add freehand plant forms.

Soluble salts are available from some pottery supply stores and chemical suppliers. One source I used was U.S. Pigment, 135 N. Manchester Lane, Bloomingdale, IL 60108; (800) 472-9500: www.uspigment.com/

Some soluble salts are highly toxic and can be absorbed through the skin. Read and follow all warnings concerning the safe handling, storage and disposal of any raw ingredi­ents. Check with a local regulatory body in your area to ensure proper disposal of used solutions.

On food surfaces, it is worthy of note that I had mugs dec­orated with soluble salts that were tested by the Alfred Analytical Laboratory, and had the report examined by a professional who stated: “All of the lab’s detection limits are well below the drinking water MCLs and all your test results except the copper are below those detection limits. And the copper, at 0.18 mg/L is still approximately 10 times less that the 1.3 mg/L MCL. Excellent results.” Another professional advised me that “all of those numbers are extremely low. I wouldn’t worry about any of them on a food surface.”

Prepare soluble salts by simply adding the dry mate­rial to warm water. Stir the mixture well and let it sit overnight. The next day, strain the solution through a 100 mesh sieve or an old T-shirt. Mixtures listed below result in nearly saturated solutions, so discard remaining undisolved particles. I develop more intermediate colors by intermixing solutions in various proportions.

Tip: Soluble salt solutions tend to disappear into the glaze upon application and make it difficult to see where a particular solution had been applied. Add food coloring to the solutions to readily identi­fy where solutions have been applied and also to tell them apart.

September/October 2OO2 Pottery Making illustrated 45

Soluble salts may be freely brushed on an unglazed surface; however, they tend to bleed, somewhat like ink on a blotter. The beauty of using sgraffitoed shapes is that the salt will stay confined within the shape, bleed­ing only as far as there is glaze. By developing different solutions and using them in different areas on a pot I have been able to create a multicolored pot using only one glaze over the whole pot. It should be noted that a given solution may appear differently, depending upon the color of the glaze it has been applied to.

“Woodpecker,” 11% inches high, cone 9 reduction. Thrown decorated by Kurt Wild.

by Reg Behrends, glazed and

Step 7

I use soluble salts to stain image, but underglazes would also work with a clear overglaze.

Now an emeritus professor of art, Kurt Wild retired from the University of Wisconsin—River Falls after 33 years of teaching. He currently maintains a studio at his home in River Falls. For comments and to view his more recent work, visit his web site www.uwrf.edu/~kwll/ Vase with cat decoration, 12 inches high, thrown by Reg Behrends, glazed and decorated

by Kurt Wild, utilizing sgraffito and soluble salt decoration.

46 Pottery Making illustrated September/October 2002

Covered Containers

Small covered containers are useful for everything from pins and paper clips, coins and candy, to lotions and potions.

Over the years, I’ve made thousands of covered utilitarian containers such as casseroles, cookie jars and these small con­tainers that I throw in one piece. For these containers, I don’t measure the clay out exactly or strive for identical forms. I’ll cut a 25-pound block of clay into 12 pieces, and the approximately two-pound pieces will make covered containers about 4½ inches in diameter and 6 inches in height before cutting the lid. You can make somewhat larger covered containers using this technique; however, if the diam­eter gets much larger it becomes impossible to conveniently lift the lid with one hand unless a handle of some kind is attached.

by Leon RolofF

Small covered container. I have often made the sides of these small containers vertical, but I think that the pots that appear to be expanding outward (even slightly) have much more vitality. It is as though there is a “life force” pushing out from within, and the effect is pleasing.

Leon Roloff taught ceramics for 35 years, 32 of them for the Grossmont Union High School District. He has been retired for 10 years, and he now enjoys working in his studio and show- ing regularly with the Allied Craftsmen of San Diego. You can e-mail comments to Leon at lroloff@grossmont. k!2.ca. us.

September/October 2OO2 Pottery Making illustrated 49

Throw, Cut & Trim

Step 1

Throw a cylinder keeping the walls vertical or slightly concave. Do not allow the top to flare or the rim to become too thin.

Step 2

Begin collaring the top using your fingertips as you alternately squeeze in the top and pull it up and in to work out wrinkles. While you can still get your fingers inside the form, you can bulge out the lower part slightly as you continue to gradually close in the top.

Step 3

Completely close in the form and pinch off any surplus clay on the top. Air pressure inside the pot helps hold it up.

Blowing Up Your PotWhen collaring the top of the form, it may begin to

collapse slightly. Take a piece of paper towel, and bite a small hole out of the center. Drape the paper over the pots small opening and gently blow The form will expand like a balloon and will hold its shape when the hole is plugged. When you inadvertently blow out the side of the pot you’ll learn the meaning of the word “gently.” I do this as a matter of course when throwing bottles as it adds just a bit of expansion. In an emer­gency, forget the paper, as a little clay on your mouth is a small price to pay to save your pot. For trimming pots I use a couple of Kemper 6-inch wire loop tools

(D2 and D8). I also made a simple modeling tool out of thin scrap wood about 6 inches long and an inch or so wide. One end is rounded, and the other cut at an angle to make a point useful for cleaning the bottom edge of pots. Another handy tool is an ice cream bar (Popsicle) stick with one end squared off. Do not make the corners of the squared off end too sharp or the tool may cut too deep. The needle tool is from my dentist. I asked her if she had any dull tools that she was going to throw away, and she cleaned out a drawer where she’d been dumping them. I cut off some of the var­ious hooks and cutters, straightened them and carefully sharpened the point using a very fine grinder and lots of cooling water. The opposite end is ground down and rounded.

50 Pottery Making illustrated September/October 2002

Step 4

Round off and smooth the top with a rib. Any type of rib should work but I prefer a flexible steel rib.

Step 5

Using your fingertip, squeeze in the area for the lid’s seat.

Note: You may have to puncture a small hole in the top with your needle tool to release the air pressure, then reseal it when you’ve completed this step.

Step 6

Using a Popsicle stick with a squared-off end, square the bottom of the lid seat groove you made in the previous step. Allow the pot to become barely leather hard.

Screeching Lids!Many years ago I watched a potential customer pick

up the lid of one of my casseroles and turn it slightly. It made a terrible, scraping sound, and I saw her wince, put the pot down and move on. A sale lost! Now, on covered containers, I always smooth the lids edge and the flange area where it touches. First I swipe both bare clay edges with a fine sandpaper, and then use a small sponge to coat them with a paste of whiting and water. I turn the lid in place for half a minute or so, and then rinse off the whiting paste. You can use kitchen clean­er instead of whiting. The covered container will have a pleasant (and saleable) glass-like sound. Some hearing protection is also prudent during this process. Plan on cutting a few of your first covered containers in half so you

can see the cross section. Look closely at the area where the clay has been pushed in to see that it has not been thinned excessive­ly. In particular, look at the area where you’ve used the Popsicle stick tool and check to see if you’ve cut too deeply into the wall. You can also check to see how the lid is going to fit. The goal is to keep trimming to a minimum.

September/October 2OO2 Pottery Making illustrated 51

Step 7

After the pot stiffens enough, and with it still attached to the bat, put it back on the wheel and use a really sharp needle tool to make the first cut to remove the lid.

Step 8

A second cut is required to create a 1/4-inch high flange. After making this cut, clean up the rough edge with a loop tool.

Step 11

These small containers don’t need foot rings for utilitarian purposes but the bottom needs to thrown flat and a bit thinner. I like the foot ring because it gives a small pot an elegant and finished look. I use a Giffin Grip (optional) with short arms attached to the sliders because I don’t have to push any­thing against the flange.

Step 12

To begin the decoration, I paint a thin slip mixed with a little vinegar on the area to be decorated.

52 Pottery Making illustrated September/October 2OO2

Step 9

Leave the base of the pot attached to the bat to use as a chuck to clean up the edges of the lid, and trim the lid to get a good fit.

Tip: Hold the lid down with a finger on your left hand while trimming.

Step 10

If the piece has been thrown well, there will be very little trimming to do, but repeat the previous step as needed. When completed, carefully cut from the bat.

Step 13

I extrude a strip of clay and cut it into equal­sized pieces that I roll into small balls. I dab a bit of slip on each ball, press them onto the pot, and finish by stamping with a small bisque-fired stamp.

Step 14

I use a variety of decorating techniques on the lids and/or or the entire forms. For this series, I used this technique of attaching small pellets and stamping them with small bisque fired stamps. Some pellets have been darkened by mixing cobalt or iron oxide with a small amount of clay.

September/October 2002 Pottery Making illustrated 53

Glove s f o r t h e S t u d i oby JefF Zamek

A primary concept behind operat­ing a safe ceramics studio involves consistent housecleaning proce­dures, such as cleaning up spills when they occur and keeping all dry materials in clearly marked unbreakable containers. Another concept incorporates a barrier sys­tem that protects you from clays, glazes, and raw materials in their wet or dry form. Wet-mopping the studio and using the correct vacu­ums, respirators and gloves affords many levels of protection. In addi­tion, a multilevel barrier system prevents accidental inhalation, absorption, or ingestion of ceramic materials into your body. Fortunately, there are a number of reasonably priced safety products that can protect you when working your studio, and this is the first in a series of articles to discuss these products.

D I S P O S A B L E P O L Y E T H Y L E N E G L O U E SLatex-free polyethylene gloves are both water and solvent tight. These heavy-duty gloves will keep hands clean from paints, glaze, chemicals, clay and other materials found in the ceramics studio. The gloves have an anti-slip textured surface with one size fitting right and left hands. The gloves are 10 cents each or 100 for about $5.

D I S P O S A B L E L A T E X G L O V E SThese snug fitting latex gloves protect the hands from chemicals, paints and cleaners. They are reversible with small, medium and large sizes. They range in price from 90 cents each to about 25 cents each when purchased in quantity.

G L O V E S F O R M A T E R I A L SVarious kinds of gloves can be

used when handling dry or wet glaze materials. Protective gloves should be considered anytime there is a cut or any break in the skin. Polyethylene, latex or rubber gloves should not be used in any high-heat environment because they will melt.

R U B B E R G L O V E SThe rubber glove offers protection against absorption through the skin. They resist chemicals and snags and have nonslip embossed fingers and palm. They are excellent for manual dexterity. They come in small, medium and large sizes and are 12 inches long. They cost approximately $1.70 each and are cheaper in bulk.

54 Pottery Making illustrated September/October 2OO2

G L O V E S F O R H E A TProtective gloves are highly recommended when

unloading kilns. One of the three major causes for injury in the studio is from burns on the hands and arms from reaching into a “cooling” kiln. Another significant factor in studio injury are cuts to the hands caused by sharp edges on glazed pieces.

L I G H T D U T Y K I L N G L O V E SLight-duty kiln gloves are designed for protection against heat when handling warm ware while unstacking kilns. These washable gloves have safety cuffs and are reversible from left to right hand. One size fits all. Pair $3.50.

M E D I U M D U T Y K I L N G L O V E SMedium-duty gloves will withstand high temperatures and heavy labor. Grip N® gloves are flexible and strong with nitrile pattern on both sides extending life and improving the grip when handling slippery material. Knit Kevlar/cotton blend shell with cotton/acrylic liner. One size fits all hands. $7.50.

K E V L A R K I L N G L O V E SHigh-heat protective Kevlar (nonasbestos) from Dupont Kevlar. Inherently flame resistant, they will withstand 900°F and are light­weight, flexible and comfortable (although somewhat bulky). They come in two lengths, 14 and 23 inches long, that cost approxi­mately $30 and $44 a pair, respectively.

K E V L A R K I L N M I T T E N S M 2 3These high-heat protective Kevlar (non-asbestos) gloves from Dupont Kevlar are similar to the Kevlar kiln gloves but do not offer as good a grip on pots or raku tongs. They do, however, add arm protection due to the greater length. A pair runs about $34.

Jeff Zamek provides technical consulting on clays, glazes, raw materials, casting slips, safety equipment, and clay body /glaze formulas. He is the author of Safety in the Ceramics Studio and What Every Potter Should Know, both published by Krause Publishing. For more information these books, contact Jeff at 6 Glendale Woods Dr., Southampton, MA 01073 or visit his web site at wwu\fixpots.com.

September/October 2OO2 Pottery Making illustrated 55

These are the beginning lyrics from comedian Steve Martin s song “King Tut.” I played the recording for second-grade students as a prelude to an art lesson on Egyptian mummies. Even though the 1978 hit was released years before the students were born, they knew the music, sang along and even danced like Steve Martin.

The second-graders had recently toured the Detroit Institute of Arts. The Egyptian gallery, with its highly decorated sarcophagi standing erect behind glass display cases and a 2,000-year-old, linen-wrapped mummy captivated their interest.Ancient Egyptian Art

There were three activities the students could create during the hour-long class—a sarcophagus, a mummy, and jewelry. Before getting to work, I discussed the visuals (giv­ing a short art history lesson about each) that related to the three activ­ities I had taped to the wall. After demonstrating the procedures, the students began working at any one of the three stations.Hot D03 Sarcophagi

Styrene hot dog take-home boxes (available in bulk at a restau­rant supply company for about 7 cents each) were used to form the sarcophagi. Students colored the heads with liquid gold permanent markers to simulate the gold leaf on King Tuts mask, then used regular permanent markers to decorate the rest of the sarcophagus. The students

referred to handouts on Egyptian hieroglyphics to add their own cryptic text around the sides.Terror Cotta Mummies

Students used terra cotta clay to create an ancient-looking mummy. A handful of the clay was flattened, then a cardboard mummy template was laid over the clay and cut out with a needle tool. A thick white slip was brushed over the clay then kids scratched through the slip with a wood skewer to reveal the red clay beneath, simulating a wrapped, aged mummy.

56

Decorating a sarcophagus. Brushing on white slip.

Pottery Making illustrated September/October 2002

by Craig HinshawNow when he was a young man,

He'd never thought he'd see, King Tut

Jewelry Fit for RoyaltyThe ancient Egyptians wanted to

be beautifully adorned in their afterlife and included dazzling jew­elry in their entombments. Students shaped a scarab and a few small beads from Egyptian paste (a self- glazing material available from many pottery supply stores). The scarab, a large beetle considered sacred, was traditionally carved from green stone and bound in the wrap­pings of the mummy. The mummies and beads were fired together to cone 06 and placed together in their sarcophagi.

A second-grader’s completed sarcophagus with mummy and scarabs.

Assuming the students might not have any prior knowledge of the subject, I provide lots of visu­al aids on a lesson like this. Throughout the lesson, students studied the posters of King Tut and Queen Nefertiti for clues in drawing and adding color. They also handled a metal pencil box in the shape of a mummy case and a small inexpensive scarab bead I had purchased at a muse­um shop.

Here’s a white slip good to cone 9, or just use a commercial­ly prepared white underglaze.

White Slip ^Ball clay........................................20Kaolin (EPK).................................20Nepheline Syenite .......................26Flint ............................................. 29Borax...................................................5

100

Add Zircopax................................. 10%

Photocopy the patterns for the sarcopha­gus and the scarab and transfer the design to the clay.

Craig Hinshaw is an elementary school art spe­cialist in Madison Heights, Michigan. He spent time in China this summer and is planning to give a version of the King Tut project at the annual Michigan Art Education Conference in October.

Scptembcr/Octobcr 2OO2 Pottery Making illustrated 57

Working with

by Louana M. LackeyRudy Autio has been called one of the most impor­tant and influential ceramic artists working in the United States in the last fifty years. The following excerpt from the book Rudy Autio by Louana Lackey provides some insight into his working style.Rudy began to develop his pottery techniques in the late 1950s and early 1960s. These techniques evolved from some of the methods he had polished earlier at the Archie Bray, making ceramic sculp­ture and architectural terra cotta. Unfortunately, he no longer has records, or even good pictures, of some of his pieces from this period, a time when he made some rather large freestanding sculptures in sec­tions, not reliefs, but pieces. He recalls:

My pots and my vessels were very controlled. That is, I could control

their volumes and shapes. They were very organized shapes, almost

geometric solids. Then, somewhere in the mid-1960s, I became very loose

with the work and started to emulate the freedom of the Abstract Expressionists.

To handbuild his pots, Rudy uses clay slabs. Recently, these slabs have been made by Hugh Warford, who comes to the studio periodically to mix clay, roll slabs, build and pack crates, and give assistance. Using a slab roller to prepare the slabs, Hugh then cuts them into board- like rectangles using a pattern. When finished, the slabs are gently laid one on top of another, covered with plastic to keep them pliable, and stacked near Rudys work sta­tion to be easily reached. The slabs are almost always the same size—21 in. by 7V2 in. by about 5/s in. thick—a size that enables Rudy to build pieces in a wide variety of shapes, using a variety of tech­niques. He can join the slabs on their edges, use them like bricks, or lay them into molds.

Before he starts to make a pot, Rudy assembles everything he will need—slabs, tools, water, a stool to sit on as he works, a modeling stand or easel to hold the work, and a bat or work board. These work boards are made by screwing lazy Susan hardware to the bottoms of eigh­teen-inch squares of heavy plywood. Rudy uses these work boards to turn the piece as he works on it and to carry it to another place in the studio when he is not working on it.

Rudy starts a pot by cutting a slab into a circular shape for use as a base. He makes the bottom of the vessel concave, to keep it from cracking. To do this, he lays the slab over a convex form, such as a dome-shaped piece of Styrofoam, which he places on the work board. Around the base, he adds narrower slabs, wetting and joining the ends, and standing them on edge in a cir­cle so that, Rudy says, “It looks like a dog bowl, a large dog bowl.”

Next, he scratches the edges of the slabs a little with an ordinary, stiff-bristled kitchen brush, a quick

and simple way to roughen the sur­faces. Rudy then puts the slabs together, edge to edge, joining them with his fingertips, knitting the clay together by applying pres­sure from both the inside and the outside. He works very rapidly, using his fingers to support the pieces both inside and out. He finds this a very versatile way to shape the form—sometimes the result is a cylindrical shape, sometimes coni­cal, and sometimes even a truncated cone. Rudy uses a thin construc­tion as he has found that the thin­ner he builds the pieces, the stronger they are during the build­ing stages. They dry more quickly and can sooner support the struc­tures that he puts on top.

Rudy continues to work around the vessel, adding levels until the piece looks about ready to collapse. He will then stop for a while, pos­

sibly starting another piece while the first one is setting up, or go to another area of the studio and start building parts that he calls “ears” or “attachments.” These attachments, which he also forms from slabs, are built in the form of an envelope open on one long side. These also must be allowed to dry somewhat before they are ready to be attached. By that time, the center section of his first cylinder will be dry. Then, usually with help, Rudy will lift the appendages and attach them to the cylinder.

After the “ears” are in place, the cylinder begins to assume its final shape. Two or three sides—some­times four—will emerge, depending

58 Pottery Making illustrated September/October 2OO2

on the number of attachments. With two or four of these, the piece will have a front and a back; with three, it becomes asymmetrical. After the attachments have set, Rudy begins to cut away the clay between them and the main cylinder—hollowing out those areas underneath, and smoothing the joint until the piece has a continuous, even-sided wall of uniform thickness. As it continues to dry, the body becomes tougher and is easier to work with. To finish the top, Rudy then adds more slabs, refin­ing the shape of the piece as he does so. A day or two after he starts the piece, Rudy removes the Styrofoam base; if he is careful, he can reuse it. He then cleans the bottom edge of the leather-hard base with a rib.

In his studio, Rudy may have two or three unfired pots in progress at the same time. Here he can add a level to one pot and go on to another while he sets aside the first to dry a little. By the time he has worked on a sec­ond or third piece, the first will be ready for his atten­tion again. When he gives a workshop, Rudy does not usually have the luxury of this wait­ing period, and he or a helper must use a propane torch or electric hair dryer to speed the drying process.Rudy Autio by Louana M. Lackey is published by The American Ceramic Society. For more informa­tion about this and other titles related to pottery and the ceramic arts, visit the Society's web site at www.ceramics.org.

September/October 2002 Pottery Making illustrated 59

Happiness

Toys and Toolsby Chris Campbell

The July/August issue of PMI was bursting with information on “where to buy” and “what to buy” and “how to buy” all of the para­phernalia of a modern potter’s stu­dio. Whether you’re setting up your first studio or adding to an existing one, it’s hard to resist the allure of new “stuff” All the suppliers will send you their shiny catalogs to tempt you even further. So, how to decide what you really need?

Obviously, you could make do with the basics. Some potters throw using only their hands, a wheel and a cut-off wire. They center with a tap and trim with a sharpened piece of iron. If they need a special tool, they make it themselves.

The rest of us choose to facilitate the pottery process with “tools” and “toys.” Tools, of course, being vital and toys optional. Even after you decide on the very basic needs for your studio, you still need some kind of guide to prioritize your choices.

Every situation is different, but try using my simple guide of “health, wealth and happiness.”

HealthAlmost every potter I’ve met

wants to be able to work with clay for a lifetime. This means taking care of your body. If a piece of equipment can eliminate painful repetitive stress it should get high priority on your wish list.

Clay mixers, pug mills and slab rollers are obvious candidates, but here are some others: A compressor with attachments simplifies spray­ing, dusting and chipping. A ware cart transports pots without heavy lifting. A good adjustable seat eases

your back, shoulders and legs whether throwing or handbuilding.

Don’t forget the safety equip­ment. You need a breathing mask if you mix your own glazes or sand your green ware. Kiln users may need welder’s glasses, a face shield, tongs and heat-proof gloves. Both you and your kiln will benefit from a good ventilation system and your eyes will appreciate good lighting.

WealthI equate time with money. Any

tools that save time and increase production will naturally boost income. If a thrower needs a wheel, then a hand builder needs a slab roller. Sure you can throw slabs, but if you use slabs six or seven hours every day, it gets a little old. The same goes for the extruder. While not as critical as some other acces­sories, it expedites a lot of tiresome, repetitive jobs. If you spend two days recycling your clay by hand, you’ve made the most expensive clay on earth. Clay mixers and pug mills speed up these jobs.

Because every step of the process figures into your final costs, small items count, too. A good sieve makes glaze mixing a breeze. A cen­tering device speeds the trimming job for low-volume producers. A banding wheel facilitates hand building and decorating.

Another “tool” that fits in here is education. Whether you are earning a degree, participating in a work­shop or studying reference books, you are increasing your knowledge and skills. Theoretically, this could increase your ability to produce higher-value wares.

Now we are wandering into the warm, fuzzy area of “toys.” I don’t know if potters are the worst group for loving toys, but we surely rank in the top 10. Mud people are always on the lookout for “stuff” and, when pressed, we can all justi­fy our choices with a solid rationale of necessity. Here are some “toys” I believe can save you time and money:

• Airbrushes: For glazes and underglazes

• Blender: Keep one in the studio for mixing glaze and slips.

• Brushes: A selection of mop, hake and camel-hair brushes.

• Glazes: Professionally formulat­ed glazes offer reliable results.

• Grinder: To buff glaze from pots, make ribs and shape tools.

• Pyrometer: If you raku fire, this tool eliminates guesswork.

• Rolling pins and pony rollers: Avoid those carved in one piece.

• Scales: One for weighing clay and a finer one for glaze ingre­dients.

• Sponges: Good natural sponges as well as synthetic.

• Stilts: A selection of stilts saves your pots from glaze disasters.

• Trimming tools: If you throw a great deal, upgrade these tools.

I can’t go any further into “toys” with you and keep up an image of “Business Common Sense.” I have too many impulse toys in my own studio waiting to betray any cau­tious words of wisdom I might offer. All I can say is, keep your July/August “Potters Guide” handy and have fun.

Chris Campbell is a full-time studio potter resid­ing in Raleigh, North Carolina. E-mail comments to her at CCPottery@aol.com

60 Pottery Making illustrated September/October 2OO2

Here are some tips concerning clays and glazes. I invite you to my web site to see results of tests I have made. You can leave me a message in the visitors book and I shall answer your questions or remarks.

Ababi SharonKibbutz Shoval, Israelhttp://members4.clubphoto.com/ababi306910

Coloring Clay BodiesI have been curious about tinting

clays since reading the Daniel Rhodes and Robin Hopper book, Clay and Glazes for the Potter. Following the explanations I tried adding several materials to tint the claybody, and I discovered several things. First, of the oxides I tested, black iron oxide worked the best. Although it is not as “delicate” and some of the glazes do not work well, other glazes turn out great.Mixing

While tinting clays is a lot easier with a clay mixer, here’s how you can get the same results by hand. First of all, to get consistent results, make sure the clay you blend is dried. To do this, cut prepared clay into thin slices so it can dry out quickly. (Note: I usually blend con­trasting bodies, e.g., a terra cotta body with a white or buff body. Because I live in Israel, I use SM 0.2 and R2502 Fuchs-Ton clays. Check with your local supplier for similar clays or to make a different selection.)

One claybody I made had 3 kg (by dry weight) of terra cotta and 10 kg white stoneware (both con­tained fine grog). I placed the clay into a bucket of water and blended it with a power mixer. I then added two sizes of granular manganese in varying amounts but usually 5 grams of the 24-40 mesh and 15 grams of the 60-80 mesh.

Clay and Glaze Tipsby Ababi Sharon

Drying ClayA good way to dry the clay slur­

ry is in plaster baths, but since I have been using paperclay lately, I have made two paperclay bats that are lightweight. I put a cloth inside to keep the slurry from touching the bat, then allow it to dry until it is soft.Paperclay

I have begun to mix paperclay out of my blended bodies. Paperclay is very forgiving, and you can make the parts one day and connect them the next even if they are bone dry, and fires in the same range as regu­lar clay. Lately I have been burnish­ing the greenware with good results. A good tinted clay I’ve had success with as a paperclay is Laguna’s Calico (first dried) plus 5% black iron oxide and 0.2% granular manganese. To find out more about paperclay, visit Rosette Gault’s web site at www.paperclayart.com/ and Graham Hay’s site w ww.gr a- hamhay.com.au/.Layering Glazes

I use two glazes that I layer one on top of the other. One has the rich effect of a high alumina gloss glaze with three colorant oxides and I layer it on top of a low alumina gloss glaze. This is a winning combination for me. I developed two versions using different feldspars for the first glaze as follows.

KOREN 27 Version 1Cone 6

Silica.........................................29Calcium carbonate ............ 12Kaolin (EPK).............................14Zinc oxide................................. 10Custer feldspar......................... 13Strontium carbonate...................7Frit 3110 .................................. 15

100

KOREN 27 Version 2Cone 6

Silica.............................................31.5Calcium carbonate....................... 12.0Kaolin (EPK)................................ 13.5Zinc oxide.....................................10.0Nepheline syenite........................ 10.0Strontium carbonate.......................7.0Frit 3110.......................................16.0

100.0On top of the Koren 27 I apply a second layer by brush or spraying. The heavier the applica­tion, the better the results, although on flat parts of bowls or plates the glaze crawls if it is too thick. With high relief decorations, the glaze breaks nicely. The glaze that I use for the second layer is a variation of one that I found in PMI.

SPECKLES 3134Cone 6

Ferro frit 3134 ...........................27.6Cryolite ....................................... 7.4Bali clay..................................... 26.7Magnesium carbonate light....1.0Silica.......................................... 37.2

99.9

Add: Titanium dioxide..................5.0Red Iron oxide.................. 1.5Cobalt oxide......................3.0

I use this glze for a second layer. I tried differ­ent colorings but did not like them. If you try other colorants, leave the red iron oxide and the titanium dioxide.

A Recent Glaze SuccessLately I have been trying to

develop durable glazes. Here is an example “hot” from the kiln, that looks good on a buff white clay­body but best on cone 6 porcelain.

STRONTIUM 4B TURQUOISE

Cone 6Kaolin .......................................30.5Strontium carbonate................. 15.7Wollastonite....................... 18.1Cryolite .....................................10.5Tin oxide..................................... 5.0Copper oxide.............................. 3.0

The cryolite mottles the glaze. After mixing the glaze, do not sieve! The beauty comes from the big particles of tin and copper as well as the strontium carbonate.

September/October 2002 Pottery Making illustrated 61

Whether you’re involved in a formal program of study or working on your own, if you’re seriously interested in pottery you’ll find it helpful to have at least one basic textbook for ref­erence. The following books are of two types: two cover only clay and glaze formulation and chemistry, and are meant to help the student understand the nature of these materials; the other two cover how to use clay and glazes in addition to the more technical information. Any of these books might be used either as textbooks in a college-level ceramics class, or to aug­ment a course of independent study. Which book you choose will depend on how deeply you wish to delve into under­standing the nature of the material you are learning about.

Ceramics: A Potter’s Handbook,Nelson, Glenn C.,revised by Richard Burkett(Thomson Learning, USA 2002)

This is the quintessential college text­book, covering every aspect of creating pottery and ceramics in 400+ pages. The first version, published in 1960, was one of the earliest pottery how-to books.

This edition is almost unrecognizable next to an early version. It is still largely illustrated with black and white process pho­tos, but they are all new and very clear and helpful.

After a short chapter describing and defining clay types, the book begins with a lengthy review of ceramic history up to the present. It then covers clay formulation, preparation and han­dling before launching into chapters on hand-building and throwing techniques, surface and glazing, glaze formulation and calculation, and kilns and firing.

The text is precise and informative, with highly visible “safe­ty cautions” in bold type sprinkled throughout. If there is a downside to this comprehensive tome, it is that it is a trifle dry, containing more information than many students need or want. It is hard to imagine opening it to random pages and being struck with inspiration. But as a reference work it will prove valuable, and will be a source to turn to when those inspirational books aren’t informative enough.

Clay: A Studio HandbookPitelka, Vince(The American Ceramic Society, Westerville, OH, 2001)

This is the most comprehensive text; Pitelka covers everything from what clay is to how to pack and ship pottery. This book is intended to guide the novice potter through every stage of the learn­ing curve, beginning with preparing clay

and finishing with setting up your own studio. In between, Pitelka covers handbuilding and throwing; slip-casting and mold-making; surface decoration and glazing; kilns and firing; safety practices; making tools; buying, building and repairing kilns, and much more.

Obviously, to cover all this material in a book roughly the same size as Nelson’s, something had to be left out. Compared to Nelson, Pitelka skimps on preparing clay and formulating glazes, in favor of using clay and applying glazes - for instance,

at least three different ways of making a lid for a slab box are described, but there isn’t even one sample glaze formula.

Pitelka also omits any discussion of ceramic art history and doesn’t include any color pictures of contemporary pottery - in fact, there are no color pictures at all, no photos of finished work, and relatively few process photos. For the serious stu­dent who has a good idea of what he wants to do with clay, or a good instructor, these omissions won’t reduce the value of the book. While there are many books full of pictures, Pitelka’s book fills a serious void by including in one volume an intro­duction to every aspect of being a potter.

Clay and Glazes for the Potter, 3rd EditionRhodes, Daniel, revised and expand­ed by Robin Hopper(Krause Publications, lola, Wl 2000)

This was the first textbook available for serious pottery study, and it has remained a benchmark for 45 years. It explains in depth what clay is and what makes a clay body suitable for various applications;

and what a glaze is, how to understand and formulate glaze recipes, and the characteristics and function of all the basic glaze materials. Though there are now several very good books dealing with glaze formulation which are easier to use and understand, it is still appropriate for anybody seriously involved with pottery to have some grasp of the basic theory and mathematics of glaze calculation. This book does not con­tain any information about how to form clay, presuming that to be the job of the classroom instructor.

As revised by Robin Hopper, this edition retains Rhodes’ text intact, though it is somewhat reorganized - for instance, information on engobes, slips and terra sigillatas is gathered into the clay chapter rather than scattered through the glaze chapter. Information on new technology including paper clay and computer glaze calculation software is added, as well as safety information - for instance, a health warning about Rhodes’ pioneering technique of mixing fiberglass into clay. Sample glazes in the appendices have been revised to avoid unavailable or toxic materials (such as Gerstley Borate or lead) . The biggest change is in the illustrations - the book now includes six sections of color plates featuring Daniel Rhodes’ work, historical work, contemporary work, and low-fire, mid­fire and high-fire work. As revised this is possibly the best ref­erence work for in-depth information about the basic materi­als we all work with.

62 Pottery Making illustrated September/October 2OO2

Clays and Glazes in Studio CeramicsScott, David(Crowood Press, Ramsbury, Marlborough Wiltshire, England 1998)

Scott covers the same ground as Rhodes,but his book is less formal, more readable,and more profusely illustrated. On the otherhand, it is also less exhaustive. It contains allthe information most potters need about

clay and glaze composition and formulation, but for unansweredquestions, you would probably turn to Rhodes.

Scott begins with the types and structure of clay, then moves on to clay bodies, ingredients, and formulation. Raku clay and paperclay are included, and sample recipes are given for each type of clay body. Slips and engobes are included in the clay chapter, and some analysis of the firing process. The bulk of the book is devoted to glaze chemistry and formulation. Scott begins with the major glaze oxides, then discusses raw materi­als. Then comes a quick overview of glaze chemistry and cal­culation. Two sections, Sources of Colour in Glazes and Glaze Types, helpfully illustrate each major coloring oxide and type of glaze with sample glaze recipes and photos. The basic meth­ods of glaze development and testing, glaze application, firing, and glaze defects finish out the book.

One major problem with this book is the British author’s lax attitude towards materials which American potters often avoid as toxic. Sample recipes include large amounts of lead, barium, and manganese oxides, without any warning about toxicity either to potter or patron. There is plenty of good information in this book - but ask your instructor or check another text before trying the recipes.September/October 2OO2 Pottery Making illustrated 63

64 Pottery Making ILLUSTRATED September/October 2002