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A Free Ceramic Arts Da i ly Download

Ceramic ArtsA STUDIO REFERENCE ON pURChASINg AND US INg CERAmIC SUppl IES AND pOTTERy TOOlS

StuDio ReFeRence

Kiln Reference

Buying a Wheel

Glaze Mechanics

Materials Glossary

...and more!

WheRe to FinD

Manufacturers

Suppliers

Pottery Wheels

Slab Rollers

extruders

Videos

Bisque

Glazes

Books

clays

tools

Kilns

tile

b u y e r s g u i d e t o

1 www.ceramicartsdaily.org | Copyright © 2011, Ceramic Publications Company | 2011 Buyers Guide to Ceramic Arts

3 In the Bucketby Richard A. Eppler with Mimi ObstlerIf you’re looking for consistent glazes, here is a place to start. Two experts discuss rheology, viscosity, thixotropy, specific gravity, deflocculants and more.

9 The Many Layers of Kiln Washby John BrittDiscover the basics and more about kiln wash including 10 recipes.

14 How Big Is That Kiln?by David GambleTrying to figure out what size kiln you need? Here are images of loaded kilns to help you.

15 Heatworkby Dave FinkelnburgHeatwork is what makes cones fall, glazes melt and clay bodies vitrify.

16 Cracks in the Kilnby Robert BatteyCracks in the kiln are normal but here’s what to look for to see if they need repair.

18 Microwave Kilnsby Jessica KnappCan you really fire in your microwave? YES!

20 How Much Clay?by Robin HopperPlanning your clay supply can be a challenge so here’s a handy chart to help.

22 Wheels: The What and Why Before You Buyby Steven Branfman and Jonathan KaplanWhen buying a wheel, assess your needs first then assess the wheels.

24 Making a Clay Rulerby Paul Andrew WandlessClay shrinks but a clay ruler helps you make pots the right size.

26 Glossary of Common Ceramic Raw Materialsby Vince PitelkaAll the terms you need so you’re in the know when you order supplies.

27 Primary Function of Common Ceramic Raw MaterialsOut of something? You may be able to substitute something else.

28 Feldspar: The Potter’s Pet Rockby Mimi ObstlerAnd so many breeds — potash, soda, nephsy, cornwall.

30 From Clay Body to Casting Slipby Paul Andrew WandlessYour clay body makes a great casting slip.

32 Geographic and Product LocatorFind suppliers by state and city.

39 Company DirectoryComplete contact info and links for 288 suppliers.

table of contents

11

A supplement to Ceramics Month ly and Pottery Mak ing I l lus t rated

Ceramic ArtsA S T U D I O R E F E R E N C E

STUDIO REFERENCE

Technical Information

Buying Information

Glaze Recipes

Working with Texture

Materials Glossary

...and more!

WHERE TO FIND

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

Extruders

Clays

Glazes

Tools

Tile

Bisque

Books

Videos

B U Y E R S G U I D E T O

On the Cover: Mol-ly Hatch working

in her studio while she was a resident

at the John Michael Kohler Arts Center.

Photo Credit: Jeff Machtig. Courtesy

of the John Michael Kohler Arts Center.


2011 Buyers Guide to Ceramic ArtsA Studio Reference on Purchasing and Using Ce-

ramic Supplies and Pottery Tools.

PublisherCharles Spahr

EditorsBill Jones, Pottery Making IllustratedSherman Hall, Ceramics Monthly

Associate EditorJessica Knapp

Assistant EditorHolly Goring

Editoral AssistantErin Pfeifer

Graphic Design/ ProductionCyndy Griffith

MarketingSteve Hecker

Ceramic Arts DailyManaging Editor Jennifer Poellot HarnettyWebmaster Scott Freshour

AdvertisingAdvertising Manager Mona ThielAdvertising Services Jan [email protected]: 614-794-5834Fax:614-891-8960

Editorial and Advertising offices600 N. Cleveland Ave., Suite 210Westerville, Ohio 43082 USA

2011 Buyers Guide to Ceramic Arts is published by The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, Ohio 43082.

Opinions expressed are those of the contributors and do not necessarily represent those of the editors or The American Ce-ramic Society.

Photocopies: Permission to photocopy for personal or inter-nal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, 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 photo-copying 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 re-publishing items in whole or in part in any work and in any format. Please direct republication or special copying permis-sion requests to the Ceramic Arts Publisher, The American Ce-ramic Society, 600 N. Cleveland Ave., Suite 210, Westerville, OH 43082.

Copyright © 2011 The American Ceramic Society.All rights reserved.

Welcome

Bill JonesEditorPottery Making Illustrated

Sherman HallEditorCeramics Monthly

CeramicArtsDaily.org

monthly

Welcome to the 2011 Buyers Guide to Ceramic Arts, a valuable resource you’ll use throughout the coming year. This com-prehensive studio reference contains information published in Ceramics Monthly and Pottery Making Illustrated as well

as some of the premier books on ceramic art published by The American Ceramic Society.

Technical ResourceIn this guide, you’ll find helpful technical information on glaze additives, kiln wash, heatwork, feldspars, and descriptions of common glaze materials and their substitutes.

Useful TipsWhen it comes to working in the studio, it’s the little tidbits of information that often make some of the ordinary tasks more enjoyable. We’ve provided some good advice in this guide with information on fixing cracks in your kiln and even how to estimate how much your kiln will hold. Robin Hopper gives you a rough estimate of how much clay it takes to make any one of a few dozen common items. And Paul Wandless demonstrates how to make a clay ruler so you’ll know just how much your clay shrinks.

Comprehensive DirectoryOur Company Directory is the only complete listing of resources for the stu-dio ceramic artist. This comprehensive directory provides complete contact information and descriptions of more than 288 companies and organizations involved in some way with meeting your studio needs. From the Geographic Locator, which lists companies by state and city, you may discover new re-sources near your own home. Or perhaps you’ll locate one or more nearby suppliers where you can get cost estimates for your next major purchase. Whether you’re looking for kilns, studio equipment, pug mills, slab rollers, glazes, clays, modeling tools or extruders, this directory of ceramic suppliers is a handy guide.

Enjoy!


In the bucket: the key to consIstent glazesby rIchard a. eppler WIth mImI obstler

After chemical formulation of a glaze, the three most important factors for success are appli-cation, application, and application. The flow characteristics (how it sprays, brushes, dips,

etc.) are what govern application, but the flow of mate-rial cannot be understood through a simple measurement of viscosity, because there are far too many variables at work. This excerpt is meant to be an overview of those variables that are most important in studio ceramics.

It is rare for any slip or glaze—that is any mixture of ground frit and raw materials suspended in water—to be usable as is, particularly with any degree of reproducibil-ity. The rheological properties (viscosity, thixotropy, etc.) of the mixture are influenced by the particle sizes and shapes of the various components, and these flow prop-erties can change with time.

Control is needed over the thickness of coating and evenness of application of a glaze. Hence, additions of

rheology modifiers are required to control sedimenta-tion (settling out over time), improve wetting properties on and bonding to the ware body, control drying time, prevent drying cracks, and improve green strength. Com-mand of these properties provides the means to control the application process and, therefore, final results.

Most additives often influence more than one of the rheological properties. These properties are also some-what dependent on details of the water and other raw materials, the person, the processing equipment (mixers, mills, spray guns, etc.), and the methods used in prepara-tion and application. Thus, several trials are usually re-quired to find a suitable combination of additives for a given glaze and application procedure at a particular loca-tion. However, once you have a suitable combination of additives that works for you, that combination of addi-tives will be usable in almost all the glazes you prepare, apply, and fire by the same procedure.


Defining the TermsRheology: The science of how a liquid responds to force. For our purposes this typically means whether a glaze sticks on a surface, drips off or runs off in sheets, and whether it smooths out or shows brush strokes. Flocculants and deflocculants modify glaze rheology.

Specific Surface Area: The sum of the surface areas of all the particles in a given weight of a powder, typically given in square meters per gram. Smaller particles have more surface area per unit weight than larger particles.

Viscosity: A material’s resistance to flow. The thickness of a liquid due to internal friction.

Thixotropy: The property of a material that enables it to thicken to a gel in a relatively short time upon standing, but upon agitation or manipulation to become softer or more fluid. Many high-solid glazes exhibit thixotropy. Generally considered detrimental, but can assist in application, permitting the glaze to flow over the ware and smooth out, then quickly set up and remain in place during drying.

Specific Gravity: Ceramic slurries contain solid particles suspended in fluid. The density of a slurry (concentration of solid particles) is often expressed in terms of specific gravity, which is a comparison between the density of water and the density of the slurry. To determine specific gravity, weigh a given volume of water (be sure to subtract the weight of the vessel) in grams. Then weigh the same volume of slurry. Divide the slurry weight by the water weight to get specific gravity. For the majority of ceramic slurries, the number will be between 1 and 2 (1 represents the density of water, and 2 would be twice the density of water).

Set: The ability of a suspension to adhere to a vertical surface and not run off.

Binder: Natural gum or synthetic polymer added to glaze mixtures to increase the durability of the raw, dry glaze coating in order to protect it during the production process.

Deflocculant: An electrolyte added to a slurry of water and clay or glaze solids to establish equal dispersion of the particles in the mixture, resulting in a lower amount of water needed to suspend the same amount of solids.

Flocculant: Compound added to a slurry of water and clay or glaze solids to encourage formation of loosely bonded aggregates of particles (called flocs). Often used to counteract inadvertent deflocculation caused by soluble materials in a mixture. This is important in controlling application thickness and consistency.

ViscosityThe property of most immediate concern is the viscosity (resistance to flow) of the slip. The viscosity of simple liquids, such as water, used in making ceramic slips is said to be Newtonian. If we push a fluid down a pipe or a channel, a stress develops between the moving fluid and the stationary container through which it is flowing. When we say that a liquid is Newtonian, we mean that the stress is proportional to how fast the fluid is moving. The constant of proportionality is the viscosity. Thus, viscos-ity indicates the resistance to flow due to friction between the molecules of the fluid and its stationary container.

Viscosity measurement of ceramic slips can be per-formed several ways. The most widely used instrument in industry for ceramic suspensions is the variable-speed rotating cylinder viscometer. However, an indication of viscosity can be obtained from a simple flow test. Apply a level teaspoon of glaze slip to a non-absorbing substrate (e.g., a glass panel). For comparative purposes the appli-cations should be arranged in a row along one side of the panel. The glass panel is then raised to an incline of 45 degrees. Once the glaze flows have stopped moving, the lengths of flow are measured. The greater the length, the lower the viscosity.

Initially, at low concentration of solid particles, the ef-fect of adding solid particles to a liquid is merely to gradu-ally increase the viscosity, as the liquid media has to flow around the solid particles. At a concentration of solids above 5–10 percent by volume, the solid particles begin to interfere with each other. They become entangled in each other as the flow rate (stirring) is increased. Thus, the viscosity increases as the flow rate increases. This is called dilatant flow, and it basically means that the faster you stir, the more viscous a fluid becomes. Dilatant flow is characteristic of large particles. Either polymer additives or agglomerates of ceramic particles, especially clays, can produce dilatant flow. This is an additional reason (beyond avoiding crawling defects) for limiting clay additions to the amount needed for suspension of the solid particles, as dilatant flow is often undesirable in a glaze.

Binders Though some glaze compositions high in clay content can be easily handled in the green state, most can easily be damaged in preparing the ware for firing. The binder acts as a temporary cement that holds the glaze particles on the surface until firing. The binder must be strong enough to permit handling of the ware in the dried-but-not-fired state, but soft and pliable enough to accommo-date the drying shrinkage without cracking off the ware. Thus, lower-viscosity grades are preferred for glaze hard-


Surface AreaThe most important factor in glaze suspension is the amount of surface area of the glaze solids. Frit, silica, feldspar, and whiting are relatively coarse glaze ingredients, on the order of 45 microns (45 millionths of a meter) in diameter. These coarse materials have about one square meter of surface area per gram of material. Kaolins and ball clays, in contrast, are much smaller and finer, roughly 1 to 10 microns in diameter, with a surface area of 15 to 30 square meters per gram. They also tend to be plate-shaped, which gives them a lot of surface area for their weight. Bentonite and Veegum® are less than one micron in diameter, and may have 30 to 100 square meters of surface area per gram of material. Just like dust in air, fine clay particles tend to settle extremely slowly in water if they ever settle at all. While chemically inert, these powerful glaze suspenders prevent coarser glaze materials from settling out. A good starting point for testing glaze recipes is to use a minimum of 10% kaolin or ball clay or 1% bentonite. Use care in dispersing and hydrating fine clays to prevent them from clumping. Don’t use too much clay; it can make a glaze suspend well, but dry too slowly.

A flocculated glaze will settle out in a layer of particles that is less dense than a deflocculated glaze, making it easier to remix. It will also result in a glaze layer on ware that is less dense, possibly requiring multiple applications in order to achieve the desired results.

ening. It is almost never possible to use the same grade of binder for glazes as is used for binding a ceramic body, where the high-viscosity grades are more effective.

The amount of binder added can range up to 3 percent, but 0.5 percent is typical. Excessive amounts make the coating brittle and introduce shrinkage upon firing. There-fore, one should add the least amount of binder that will permit handling without difficulty. The ideal binder burns away freely below 400°C (752°F) without ash, and doesn’t cause shrinkage or disruption of the coating.

Both natural gums and synthetic polymers (plastics) are used as binders, sometimes mixed, but the most commonly used binders are cellulose ethers (water-sol-uble derivatives of cellulose; carboxymethyl cellulose—trade name CMC). They are chosen as coating hardeners because their properties are more consistent than natu-ral gums and starches. In a glaze of stable flocculation (i.e., a stable arrangement of the suspended particles in the slip), there is an improvement in the stability of the viscosity. Hence, coatings of consistent and controllable thickness can be applied by various techniques. Drying shrinkage is also predictable.

The physical properties of the binder are affected by temperature, pH, and the presence of electrolytes and preservatives. Vigorous stirring permits solution of the binder in cold water. Usually a 10 percent solution is made up, from which additions up to 1 percent are made to the coating slip, or to the water being used to make the slip. Mechanical stress and heat can degrade the binders, but small quantities (up to 5–10 gallons of slip) can be milled or mixed without damaging the binders.


glaze additivesADDiTiVeS ThAT WOrK ON The phySiCAl prOperTieS OF The GlAze SlUrry

Material Function % UsedKaolin Suspender. Increases bisque strength. 0–10.00Ball Clay Strong suspender. Increases bisque strength. 0–10.00Bentonite, Hectorite Strong suspender. Five times stronger than other clays. Causes thixotropy. 0–2.00Colloidal Silica Aids suspension. Improves gloss and acid resistance. 0–2.00

ADDiTiVeS ThAT WOrK ON The SUrFACe CheMiSTry OF The GlAze SlUrry pArTiCleS

Material Function % UsedWater-Soluble Cellulose (Cellulose Ether) Binder. Hardens bisque bodies. Reduces handling damage. 0–1.00Gum Tragacanth Binder. Hardens bisque bodies. Reduces handling damage. 0–0.25Polyvinyl Alcohols Strong binder. Greatly hardens bisque bodies. Prevents handling damage. 0–0.25Tetrasodium Pyrophosphate Strong deflocculant. Rapidly decreases set. Use with care. 0–0.25Sodium Tripolyphosphate Deflocculant. Decreases set. 0–0.25Sodium Metaphosphate Deflocculant. Decreases set. 0–0.25Sodium Nitrite Widely used deflocculant. Increases set. 0–0.50Borax Slurry stabilizer. Increases set. 0–0.50Sodium Aluminate Strongly increases set. 0–0.50Ammonium Hydroxide Weak deflocculant. For alkali-free systems. 0–1.00Sodium or Potassium Carbonate Increases set. Aids other deflocculants. 0–0.50Sodium Silicate (N brand) Strong deflocculant. Often used with sodium carbonate. Also has binding characteristics. 0–0.20Potassium Chloride Increases set. Brightens whites. Difficult to avoid defects. 0–0.50Urea Reduces tearing. Add just before use. 0–0.25Calcium Chloride Long-time flocculant. 0–0.25Magnesium Sulfate (Epsom Salts) Long-time flocculant. 0–0.25Calcium Sulfate Longest-time flocculant. 0–0.25Alum Short-time flocculant. 0–0.25Ammonium Chloride Short-time flocculant. Suitable for alkali-free systems. 0–0.25

There are side effects to using binders that cannot be ignored. CMC, although a preferred binder, also acts as a deflocculant in most glazes (deflocculants are discussed on page 7). Because they are organic, cellulose solutions, if kept more than a couple days, glazes containing or-ganic binders require protection against biological and mold attack.

Natural gums are carbohydrate polymers of high mo-lecular weight. Gum tragacanth is a natural hydrophilic (water loving) gum found on a bush in much of Asia. It is only partially soluble in water, where it swells to form first a gel (a viscous jelly-like product), and then a sol (a liquid colloidal dispersion). These sols have low surface tension and are useful as coating stabilizers.

Starch has wide application in industry as a thickener, extender (i.e., a filler), and adhesive. However, the large amount of ash remaining after firing is a major limitation to its use in ceramics.

There is a range of polyvinyl alcohol compounds (PVA) that are efficient binders. Low-molecular-weight versions disperse more readily and are necessary for glaze applications. Additions of up to 1 percent to the glaze produce tough, coherent layers. Wetting agents (soaps) improve the use of polyvinyl alcohol. Other possibilities include alginates (seaweed), water-soluble acrylics, and resin emulsions (a stable mixture of resins).

DeflocculantsIn a glaze mixture, the solid particles can either be in-dividually dispersed or agglomerated into flocs (loosely bonded aggregates of particles). Stokes Law shows that heavier particles, or agglomerates, settle out much faster than small particles. Therefore, control of the dispersion of the particles in a mixture is critical.

This control is achieved by adding materials that are called deflocculating electrolytes, or deflocculants. Their


Deflocculants and Glaze FluidityThe image at the upper left shows a glaze batch with just enough water to bind it together. in this case, it is 35% water by weight. This result is a very soft ball that will gradually slump when placed on a flat surface. The addition of several drops of deflocculant (sodium silicate) made it possible for the mixture to become fluid to the point that the surface of the mixture became flat immediately after stirring. The amount of deflocculant and water necessary will vary by recipe, and will depend largely on the specific materials used in the glaze batch.

Water was then added to a second batch of the same glaze, at 5% increments (by weight). The glaze was thoroughly mixed with each addition, until the same level of fluidity was reached in the bucket. For this recipe, 60% water by weight was necessary to achieve a flat surface in the bucket immediately after mixing.

This does not mean, however, that the batches are the same—far from it. Because the deflocculated glaze has far less water, it can coat a vitreous surface with a thick layer of glaze, while the non-deflocculated glaze will only build up a thin coat and will not stay put. in addition to requiring far less water to create a slurry, sodium silicate acts as a binder and improves the ability of the glaze to adhere to itself.

Most of the time, we are not glazing vitreous surfaces in studio practice, so what would be the point of deflocculating a glaze? The answer is application, especially if you are looking for a thicker layer of glaze. increasing the fluidity of a glaze while decreasing the water content allows a thicker coating of solids to be deposited on the ware surface (whether vitreous or bisque). While a glaze slurry can be mixed thicker using less water than is typical (like the one with 50% water by weight on the left) in order to adhere to a vitreous surface or produce a thicker layer, it will still contain considerably more water than the deflocculated glaze and is therefore more likely to shrink and crack off the surface or cause crawling problems.

Some glaze recipes will deflocculate over time as the batch sits in the bucket, because of soluble alkalis in the recipe. This can cause the glaze to settle to a hard cement-like layer on the bottom of the bucket (see illustration on page 45). it can also result in the glaze particles not remaining in suspension and an application that is too thin to be practical, which will cause a glaze to look like the one on the left even when applied to bisque. you will want to counteract this with a flocculant (see the chart on page 6). So even if you are not deflocculating a glaze on purpose, being aware of why it happens and what it looks like will help you correct it.

35% water

50% water

60% water

35% water plus deflocculant


action in the suspension may be compared to magnets, having a north and south pole, or a positive and negative charge. For example, when dissolved in water, sodium ni-trite has a positive charge on the sodium and a negative charge on the nitrite. Clay in suspension carries a nega-tive charge. As a result, the positively charged sodium will adhere to the clay particle surface. This charged clay, with sodium ion, will in turn attract water, forming a three-part sphere known as a clay micelle. Instead of a small clay particle moving about freely in water, there is now a much more bulky shape of lower density, which cannot move with the same freedom as the original clay particle. Hence, the slurry becomes able to suspend larger quanti-ties of the heavier frit and other solid particles.

Though all deflocculants work the same way, they vary in effectiveness and in the balance between improving suspension of the solids in the liquid and altering viscos-ity (resistance to flow), or set (the ability of a suspension to adhere to a vertical surface, and not run off). Thus, some of the milder agents may increase set, whereas the overall effect of some strong agents is to produce a free-flowing suspension of lower viscosity.

The amount of deflocculant needed depends upon the viscosity of the slip needed for the application pro-cess you have chosen (dipping, spraying, brushing), plus the desire to maximize the amount of solids applied to the ware. The higher the density of application, the less the amount of water to be removed in drying, and the less the glaze will shrink upon firing. See the example on page 7.

FlocculantsFlocculants are less often used in industry, but are widely used in the studio. The figure on page 5 shows that flocs (loosely bonded aggregates of particles) settle to less dense coatings. Hence, flocculants can be used to con-trol coating density. Second, and more important, ions (charged particles) can be leached from most glaze ma-terials, given sufficient time. These ions tend to be the alkalis (soda and potash) that thin the slip to a viscos-ity below that needed for application. This often occurs during storage. Flocculants can counteract this trend and restore a glaze to the viscosity needed for the application process. Flocculants are generally very powerful, so they are used in very small quantities, from 0.005 to 0.1 per-cent. For specific types and amounts, refer to the chart on page 6.

Suspension AgentsIf a glaze is to be applied from an aqueous slip, its for-mulation must include an amount of colloidal material (material with plate-like shape, and particle size less than 1 micron) that provides the means to suspend the other heavier-than-water components in the slip. The most common suspending agent is clay. Clays come in three general classes: kaolins, ball clays, and montmorillonites.

Kaolins are white burning and are comparatively pure kaolinite. They are moderately powerful suspending agents. They find use primarily in white and light-col-ored coatings, where the impurities in ball clays cannot be tolerated.

Ball clays are less pure, often containing substantial free silica and/or micas in addition to kaolinite. Many contain substantial concentrations of iron oxide and ti-tania, and are thus darker burning. Therefore, they can alter the color and color purity of the glaze. Since 70–80 percent of their total particles are less than 1 micron, they are more powerful suspending agents than kaolins.

Clay additions (either kaolin or ball clay, or some com-bination) up to 12 percent by weight are often used. If no other suspending agents are used, at least 3 percent by weight of clay is required. However, excessive clay addi-tions are to be avoided! Too much clay will cause excessive glaze shrinkage on drying, leading to crawling defects.

Bentonite and hectorite are the names given to a class of montmorillonite clays that have higher-than-normal water content and very fine particle size. They are somewhat dif-ficult to disperse in water, but once dispersed they collect a very high water concentration around the particles, form-ing strong gels that are up to five times more effective in suspension power than normal clay. As a result, they are ef-fective at concentrations of 0.5 to 2.0 percent, well below the 10 percent or more used with more conventional clays. Bentonite is particularly useful with a fully fritted glaze, which can be formulated in many cases with 99 percent frit and 1 percent bentonite. Unlike organic agents, bentonite does not degrade due to bacterial action. Combinations of 0.5 to 1.0 percent bentonite with 3–7 percent kaolinite or ball clay are also possible.

Most of the materials previously discussed as binders also have some suspending power and can be considered as suspending agents as well. Similarly, the various clays have some binding capability, particularly when present in large quantity.

An additional complication to flow behavior is time dependence. Some materials, catsup for example, require force to get moving, but little or no force to keep moving. If the flow rate in such materials is reversed, the material does not immediately require force to continue moving. It continues to flow for a while with little or no external force. This time dependence is called thixotropy. It’s a fascinating phenomenon—but it’s a different article.

This article was excerpted from Understanding Glazes, by Richard A. Eppler with Mimi Obstler, published by the American Ce-ramic Society. For further information and other resources, go to http://ceramics.org/acers-bookstore/whitewares-glazes/.


Some people might think that kiln wash is the place where you take your car kiln to get it cleaned. Well, that may be a good idea for a lot of kilns I have seen, but kiln wash is really a necessary

and valuable tool for potters. It protects kiln shelves from glaze runs, drips and other accidents that occur in red hot kilns, like pots that tip over, bloating or melting clay bod-ies, etc. It is also used to protect shelves from volatiles in atmospheric kilns like wood ash or sodium oxide in salt and soda kilns.

Most potters don’t give it a second thought and grab any recipe or just use anything that is in the bucket labeled “kiln wash.” However, in order to make a good kiln wash you need to select materials that have very high melting

points and that, when combined, do not create eutectics that cause melting. Knowing a bit about the properties of materials and the principles of kiln wash allows you to choose the ingredients that make the best kiln wash for your specific situation and avoid costly problems.

Kiln wash is used in the full range of ceramics firing from cone 022 to cone 14 and every where in between. The type of kiln wash needed varies for each specific situation because some potters work in electric kilns at low-fire temperatures, while others work with fuel-fired kilns at very high temperatures.

Understanding the structure of a glaze is helpful when selecting or creating kiln wash recipes so you can under-stand how not to create a glaze on your kiln shelf. Very

Left and below: Don’t you hate this? This kiln wash chip melted into the glaze could have been prevented.

The many layers of kiln washby john briTT


simply, a glaze is composed of a glass-former (silica), a flux (sodium, potassium, lithium, calcium, barium, mag-nesium, zinc, boron or lead oxide) and a refractory (alu-mina, usually sourced from clay/kaolin). Historically, what potters did was to leave out the flux in their glaze recipe to make their kiln wash. That meant that only silica and alumina (kaolin/clay) were used as the kiln wash.

One of the first kiln wash recipes I used was:

BASIC KILN WASH EPK Kaolin . . . . . . . . . . . . . . . . . . . . . . 50 % Silica . . . . . . . . . . . . . . . . . . . . . . . . . . 50 %

This means you use 50 grams of silica and 50 grams of kaolin. In everyday practice, potters rushing to load a kiln, often just use a scoop of kaolin and a scoop of sil-ica. This is not technically accurate because silica weighs more than kaolin, but it is close enough to work.

Silicon dioxide has a melting point of 3100°F (1710°C) and alumina (aluminum oxide) has a melting point of 3722°F (2050°C). Since potters fire to temperatures be-tween 1100°F (593°C) and 2400°F (1315°C) a mixture of these two materials will not melt, will not form a eutectic, and will protect the kiln shelves. (The source of alumina in kiln wash is often kaolin, but it can also be alumina hydrate or alumina oxide. The source of silicon dioxide is usually 200 mesh silica.)

This is a good kiln wash for low and midrange electric firings. The only problem is that it contains silica, which is a glass-former. So, if a lot of glaze drips onto the shelf, it can melt the silica in the kiln wash and form a glaze on the shelf. Also, when you scrape your shelves to clean them, you create a lot of silica dust, which is a known carcinogen. So using silica in your kiln wash is not always the best choice.

Another drawback of this recipe is that, if it is used in salt or soda firings, it will most certainly create a glaze on the shelf. This is because silica, as noted above, is a glass-former. When sodium oxide, which is a strong flux, is introduced atmospherically, it can easily melt the silica in the kiln wash into a glass. This is why silica should not be used in a kiln wash recipe for wood, salt or soda kilns.

For these types of firings this kiln wash is better:

BASIC SALT KILN WASH Alumina Hydrate . . . . . . . . . . . . . . . . . 50 % EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 50 %

Kaolin has a melting point of 3218°F (1770°C) and alumina, which has an even higher melting point, will not melt, even in a cone 10–13 firing. These ingredients are called refractory because they are resistant to high tem-peratures. The refractory industry, which includes bricks, kiln shelves, posts, etc., relies heavily on these materials.

This kiln wash recipe can be used at all temperatures and in all kiln atmospheres. It can also be used as a wad-ding recipe to set the pieces on in wood, salt and soda kilns. Just mix it up thicker than the kiln wash—like bread dough—and roll it into wads. The recipe can also be adjusted to 60% kaolin and 40% alumina hydrate, which produces similar results but costs less. Since alu-mina hydrate costs about $1.44 a pound and EPK kaolin costs $0.32 a pound, tilting the recipe toward EPK ka-olin quickly reduces the price. Another high-temperature wadding recipe that is cheaper is:

SHANe’S Wood FIrINg WAddINg Alumina Hydrate . . . . . . . . . . . . . . . . . 5 Fireclay . . . . . . . . . . . . . . . . . . . . . . . 16 Sand . . . . . . . . . . . . . . . . . . . . . . . . . 16 Sawdust to taste (Parts can be measured by scoops, or cups, etc .)

Calcining kaolin in bisque bowl made from raku clay.

This wadding is easily removed from the bottoms of pots because the sawdust burns out and the wad becomes very fragile and smashes easily with pliers or small ham-mer. Once you understand the principle of kiln wash you


can easily substitute other refractories like zirconium ox-ide (or Zirconia, ZrO2), zircon (ZrSiO4 a.k.a zirconium silicate, zircon flour, or Zircopax), kyanite, sand, fireclay, ball clay or calcined clay to make variations in your wash recipe if you have problems (See recipes on page 13).

For example, a common problem with kaolin-based kiln washes is that they crack off the shelf. The reason for this is that clay has the physical property of shrink-age. When you put it on the shelf, it looks really uniform and smooth, but then as it dries it cracks like Texas soil in the summer sun. After several firings, you typically just scrape off the glaze drips and the pieces that have chipped up, apply more kiln wash to hide that firing’s is-sues; and then that new layer cracks and the crevasses just keep getting worse. This can cause your pots to crack when they get hung up on the uneven wash during pe-riods of expansion/contraction. Or, when using porce-lain, the foot can even become warped and uneven as it fluxes and conforms to the uneven surface of the shelf. Another more insidious problem with cracked kiln wash is that the turbulence created by the burners blows some of the kiln wash chips up into the air and they inevitably land in your favorite bowl, ruining it.

The best way to avoid this is to calcine the kaolin or buy calcined kaolin called Glomax. You can calcine ka-olin by putting some in a bisque bowl and firing it to red heat (or just put it in with your bisque firing.) Calcin-ing will eliminate the physical property of shrinkage but leave the chemical refractory properties of kaolin intact. What you have made is very fine ceramic grog. So you can adjust your kiln wash recipes by substituting half the kaolin with calcined kaolin or Glomax.

No CrACK KILN WASH Alumina Hydrate . . . . . . . . . . . . . 50 % Calcined EPK Kaolin . . . . . . . . . . 25 EPK Kaolin . . . . . . . . . . . . . . . . . 25 100 %

You can add more calcined kaolin—like 35%—if you want. You just want to keep enough kaolin in the recipe to suspend the other materials so that it goes on smooth-ly and doesn’t settle out.

I discovered a small refinement of this recipe after visit-ing the Homer Laughlin China Company in Newell, West Virginia. There, the Chief Ceramic Engineer told me that, because they have high air turbulence in their kilns, he adds approximately 1% feldspar to help “stick” the kiln wash together. They determined how much feldspar to add by trying to rub it off with their finger after the firing. If it rubbed off, then there wasn’t enough flux. More flux was

then added until it took a fingernail to scrape it off. If it took a key or screwdriver blade to scrape it off, there was too much flux. So, the recipe then becomes:

SUPer AWeSoMe No CrACK KILN WASH Alumina Hydrate . . . . . . . . . . . . . 50 % Calcined EPK Kaolin . . . . . . . . . . 25 EPK Kaolin . . . . . . . . . . . . . . . . . 25 100 % Add: G-200 Feldspar . . . . . . . . . 1–2 %

Although it seems crazy to add flux to a kiln wash, this very small amount actually is just enough for the kiln wash to stick it lightly to itself and to the shelf, prevent-ing the kiln wash chips from flying around the kiln and getting onto pots.

As you can see in the recipes on page 18, there are many kiln wash variations. However, it is essential to know the melting properties of ingredients to make sure that they don’t melt on your shelf. For example, zirconium oxide is a refractory and melts at 4892°F (2700°C) and zirconium silicate, which goes under various names like Zircopax, Ultrox, Superpax, milled zircon, zircon flour, etc., has a melting point of 4622°F (2550°C). So these can make ex-cellent additions to a kiln wash recipe. The only drawback is that zirconium silicates can cost from $1.33 to $3.00 a pound, depending on the amount you buy.

To illustrate the wide variety, some potters just dust alumina hydrate on their shelves to protect them, while some wood firing potters use 100% silica and wall paper paste to make a very thick (½-inch) coating that protects their shelves from excessive ash deposits. Still others, who have the new advanced nitride-bonded silicon car-bide shelves, don’t even use kiln wash at all because the glaze drips shiver off when the shelves cool. Other pot-ters, who are very neat and don’t share their space with others, may not even use kiln wash so that they can flip the shelves after every firing to prevent warping.

Kiln wash is such a ubiquitous material in the ceramics studio that we take it for granted. Potter’s make a sig-nificant investment in their kiln shelves but rarely take more than a few minutes to mix up two scoops of kaolin and alumina to protect them. They also spend countless hours making and perfecting their work only to suffer unnecessary breakage and loss of pots because they just don’t know that a kiln wash doesn’t have to crack or fly off into the bottoms of pots. There are many kiln wash recipes to choose from and many solutions to common kiln wash problems if we just take the time to learn about the materials we use.

The author John Britt lives in Bakersville, North Carolina and is author of The Complete Book of High-Fire Glazes: Glazing and Firing at Cone 10. See www.johnbrittpottery.com.


Most potters apply kiln wash with some

kind of brush. If you are coating the whole

shelf, use a 4- or 5-inch house-painting brush,

but if you are touching up bare spots after

scraping off glaze drips, use a small 1–inch

glaze brush and just dab it on in the spots

that need it. If you use a brush, work very

fast because the shelf will suck up the wash

as soon as the brush touches it, making areas

of uneven thickness.

Mix up the wash about as thick as heavy

cream and paint on several thick layers to

protect your shelves, allowing each to stiffen

before applying the next coat. Then clean

the edges with a wet sponge. Some potters

leave a bare ½–inch or ¼–inch band at the

edge of the shelf so that chips don’t fall onto

the shelf below.

If you have a lot of shelves to kiln wash all

at once, one of the best and fastest ways is

to use a spray gun. Lay out all of your shelves

in a row and coat them all very quickly and

evenly. Depending on your spray gun, you

may need to adjust the nozzle spray pattern

and the thickness of the wash to get it to spray

properly, but once you get that figured out

you will be very happy with the consistency of

the results. Any overspray on the sides of the

shelves can be wiped off with a damp sponge.

If you don’t have a spray gun, another

excellent method of coating the whole shelf

is to use a paint roller with a short nap length.

Just fill the rolling pan with kiln wash and roll

on the wash for a smooth, even coat. Allow

it to get tacky to the touch and then apply

another one or two coats, depending on the

thickness desired.

At my studio, I have a lot of students

working and testing glazes, so the shelves get

really beat up and have a lot of glaze drips.

Once or twice a year I grind my shelves clean

and re-apply the wash. Since I don’t have a

spray gun, I prefer to use a roller because it

gives a smooth even coat very quickly.

Kiln wash should be mixed to the consistency of heavy cream.

Work quickly when brushing kiln wash on new mullite shelves.

Rolling kiln wash on new mullite shelves produces an even thickness.

Kiln Wash application


The Kiln Book by Frederick L. OlsenNo matter what type of kiln you plan to build or what type of fuel you plan to use, The Kiln Book will help you understand what it takes to successfully har-ness the heat you need to fire your work and get the effects you’re looking for.

Fred Olsen is one of the leading pioneers in explaining everything about kilns to the studio potter and his book is one of the best references on the topic. This book covers it all from refractory materials and applications to design prin-ciples and construction techniques.

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recipesKArL’S KILLer KILN WASH

Ball Clay . . . . . . . . . . . . . . . . . . . . . . 10 %EPK Kaolin . . . . . . . . . . . . . . . . . . . . 30Silica . . . . . . . . . . . . . . . . . . . . . . . . . 20Ultrox . . . . . . . . . . . . . . . . . . . . . . . . . . 40 100 %

BUCK’S KILN WASHAlumina Hydrate . . . . . . . . . . . . . . . . 32 %Kyanite (35 mesh) . . . . . . . . . . . . . . . 17EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 35Sand . . . . . . . . . . . . . . . . . . . . . . . . . 16 100 %

KILN WASH IEPK Kaolin . . . . . . . . . . . . . . . . . . . . . 10 %Zircopax . . . . . . . . . . . . . . . . . . . . . . 90 100 %

KILN WASH IIAlumina Hydrate . . . . . . . . . . . . . . . . 25 %Calcined EPK Kaolin . . . . . . . . . . . . . . 25EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 25Zircopax . . . . . . . . . . . . . . . . . . . . . . 25 100 %

KILN WASH IIIAlumina Hydrate . . . . . . . . . . . . . . . . . 9 %Calcined EPK Kaolin . . . . . . . . . . . . . . 28EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 18Silica . . . . . . . . . . . . . . . . . . . . . . . . . 45 100 %

So as you can see, kiln wash doesn’t have to be just silica and alumina . As new ma-terials have become more readily available, there are quite a variety of refractory ingre-dients in kiln wash recipes and knowing the properties and cost of the ingredients will allow you to select the ones that best serve your needs .

This pot, by Linda McFarling, is on wadding made from Basic Salt Kiln Wash. Notice what happens to the shelf edges when silica and soda meet.

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I give a lot of workshops and talk about many different aspects of ceramics — tools, techniques, equipment and so on. When talking about kilns, two of the ques-tions teachers and potters ask a lot are “How big is 7

cubic feet (or 10 cubic feet)?” and “How many pieces can I fit into a kiln? For the teacher with 28 students in a class or the functional potter making dinnerware, the answers will help you determine the size kiln that will suit your needs.

Like most artists I’m visually oriented, so I thought it would be helpful to show how big a kiln is and what it can hold. With a 6-inch diameter bowl that you can easily fit into two hands, I loaded various-sized kilns with as many bowls as possible, being mindful to stagger the shelves (a preferred practice) for heat circulation. Note that a larger diameter kiln holds more bowls per cubic foot due to the larger stacking surface on each shelf.

Approximately 18 in. in diameter and 18 in. high: 2.6 cubic feet, 12 bowls.



Approximately 28 in. in diameter and 27 in. high: 10 cubic feet, 50 bowls.

Approximately 23 in. in diameter and 27 in. high: 7 cubic feet, 38 bowls.

David L. Gamble, MFA, MEd conducts clay, glaze, and electric kiln firing work-shops. He is currently an educational con-sultant for Skutt, and shares a studio with Tracy, his wife, in Plainfield, Indiana.

Bowl, 6 inches in diameter and 3 inches high by Tracy Gamble. Of course a larger kiln holds more, but a visual helps. Realistically estimate your output when considering a kiln. Too large and you’ll have long waits between firings, and too small means you’ll be firing too frequently.

how big is ThaT kilnby david gamble


heatwork

Heatwork describes the measurement of changes that have been effected on clay and glaze. It is a function of a combination of ef-fects including temperature, duration of fir-

ing, kiln atmosphere, volume and mass within the kiln, and volatiles in the kiln. Understanding how heatwork helps measure the progress of a firing, and also under-standing the limitations of the concept of heatwork, is important to achieving successful kiln firings.

Measuring HeatworkWhy, if a perfectly good thermocouple is installed in a kiln, would an artist also want to put pyrometric cones in a firing? What do those cones accomplish? Why use them? Each cone within a temperature range has a sepa-rate chemical and physical composition designed to per-mit the cone to bend over under the force of gravity at a particular temperature when heated at a specific rate.

For practical purposes, a pyrometric cone is simply a sophisticated blend of finely ground glaze ingredients. As those ingredients begin to melt, the force of gravity lets individual particles slide past each other allowing the cone to bend in a reliable, predictable manner.

This deformation of the cone due to grain boundary slip occurs because part of the cone melts to a glass phase. The relatively weak liquid glass is not strong enough to keep the cone erect any longer so the cone, which is man-ufactured with a slight lean, begins to bend. This bending does not begin at a specific temperature, but rather at a combination of temperature and time.

To Soak or Not to Soak?A soak is a period of time in a kiln firing during which temperature is held constant. Some processes in a firing are temperature dependent while others are time depen-dent. Achieving a uniform temperature in ceramic ware is a time dependent process. A soak may be used at any point in a firing to reduce the difference between the sur-face and internal temperature of ware in a kiln.

Temperature dependent processes include organic burn off, driving off chemically bound water, mullite formation, and silica melt. A soak at any of the differ-ent temperatures critical to these processes may be use-ful. Additionally, once a glaze is melted, it will become less viscous (flow easily), as temperature increases. The viscosity of a molten glaze is temperature dependent. A soak may be used to hold the viscosity of a melted glaze constant while time passes so that the glaze may flow or smooth out. This type of soak is often used to improve the final surface appearance of a glaze. In kilns for which the atmosphere is controlled, different degrees of oxida-tion and/or reduction may be used during the soak to further influence the appearance of the glaze surface.

heaTworkby dave finkelnburg

Assuming an initial heating rate of 300°F/hour up to 1725°F, the graph above shows that cone 6 will drop at very different tem-peratures depending on the heating rate during the final hours of a firing. At a rate of 270°F/hour the cone drops at 2269°F after 2 hours (red line); at 108°F/hour the cone drops at 2232°F after 3 hours (green line); and at 27°F/hour, the cone drops at 2165°F after 3.5 hours (blue line). Data: Edward orton Jr. ceramic Foundation.

CONE 6 TIME/TEMP VARIATIONS

5 6 7 8 91700°F

1800°F

1900°F

2000°F

Hours

2100°F

2200°F

2300°F

2 4 6 8The area below the line represents this firing’s total heatwork, a combination of time and temperature. If one of these factors is increased, the other is decreased to maintain the same heatwork. Note that heatwork continues into the cooling part of the firing.

0

500

1000

1500

2000 TOTAL HEATWORK OF A FIRING

Hours

2000°F

1500°F

1000°F

500°F

0

How does one soak without overfiring? Once a par-ticular cone is down, and temperature is held constant for 15 minutes, the next numbered cone will go down. So, adding a 15 minute soak at peak temperature will have the effect of increasing the firing by one cone. This means, of course, one should start the soak before the maximum desired cone drops, using the above rule of thumb to estimate when to begin soaking. Adjust the kiln burners or digital controller to slow or arrest the temperature rise. By the end of the soak, the target cone should be fully bent to a 90° angle.

Because an infinite combination of kiln heating rates and times can occur in any kiln, a cone can only be ex-pected to bend at a specific temperature if it is heated at precisely the rate prescribed by the cone manufacturer. Thus, given the variability of firings, a cone cannot be considered a scientific measure of temperature. Rather, it can be inferred from the appearance of the cone that a particular combination of time and temperature has been reached in the kiln.


Soft firebrick is something all electric kilns have in common. While it’s a very good insulator and can withstand very high temperatures, it does have its limitations. Firebrick expands when it heats

up and contracts when it cools down, it can be much hotter on the inside surface than on the outside surface. For example, when the inside of a typical top-loading kiln is at 2300°F, the outside of the kiln is about 450°F. The firebrick has expanded quite a bit on its hot face, but the amount of expansion on its cool face is nowhere near as much. This uneven expansion throughout the bricks in the kiln accounts for the cracks that appear on the sur-faces exposed to the most heat.

Hairline CracksBecause of the uneven expansion, cracks are almost in-evitable. In top-loading kilns you can expect to see cracks appear first in the lid and floor slabs, then in the walls. In front-loading kilns, cracks appear everywhere, as the floor, walls, and roof are all slabs of firebricks.

These cracks are called hairline cracks (figure 1) and are just on the surface of the brick. When the kiln gets hot, the cracks fill in as the surface of the brick expands. In some cases, especially with front-loading kilns and on tops and bottoms, these cracks can easily develop into full cracks that penetrate the entire slab.

Shrinkage at High TemperaturesSince firebrick can shrink when fired to high tempera-tures, this will exacerbate cracks. You’ll probably only no-tice this if the kiln gets fired to cone 6 and above. You can counter this by keeping the stainless steel bands tight around the top and bottom slabs on top-loading kilns. Do this for the kiln sections as well (figure 2). Tightening helps to minimize the potential damage a crack can cause. With the bands tight, a lid could be cracked in many pieces—even with cracks that go all the way through the slab—and still function fine.

To Repair or Replace, That is the QuestionAnother common type of crack happens on the hot side edge of the lid on the points where the stainless steel band is the tightest. (It happens on the floor too but is generally not seen because of the kiln body). The crack will look like a small to medium semicircle and the piece may be tight, loose or falling out (figure 3). This happens because as the kiln brick expands, the stainless steel does not expand as quickly. If the piece in the semicircle is loose or tight, just leave it alone. If it has already fallen out, you can cement it back into place with a brick repair kit, or use the kit to create a patch to fill the hole with it. If the hole is smaller than an inch across, it will probably be just fine to leave it alone.

Don’t try to patch a crack on the brick surface with high temperature cement. It’ll just crack through the ce-ment or elsewhere. Large cracks can be lightly stuffed with a bit of non-RCF ceramic fiber, available through most ceramic suppliers. You can also dismantle the lid completely on a flat work surface and fully cement the pieces back together.

Eventually, a kiln lid with a lot of cracks needs to be replaced, but the bottom can be in many pieces and still function fine as long as the kiln has a full support kiln stand and the steel band is snug. Likewise the sides of the kiln can be in many pieces too and still be fine for a good long time.

For a seriously damaged bottom, you can purchase an-other bottom, and put it underneath the cracked or crum-bling one. This will improve the insulating characteristics of the kiln and will improve heat up time.

RecommendationsGenerally, the rule with kiln brick repair is to leave it alone if at all possible. Unless the damage is catastrophic, causes heat loss, or causes elements to fall out of their grooves, just ignore the problem until it’s time to replace

1 2 3

cracks in The kilnby roberT baTTey


the elements and the thermocouples. At that time assess whether any brick damage needs to be repaired.

Even with cracks, chips, pieces of crumbling or missing brick, and worn bricks from leaning into the kiln to load or unload it, don’t be afraid to fire it unless you see holes opening up and have major heat loss (some is OK). Just be there to check on your kiln when it’s firing, especially when

RepaiRing Small HoleS oR CHipS

1. Clean and wet the surface of the brick with water. Use a spray bottle or a brush to wet only the area where the hole or chip is located.

2. Apply a thin coat ( 1/32- to 1/16-inch) of refractory brick ce-ment in the hole.

3. Fill kiln grout into the hole with a spatula. (Kits for mak-ing grout are available from kiln manufacturers and most suppli-ers.)

4. Let dry for 24 hours.5. Sand the surface using rough

sandpaper to even it out with the rest of the firebrick.

6. Turn kiln on low for 3 hours to completely dry the brick and the cement.

7. Do a first firing of the kiln.RepaiRing VeRy laRge HoleS

1. Cut out an area around the brick chip with a small knife, saw or router. Brush it clean of debris and dust. (Always wear a mask.)

2. Cut a piece of firebrick to fit into the hole. The piece should be slightly smaller than the hole (by about 1/16- to 1/8-inch.) Brush the edges to remove dust.

3. Wet the firebrick.4. Using about 1/16 of an inch of

kiln cement, secure the brick piece into the hole.

5. Let dry for at least 24 hours.6. Cut off and/or sand off excess

brick and cement.7. Cover with brick hardener

(available through kiln sup-pliers) and allow to dry for 24 hours.

8. Turn kiln onto low for 3 hours to totally dry.

9. Do a first firing to cure.

it is supposed to shut off. Expect there to be visible wear and tear in the bricks starting with the very first firing. Think of your kiln as a hard working machine with character.

For more information, download a PDF at www.hotkilns.com/brickrepair.pdf. Robert Battey is Service Manager for L&L Kiln Mfg., Inc. ([email protected]).

This book covers techniques of firing and finishing at low

temperature, eliminating the need for costly kilns or lengthy waits

between making and finishing your work. Both ancient cultures and

contemporary potters have used low-firing to great effect, adding

slips and burnishing pieces to create finishes not possible with

any other firing method. Whether using an old garbage can, a pit

in the ground, or a bonfire, low-firing is accessible to anyone with

an outdoor space. Low-firing and Burnishing provides step-by-step

practical information focusing on various approaches to low firing

and methods of natural finishes. Chapters include burnishing, terra

sigillata, smoke firing, pit firing, saggar firing, and raku techniques.

LOW-FIRING & BURNISHING by Sumi von Dassow

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Glazes, one of the kiln’s distributors, sells a range of glaze pens formulated specifically for the kiln (see figure A) but overglazes, glazes, and clays formulated for a range between cones 018 and 010 can be successfully fired.

Using the KilnFirst, cut a piece of kiln fiber paper to size. The fiber paper is usually provided as part of the kit (see figure A), but can be replaced by pieces of Bullseye Thin-Fire paper used for glass work. The fiber paper prevents any-thing from sticking to the insulating fiber base.

Place your piece on the fiber paper and test fit the cover to be sure the piece does not hit the top or sides of the firing chamber (figure B). Place the base in the microwave and cover with the lid. Be careful; the black coating on the inside of the lid is delicate and cracks off easily if bumped. Set the microwave timer based on your tests. Once the microwave turns off, you’ll notice an orange glow coming from the vent hole in the top of the kiln.

Take the kiln out of the microwave immediately to pre-vent damage to the microwave’s ceiling from prolonged

Many people know that a microwave oven can be used to dry clay quick-

ly when you’re in a pinch. Di-electric heating (the type used in a microwave oven) is also used in industry to fire ceram-ics for high-tech applications. This option is also available on a small scale to the studio pot-ter, at least for firing tests and small objects using a micro-wave kiln.

A microwave kiln is a con-tainer kiln consisting of a base and hood made for use in a household microwave oven. The kiln is made of a white insulating fiber and lined on the inside of the chamber with a black compound that absorbs the microwave radiation and heats up to 1650°F or approximately cone 010 (figure A).

The heat from this compound is then transferred to the chamber and to the piece being fired. It takes be-tween 5 to 10 minutes to reach peak temperature ranges depending on the size of the microwave kiln, the work being fired, and the microwave’s wattage. After the fir-ing, the kiln needs to cool for at least 20 minutes before being opened.

Designed for working primarily with small glass ob-jects or precious metal clay, the microwave kiln is also suitable for firing small clay pieces, from beads and pen-dants to test tiles or small sculptural objects. The kilns come in three sizes. The small and medium size have a firing chamber that’s 1¾ inches in height, and a di-ameter of 2¾ inches and 4½ inches respectively. The chamber in the large kiln measures 6¼ inches in diam-eter by 2³�8 inches high.

The optimum firing time for various materials and sizes needs to be determined through test firings. Spectrum

1 2 3

4 65

A B C

microwave kilnsby jessica knapp


exposure to the heat from the vent hole. Wearing oven mitts or kiln gloves, grasp both the top and bot-tom of the kiln at the same time, tak-ing care to not open it as you lift it up (figure C). Place the kiln on a heat resistant surface, like a brick or tile.

Leave the kiln closed for 20–30 minutes before opening. For slight-ly larger work, increase the cooling time to 35–40 minutes. The top of the cover and bottom of the base stay very hot for a long time, so keep at least a 6-inch clearance above and around the kiln. After cooling, gen-tly brush the fiber paper residue off of the base with a soft brush. Note: Wear a respirator to avoid inhaling the dust.

When using this kiln, follow the same rules as you would when fir-ing work in a larger kiln. Clay ob-jects can be fired either green or after a bisque firing. If firing green, the work must be thin and dry. Ad-ditionally, dry glazed work overnight before firing. Due to fumes, the mi-crowave needs to be vented properly or fired outside.

Take careful notes. As the micro-wave kilns are too small to insert a pyrometer, and, unless you buy the larger model, also too small for a cone pack, you’ll need to take notes on the time/temperature correlation for your own microwave.

Testing, Testing...We tested the Spectrum multi pens (figure 1), a white gold and a moth-er-of-pearl luster, a purple overglaze enamel (figures 2–4), commercial underglazes (figure 5), an 04 trans-parent glaze (figure 6), and Egyptian paste. It took additional tests to find the correct firing time for the enam-els and the lusters. The firings for the two overglazes produced noticeably more fumes and discoloration in the kiln than the other glaze firings.

As a general guideline, with a low-powered microwave, it took 3 min-utes to fire a piece with luster or overglaze and 5 minutes to fire the glaze pens and underglazes. For clay bodies, two Egyptian pastes, fired

green, a bisque-fired porcelain body, and a high-fired porcelain body, all of the clay bodies survived the ther-mal shock of the short firings (4 to 5 minutes for the Egyptian paste, and 5 minutes for the porcelain).

ConclusionThough it won’t replace your need for a larger kiln, a microwave kiln can help speed up your glaze and clay body testing, or provide a way

to make small-scale objects or even models for larger pieces.

Microwave kilns are sold under three different brand names: Mi-croKiln, MagicFuse, and Fuseworks. Check with your local distributor for availability. All three can also be found online.

A special thank you to Spectrum Glazes (www.spectrumglazes.com) for providing a MicroKiln and Spectrum Multipens for use in testing clays and glazes for this article.

Using clay in a contemporary manner for wall spaces is an increasingly fashionable and innovative solution both for decorators, architects, and makers. Wall pieces are the perfect solution for those who enjoy sculpture but have no space; they fulfill the same function as a picture while being much more dynamic and three-dimensional. Current wall pieces vary enormously from simple tiled pieces to huge installations, and this book looks at the huge variety of work being made, as well as all the problems, solutions, and diverse approaches to creating wall pieces. The book gives an insight into the work of contemporary makers, exploring how to plan, design, make, mount, and safely hang ceramic pieces. It is also illustrated with a wide selection of original and inspiring work by contemporary ceramic artists.

wall pieces by Dominique Bivar segurado



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ITEM WEIGHT HEIGHT WIDTH Grams lb./oz. inches cm inches cm6 oz. coffee mug 275 10 oz. 3 7.5 3 7.58 oz. coffee mug 400 14 oz. 5 12.5 3 7.514 oz. beer mug 600 1 lb. 5 oz. 7 17.5 3.5 8.5chalice (cup only) 500 1 lb. 2 oz. 4 10.0 4 10.0goblet (cup only) 340 12 oz. 5 12.5 3 7.5cup 300 11 oz. 2.75 7.0 3.75 9.5saucer 350 13 oz. 1 2.5 5.5 13.5large dinner plate 1800 4 lb. 1.25 3.0 11.5 29.0medium dinner plate 1350 3 lb. 1 2.5 10 25.0side plate 1000 2 lb. 3 oz. 1 2.5 8 20.0bread and butter plate 600 1 lb. 5 oz. .75 2.0 6.5 16.0glutton plate 2300 5 lb. 2 oz. 1.25 3.0 14 35.0large bowl 2600 5 lb. 12 oz. 6 15.0 12 30.0medium bowl 1800 4 lb. 4.5 11.0 10 25.0small bowl 600 1 lb. 6 oz. 3 7.5 6 15.0onion soup bowl 600 1 lb. 5 oz. 3 7.5 6 15.0large mixing bowl 1800 4 lb. 4.5 11 10 25.04 quart casserole 2600 5 lb. 12 oz. 8 20 12 30.02 quart casserole 1800 4 lb. 4.5 11 8.5 21.01 quart casserole 1000 2 lb. 3 oz. 4 10 6.5 16.0individual casserole 600 1 lb. 6 oz. 3 7.5 5.5 13.5cream pitcher 400 14 oz. 5 12.5 3 7.51 pint pitcher 675 1 lb. 8 oz. 6.5 16.5 4 10.04 pint pitcher 2600 5 lb. 12 oz. 14 35 6 15.0coffee pot 1800 4 lb. 11 27.5 4.5 11.0large teapot 2000 4 lb. 6 oz. 8 20 8 20.0medium teapot 1500 3 lb. 6 oz. 6 15 6 15.0small teapot 1000 2 lb. 3 oz. 4.5 11 5 12.51 liter decanter 2000 4 lb. 6 oz. 12 30 6 20.0small decanter 1200 2 lb. 11 oz. 8 20 5 12.5liqueur or sake bottle 1000 2 lb. 3 oz. - - - -large storage jar 2250 5 lb. 12 30 5 12.5medium storage jar 1500 3 lb. 6 oz. 10 25 4 10.0

Planning your clay supply can sometimes be a chal-lenge. If you order too much, you’ll have clay sitting in storage too long, allowing it to stiffen over time. And if you order too little, there’s a

chance you won’t get an exact match in the next batch since moisture content can affect shrinkage and clay in-gredients vary from bag to bag.

To assure you have an adequate supply of clay requires a little planning. If you’re doing repetitive throwing or

production work, and you have an idea of what you want to make on a monthly or quarterly basis, then keep a chart of weights and measures showing the amount of clay needed and size of objects at the throwing stage. Here is a list of weights and measures of standard items produced in my studio. These are for an average throw-ing thickness of ³/16 in. for smaller objects, and ³/8 in. for larger objects so you will have to adjust accordingly if throwing thinner or thicker.

How MucH cLay?by robin Hopper


ITEM WEIGHT HEIGHT WIDTH Grams lb./oz. inches cm inches cmsmall storage jar 800 1 lb. 12 oz. 7 17.5 3 7.5jam or honey pot 450 16 oz. 3.5 8.5 4 10.0large cooking/serving bowl 2500 5 lb. 8 oz. 3.5 8.5 15 37.5small cooking/serving bowl 1350 3 lb. 2.25 6 10 25.0cheese bell 2000 4 lb. 6 oz. 6 15 10 25.0base 1500 3 lb. 6 oz.butter dish 600 1 lb. 5 oz. 3 7.5 5.5 13.5base 600 1 lb. 5 oz.salt and pepper shakers 400 14 oz. 4.5 11 3 7.5egg bakers 400 14 oz. 1.25 3 3.5 8.5

LIDS WEIGHT Grams lb./oz.

4 quart casserole lid 1600 3 lb. 8 oz.

2 quart casserole 1000 2 lb. 3 oz.

1 quart casserole 750 1 lb. 12 oz.

indiv. casserole 450 16 oz.

coffee pot 400 14 oz.

large teapot 250 9 oz.

medium teapot 200 7 oz.

small teapot 150 5 oz.

A Note About ClayAlmost any clay has some potential for use in making functional pottery, depending on what that use is to be. However, most potters rely on ready-made commercial clays they purchase. These clays can easily be adjusted to suit the individual by additions of other clays or materials such as grog or sand. Sometimes ready-made clay is as hard as bricks, other times it may be like mush. It can always be soft-ened or stiffened to a more workable state so you can adjust for personal preferences. For extended periods of throwing, it’s better to use soft clay, as it’s less damaging to the skin and muscles of the hand and wrist. Ex-cessive use of hard clay can cause se-vere damage, which may need surgery to correct.

Excerpted from Functional Pottery by Rob-in Hopper and published by The American Ceramic Society.

You can be creative with surface techniques at every stage of the

ceramic process. Thirty artists discuss their inspiration, working styles

and tools, providing detailed step-by-step instructions. Readers will

find information on glazes and glazing, recipes, embossing, sgraffito,

brushwork, printing, patinas, roulettes, stamping, decals, stains, resists,

slips, china painting, stencils, faux finishes, and more.

surface decoration:finishing techniques edited by anderson turner


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•Therearemanytypesofmotorsavailableforpotter’swheelsandtheyareeithersetupforstandardhouseholdalternatingcurrent(AC)orasdirectcurrent(DC).WhileACmodelsarerelativelyinexpensive,themotorspeedisdifficulttocontrolbecausetheyhavenopermanentmagnets.Althoughitisn’tpossibletosuccessfullyvarythespeedofanACmotorelec-tronically,amechanicalspeedcontrol,suchasaring-coneorcone-and-disk,canbeusedtovarytheconstantspeed(1725rpm)ofthistypeofmotor.

•ThehorsepoweronDCelectricmotorscanberatedas“peak”or“continuousduty.”Lessexpensivepeak-ratedmotorsprovidehorsepoweronlyforshortintervals–notaproblemfortheoccasionalthrower.Continuous-dutymotors,ontheotherhand,whiletypicallymoreexpensive,canrunfullyloaded24hoursadaywithoutoverheating.Temperatureisthebiggestcauseofserviceproblemsandmotorfailure.Excessiverunningtempera-tureseverelydegradesanelectricmotor.Becauseinsulatedwireisusedtocreatetheelectricalmagneticfieldsthatcausetheshafttospin,moreheatbuildsupinthesewindingsatslowspeeds,andtheinsulationweakensovertime.Oncetheinsulationdegrades,windingfaultsoccurandthemotoris

large amounts of clay, then you’ll need to look at wheels with at least ½ hp (horsepower) motors.

In addition to level of use and capacity, you may also want to consider how much space you have, whether you need a portable wheel, if you just need a “starter” wheel, and, of course, what you can afford.

Assess the WheelsSteven Branfman, in his book The Potter’s Professional Handbook, describes the features you need to consider when looking at wheels.

l Power: A wheel’s power in practical terms is a func-tion of hp and torque. What you really want to know is whether you can apply the necessary force to the largest amount of clay you will work with and not have the wheel slow down or stop.

l Speed: Speed is related to power but is really a differ-ent performance issue. Your style of working dictates the speed or RPMs (revolutions per minute) of the wheel head you require.

l Control Sensitivity: Your sensitivity to extremely slow speeds and the degree of gradual increase as

When it comes to buying a wheel there’s no shortage of choices. Ranging in price from a few hundred dollars to nearly $2000, potters wheels are separated

by degrees of capacity, construction, and accessories. While there’s nothing wrong with purchasing the wheel you used as a student, or happen to be using in a com-munity studio, you may be missing out on an opportu-nity to find the ideal wheel for your needs. If you’ve lim-ited yourself to one or two wheels, you may not know if a different brand or model would be even better, or whether those models are still in production. To find out which wheel is best for you, you must assess your needs and understand what wheels can offer.

Assess Your NeedsThe two most important things to consider when pur-chasing a wheel are how often you’ll use it and how much clay you realistically expect to throw at one time. If you plan on using the wheel a lot, such as in a produc-tion situation, then you’ll want to look at sturdier pro-fessional models. Additionally, if you plan on centering

compromised.Further,asmotorsoverheat,thebrusheswearquickerandthiswearsoutthecommutator.Thelargerthemotor,thegreaterthenumberofwindingsandthebettertheinsulationbetweenthem.Larger-sizedbrushesalsoruncooler,whichallowsforincreasedheatdissipationandcooleroperat-ingmotorsandhencelongermotorlife.Further,high-qualitycontinuous-ratedmotorshaveabuilt-incoolingfanontheendoftheshafttofurtherextendthelifeofthemotor.

•Electronic speed controlsusedirectcurrent(DC)motors,andamotorcontrollerchangesthehouseholdACtoDC.Onpotterswheels,theytypicallyoperateat90volts.Whencoupledwithafootpedalusingalinearpotentiometer,thecontrollerallowsarangeofspeedswithpropertorque.

Motor controllersaresolid-stateelectronicdevicesprotect-edbyafuseorsmallpushbuttonre-settablecircuitbreaker.

Therearetwotypesofelectronicmotorspeedcontrollers—SCR(siliconcontrolledrectification)andPWM(pulsewavemodulation).Whiletherearesubtledifferencesbetweenthesetypes,theyperformthesamefunctionsandareruggedlyconstructedtoprovidemanyyearsoftrouble-freeservice.

Horsepower, Motors, and Electronic Controllers

wHeeLs: tHe wHat and wHy before you buy


you apply it will dictate any concerns you have in this area.

l Smoothness and Vibration: Again, personal style and expectations will make this more or less of an issue.

l Weight: If you use 30 or more pounds of clay, the weight and stability of the wheel could be an issue. You don’t want the wheel crawling along the floor as you apply pressure to the clay.

l Wheel Head Diameter: Although you can use bats of almost any size, the diameter of the wheel head may be a concern. The smallest head is 12 inches, with heads going as large as 16 inches.

l Miscellaneous Features: Splash pan, integrated seat, attached worktable, adjustable height, choice of rotation (reversing switch), construction mate-rials and finishes, are all options you need to be aware of and assess as to their importance.

AccessoriesFor potters prone to back problems, standing at the wheel to throw may be the answer. Most wheels can be purchased with optional leg extenders. Du-rable, stable, and easily adjustable leg extensions allow you to throw standing up, perhaps, the best thing many potters can do for their health.

RecommendationsIf there is a pottery supplier nearby with a selection of equipment, they‘re your best bet for answering your questions and trying out wheels. If there’s not a nearby supplier, visit local potters, schools, and studios to see the equipment they have. Ask ques-tions about the operation, maintenance, and repair records of the equipment that interests you. Ask to try the wheel and be sure to bring your own clay! Why? It’s both courteous to the studio and sensible to test the wheel under as close to realistic condi-tions as possible.

The Internet makes it possible to shop around and find bargains on some wheels. Your local supplier not only service the wheels they sell, but they may also match an online price or order a particular model if they don’t have it in stock. Remember also that if you purchase a wheel that requires shipping, make sure you nail down all the costs for getting the wheel to its final destination.

A new potter’s wheel that fits your needs is a long-term investment you’ll certainly enjoy for many years to come.

This article was excerpted from Steven Branfman’s The Potter’s Professional Handbook and from Jonathan Kaplan’s As the Wheel Turns reprinted from Pottery Making Illustrated.

This book is about a truly remarkable transformation: how the simplest of materials–clay or mud–can be used to make tools for producing one of the most complex human expressions–music.

With a history reaching back to ancient times, creating ceramic musical instruments is a vibrant pursuit for many innovative artists today. Written by Barry Hall, From Mud to Music explores the vast array of ceramic musical instruments, from their historical traditions in world cultures to their modern variations and innovations.

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Making a cLay ruLerby pauL andrew wandLess

There are several ways to learn about clay shrinkage, but making a clay ruler is the simplest by far. Any

age or level of experience will find this to be a fun and easy way to un-derstand how much clay shrinks at the greenware, bone dry, and bisque-ware stages. A standard clay bar test will give a measurable percentage for clay body shrinkage. A clay ruler gives a simple and obvious visual example in inches.

The process is simple. Make a 12-inch clay ruler complete with inch lines using the clay body of your choice. Once bone dry, measure to see how much shrinkage occurred from the green stage and record this measurement. Include the clay ruler in your next bisque firing and mea-sure it again after the firing to see how much shrinkage occurred from the bone dry measurement. Now you’ll have a general sense of how your work will shrink at each of these stages based on your clay ruler.

Prepping the SlabRoll out a slab of clay of your choice and smooth out the surface. I like to use a combination of a clear graph ruler and a carpenter’s square to mea-sure and cut. Position the carpenter’s square to cut a straight bottom and side at a 90° angle. Next use the car-penter’s square and clear graph ruler to measure and cut the slab to 12 inches tall. The graph ruler is used to assure the parallel lines are as square as possible (figure 1).

Making the RulerA graph ruler is 2 inches wide so I just use that as the width for the clay rulers. Use a dull pencil to emboss vertical lines to make as many clay rulers as you can from the smoothed out slab (figure 2). When the ruler lines are done, mark the surface with horizontal lines spaced 1 inch apart to finish creating the 12-inch ruler

1

2

Cut perpendicular lines using a car-penter’s square, then lay a graph ruler on top to create a parallel cut at the far end of the slab.

Use the graph ruler with one end lined up with the straight edges of the slab to cut out multiple rulers.

(figures 3 and 4). Use a fettling knife to cut out the clay rulers.

During the drying and firing pro-cesses, a ruler can always warp, crack, or break so having extras is always a good idea. I tend to make four or five at a time which also aides in as-suring consistency. If I measure and cut correctly, all the rulers should have the same measurements once fired. This is an excellent way to as-sure your stats are correct. Dry the rulers sandwiched between drywall and place newspaper between the in-dividual rulers. A little weight can be placed on top to help keep them flat while drying.

Measuring the ResultsThe fun part is measuring the ruler at the different stages of drying and firing to actually see how your clay shrinks. I always measure the ruler when it’s bone dry and again after the bisque firing. I also fire the ruler to a higher temperature to measure the shrinkage at a variety of tempera-tures. This is where having multiple clay rulers around is handy. You’ll find most of the shrinkage occurs from greenware to bone dry.

For this article, I used Amaco’s Brownstone Earthenware. The re-sults were: greenware measured 12 inches, bone dry measured 11½ inch-es, and bisque fired to 1940° F mea-sured 113/8 inches (figure 5).

Some potters use a bisque ruler to measure bisque vessels to make re-placement lids. The bisque measure-ment gives you the approximate size of what the lid should be when in the green stage. While not an exact match, it’s better than just guessing without a frame of reference for how much your clay shrinks. This is also a great exercise for students to visually see how much a clay body shrinks in a format that everyone can recognize and understand. My six-year-old son makes these all the time with great success and learns to measure and


cut at the same time. I make clay rulers for all the bodies I use to get a sense of their general shrinkage. Clay rulers shouldn’t replace the clay bar shrinkage test (see Getting to Know Your Clay in the Jan/Feb 2008 issue of PMI, also avail-able at www.ceramicartsdaily.org/education) but should be seen as an additional test to fur-ther understand your clay body and have a little fun at the same time.

Paul Andrew Wandless is a studio artist, workshop presenter, educator, and Vice President of the Potters Council. He authored the book Image Transfer On Clay and co-authored Alternative Kilns and Firing Techniques: Raku, Saggar, Pit & Barrel. His website is www.studio3artcompany.com and he can be emailed at [email protected].

3 4

5

Make marks that are spaced 1 inch apart on each ruler.

Join the 1 inch marks across all of the rulers, making sure to keep the drawn lines parallel to each other (and perpendicular to the lines separating each ruler).

A greenware ruler, a bone dry ruler, and a bisque fired ruler lined up to show the rate of shrinkage at each stage.


glossary of common ceramic raw materialsby vince pitelka

barium carbonate BaCO3—alkaline earth—active high tem-perature flux, but also promotes matt glaze surface. Unsafe for low-fire functional glazes. Often used as an additive in clay bodies in very small percentages to render sulfates insoluble, reducing scumming.

bentonite Al2O3•5SiO2•7H2O—formed from decomposition of airborne volcanic ash. Suspension agent used in quantities no more than 3% of dry materials weight.

bone ash (calcium phosphate) Ca3(PO4)2—high temperature flux—opacifier in low temperature glazes—translucence in high temperature glazes.

borax (sodium tetraborate) Na2O•2B2O3•10H2O—a major low temperature alkaline flux, available in granular or powdered form. Gives smooth finish, bright colors. Water soluble, so often used in fritted form.

chrome oxide Cr2O3—standard vivid green colorant—often softened with a little iron or manganese. Very refractory. With tin produces pink.

cobalt carbonate CoCO3—standard blue colorant for slips and glazes—5% will give dark blue in glaze or slip. Will cause crawling if used raw for underglaze brushwork.

copper carbonate CuCO3—a major glaze colorant to produce greens in low temperature and high temperature, copper reds in high temperature reduction, and greens and metallic effects in raku.

dolomite MgCO3•CaCO3—high temperature alkaline earth flux, promotes hard, durable surfaces and recrystallization/matting in glazes.

feldspar High temperature alkaline fluxes—insoluble aluminum silicates of potassium, sodium, calcium, and/or lithium—inex-pensive flux for glaze.

frit Fluxes that have been melted to a glass, cooled, and ground in order to stabilize soluble and/or toxic components during han-dling of unfired material.

ilmenite An iron ore with significant titanium—most often used in granular form to produce dark specks in clay or glaze. Higher iron concentration than in rutile.

iron oxide, red (ferric oxide) Fe2O3—refractory red in oxidation, converts to black iron (flux) in reduction and/or high-fire. Low quantities in clear glaze produces celadon green—high quantities produce temmoku black or saturated iron red—powerful flux.

kaolin; china clay Al2O3•2SiO2•2H2O—very refractory white pri-mary clay. Source of alumina in glazes.

lithium carbonate Li2CO3—powerful all temperature alkaline flux, especially with soda or potash feldspars. Promotes hardness and recrystallization in low temperature glazes.

magnesium carbonate MgCO3—alkaline earth—high temperature flux, promotes mattness and opacity in low temperature glazes, smooth, hard, buttery surface in high temperature glazes—pro-motes purples/pinks with cobalt. Used to promote controlled crawl glaze effects.

manganese dioxide MnO2—flexible colorant—with alkaline fluxes gives purple and red colors—by itself gives soft yellow-brown—with cobalt gives black. Used with iron to color basalt bodies. Concentrations of more than 5% may promote blistering.

nepheline syenite K2O•3Na2O•4Al2O3•9SiO2—a common feld-spathic flux, high in both soda and potash. Less silica than soda feldspars, and therefore more powerful. Increases firing range of low-fire and mid-range glazes.

rutile Source of titanium dioxide, contains iron, other trace min-erals—gives tan color, promotes crystallization giving mottled multi color effects in some high temperature glazes, or in over-glaze stain.

silica (silicon dioxide, flint, quartz) SiO2—main glass-former—vitrification, fluidity, transparency/opacity controlled by adding fluxes and/or refractories.

spodumene Li2O•Al2O3•4SiO2—lithium feldspar—powerful high temp alkaline flux, promotes copper blues, good for thermal-shock bodies and matching glazes.

strontium carbonate SrCO3—alkaline earth, high temperature flux, similar to barium, slightly more powerful—gives semi-matt sur-faces. Nontoxic in balanced glaze.

talc 3MgO•4SiO2•H2O—high temperature alkaline earth flux in glaze, promotes smooth buttery surfaces, partial opacity—similar composition to clay.

tin oxide SnO2—most powerful opacifier, but expensive—inert dispersoid in glaze melt—5–7% produces opaque white in a clear glaze.

titanium dioxide TiO2—matting/opacifying agent. Promotes crys-tal growth, visual texture in glazes.

whiting (calcium carbonate, limestone) CaCO3—alkaline earth, contributing calcium oxide to glaze—powerful all temperature flux—major high temperature flux for glazes—gives strong du-rable glass.

wollastonite (calcium silicate) CaSiO3—In some cases, it is used in place of whiting.

zinc oxide ZnO—high temperature flux that promotes brilliant glossy surfaces. Can encourage opacity, with titanium in low-alu-mina glaze can encourage macrocrystalline growth.

zirconium silicate ZrSiO4—zircon opacifier—low-cost substitute for tin oxide—use double the recipe weight of tin. Includes Zir-copax, Opax, Superpax, Ultrox.

Excerpted from Clay: A Studio Handbook by Vince Pitelka.


Barium Carbonate Flux Strontium carbonate Bentonite Suspension agent Ball Clay Do not exceed 3%Bone Ash Opacifier Borax Flux, glassmaker Boron frits Chrome Oxide Colorant GreenCobalt Carbonate Colorant Cobalt oxide BlueCopper Carbonate Colorant Copper oxide Greens, copper redsCornwall Stone Flux, opacifier Custer Feldspar Glaze core Potash feldspar (G-200) Dolomite Flux, opacifier Whiting Many brandsEPK Kaolin Alumina, opacity Kaolin Ferro Frit 3110 Glaze core, flux Pemco P-IV05, Fusion F-75 Crystalline glazesFerro Frit 3124 Glaze core, flux F-19, P-311, Hommel 90 Boron fritFerro Frit 3134 Glaze core, flux F-12, P-54, Hommel 14 Boron fritFerro Frit 3195 Glaze core, flux Hommel 90, Fusion F-2 Complete glazeFerro Frit 3269 Flux, glaze core Pemco P-25 Ferro Frit 3278 Flux, glaze core Fusion F-60, Pemco P-830 G-200 Feldspar Glaze core Potash feldspar (Custer) Green Nickel Oxide Colorant Black nickel oxide Blues, tan, browns, greens, graysKentucky OM4 Ball Clay Alumina, opacity Ball Clay Kona F-4 Feldspar Glaze core Soda feldspar Lithium Carbonate Flux Magnesium Carbonate Flux, opacifier Promotes crawlingManganese Dioxide Colorant Purple, red, yellow-brownNepheline Syenite Glaze core Red Iron Oxide Colorant Celadon green to brownRutile Colorant Ilmenite Silica Glass former, glaze fit Flint Use 325 meshSpodumene Lithium glaze core Strontium Carbonate Flux Barium carbonate Talc Flux, opacifier Many brandsTin Oxide Opacifier Zircopax Titanium Dioxide Opacifier Whiting Flux, opacifier Wollastonite, Dolomite Many brandsWollastonite Flux, opacifier Whiting, dolomite Wood Ash Glaze core, flux, colorant Whiting Results vary by typeZinc Oxide Flux, opacifier Zircopax Opacifier Superpax, Ultrox

Material Glaze Function Substitute Comment

Notes:1. Substituting glaze ingredients may alter color, texture, opacity, viscosity, and/or sheen, as well as create pinholing, crazing, black spotting, and/or pitting. In most cases, additional adjustments to other ingredients need to occur when substituting.2. Test and record your results.3. Materials vary from supplier to supplier and batch to batch.

primary function of common ceramic raw materials


Feldspars are minerals of varying composition commonly used by potters. Feldspars form a glassy, white surface when fired high enough. They have a very long range, they begin melting

at cone 4 and continue fusing beyond cone 10. They also tend to stiffen a glaze due to their high alumina content.

In ceramics there are two basic categories of feldspars: potash feldspars, in which the primary melting oxide is potassium, and soda feldspars in which the primary melter oxide is sodium. Soda and potash have the highest thermal expansion and contraction rate of all the ceramic melter oxides, they promote color brilliance and luster at most firing temperatures, and they encourage specific color results.

Soda feldspars melt at a higher temperature than the potash feldspars; however, the actual flow of the soda feldspar, once it begins, is more fluid and less viscous than its potash feldspar counterpart. Hence, after a fir-ing, the soda feldspar displays a shinier and more melt-ed surface. Both potash and soda melters create a glaze with low surface tension, which means they flow freely over the surface of the clay form. A glaze batch of high surface tension crawls or beads up on itself, leaving bare patches of exposed clay body. Potash has a slightly lower surface tension than soda and has the lowest surface ten-sion of all materials used in ceramics.

Potash FeldsparsThe presence of potash feldspar in a glaze or clay body has a more refractory effect on the ceramic surface com-pared to equivalent amounts of soda feldspar. Although potash feldspar actually begins its melt at a lower tem-perature than soda feldspar, once the melt begins, the formation of leucite crystals causes a slower and more viscous flow.

Soda FeldsparsKona F-4 and NC-4 feldspars contain a fair amount of potassium oxide, and their total sodium content is not as high as the total content of potassium in potash feld-spars. These feldspars are hybrids that incorporate some qualities of both potash and soda feldspars. This is espe-cially evident when they’re compared to stronger sodium materials, such as nepheline syenite. Hence, it’s often pos-sible to substitute some soda feldspars for potash feld-spars without causing a dramatic surface change.

Nepheline SyeniteNepheline syenite is a low-silica, high-soda, high-alumina mineral referred to as a feldspathic rock. It is available in various particle sizes ranging from coarse to very fine. The fluxing power and shrinkage rate of nepheline sy-enite depends on the grade number. The finest grades (A400 and 700) have the greatest melting power and shrinkage rate and are used in electrical porcelain and by manufacturers of ceramic wares. Grade A270 has a medi-um melting and shrinkage rate and is the most commonly used form of nepheline syenite in ceramic studios and schools. Grades A40–A200 (used by glass manufacturers) are the coarsest grades and produce the lowest melting and shrinkage rates.

Cornwall StoneCornwall stone, also a feldspathic rock, contains more silica and less melter oxides than do the feldspars. Since silica has a high melting point, Cornwall stone has a high-er melting temperature than the feldspars and appears stiffer and less melted when fired alone to stoneware tem-peratures. This is especially apparent at the lower stone-ware temperatures. Even the potash feldspars show more fusion at the cone 5-6 oxidation firing temperatures than does Cornwall stone, so this would not be a first choice

Feldspar rocks and test pots

Barbara Beck mixed a glaze consisting of 90% feldspar, 10% whiting, 0.5% red iron oxide and varied the feldspar in each batch to show variation in surface and color. The stoneware pots shown were fired to cone 9–10 in reduction. From left to right the glaze used con-tains potash feldspar, Cornwall stone, and soda feldspar, with nepheline syenite in the rear. The rocks shown left to right are soda felspar, potash feldspar, nepheline syenite, and Cornwall stone.

feldspar: the potter’s pet rockby mimi obstler


as a glaze core at these firing temperatures unless a stiffer surface is desired.

SubstitutingWhen recipes call for an uncommon or extinct feldspar, substitutions are possible, but you may need to make ad-justments to other components in the glaze, such as clay, silica, and/or one of the fluxes. In many tests, substitut-ing a soda feldspar for the potash feldspar caused little change in the glaze surface. Of all the glaze cores, potash and soda feldspars produced the least difference when substituted for each other; and can often be interchanged without causing drastic changes in the glaze surface.

Potash feldspars can usually substitute for each other in most glaze formulas without producing major changes in surface, provided the silica and alumina content are not too different. The difference in the feldspars’ silica con-tent can be compensated for by adding or removing silica from the glaze formula. In any case, before making large-scale substitutions, compare the oxide structure of both feldspars and recompute the percentage oxide analysis of the glaze with the substituted feldspar.

Substituting nepheline syenite for a feldspar or Corn-wall stone appreciably lowers the firing temperature of the glaze or clay body. A comparison of the quantities of potash feldspar and nepheline syenite necessary to pro-duce an equivalent melt shows that approximately 25% more potash feldspar is required to produce the same

fluxing activity obtained with nepheline syenite. Despite its increased melting action, the lower silica and higher alumina content of nepheline syenite can cause a gloss surface to become more matt.

When using Cornwall stone as a substitute for a soda or potash feldspar in a glaze formula, it may drastically alter the glaze surface. It brings an increased amount of silica and less melter oxides to the glaze combination. This substitution can raise the firing temperatures of the glaze, with the result that a formerly shiny and glassy sur-face may appear more opaque and more matt.

Although substituting Cornwall stone for a feldspar lowers the total melter content of the glaze formula, the large amount of auxiliary melters already present in the glaze may suffice to melt the additional silica brought in by the Cornwall stone. The glaze’s color may change if Cornwall stone is substituted for a feldspar; it contains more iron oxide and other impurities than do the feld-spars. These impurities, together with the increased silica content, can produce distinctive color differences, espe-cially in high iron glazes.

Potash and soda feldspars, nepheline syenite, and Corn-wall stone provide the basis for the bulk of stoneware and porcelain glaze surfaces.

This article was excerpted from Out of the Earth, Into the Fire, by Mimi Obstler and published by The American Ceramic Society.

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from clay body to casting slipby paul andrew wandless

A common studio challenge is trying to keep the number of different clay bodies you have on hand to a minimum. Throwing, handbuild-ing, casting, and surface design techniques

often require different clay bodies to suit the demands of how your work is created. Sometimes the clay bodies also need to be in different forms such as regular moist clay, slip or casting slip. If I’m handbuilding with a cone 6 clay body and want to add a slip-cast element to it, I’d be hard pressed to find a commercial cone 6 casting slip with the exact same shrinkage and absorption characteristics. A singular work made of multiple clay bodies can cause several problems. Disparate shrinkage rates, maturation points, iron content, etc., can all have a negative effect on the final outcome of the work when using different bodies. When possible, it’s always best to stick with the same body.

My sculptural work combines moist clay for general construction and casting slip for volumetric elements or for use with various image transfer techniques to address the surface. My solution is to use the clay body I’m work-ing with and turn it into the different types of casting slips I need. This assures that all the parts and surface treatments shrink the same, fire to the same cone, and all the glazes work the same on all the different parts. The great thing about this approach is its simplicity. All you need is a 5-gallon bucket, a drill with a paint mixer attach-ment, a deflocculant, and the clay body you want to use as a casting slip.

Preparing the SlipThe process of slaking clay to make it into slip is a simple one. Step one is to have a 5-gallon bucket filled 60–75%

with your bone-dry clay then add water until it’s a few inches below the rim (figure 1). Let it slake for 24 hours then mix it by hand a little with a stick (figure 2). Once you’ve mixed the slip for about 5 minutes, use a drill with a paint mixer attachment to mix it into a smooth slurry, which should be the consistency of thick cream. Use the stirring stick to check the consistency and find any lumps of clay that didn’t slake down (figure 3). Keep mixing until the lumps are gone.

Measuring Specific GravityAt this point, I normally fill a quart container with the slip to use as a joining or brushing slip. The rest I use for casting slip. You’ll need to measure the specif-ic gravity of the slip to determine if the water to clay ratio is correct before deflocculating it with liquid sodium silicate or Darvan. To determine spe-cific gravity, which is a comparison of the weight of 100 ml of water (which is 100 g and therefore has a specific gravity of 1) with the weight of 100 ml of what-ever liquid or slip you are working with. First tare (zero out) the weight of a graduated measuring container on a

1 2 3


scale then fill it with 100 ml of slip and see how much it weighs in grams. Once you know the weight,divide it by the weight of an equivalent volume of water (100g). This works out, in essence, to moving the decimal point in your weight measurement to the left by two places to get the specific gravity. Example: 183g=1.83 specific gravity.

In general, a specific gravity of 1.80 to 1.85 provides good balance of fluidity and strength for most casting purposes. This number can vary, though, depending on exactly what is being cast. I’ve used it as low as 1.74 for volumetric casting and as high as 1.90 for casting flat slabs. Different clay bodies have different optimal spe-cific gravities that are determined by good old-fashioned trial and error. Specific gravity is simply a tool for you to adjust your slip to meet the needs of your particular casting project. Once you find a number that works, write it down and stick with it for that clay body. If you have a specific gravity that is higher than 1.85 and you want to bring it down, add a little water (only a few drops at a time), to your slip, mix and re-test. If the specific gravity is lower than 1.80, let the slip sit 24 hours, skim the water off the top, remix, and measure the specific gravity again.

Deflocculating the Slip Once you have the correct specific gravity, you need to

add a deflocculant to the slip to make it more fluid so it can be poured. Typically just a few small drops of liquid

sodium silicate or Darvan is needed to achieve the ap-propriate fluidity. Clay bodies with high iron content will require less deflocculant than others. Use the drill to mix the deflocculant into the slip and use a ladle or pitcher to scoop some of the slip out to see how it pours. The consistency of cream is what you’re going for so be care-ful not to over-deflocculate the slip, which will cause slow uneven drying and soft spots in the finished piece. Just add a few drops at a time to achieve fluidity and remem-ber a little goes a long way with deflocculants.

Using What WorksI’ve done this process with commercially bought clay and with home made clay. I’ve also had the exact same success slaking down clay that started off as moist clay fresh out of the bag or as 3-day old bone dry clay. I keep a 5-gallon bucket around to throw all my scrap clay into and when it gets about 65–75% full, I turn it into casting slip. I also just slice up a 25-pound bag of commercial clay into 1-inch cubes and fill an empty bucket with them and use that to make my casting slip. I’m aware of the different opinions regarding initial water content of the clay and its effect on the speed of water absorption/saturation while slaking. In my personal experience, I’ve found if you let clay in any state of moisture slake for 24 hours, it all mixes up just fine. I suggest you simply slake your clay in the state of moisture that you typically have in the past.

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Geographic & Product LocatorQuickly locating one of 288 ceramic businesses is easy with this locator. You’ll be able to easily find suppliers nearby and all the suppliers offering various products and services. Companies are arranged by city within the states where they’re located. International listings follow the United States listings and are arranged by country, then by city. If you don’t see your local supplier, tell them to contact us to get in the next Buyers Guide.

11The only complete Buyers Guide for the studio potter

Ceramic Artsb u y e r s g u i d e t o

Arizona

Keraflex (Gilbert) l Porcelain

Dolan Tools (Phoenix) l

Marjon Ceramics Inc. (Phoenix) l l l l l l l l l l

Marjon Ceramics Inc. (Tucson) l l l l l l l l l l

California

Phoenix Ceramic & Fire Supply (Arcata) l l l l l l l l l l

Leslie Ceramic Supply Co (Berkeley) l Kiln repair, studio planning, and set up

Glaze Mixer (Cardiff) l

All Fired Up! Ceramic Art Center (Chico) l l l l l l

Kemper Tools (Chino) l

Ceramic Services (Chino Hills) l l l l l l l l l

Laguna Clay Co. (City of Industry) l l l l l l l l l l

Graber’s Pottery Inc. (Claremont) l

Jiffy Mixer Co. Inc. (Corona) l

Mud in Mind (El Cajon) l l l l l l l

Chris Henley Tools (Encinitas) l

Clay Factory Inc. (Escondido) l

I Love To Create (Fresno) l l l l

B & W Tile Co. Inc. (Gardena) l

Geil Kilns Co. (Huntington Beach) l l

Art Decal Corp. (Long Beach) Decals

Echo Ceramics (Los Angeles) l l l l l l l l

Olsen Kiln (Mountain Center) l

Freeform Clay & Supply (National City) l l l l l l l l l l Kiln repair

Xiem Gallery (Pasadena) l l l l l Firing, studio membership, gallery

Aftosa (Richmond) l l l l l l l

ClayPeople (Richmond) l l l l l l l l l

Industrial Minerals Co. (Sacramento) l l l l l l l

Alpha Fired Arts (Sacramento) l l l l l l l l l l Cone 04 bisque

Nasco Arts & Crafts (Salida) l l l l l l l

HyperGlaze/Richard Burkett (San Diego) Software for glazes

Ceramics & Crafts Supply Co. (San Francisco) l l l l l l Kiln repair

Japan Pottery Tools (San Francisco) l

The Chinese Clay Art, USA (San Jose) l l l l

Lily Pond Products (Sanger) l l

Aardvark Clay & Supplies (Santa Ana) l l l l l l l l l

Falcon Company (Santa Ana) l l l

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Clay Planet (Santa Clara) l l l l l l l l l l

California Pot Tools (Santa Paula) l

Pottery Texture Queen (Santa Rosa) l

Peter Pugger Mfg., Inc. (Ukiah) l l

Ceramic ArtSpace (Van Nuys) l l l l l l l l l

Pure & Simple Pottery Products (Willits) l

Colorado

Herring Designs, LLC (Breckenridge) l l

Carbondale Clay Center (Carbondale) l l

Plinth Gallery (Denver) l l

Killam Gas Burner Co. (Denver) l l

Mile Hi Ceramics, Inc. (Denver) l l l l l l l l l l

Bluebird Mfg. Inc. (Ft. Collins) l l l l

Enduring Images (Golden) Digital ceramic printing systems

BNZ Materials Inc. (Littleton) l

Glyptic Modeling Tools (Loveland) l

Connecticut

Rusty Kiln Ceramic Studio (North Windham) l l l l l l l l

R.T. Vanderbilt Co. Inc. (Norwalk) l

Delaware

J. & J. Ceramic Studio (Dover) l l l l l

Nabertherm, Inc. (New Castle) l

Florida

Atlantic Pottery Supply Inc. (Atlantic Beach) l l l l l l l l l

Trinity Enterprises International (Lake Placid) Decals, squeegees, ceramic, and glass

Jen-Ken Kilns (Lakeland) l

Summit Kilns (Land O Lakes) l l l l Gas conversions

Sculptools Inc (Miami) l l l l l l l l l

C and R Products, Inc. (Ocala) l l l l l Glass supplies

Bennett Pottery Supply (Ocoee) l l l l l l l l l

Axner Pottery Supply (Oviedo) l l l l l l l l l l Stains, oxides

Florida Clay Art Co. (Sanford) l l l l l l l l l l Firing

Highwater Clays of Florida (St. Petersburg) l l l l l l l l l

St. Petersburg Clay Company Inc. (St. Petersburg) l

Georgia

Davens Ceramic Center (Atlanta) l l l l l l l l l

Atlanta Clay (Atlanta) l l l l l l l l l

Creative Glazes (Duluth) l l

Olympic Kilns (Flowery Branch) l l l

Larkin Refractory Solutions (Lithonia) l l Refractories

Hawaii

Ceramics Hawaii Ltd. (Honolulu) l

Idaho

The Potter’s Center (Garden City) l l l l l l l l

Wendt Pottery (Lewiston) l l l l l l l l

Illinois

Metomic Corporation (Chicago) Lamp parts

Paasche Airbrush Co. (Chicago) l

Sapir Studios (Chicago) Displays

Midwest Ceramic Art Supply Inc. (Crest Hill) l l l l l l l l l

MJR Tumblers (Davis) l l

Great Lakes Clay & Supply (Elgin) l l l l l l l l l l

Ceramic Supply Chicago (Evanston) l l l l l l l

Badger Air Brush Co. (Franklin Park) l l

Blick Art Materials (Galesburg) l l l l l l l l


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OtherIllinois

Crystal Productions (Glenview) l

Shimpo Ceramics (Itasca) l l l l

International Decal Corp. (Northbrook) l l

Art Clay World, USA (Oak Lawn) l l l l l l

U.S. Pigment Corp. (S. Elgin) l l

Indiana

ABR Imagery, Inc. (Bloomington) Glass supplies

United Art & Education (Ft. Wayne) l l l l l l l

American Art Clay Co., Inc. (Amaco/Brent) (Indianapolis) l l l l l l l l

Brickyard Ceramics & Crafts (Indianapolis) l l l l l l l l l Molds

Sugar Creek Industry, Inc. (Linden) l l l

Royal and Langnickel Brush Mfg. (Munster) l

Cattle Barn Clay Co. (Royal Center) l l l

Iowa

Johnson Gas Appliance Co. (Cedar Rapids) l l

Bartlett Instrument Co. (Ft. Madison) l

Kansas

Creative Paradise (Goddard) l

Bracker’s Good Earth Clays (Lawrence) l l l l l l l l l l

Soldner Clay Mixers (Newton) l

Evans Ceramic Supply (Wichita) l l l l l l l l l l

Starlite Mold Company (Wichita) Molds

Kentucky

Groovy Tools (Lawrenceburg) l

Kentucky Mudworks LLC (Lexington) l l l l l l l l

Old Hickory Clay Co. (Mayfield) l l

Louisiana

Alligator Clay Company (Baton Rouge) l l l l l l l l

Blue Diamond Kilns (Metarie) l

Maine

Portland Pottery Supply (Portland) l l l l l l l l l l

Miracle Bat (York) l l

Maryland

Baltimore Clayworks (Baltimore) l Kiln firings

Buyers Market of American Craft (Baltimore) l l

Chesapeake Ceramics Supply (Baltimore) l l l l l l l l

Clayworks Supplies, Inc. (Baltimore) l l l l l l l l l

PotteryTools.com (Finksburg) l

Massachusetts

Portland Pottery Supply South (Braintree) l l l l l l l l l

AccuAngle (Groveland) l

Amherst Potters Supply (Hadley) l l l l l l l

Gare Inc. (Harverhill) l l l l

Boston Kiln Sales & Service (Medford) l l l l

The Potters Shop and School (Needham) l l l

Sheffield Pottery Inc. (Sheffield) l l l l l l l l l l

Ceramics Consulting Services (Southampton) l Ceramics consulting

Venco USA (Spencer) l

Saint-Gobain Ceramic Materials (Worcester) Silicon carbonate kiln shelves

Michigan

Pebble Press, Inc. (Ann Arbor) l l

Portion Master LLC (Beaverton) l

Evenheat Kiln Inc. (Caseville) l

Runyan Pottery Supply Inc. (Clio) l l l l l l l l l l Kiln and equipment parts and repairs

FireRight/Warner Instruments (Grand Haven) l


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OtherMichigan

West Michigan Clay (Hamilton) l l l l l l l l l

Crossroads Pottery & Clay Company (Jackson) l l l l l l l l l

Manitou Arts (Northport) Wood accessories for tiles

Har-Bon Ceramics & Decals (Presque Isle) l Decals

Rovin Ceramics (Taylor) l l l l l l l l l l

Minnesota

Minnesota Clay Co. USA (Edina) l l l l l l l l l l

Master Kiln Builders (Farmington) l l

Dunghanrach Clay Co. (Melrose) l l l l l

Brown Tool Co. (Minneapolis) l

Continental Clay Co. (Minneapolis) l l l l l l l l l l Solid maple work tables

Smith-Sharpe Fire Brick Supply (Minneapolis) l l

Triarco Arts & Crafts LLC (Plymouth) l l l l l l l l l l

Mississippi

Dogwood Ceramic Supply (Gulfport) l l l l l l l l l Slab rollers, bisqueware

Natchez Clay (Natchez) l l l l l Gallery, private parties, getaway weekends

Missouri

KC Metro Ceramic & Pottery Supplies (Kansas City) l l l l l l l l

L&R Specialties Inc (Nixa) l l l l l l l l l

Krueger Pottery Supply (St. Louis) l l l l l l l l l l

Montana

Archie Bray Foundation (Helena) l l l l l l l l l l

Nevada

Cress Mfg. Co. (Carson City) l

Bison Studios (Las Vegas) l

Aardvark Clay & Supplies (Las Vegas) l l l l l l l l l

Pottery West (Las Vegas) Classes

Aim Kiln Mfg. (Minden) l l l l l

Nevada Dan’s (Sparks) l l l

BigCeramicStore.com (Sparks) l l l l l l l l l

New Jersey

Midlantic Clay (Bellmawr) l l l l l l l l l

Creative Hobbies, Inc. (Bellmawr) l l l l

Curran Pfeiff Corp. (Edison) l l Kiln accessories

Kissimmee River Pottery (Frenchtown) l l

Hammill & Gillespie Inc. (Livingston) l

Ceramic Supply Inc. (Lodi) l l l l l l l l l l

New Brunswick Lamp Shade Co. (New Brunswick) Lamp shades

AmericanPotters.com (Rockaway) l Online studio directory

L&L Kiln Mfg. Inc. (Swedesboro) l l l

Lamp Specialties (Westville) l l l l l l

New Mexico

Coyote Clay & Color (Albuquerque) l l

Free Freight Pottery Supply LLC (Albuquerque) l l l l l l l

New Mexico Clay, Inc. (Albuquerque) l l l l l l l l l l Kiln repair

Taos Clay (El Prado) l

Santa Fe Clay (Santa Fe) l l l l l l l l l l Classes, workshops, gallery

McCaslin Kilns/ Santa Fe Clay Tools (Santa Fe) l l

New York

Matt and Dave’s Clays (Alfred) l

East Valley Supply (Andover) Adhesives

Studio Sales Pottery Supply (Avon) l l l l l l l l

Vent-A-Kiln Corp. (Buffalo) l

Sunshine Glassworks (Buffalo) Materials for glass fusing

Ceramic Arts Library (Corning) l


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PCF Studios (Honeoye) l l

Bailey Pottery Equipment (Kingston) l l l l l l l l l l

Artfixtures (New York) l l

Rockland Colloid Corp. (Piermont) l

Alpine Kilns and Equipment LLC (Pine Island) l l

Clayscapes Pottery Inc. (Syracuse) l l l l l l l

Oneida Air Systems, Inc. (Syracuse) l

Northeast Ceramic Supply (Troy) l l l l l l l l

Doo-Woo Tools LLC (Warwick) l

Rochester Ceramics, Inc. (Webster) l l l l l l l l l

North Carolina

Highwater Clays, Inc. (Asheville) l l l l l l l l l

Lark Books (Asheville) l

Mudtools (Bat Cave) l

Carolina Clay Connection (Charlotte) l l l l l l l l l l Classes, wheel and kiln repair

Claymakers (Durham) l l l l l l l l

Resco Products Inc. (Greensboro) l

Williams Supply (Star) l l l l l l

Speedball Art Products Co. (Statesville) l

Fat Cat Pottery Inc. (Wilmington) l l l l l l l l

Sierrascoringtools.com (Winston-Salem) l

Ohio

National Artcraft Co. (Aurora) l l l l l l

A & K Clay Company LLC (Bethel) l

Mudmats (Blacklick) l l l

Laguna Clay Co. (Byesville) l l l l l l l l l l

Vulcan Kilns (Centerville) l l l l

Funke Fired Arts (Cincinnati) l l l l l l l l l

Cowan’s (Cincinnati) Auction

Aegean Sponge Co. (Cleveland) l Sponges

RAM Products Inc. (Columbus) l

Columbus Clay (Columbus) l l l l l l l l l l

Belhorn Auction (Columbus) l Pottery auctions

Cornell Studio Supply (Dayton) l l l l l l l l l l Sculpting supplies

Innovative Ceramic Corp. (E. Liverpool) Ceramic decals, Durafire inks

Mason Color Works Inc. (E. Liverpool) l

Mayco Colors (Hilliard) l l l

Ceramic Supply Inc. (Kent) l l l l l l l l l l

Klopfenstein Art Equipment (Lexington ) l

Krumor Inc. (Valley View) Thermocouples and RTDs

Orton Ceramic Foundation (Westerville) l l l

Olympia Enterprises Inc. (Youngstown) l l l

Oregon

The Kiln Elements Co. (Birkenfeld) l l

Georgies Ceramic & Clay Co. Inc. (Eugene) l l l l l l l l l l

Georgies Ceramic & Clay Co. Inc. (Portland) l l l l l l l l l l

Mudshark (Portland) l Moldmaking

Skutt Ceramic Products (Portland) l

Pennsylvania

Ceramic Services Inc. (Bensalem) l l

Insulating Firebrick, Inc. (Butler) l

The Clay Place (Carnegie) l l l l l l l l l l

The Ceramic Shop (Philadelphia) l l l l l l l l l

University of Pennsylvania Press (Philadelphia) l

Standard Ceramic Supply Co. (Pittsburgh) l l l l l l l


Pennsylvania

Frog Pond Pottery (Pocopson) l Glaze software

Petro Mold Co. (Waterford) l Mold making

Del Val Potter’s Supply Co. (Wyndmoor) l l l l l l l We will mix your glaze recipes

Rhode Island

Dew Claw Studios (Pawtucket) l l l l l Custom glazes prepared

South Carolina

Mud Bucket Pottery (Little River) l l l Custom glazes prepared

Clay-King.com (Spartanburg) l l l l l l l l

Coastal Ceramic Supply (Summerville) l l l l l l

South Dakota

Dakota Potters Supply (Sioux Falls) l l l l l l l l l

Tennessee

Ward Burner Systems (Dandridge) l l l l l

Arrowmont School of Arts & Crafts (Gatlinburg) l l l l l

HandbuildingTools.com (Knoxville) l

Mid-South Ceramic Supply Co. (Nashville) l l l l l l l l l l

The Clay Lady (Nashville) l l l l l l l l l Inservices, workshops

Shakerag Workshops (Sewanee) Workshops

Texas

Armadillo Clay & Supplies (Austin) l l l l l l l l l l

Trinity Ceramic Supply Inc. (Dallas) l l l l l l l l

Texas Pottery Supply & Clay Co. (Ft. Worth) l l l l l l l l l

American Ceramic Supply Co. (Ft. Worth) l l l l l l l l l

Display Your Art by Glassica (Georgetown) l

Dry Creek Pottery (Granbury) l l l

Ceramic Store of Houston, LLC (Houston) l l l l l l l l l l

APT-II Products Company (Kerrville) Clay and glaze additive

Bella Bisque, Inc. (Kyle) l l

Paragon Industries, L.P. (Mesquite) l

Old Farmhouse Pottery (Rusk) l

Clayworld Inc. (San Antonio) l l l l l l l l l

Utah

Capital Ceramics Inc. (Salt Lake City) l l l l l l l l

Virginia

The Kiln Doctor Inc. (Front Royal) l l l l l l l l l l Studio consulting

Craft-n-Spin (Glen Allen) l

Tin Barn Pottery Supply at Manassas Clay (Manassas) l l l l l l l l l l

Campbell’s Ceramic Supply Inc. (Richmond) l l l l l l l

Washington

North Star Equipment Inc. (Cheney) l l

Giffin Tec Inc. (Lummi Island) l l

The Cookie Cutter Shop (Marysville) l

Crucible Kilns (Seattle) l l l l l l l l l l

New Century Ceramic Arts Inc. (Seattle) l l l

Seattle Pottery Supply (Seattle) l l l l l l l l l l

Rings & Things Wholesale (Spokane) l

Precision Terrafirma (Spokane) l

Scott Creek Pottery Inc. (Tacoma) l l Equipment repair

Clay Art Center (Tacoma) l l l l l l l l l l Glass paint

West Virginia

Danser, Inc. (Parkersburg) l l

Controled Excentrics/Placid Ceramics (Sutton) l l l l l l l

Wisconsin

MKM Pottery Tools LLC (Appleton) l

School Specialty/ Sax Arts & Crafts (Appleton) l l l l l l l l

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Wisconsin

Nasco Arts & Crafts (Ft. Atkinson) l l l l l l l l l

Aves Studio (River Falls) l

A.R.T. Studio Clay Co. Inc. (Sturtevant) l l l l l l l l l

Canada

Paul Ottoway Bone China (Grantville) l

Plainsman Clay Ltd. (Medicine Hat) l l l l l l l l l l

Digitalfire Corp. (Medicine Hate) l l

PotteryVideos.com (Gabriola) l

Bamboo Tools (Surrey) l

Greenbarn Potters Supply Ltd. (Surrey) l l l l l l l l l

Ceramic Arts & Crafts Supply (Burlington) l l l l l l

Euclid’s Elements/The Pottery Supply House (Oakville) l l l l l l l l l l

Cone Art Kilns Inc. (Richmond Hill) l

Tucker’s Pottery Supplies Inc. (Richmond Hill) l l l l l l l l l l

Spectrum Glazes (Toronto) l l l

Italy

La Meridiana (Certaldo) Workshops

United Kingdom

Bailey Decal Ltd. (Stoke on Trent) Decals

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Order Online at www.ceramicartsdaily.org/bookstore

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A & K CLAY COMPANY LLC 937-379-1495 3664 Bethel New Hope Rd. Fax: 937-379-1495 Bethel, OH 45106 Email: [email protected]: www.akclay.comOhio Slip is a very clean and consistent 400 grain material which makes glazes that fire from cone 6 thru 12 and can be applied to a wet or dry pot, dipped, sprayed or brushed.

A.R.T. STUDIO CLAY CO. INC. 262-884-4278 9320 Michigan Ave. Fax: 262-884-4343 Sturtevant, WI 53177-2425 Toll-Free: 877-ART-CLAY Email: [email protected]: www.artclay.comCarry a rainbow of glazes from around the country and a great selection of clay, tools, wheels, kilns and equipment.

AARDVARK CLAY & SUPPLIeS 714-541-41571400 e. Pomona St. Fax: 714-541-2021Santa Ana, CA 92705-4812

AARDVARK CLAY & SUPPLIeS 702-451-99286230 Greyhound Ln., Ste e Fax: 702-451-9928Las Vegas, NV 89122 email: [email protected]: www.aardvarkclay.comFull service supplier of Highwater, Standard, Laguna, AMACO, Spectrum, Mayco, Georgies, L&L, Skutt, Shimpo, Brent, Pacifica, Dolan, Kemper, Sherrill Mudtools and more. “By artists - for artists”. Advice from people who actually use what they sell!

ABR IMAGERY, INC. 812-339-9147 3808 W. Vernal Pike Fax: 812-339-8947 Bloomington, IN 47404 Toll-Free: 866-342-4764 Email: [email protected]: www.abrimagery.comAmerica’s #1 glass blowing supply resource.

ACCUANGLE 978-430-3039 22 Mill St. Groveland, MA, 01834 Email: [email protected]: www.accuangle.comThe AccuAngle is a clay slab cutting and beveling tool for straight or curved edges. The eleven preset angles allow for creativity while increasing quality and reducing seam failure. The AccuAngle also saves time by combining the cutting and beveling process.

AEGEAN SPONGE CO. 216-749-1927 4722 Memphis Ave. Fax: 216-749-2110 Cleveland, OH 44144 Toll-Free: 800-276-8542 Email: [email protected]: www.aegeansponge.comImporter of natural and synthetic sponges: silk, elephant ear, sea and wool. Wholesaler of ceramic/craft supplies.

AFTOSA 510-233-0334 1776 Wright Ave. Fax: 510-233-3569 Richmond, CA 94804 Toll-Free: 800-231-0397 Email: [email protected]: www.aftosa.comLeading wholesaler of ceramic accessories, tools, books, display products, tile products, bisque, glaze and sublimation products, PMC and glass products.

AIM KILN MFG. 775-267-2607 2516 Business Pkwy., Unit E Fax: 775-267-2002 Minden, NV 89423 Toll-Free: 800-246-5456 Email: [email protected]: www.aimkilns.comElectric and gas-fired kilns, kiln controls and kiln accessories. Custom builds and repairs.

ALL FIRED UP! CERAMIC ART CENTER 530-894-5227 830 Broadway St Fax: 530-894-5271 Chico, CA 95926 Email: [email protected]: www.allfiredupchico.orgFull service ceramic art center; pottery classes, a wide range of supplies, members open studio, gallery, gift shop.

ALLIGATOR CLAY COMPANY 225-932-9457 2721 W. Perdue Fax: 225-932-9446 Baton Rouge, LA 70814 Toll-Free: 888-503-2299 Email: [email protected]: www.alligatorclay.comA division of Southern Pottery Equipment & Supplies, manufacturer of quality moist and custom clay bodies.

ALPHA FIRED ARTS 916-484-4424 4675 Aldona Ln. Fax: 916-484-6172 Sacramento, CA 95841 Toll-Free: 800-611-3611 Email: [email protected]: www.alphaceramics.comLargest selection of ceramic supplies in northern California.

ALPINE KILNS AND EQUIPMENT LLC 845-987-9589 PO Box 1275 Fax: 845-926-3125 Pine Island, NY 10969 Toll-Free: 888-222-9196 Email: [email protected]: www.alpinekilns.comManufacture front loading gas and electric kilns since 1943, glaze formulating, tables, work tables, spray booths, and wedging tables.

AMeRICAN ART CLAY CO., INC. (AMACO/BReNT) 6060 Guion Rd. 317-244-6871 Indianapolis, IN 46254-1222 Fax: 317-248-9300 email: [email protected] Toll-Free: 800-374-1600 Website: www.amaco.comLeading manufacturer and supplier of quality ceramic products and equipment since 1919. Amaco kilns, clays, glazes and underglazes, our Brent® line of potters wheels, ware carts and hand extruders, and our excel® round kilns are used worldwide by art educators.

AMERICAN CERAMIC SUPPLY CO. 817-535-2651 2442 Ludelle St. Fax: 817-536-7120 Ft. Worth, TX 76105-1060 Toll-Free: 866-535-2651 Email: [email protected]: www.AmericanCeramics.comGreat discounts and great customer service on retail and wholesale ceramic equipment and supplies for over 30 years - kilns, wheels, glazes, brushes, glass tools, clay, bisque and more. Customized and personalized packages. Education and training. Daily shipping.

AMERICANPOTTERS.COM 973-945-3553 165 Hoagland Ave. Rockaway, NJ 07866-3013 Email: [email protected]: www.americanpotters.comNational, searchable, database of potters, clay artists, teachers, students, workshop instructors, or anyone involved in the clay industry that wants to be accessible to everyone across the country/planet.

AMHERST POTTERS SUPPLY 413-586-4507 47 East St. Fax: 413-584-5535 Hadley, MA 01035 Email: [email protected]: www.amherstpotters.comSpecialize in custom mixed de-air clays and an assortment of our own cone 6 glazes visible on our website.

APT-II PRODUCTS COMPANY 830-995-4035PO Box 291766 Fax: 830-995-4036Kerrville, TX 78029-1766 Toll-Free: 800-922-2857email: [email protected]: www.apt2products.comAPT-II enhancer is an acrylic additive to plasticize clay and repair damaged greenware or bisque. It also enhances glazes to leveling during firing, eliminates pin holes and causes new glaze to adhere to glazed surfaces without preparation for re-glazing. It is food safe and non-toxic.

ARCHIE BRAY FOUNDATION 406-443-3502 2915 Country Club Ave. Fax: 406-443-0934 Helena, MT 59602-9240 Toll-Free: 800-443-6434 Email: [email protected]: www.archiebray.orgU.S. distributor for Alberta and Ravenscrag slip, a base glaze material. Supplier for Bray Patch, a repair and patch material that can be used on green or bisqueware. Manufacture Ben Krupka’s woodfire clay body. Clay business proceeds support the Archie Bray Residency Program. Wholesale inquiries are welcome.

ARMADILLO CLAY & SUPPLIES 512-385-7311 3307 E. Fourth St. Fax: 512-385-1152 Austin, TX 78702 Email: [email protected]: www.armadilloclay.comOne-stop shop giving you a chance to see and touch the products. We provide a fast and easy way to purchase those products, so you can get to the fun part – creating! Sell both retail and wholesale.

ARROWMONT SCHOOL OF ARTS & CRAFTS PO Box 567 865-436-5860 Gatlinburg, TN 37738 Fax: 865 430-4101 Email: [email protected]: www.arrowmont.orgClasses, workshops, galleries and a supply store.

ART CLAY WORLD, USA 708-857-8800 4535 Southwest Hwy. Fax: 708-636-5408 Oak Lawn, IL 60453 Toll-Free: 866-381-0100 Email: [email protected]: www.artclayworld.comSpecialize in unique types of clay and materials as well as offering multi-level classes in many locations across the United States and Japan.

11The only complete Buyers Guide for the studio potter

Ceramic Artsb u y e r s g u i d e t o

http://www.amaco.com

http://www.apt2products.com

http://www.aardvarkclay.com


ART DECAL CORP. 562-434-2711 1201 Loma Ave. Fax: 562-494-7869 Long Beach, CA 90804 Toll-Free: 800-742-0270 Email: [email protected]: www.artdecalcorp.comQuality single and multi-color, made to order waterslide onglaze, inglaze and glass decals for the decorator market.

ARTFIXTURES 212-472-0595 211 E. 70th St. Fax: 212-472-3555 New York, NY 10021 Email: [email protected]: www.artfixtures.comSupply the Display Stand; two flat pieces interconnect to hold and enhance artwork, plates, books, photographs and fine collectibles. Stands are created specifically for quality art pieces, displaying them both aesthetically and safely.

ATLANTA CLAY 770-451-6774 3131 Presidential Dr. Fax: 770-451-6712 Atlanta, GA 30340 Email: [email protected]: www.atlantaclay.comAtlanta Clay has the largest selection of tools—and we know how to use them! Kemper, Chinese CLay Art, Sherrill, Mudtools and more!

ATLANTIC POTTERY SUPPLY INC. 904-249-4499 400 Levy Rd. Fax: 904-339-0014 Atlantic Beach, FL 32233 Email: [email protected]: www.atlanticpotterysupply.comRetail and wholesale pottery supply business.

AVES STUDIO 715-386-9097 PO Box 344 Fax: 715-381-2121 River Falls, WI 54022 Toll-Free: 800-261-2837 Email: [email protected]: www.avesstudio.comManufacture self-hardening sculpting clays, maches and repair compounds that are safe, user friendly, nonshrinking, noncracking, and waterproof for all your sculpting and repair needs. Our 2 part clays are safe to use with potable water and perfect for ceramic repairs.

AXNER POTTERY SUPPLY 407-365-2600 490 Kane Ct. Fax: 407-365-5573 Oviedo, FL 32765 Toll-Free: 800-843-7057 Email: [email protected]: www.axner.comAxner Pottery Supply (a tradename of Laguna Clay Co.) offers the best quality, pricing and service for pottery supplies, materials, equipment and books. Glass fusing and surface modification products, Steve tools and Bellar roller sold here.

B & W TILE CO. INC. 310-538-9579 14600 S. Western Ave. Fax: 310-538-2190 Gardena, CA 90249 Toll-Free: 800-499-TILE Email: [email protected]: www.bwtile.comFamily-owned business manufacturing tile and tile trims since 1947. Make and sell dry-pressed ceramic body tiles in a variety of sizes and a full line of trim. Sell both retail and wholesale.

BADGER AIR BRUSH CO. 847-678-3104 9128 W. Belmont Ave. Fax: 847-57BADGER Franklin Park, IL 60131 Toll-Free: 800-AIR-BRUSH Email: [email protected]: www.badgerairbrush.comMaker of quality airbrushes for over 45 years. Manufacture several types of airbrushes designed to meet a vast array of spray needs.

BAILEY DECAL LTD. 44(0)1782-524400 Trent House, Dunning St. Fax: 44(0)1782-524414 Stoke on Trent, ST6 5AP United Kingdom Email: [email protected]: www.baileydecal.co.uk/

BAILeY POTTeRY eqUIPMeNT 845-339-3721 PO Box 1577 Fax: 845-339-5530 Kingston, NY 12402 Toll-Free: 800-431-6067 email: [email protected]: www.baileypottery.comquality products, excellent service and the lowest prices have made Bailey Pottery equipment the professional’s choice for over 30 years. From clay to tools to glazes to major equipment, Bailey has it all.

BALTIMORE CLAYWORKS 410-578-1919 5707 Smith Ave. Baltimore, MD 21209 Email: [email protected]: www.baltimoreclayworks.orgYouth and adult classes, workshops and exhibitions.

BAMBOO TOOLS 604-782-3202 PO Box 74009 Surrey, BC V4N 5H9 Canada Email: [email protected]: www.bambootools.comMost widely used pottery tools by production potters in the Orient. Bamboo is the best material for pottery—durable, lightweight, and fits the human anatomy.

BARTLETT INSTRUMENT CO. 319-372-8366 1032 Ave H Fax: 319-372-5560 Ft. Madison, IA 52627 Email: [email protected]: www.bartinst.comDesign and manufacture kiln controllers used by many major kiln manufacturers. Our mission is to provide reliable, easy-to-use and economical controllers.

BELHORN AUCTION SERVICE 614-921-9441 P.O. Box 20211 Columbus, OH 43220 Email: [email protected] Website: www.belhornauctions.com

BELLA BISQUE, INC. 512-405-3848 PO Box 1212 Fax: 512-405-3849 Kyle, TX 78640 Toll-Free: 866-902-3552 Email: [email protected]: www.bellabisque.comManufacturer and importer specializing in Italian bisque. With over 200+ designs, we offer a large variety of unique European functional designs and one-of-a-kind kid’s shapes. Free freight program available. Nationwide delivery 1–4 days! Excellent customer service.

BeNNeTT POTTeRY SUPPLY 407-877-6311 431 enterprise St. Fax: 407-877-3559 Ocoee, FL 34761 Toll-Free: 800-432-0074 email: [email protected]: www.bennettpottery.comComplete line of kilns (excel, L&L, Olympic, Paragon and Skutt), and potters wheels (Axner, Brent, Creative Industries, Pacifica, Thomas Stuart, and Shimpo) at super discounted prices. Amaco & Brent and Laguna Glazes. Call for our catalog or online.

BIGCERAMICSTORE.COM 775-351-2888 543 Vista Blvd. Fax: 888-475-7837 Sparks, NV 89434 Toll-Free: 888-513-5303 Email: [email protected]: www.bigceramicstore.comHuge inventory of supplies/equipment, including unique and hard to find items. Most orders ship complete within 1 day. Low prices, volume discounts, excellent customer support. Distributor for many brands. E-mails answered quickly. We are kiln experts!

BISON STUDIOS 702-388-2085 1409 S. Commerce St. Las Vegas, NV 89102 Email: [email protected]: www.bisonstudios.comManufacture functional tungsten carbide trimming/turning tools for potters. Direct sales.

BLICK ART MATERIALS 309-343-6181 695 U.S. Hwy. 150 E. Fax: 800-621-8293 Galesburg, IL 61402-1267 Toll-Free: 800-828-4548 Email: [email protected]: www.dickblick.comOffer a wide selection of clays, glazes, kilns, tools, wheels and accessories for the school and home studio. Get the best prices, best selection and best service on all the top brands - Amaco, Skutt, Laguna, Shimpo, Kemper, Bailey and more. Request a catalog or shop online.

BLUE DIAMOND KILNS 504-835-2035 2009 S. Hullen Metarie, LA 70004 Toll-Free: 800-USA-KILN Email: [email protected]: www.bluediamondkiln.comManufacture electric ceramic, glass and custom kilns.

BLUeBIRD MFG. INC. 970-484-3243PO Box 2307 Fax: 970-493-1408Ft. Collins, CO 80522-2307 Toll-Free: 800-335-0741email: [email protected]: www.bluebird-mfg.comManufacture 3 sizes of pugmills, studio to large production models. All have cast aluminum barrels and stainless steel parts. Also manufacture studio and production size clay mixers with stainless steel buckets.

BNZ MATERIALS INC. 303-978-11996901 S. Pierce St., Ste. 260 Fax: 303-978-0308Littleton, CO 80128 Toll-Free: 800-999-0890Email: [email protected]: www.bnzmaterials.comManufacture BNZ-24 HK Insulating Firebrick, the premium brick available for hobby kiln lining and insulation.

BOSTON KILN SALES & SERVICE 617-926-180266 Thomas St. Fax: 781-391-8942Medford, MA 2155 Email: [email protected]: www.bostonkiln.comProvide sales, custom installation and repairs to all kilns and wheels, and consulting to schools and colleges regarding technical and code issues.

BRACKeR’S GOOD eARTH CLAYS 785-841-47501831 e. 1450 Rd. Fax: 785-841-8142Lawrence, KS 66044 Toll-Free: 888-822-1982email: [email protected]: www.brackers.comSupply ceramic and sculpture materials, equipment, tools and accessories to potters, sculptors, teachers, schools, institutions and hobbyists since 1982.

BRICKYARD CERAMICS & CRAFTS 317-244-52306060 Guion Rd. Fax: 317-248-9300Indianapolis, IN 46254 Toll-Free: 800-677-3289Website: www.brickyardceramics.comIndiana’s largest supplier of clay, kilns, slip, glazes, tools, molds, bisque, glass, wheels, and slab rollers plus art and craft products for potters, teachers, hobby ceramics and the crafter. We carry all the name brands including AMACO, Brent, Excel, Mayco.

http://www.brackers.com

http://www.bennettpottery.com

http://www.bluebird-mfg.com

http://www.baileypottery.com


BROWN TOOL CO. 612-331-1556 212 13th Ave. NE Fax: 612-331-1556 Minneapolis, MN 55413 Toll-Free: 800-980-8665 Email: [email protected]: www.browntoolco.netReplaceable-blade trimming tools and adjustable glazing tongs.

BUYERS MARKET OF AMERICAN CRAFT 3000 Chestnut Ave. 410-889-2933 Baltimore, MD 21211 Fax: 443-524-2644 Email: [email protected] Toll-Free: 800-432-7238 Website: www.americancraft.comThe place to meet qualified buyers in a professional wholesale-only setting. Applications reviewed throughout the year–get yours online today.

C AND R PRODUCTS, INC. 352-861-7007 7495 S.W. 38th St. Fax: 352-861-2507 Ocala, FL 34474 Toll-Free: 800-657-7020 Email: [email protected]: www.candrproducts.comYour fired art superstore! Full distributor for color, bisque, kilns, supplies and glass.

CALIFORNIA POT TOOLS 805-525-0080 792 Manor Ridge Rd. Fax: 805-525-4704 Santa Paula, CA 93060-1651 Manufacture tools for ceramic artists and potters; including 56 embossed patterns in a variety of shapes and sizes plus decorating ribs in 12 patterns. All used to stamp, roll or drag hundreds of unique decorations into clay. Also carry lid calipers and more. Send for free catalog.

CAMPBELL’S CERAMIC SUPPLY INC. 804-329-0109 4231 Carolina Ave. Fax: 804-329-1439 Richmond, VA 23222 Toll-Free: 888-399-0660 Email: [email protected]: www.claysupply.comManufacture a complete line of pottery, clay, glaze and slip. Visit us at our headquarters in Richmond, VA, or stop by one of our 24 dealers along the East Coast.

CAPITAL CERAMICS INC. 801-466-6471 2174 S. Main St. Fax: 801-466-6946 Salt Lake City, UT 84115 Email: [email protected]: www.capitalceramics.comFor more than 50 years the main source of pottery supplies and equipment for Utah and the surrounding area. Outstanding customer service and prompt shipment of orders.

CARBONDALE CLAY CENTER 970-963-2529 135 Main St. Fax: 970-963-4492 Carbondale, CO 81623 Email: [email protected]: www.carbondaleclay.orgNon-profit community clay studio offering high quality ceramic arts classes and activities for adults and children.

CAROLINA CLAY CONNeCTION 704-376-72212132 Hawkins St. Fax: 704-376-6824Charlotte, NC 28203 email: [email protected]: www.carolinaclay.comFull-service supplier, featuring clays by Standard, Highwater and Laguna. We carry equipment by most major manufacturers. Service-oriented with easy accessibility.

CATTLE BARN CLAY CO. 574-727-5737 4786 W. County Rd. 900 N. Royal Center, IN 46978 Email: [email protected]: www.cattlebarnclay.comOffer ceramic materials for individuals and schools at discount prices.

CERAMIC ARTS & CRAFTS SUPPLY 905-335-1515 3103 Mainway Dr. Fax: 905-332-4403 Burlington, ON L7M 1A1 Canada Email: [email protected]: www.ceramicarts.comWholesale ceramic supplies. Business package. Online shopping at website. Classes available.

CERAMIC ARTS LIBRARY 607-962-6042 79 E. Third St. Fax: 607-962-1636 Corning, NY 14830-3101 Email: [email protected]: www.ceramicartslibrary.comSpecialize in out-of-print and hard-to-find books and catalogs in the ceramic field. We also do appraisals.

CERAMIC ARTSPACE 818-782-1500 6020 Woodman Ave. Van Nuys, CA 91401 Toll-Free: 888-CERAMIX Email: [email protected]: www.ceramicartspace.comFull-service online supply store; bisque, plastercraft, glazes, tools, kiln supplies, acrylics and much more.

CERAMIC SERVICES 909-986-1566 PO Box 1352 Fax: 909-983-6041 Chino Hills, CA 91709 Email: [email protected]: www.ceramicservices.comComplete line of professional raku kilns from 4 to 14 cu. ft., downdraft kilns and custom pottery equipment. Offer Laguna Clays, Aardvark Clay and Glazes, Shimpo Wheels, Leslies Clay and Glazes as well as IMCO Clay. We are the Inland Valley ceramic supply.

CERAMIC SERVICES INC. 215-245-4040 1060 Park Ave. Fax: 215-638-1812 Bensalem, PA 19020-4652 Email: [email protected]: www.kilnman.comSolutions to drying and firing problems. Bringing industrial know-how to production potters. Home of the Kilnman, the Pottery Pro 2000 dryer and Pottery Master kilns, the best-built kilns and dryers available.

THE CERAMIC SHOP 215-427-9665 3245 Amber St. Fax: 419-735-1063 Philadelphia, PA 19134 Email: [email protected]: www.theceramicshop.comFull-service ceramic supply with a 3,000 sq. ft. studio and walk-in store. Home of the Hydro-Bat, a gypsum cement bat designed to fit all wheels.

CERAMIC STORE OF HOUSTON, LLC 713-864-6442 1002 W. 11 St. Fax: 713-864-6550 Houston, TX 77008 Toll-Free: 800-290-8990 Email: [email protected]: www.ceramicstoreinc.comServing schools and institutions, potters and sculptors in the Houston metro area for over 30 years.

CERAMIC SUPPLY CHICAGO 847-425-1900 942 Pitner Ave. Fax: 847-332-2575 Evanston, IL 60202 Email: [email protected]: www.ceramicsupplychicago.comMaterials & equipment for potters, sculptors, ceramic decorators. Standard moist clays; Duncan, Mayco, AMACO, Spectrum, Opulence glazes; raw clay and glaze materials; plasters; Kemper, Dolan, Sherrill tools; L&L, Brent, North Star, Shimpo.

CERAMIC SUPPLY INC. 973-340-3005 7 Rt. 46 W. Fax: 973-340-0089 Lodi, NJ 07644 Toll-Free: 800-723-7264 Email: [email protected]: www.eceramicsupply.comMaterials and equipment for potters, sculptors, ceramic decorators. Standard moist clays; Duncan, Mayco, AMACO, Spectrum glazes; raw clay & glaze materials; plasters; Kemper, Dolan, Sherrill tools; Skutt, L&L, Brent, North Star, Shimpo. Free delivery.

CERAMICS & CRAFTS SUPPLY CO. 415-982-9231 490 Fifth St. Fax: 415-957-1492 San Francisco, CA 94107 Email: [email protected]: www.ceramicssf.comMaterials and equipment for potters, ceramists and porcelain doll artisans. Mayco & Duncan glaze distributor.

CERAMICS CONSULTING SERVICES 413-527-7337 6 Glendale Woods Dr. Fax: 413-527-2755 Southampton, MA 01073 Email: [email protected]: www.fixpots.comTechnical info on clays, glazes, casting, materials, kilns, equipment, product development and ceramic toxicology. Specialize in clay body/glaze defects cause and corrections.

CERAMICS HAWAII LTD. 808-845-8100 501 Kokea St., Bldg. A-6 Honolulu, HI 96817-4935

CHESAPEAKE CERAMICS SUPPLY 410-247-1270 4706 Benson Ave. Fax: 410-247-1708 Baltimore, MD 21227-1411 Toll-Free: 800-962-9655 Email: [email protected]: www.ceramicsupply.com

THe CHINeSe CLAY ART, USA 408-343-39191155 S. De Anza Blvd. Fax: 408-343-0117San Jose, CA 95129 Toll-Free: 800-689-2529email: [email protected]: www.chineseclayart.comWeb store, manufacturer and wholesale company. Offer patented and newly invented clay tools, brushes, ceramic materials, prepared glazes, and ceramic art books. Also offer China ceramic tours and cultural exchange programs.

CHRIS HENLEY TOOLS 760-942-0086 912 Third St. Encinitas, CA 92024 Email: [email protected] Website: www.hominid.net/chris.htmHandcraft potters tools for throwing, handbuilding, sculpture and tile molding. Crafted from exotic/domestic woods, bamboo and high carbon tool steel.

CLAY ART CeNTeR 253-922-5342 2636 Pioneer Way e. Fax: 253-922-5349 Tacoma, WA 98404 Toll-Free: 800-952-8030 email: [email protected]: www.clayartcenter.netNorthwest’s leading manufacturer of custom clay and glazes. Owned and operated by potters for over 35 years. Distributors for Skutt, Laguna, Kemper, Duncan, AMACO and most other manufacturers. Offer kiln, wheel and equipment repair.

CLAY FACTORY INC. 760-741-3242 PO Box 460598 Fax: 760-741-5436 Escondido, CA 92046-0598 Toll-Free: 877-728-5739 Email: [email protected]: www.clayfactory.netCarry Jacquard products, Kemper tools, Artistic wire and Makin’s clay and tools.

THE CLAY LADY 615-242-0346 1416 Lebanon Pike, Bldg. C Fax: 615-244-3191 Nashville, TN 37210 Toll-Free: 866-203-5286 Email: [email protected]: theclaylady.comYour resource for teaching clay in the classroom or studio!

http://www.carolinaclay.com

http://www.clayartcenter.net

http://www.chineseclayart.com


THE CLAY PLACE 412-276-3260 One Walnut St. Fax: 412-276-3250 Carnegie, PA 15106 Email: [email protected]: www.clayplace.comSell ceramic equipment, supplies and books. Distributor for Amaco, Brent, Kemper, Olympic, Paragon, L&L, Shimpo, Soldner, Standard Ceramic Supply Co. and Sculpture House.

CLAY PLANET 408-295-3352 1775 Russell Ave. Fax: 408-295-8717 Santa Clara, CA 95054 Toll-Free: 800-443-CLAY Email: [email protected]: www.clay-planet.comNorthern California’s most complete ceramic supplier. Manufacture clay and glazes, full retail store plus workshops, repair services and firing services.

CLAY-KING.COM 864-579-1752125 Ben Abi Rd. Fax: 864-579-1756Spartanburg, SC 29307 Toll-Free: 888-838-3625email: [email protected]: www.clay-king.comOnline discount store with a huge product index for all levels of ceramic artist and potters.

CLAYMAKERS 919-530-8355705 Foster St. Fax: 919-530-8306Durham, NC 27701 Email: [email protected]: www.claymakers.comMultifunctional clay center offering classes (beginner through advanced), retail clay, supplies and equipment, individual studio rentals and a gallery of fine pottery and clay art.

CLAYPEOPLE 510-236-14921430 Potrero Ave. Fax: 510-236-2777Richmond, CA 94804-2141 Toll-Free: 888-236-1492Email: [email protected]: www.claypeople.netCeramic supply, plaster, equipment sales and service.

CLAYSCAPES POTTERY INC. 315-424-68681003 W. Fayette St. Fax: 315-424-8877Syracuse, NY 13204 Email: [email protected]: www.clayscapespottery.comPremier distributor of clay and equipment in central NY and the northeast. Offer a wide variety of clay bodies, wet and dry glazes, kilns, wheels and tools. Virtually everything a ceramic artist or teacher needs!

CLAYWORKS SUPPLIES, INC. 410-235-59984625 Falls Rd. Fax: 410-235-6061Baltimore, MD 21209 Email: [email protected]: www.clayworkssupplies.comSell a full line of clay supplies to schools and artists for over 20 years. Products from Standard Ceramics, Highwater, Laguna, Campbells, Duncan, Kemper, L&L and Skutt. Truck delivery to MD, D.C., northern VA, DE and southeast PA.

CLAYWORLD INC. 210-222-13311200 E. Houston St. Fax: 210-222-1777San Antonio, TX 78205 Toll-Free: 800-284-2529Email: [email protected]: www.clayworld.comOne-stop shop for all your pottery supplies and equipment. Discounted prices every day.

COASTAL CERAMIC SUPPLY 843-873-1211 115 Varnfield Dr. Fax: 843-873-1909 Summerville, SC 29483 Toll-Free: 800-688-0602 Email: [email protected]: www.coastalceramic.com

Full-service ceramic and pottery supplier providing products from leading manufacturers.

COLUMBUS CLAY 614-488-9600 1080 Chambers Rd. Fax: 614-488-9849 Columbus, OH 43212 Toll-Free: 866-410-2529 Email: [email protected]: www.columbusclay.comComplete source of supplies for ceramic art classes and potterymaking. Clays, raw materials, kilns, potters wheels, tools, glazes and more. Call or e-mail us for a free catalog. Now carrying a full line of bisque.

CONE ART KILNS INC. 905-889-7705 15 W. Pearce St., Unit #7 Fax: 905-889-7707 Richmond Hill, ON L4B 1H6 Canada Toll-Free: 800-304-6185 Email: [email protected]: www.coneartkilns.comManufacture quality ceramic and glass kilns with distribution in N. America and Europe. Since 1982, known for producing an energy efficient, extra-insulated kiln.

CONTINeNTAL CLAY CO. 612-331-93321101 Stinson Blvd. Ne Fax: 612-331-8564Minneapolis, MN 55413 Toll-Free: 800-432-2529email: [email protected]: www.continentalclay.comPremier source for pottery, handbuilding, sculpting and casting supplies. Clays, glazes, chemicals, kilns, pottery wheels, tools, books and related equipment. 25 stock clay bodies and superior custom blending. Online store; catalog available.

THE COOKIE CUTTER SHOP 360-652-3295 3021 140th St. N.W. Fax: 360-652-3647 Marysville, WA 98271 Email: [email protected]

CORNELL STUDIO SUPPLY 937-454-0357 8290 N. Dixie Dr. Fax: 937-454-0397 Dayton, OH 45414 Complete line of supplies for pottery and sculpture. Our technician has over 30 years of experience at repairing equipment. Knowledgeable and courteous staff ready to assist customers. Catalog available. Celebrating 33 years in business.

COWAN 513-871-1670 6270 Este Ave. Cincinnati, OH, 45232 Email: [email protected]: www.cowans.com

COYOTe CLAY & COLOR 505-344-22505107 edith Blvd. N.e. Toll-Free: 866-344-2250 Albuquerque, NM 87107-5107 email: [email protected]: www.coyoteclay.comCoyote Cone Six electric Glazes are unique, beautiful and reliable. Now you can get all the richness and variety of gas firing in your electric kiln. Available in pints, gallons, and three gallon buckets or packaged dry. Our high fire underglazes stay bright and true from cone six to cone ten.

CRAFT-N-SPIN (DBA K&M OF VA, INC.) 804-426-43665720 Oak Mill Court Fax: 800-960-4558Suite 301Glen Allen, VA 23059

Email: [email protected]: http://www.craft-n-spin.comK & M has identified, developed and launched 3 award winning products: Painter’s Pyramid, Finishing Turntable and Craft-N-Spin. Additionally, we have launched our fourth product, Slide-N-Pump, which has received tremendous positive market feedback.

CREATIVE GLAZES 770-476-73223407 Hwy. 120 Duluth, GA 30096 Email: [email protected]: www.creativeglazes.comFeature Duncan, Mayco, and Western glazes, Orton cones, kiln wash, Kemper tools, as well as other tools, paint brushes and turn tables. Most orders ship the same day when placed during the week. Open Monday–Friday, 9 am–6 pm. Walk-ins welcome.

CREATIVE HOBBIES, INC. 856-933-2540900 Creek Rd. Fax: 800-992-7675Bellmawr, NJ 8031 Toll-Free: 800-THE-KILNEmail: [email protected]: www.creative-hobbies.comWholesale prices to those doing ceramics and pottery as a business. Best discounts regardless of quantity and same day shipping. Freight allowances based on order size.

CREATIVE PARADISE 316-794-8621PO Box 734 Fax: 316-794-8226Goddard, KS 67052 Email: [email protected]: www.handbuilding.comCeramic design firm dedicated to offering unique handbuilding forms and tools.

CRESS MFG. CO. 775-884-27774736 Convair Dr. Fax: 775-884-2991Carson City, NV 89706 Toll-Free: 800-423-4584Email: [email protected]: www.cressmfg.comProduce the finest in electric firing equipment. Kilns feature competitive pricing without compromising quality or safety. From small test units to large production-grade equipment, Cress is your best choice.

CROSSROADS POTTERY & CLAY COMPANY 3022 Francis St. 517-783-2942 Jackson, MI 49203 Fax: 517-817-0252 Toll-Free: 877-872-8471 Email: [email protected]: www.crossroadspottery.netCeramics/pottery supplies, equipment, tools, and clay. Slip-casting and mold making supplies, including slump hump molds and sculpture-making supplies. Basic instructions on how to mix dry glaze, slip mixing, and plaster mold making, over 125 cone 6 custom glazes.

CRUCIBLE KILNS 206-587-0570 35 S. Hanford St. Fax: 888-587-0373 Seattle, WA 98134-1807 Toll-Free: 800-522-1975 Email: [email protected]: www.seattlepotterysupply.comManufacture custom and stock ceramic and glass kilns for over 25 years.

CRYSTAL PRODUCTIONS 847-657-8144 1812 Johns Dr. Fax: 800-657-8149 Glenview, IL 60025 Toll-Free: 800-255-8629 Email: [email protected]: www.crystalproductions.comProduce and distribute art resources including videos, prints, posters, and books. Committed to providing the highest quality resources throughout the world. Feature top selling videos and teaching posters for ceramics classrooms and the home.

CURRAN PFEIFF CORP. 732-225-0555 Liddle Ave. Fax: 732-225-5012 Edison, NJ 08837 Email: [email protected]: www.curranpfeiffcorp.com

http://www.coyoteclay.com

http://www.continentalclay.com

http://www.clay-king.com


Family business for 86 years. Manufacture kiln posts, heating element holders, stilt stones, glass dams and saggers. Provide historical restoration on architectural ceramics, terra cotta, and pottery for professional, hobby, artists, glassmakers, schools, architects, and distributors. Carry insulating bricks, dry clays, custom bodies, glazes and shapes.

DAKOTA POTTERS SUPPLY 605-332-1946 2315 W. Madison St. Fax: 605-332-2729 Sioux Falls, SD 57104 Email: [email protected]: www.dakotapotters.comFor over 30 years, manufacture pugged clay and distribute glazes, kilns and equipment for Paragon, Skutt and L&L Kilns, Laguna, Coloramics/Mayco, Spectrum Glazes, Vent-A-Kiln, Peter Pugger, Amaco-Brent, and North Star.

DANSER, INC. 304-679-3666 P.O. Box 4098 Fax: 304-679-3354 Parkersburg, WV 26104 Email: [email protected]: www.danserinc.comSteel and sheet metal fabricator specializing in custom fiber-lined gas kilns for industrial and studio potter use. Also manufacture/install ductwork/combustion systems.

DAVENS CERAMIC CENTER 770-451-2105 5076 Peachtree Rd. Fax: 770-455-7012 Atlanta, GA 30341 Toll-Free: 800-695-4805 Email: [email protected]: www.davensceramiccenter.comComplete line of pottery equipment and supplies. Anything needed to make pottery. If we don’t have it, we’ll get it! Purchase orders welcome.

DEL VAL POTTER’S SUPPLY CO. 215-233-0655 1230 E. Mermaid Lane Fax: 215-233-0496 Wyndmoor, PA 19038 Email: [email protected]: www.delvalpotters.comFull-service pottery supply offering dependable, friendly, helpful service to the professional and the hobby ceramist. Distributor of many manufacturers and we stand behind the materials and equipment that we sell.

DEW CLAW STUDIOS 401-312-0540 545 Pawtucket Ave., Ste. 106 Pawtucket, RI 02860 Email: [email protected]: www.dewclawstudios.comFull-service clay art center, offering supplies, classes (beginner to advanced), workshops, studio memberships, firing (gas/wood/electric/raku/pit), and artist business services ranging from shooting slides/digital images to mailing list management.

DIGITALFIRE CORP. 406-662-0136 1595 Southview Dr. SE, Ste. 407 Fax: 866-223-7132 Medicine Hate, AB T1B 0A1 Canada Website: digitalfire.comOur INSIGHT and 4SIGHT ceramic chemistry and database software, books and Digitalfire websites empower potters to understand, formulate, and adjust their own ceramic glaze and clay bodies.

DISPLAY YOUR ART BY GLASSICA 512-868-1001 820 S. Austin Ave. Fax: 512-778-9477 Georgetown, TX 78626 Email: [email protected]: www.displayyourart.comManufacture and distribute a wide variety of display stands, including bowl stands, plate holders, coaster holders, and more.

DOGWOOD CERAMIC SUPPLY 228-831-4848 12590 Dedeaux Rd. Fax: 228-831-3111 Gulfport, MS 39503 Website: www.dogwoodceramics.comOne of the largest multi-line pottery and ceramic distributors in the southern U.S. Offer a great selection of kilns, clay, glazes, wheels, molds, and related supplies.

DOLAN TOOLS 602-466-1814PO Box 45393 Fax: 602-466-1817 Phoenix, AZ 85064 Toll-Free: 800-624-3127 email: [email protected]: www.ceramictools.comComplete line of handcrafted pottery tools all individually made of high-quality knife steel. Custom orders available. Dealers welcome.

DOO-WOO TOOLS LLC 845-987-9589 PO Box 1275 Fax: 845-926-3125 Warwick, NY 10990-1275 Email: [email protected]: www.doowoo.comPrimary U.S. wholesale distributor of fine pottery tools designed by Dong-Hun Chung of S. Korea. A variety of tool sets, individual tools, and custom tool sets assembled according to customer requirements.

DRY CREEK POTTERY 817-326-4210 8400 Cleburne Hwy. Granbury, TX 76049 Email: [email protected]: www.drycreekpottery.comOffer teacher workshops and lesson plan books all relating to clay. Teachers can comp staff development days and make clay projects that can be used in the classroom from elementary through high school.

DUNGHANRACH CLAY CO. 320-256-3496 536 N. Third Ave. W. Fax: 320-256-3496 Melrose, MN 56352 Venco pugmills, Skutt kilns and Speedball throwing wheels at discount prices.

EAST VALLEY SUPPLY 607-478-8178 4635 E. Vally Rd. Andover, NY 14806 Email: [email protected]: www.evsupply.comSpecialize in epoxies specific for repairing ceramics.

ECHO CERAMICS 310-815-1525 2856 S. Robertson Blvd. Fax: 310-815-1525 Los Angeles, CA 90034 Email: [email protected]: www.echoceramics.comA great place for potters to work. Beginning, intermediate and advanced classes each month. Tools, supplies and clay available for sale. Home of the unique Echo Claypron. High fire glazes available in dry and wet form.

ENDURING IMAGES 303-278-8868 431 Violet St. Fax: 303-278-4313 Golden, CO 80401 Toll-Free: 800-905-3295 Email: [email protected]: www.enduring-images.com

EUCLID’S /THE POTTERY SUPPLY HOUSE 1120 Speers Rd. 905-849-5540 Oakville, ON L6L 2X4 Canada Fax: 905-849-0001 Email: [email protected] Toll-Free: 800-296-5456 Website: www.euclids.comOffering a complete range of quality pottery supplies. Your source for replacement elements and kiln parts for any kiln, thin silicon carbide kiln shelves and Euclid’s Choice products including Euclid’s unique stainless steel texturing and detail tools.

EVANS CERAMIC SUPPLY 316-262-2551 1518 S. Washington Fax: 316-262-1396 Wichita, KS 67211-0654 Email: [email protected]: www.evansceramics.comFor over 50 years, supply raw materials to retail studios, schools, colleges, and art centers. Hobbyists and finishware producers also find our products important for their completed projects.

EVENHEAT KILN INC. 989-856-2281 6949 Legion Dr. Fax: 989-856-4040 Caseville, MI 48725-0399 Email: [email protected]: www.evenheat-kiln.comFor over 50 years, manufacture high quality kilns for the private and commercial studio. Accessories : RampMaster II & Set-Pro computer controls, PC-based kiln software, pyrometers, Ventmaster, kiln shelves, and posts.

FALCON COMPANY 714-541-4157 1400 E. Pomona St. Fax: 714-541-2021 Santa Ana, CA 92705 Email: [email protected] quality, heavy-duty hand tools for ceramic and craft areas. Publish technical books for the studio potter. A division of Aardvark Clay.

FAT CAT POTTERY INC. 910-395-2529 419-C Raleigh St. Fax: 910-395-4684 Wilmington, NC 28412 Email: [email protected]: www.fatcatpottery.comOffer classes and working studio space by the hour or month. Distributor for Skutt kilns, L&L Kilns, Standard Ceramics clays, Kemper tools, Spectrum glazes, and underglazes, Amaco glazes and pottery wheels.

FIRERIGHT/WARNER INSTRUMENTS 616-843-5342 1320 Fulton Ave. Grand Haven, MI 49417-1534 Email: [email protected]: www.fireright.comKiln, furnace, and test chambers electronic controls.

FLORIDA CLAY ART CO. 407-330-11161645 Hangar Rd. Fax: 407-330-5058Sanford, FL 32773 Toll-Free: 800-211-7713Email: [email protected]: www.flclay.comDistributor for Highwater Clay, Duncan Glaze, Kemper Tool. Also offer many types of pottery equipment including Cress Kilns, Aim Kilns, Shimpo tools, Peter Pugger products, and much more. Online store.

FREE FREIGHT POTTERY SUPPLY LLC 877-344-2933 PO Box 70505 Fax: 505-344-2950 Albuquerque, NM 87197-0505 Email: [email protected]: www.FreeFreightClay.comSells clay, glazes, kilns, wheels, tools, chemicals, stains. Free freight on everything all the time - even clay!

FREEFORM CLAY & SUPPLY 619-477-1004 1912 Cleveland Ave Fax: 619-477-1333 National City, CA 91950 Email: [email protected]: www.freeformclay.comSan Diego’s leading ceramic supplier for over 35 years. Best prices on equipment. Distributor for Laguna Clay, Duncan Glazes, Kemper Tools, Skutt Kilns, Peter Pugger, North Star, Shimpo, L&L, Giffin Tec, and Cress Kilns.

FROG POND POTTERY 610-388-1254 PO Box 88 Fax: 610-388-1254 Pocopson, PA 19366 Email: [email protected]: www.masteringglazes.comGlazeMaster, a glaze calculation and database software for Windows and Mac. Mastering Cone 6 Glazes, written by John Hesselberth and Ron Roy. Both can be purchased on our website.

http://www.flclay.com

http://www.ceramictools.com


FUNKE FIRED ARTS 513-871-2529 3130 Wasson Rd. Fax: 513-871-5576 Cincinnati, OH 45209 Toll-Free: 866-GET-CLAY Email: [email protected]: www.funkefiredarts.comSupply ceramic materials and equipment. Public studio facilities/rental. Classes in handbuilding and wheel throwing. Workshops. Professional and hobbyist potters, art teachers. Unified purchasing approved.

GARE INC. 165 Rosemont St Fax: 800-292-0885 Harverhill, MA 01832 Toll-Free: 888-289-4273 Email: [email protected]: www.gare.comLeader in ceramics since 1950. Over 600 bisque designs and several hundred glazes for artists, studios, and commercial accounts. Contact us for your special bisque or glaze needs.

GEIL KILNS CO. 714-847-6135 7201 Clay Ave. Fax: 714-847-6145 Huntington Beach, CA 92648 Toll-Free: 800-887-4345 Email: [email protected]: www.kilns.comManufacture portable downdraft gas kilns, electric fired kilns, gas burners, and controls, and industrial furnaces.

GeORGIeS CeRAMIC & CLAY CO. INC. 541-338-76541471 Railroad Blvd. #9 Fax: 541-338-7565eugene, OR 97402 Toll-Free: 866-234-2529

GeORGIeS CeRAMIC & CLAY CO. INC. 503-283-1353756 N.e. Lombard Fax: 503-283-1387Portland, OR 97211 Toll-Free: 800-999-2529email: [email protected]: www.georgies.comTwo locations. Full range of equipment, supplies and tools for the studio. Specialize in cone 6 electric glazes, plus offer great tips and techniques on how to use them. Visit our website for details.

GIFFIN TEC INC. 360-758-70084135 Sunny Hill Ln. Fax: 360-758-2520Lummi Island, WA 98262 Email: [email protected]: www.giffingrip.comManufacturer of the Giffin Grip and Lidmasters pottery tools. Offering the utmost in customer care.

GLAZE MIXER 801-633-95242156 Cambridge Ave. Cardiff, CA 92007 Email: [email protected]: www.glazemixer.comSave your glaze recipes online and we can mix them for you. Retrieve anywhere you have access to the Internet.

GLYPTIC MODELING TOOLS 970-663-5190 418 W. 8th St. S.E., Unit B5 Fax: 970-663-5127 Loveland, CO 80373 Toll-Free: 800-260-4690 Website: www.glyptic.comGlyptic (from the Greek to carve) modeling tools are high quality, interchangeable tools. Variety of sizes and a wide range of loop shapes for every size project from miniature to monumental. Great for modeling and cutting/trimming.

GRABER’S POTTERY INC. 951-675-5468 2058 North Mills Ave. #217 Claremont, CA 91711 Email: [email protected]: www.graberspottery.comThe Steve Tool - “One Tool, Many Results”. Roll it on, stretch the pot - get awesome texture on pottery! Hold back runny glazes via texture; fill with contrasting slip; or go “naked” with unglazed pottery for a new tactile feel.

GReAT LAKeS CLAY & SUPPLY 847-551-1070927 N. State St. Fax: 224-856-5419elgin, IL 60123 Toll-Free: 800-258-8796email: [email protected]: www.greatclay.comInventor of the Versa-Bat and Glaz-eze markers. Chicagoland’s most respected source of ceramic and pottery making supplies. Supply commercial potters, hobby/craft artists and school programs.

GREENBARN POTTERS SUPPLY LTD. 604-888-34119548 192nd St. Fax: 604-888-4247Surrey, BC V4N 3R9 Canada Email: [email protected]: www.greenbarn.comSupply potters on the west coast of Canada. Carry everything a potter needs: clay, materials, glazes, tools, equipment, books, and much more.

GROOVY TOOLS 502-859-50701221 Johnson Rd. Fax: 502-859-5070Lawrenceburg, KY 40352 Email: [email protected]: www.groovy-tools.comPremium quality handcrafted trim tool. Offer the 200 Series heavy gauge tool made from true tool steel and 300 Series medium gauge made from high carbon steel.

HAMMILL & GILLESPIE INC. 973-994-3650 154 S. Livingston Ave., PO Box 104 Fax: 973-994-3847 Livingston, NJ 07039-0104 Toll-Free: 800-454-8846 Email: [email protected]: www.hamgil.comDistribute ceramic raw materials including fine English china and ball clays, Cornish stone, Yorkshire Whiting, and Spanish red iron oxide. Manufacture Gillespie Borate.

HANDBUILDINGTOOLS.COM 865-250-0803 800 Woodland Ct. Knoxville, TN 37919 Email: [email protected]: handbuildingtools.comSource for new inkless printer litho blankets, a super surface for ceramic handbuilders. Other products we carry are beveling tools, rubber ribbed mats, tile cutters and other handbuilding tools.

HAR-BON CERAMICS & DECALS 989-595-2463 24475 U.S. 23 S. Fax: 989-595-2326 Presque Isle, MI 49777 Email: [email protected]: www.harbon.comCeramic decals for every purpose. Over 8000 in our online shopping cart. Many online features.

HERRING DESIGNS, LLC 970-547-4835 PO Box 3099 Fax: 775-206-7526 Breckenridge, CO 80424-3009 Toll-Free: 888-391-1615 Email: [email protected]: www.herringdesigns.comMakers of SlabMat, a non-woven fabric for slab rolling and handbuilding.

HIGHWATeR CLAYS OF FLORIDA 727-553-9344420 22nd St. S. Fax: 727-553-9346St. Petersburg, FL 33712 Email: [email protected]: www.highwaterclays.comHighwater Clays of Florida features 40+ clay bodies, glazes, tools, equipment, books and more. Located in St. Petersburg’s Historic Seaboard Train Station just off I-275. Tuesday - Saturday 10am-5pm.

HIGHWATeR CLAYS, INC. 828-252-6033 600 Riverside Dr. Fax: 828-253-3853 Asheville, NC 28801-2140 email: [email protected] Website: www.highwaterclays.comOffer a full line of tools, kilns, glazes, equipment, raw materials and books to customers from around the globe. There’s a lot more to our clays than the ingredients. With three decades of experience, our prepared clay bodies perform batch after batch.

HYPERGLAZE/RICHARD BURKETT 619-286-1836 6354 Lorca Dr. Fax: 619-583-3894 San Diego, CA 92115-5509 Email: [email protected]: www.hyperglaze.comEasiest-to-use glaze calculation software for ceramics artists. Powerful features. Newly revised. Now for Windows (98 or newer), Linux and Macintosh OSX.

I LOVE TO CREATE 559-291-4444 5673 E. Shields Ave. Fax: 559-294-2447 Fresno, CA 93727-7819 Toll-Free: 800-CER-AMIC Website: www.ilovetocreate.comA Duncan Enterprises Company. Duncan Ceramic Arts is the leading hobby ceramic brand, trusted as the ultimate source of fired creativity by hobbyists, educators, students, and studio owners for over 60 years. The brand is renowned for its comprehensive line of nontoxic products including color, bisque, brushes, and tools while supported by an honored educational program.

INDUSTRIAL MINERALS CO. 916-383-2811 7268 Frasinetti Rd. Fax: 916-383-8741 Sacramento, CA 95828 Email: [email protected]: www.clayimco.comProvide a wide range of products and services for the mineral processing industry and ceramic art markets. Manufacture a wide range of clays. See our website for more information.

INNOVATIVE CERAMIC CORP. 330-385-6515 432 Walnut St. Dept. 11 Fax: 330-385-6510 E. Liverpool, OH 43920-3130 Email: [email protected]: www.innovativeceramic.comProvide creative solutions to product identification and decoration. Manufacture glass and ceramic decals, rubber stamps and DuraFire inks. Supply decal squeegees, underglaze pencils, and high temperature china markers.

INSULATING FIREBRICK, INC. 724-282-1012 610 E. Butler Rd. Fax: 724-285-7673 Butler, PA 16002 Email: [email protected]: www.insulatingfirebrick.comSupply insulating firebrick, 2300˚–3000˚F, standard sizes and oversized bricks, straights and shapes. First Quality ISO certified insulating firebrick. Stock brick at our Claysburg, PA warehouse ready to ship.

INTERNATIONAL DECAL CORP. 847-498-5820 3318 Commercial Ave. Fax: 847-498-6356 Northbrook, IL 60062 Email: [email protected]: www.internationaldecalcorp.comManufacture custom ceramic and glass decals. Specialize in 4-color process photographic reproductions. Produce overglaze, inglaze and reactive decals as well as glass and non-fire decals for plastic, wood, and canvas prints.

J. & J. CERAMIC STUDIO 302-678-2845 666-A S. DuPont Hwy. Fax: 302-678-2845 Dover, DE 19901 Full-service traditional studio, serving the tri-state area since 1974. 4,000 sq. ft. facility centrally located in Delaware on a major highway. Large selection of greenware from over 15,000 molds, bisque, brushes, tools, firings, classes, etc.

http://www.highwaterclays.com

http://www.georgies.com

http://www.greatclay.com


JAPAN POTTERY TOOLS 1032 Irving St. PMB 967 San Francisco, CA 94122 Website: www.japanpotterytools.comDiscover hard-to-find Japanese tools, and learn new techniques for throwing, trimming and glazing on our website.

JEN-KEN KILNS 863-648-0585 3615 Ventura Dr. W. Fax: 863-701-9867 Lakeland, FL 33811 Website: www.jenkenkilns.comDifferent types of kilns including glass-fusing kilns.

JIFFY MIXER CO. INC. 951-272-0838 1691 California Ave. Fax: 800-666-4120 Corona, CA 92881 Toll-Free: 800-560-2903 Email: [email protected]: www.jiffymixer.comMix any dry or liquid ingredients or combination quicker and more thoroughly. Three-bladed mixing head pulls all material to be mixed inside the head, reducing mixing time up to 90%. Range of sizes; operated by 1/4 to 3/4 inch chucked power tools.

JOHNSON GAS APPLIANCE CO. 319-365-5267 520 East Ave. N.W. Fax: 319-261-0726 Cedar Rapids, IA 52406 Email: [email protected]: www.johnsongas.comPioneer in the development and manufacture of gas burning equipment including many types of furnaces, kilns, and burners.

KC METRO CERAMIC & POTTERY SUPPLIES 15900 E. 40 Hwy. 816-350-3003 Kansas City, MO 64136 Fax: 816-350-3056 Toll-Free: 800-944-6653 Email: [email protected]: www.kcmetroceramic.comNationwide dealer and distributor of high quality kilns, wheels, clay, glazes, tools and other ceramic and pottery supplies.

KEMPER TOOLS 909-627-6191 13595 12th St.— Box 696 Fax: 909-627-4008 Chino, CA 91710 Toll-Free: 800-388-5367 Email: [email protected]: www.kempertools.comOver 500 tools for clay. Don’t be fooled by imitations. Hand-crafts tools with over 60 years of technical design experience using durable, quality materials.

KENTUCKY MUDWORKS LLC 859-389-6817 825 National Ave. Fax: 859-368-9891 Lexington, KY 40502 Email: [email protected]: www.kentuckymudworks.comFull-service ceramic supplier serving Kentucky, Indiana, Ohio and the internet. Offer multiple classes, workshops and all the clay, tools and supplies you need for your own studio. Year-round weekend workshops. Manufacture Dirty Girl Pottery Tools.

KERAFLEX PO Box 2822 Gilbert, AZ 85299 Email: [email protected]: www.keraflex.usKeraflex Porcelain is made from ceramic raw materials and an organic binding matrix which burns out when fired to cone 10, resulting in a strong and translucent pure porcelain.

KILLAM GAS BURNER CO. 303-722-2871 1240 S. Bannock St. Fax: 303-871-8049 Denver, CO 80223-3202 Toll-Free: 877-328-9330 Email: [email protected]: www.killamburner.comAtmospheric and power type natural and LP gas burners, auto gas valves, gas pressure regs. Flame safeguard controls Honeywell, Fireye.

THe KILN DOCTOR INC. 540-636-6016202 e. Main St. Fax: 540-622-6016Front Royal, VA 22630 Toll-Free: 877-KILNDOCemail: [email protected]: www.thekilndoctor.comRetail store and equipment showroom; sales, delivery, assembly, instruction, service and repair, for all popular brands of electric kilns, pottery wheels, pugmills, mixers, slab rollers, spray booths, venting systems, and more. Your specialty store for accessories, repair parts, consulting, and service! House calls and service accounts, serving VA, WV, MD, DC, De. Products shipped nationwide.

THE KILN ELEMENTS CO. 503-755-2289 71600 Northshore Dr. Birkenfeld, OR 97016 Email: [email protected]: www.kilnelements.comKiln elements at 30% off retail. Skutt, Cress, L&L, Coneart. Supply gage, ohms and length of elements we do not have specs for and take an extra 10% off.

KISSIMMEE RIVER POTTERY 908-996-3555 One 8th St., #11 Frenchtown, NJ 8825 Email: [email protected]: www.kissimmeeriverpottery.comKissimmee River Pottery makes the Fulwood Measure, the perfect tool for same-size production pottery. Also offer adult pottery classes, kids camp, and school programs. Studio offers cone 10 reduction, raku, and pit firing.

KLOPFeNSTeIN ART eqUIPMeNT 419-884-2900 PO Box 9057 Fax: 419-884-2908Lexington , OH 44904-9057 Toll-Free: 866-899-1899email: [email protected]: www.klopfensteinart.comManufacturer of upright treadle wheels.

KRUEGER POTTERY SUPPLY 314-963-0180 8153 Big Bend Blvd. Fax: 314-963-7712 St. Louis, MO 63119 Toll-Free: 800-358-0180 Email: [email protected]: www.kruegerpottery.comFull-service supplier of materials, new/used equipment, kiln repair, and maintenance. Monthly classes, weekend and summer workshops, kids classes, and pottery workshops.

KRUMOR INC. 216-328-9802 7655 Hub Pkwy No. 206 Fax: 216-328-9803 Valley View, OH 44125 Email: [email protected]: www.krumor.comManufacture temperature sensors: thermocouples and RTD’s. Carry accessories. Supply most applications in ceramic industry. Contact factory direct.

L&L KILN MFG. INC. 856-294-0077505 Sharptown Rd. Fax: 856-294-0070Swedesboro, NJ 8085 Toll-Free: 877-468-5456email: [email protected]: www.hotkilns.comFeature hard ceramic element holders to protect firebrick and elements. Complete line of kilns ranging from one-cu.ft. test kilns to 36-cu. ft. production kilns. 3-yr limited warranty on easy-Fire, Jupiter, DaVinci, and easy-Load front-loading kilns.

L&R SPeCIALTIeS INC 417-725-2606202 e. Mount Vernon Fax: 417-725-2607Nixa, MO 65714 Toll-Free: 877-454-3914email: [email protected]: www.claydogs.comMissouri’s only moist clay manufacturer and home of the Claydog Raku Kiln with vacuum pressed fiber shell and light-weight, portable stand. Provide service and materials to Midwest ceramic artists since 1969.

LAGUNA CLAY CO. 626-330-0631 14400 Lomitas Ave. Fax: 626-333-7694 City of Industry, CA 91746 Toll-Free: 800-452-4862 Email: [email protected]

LAGUNA CLAY CO. 740-439-4355 61020 Leyshon Dr. Fax: 740-439-4268 Byesville, OH 43723 Toll-Free: 800-762-4354 Email: [email protected]: www.lagunaclay.comManufacture and supply clay, glaze, pottery equipment, tools, and raw materials. Thousands of stock and custom, high and low-fire glazes, and clay bodies. Manufacture Pacifica potter’s wheels, Thorley kiln furniture, Laguna kilns and Lockerbie wheels, Bellar Roller available.

LA MERIDIANA 39-0571-660084 Loc. Bagnano 135 Fax: 39-0571-660084 50052 Certaldo (Fl), Italy Email: [email protected]: www.lameridiana.fi.itResidential workshops and ceramic courses for beginners, advanced and professional potters with tutors of international reputation, Mediterranean flair, genuine food and wines. La Meridiana International School of Ceramics in Tuscany, since 1981.

LAMP SPECIALTIES 856-931-1253 Box 240 Fax: 800-722-7061 Westville, NJ 8093 Toll-Free: 800-225-5526 Email: [email protected]: www.lamp-specialties.comLamp parts, kits, music boxes, ceramics, and pottery supplies and hard to find crafters components .

LARK BOOKS 828-253-0467 67 Broadway Fax: 828-253-7952 Asheville, NC 28801-2919 Email: [email protected]: www.larkbooks.comPublish books on many aspects of the ceramic arts; among the titles are books for the beginner, the intermediate enthusiast and the experienced ceramist.

LARKIN ReFRACTORY SOLUTIONS 678-336-7090PO Box 716 Fax: 678-336-7094Lithonia, GA 30058 Toll-Free: 800-898-4532email: [email protected]: www.larkinrefractory.comFull-service refractory supply and construction company. engineers assist in refractory lining design and our own masonry construction crews can capably install the products we sell.

LESLIE CERAMIC SUPPLY CO 510-524-7363 1212 San Pablo Ave. Fax: 510-524-7040 Berkeley, CA 94706 Email: [email protected]: www.leslieceramics.comWe manufacture our own glazes, clay and kilns (Toki kilns and controllers). Your source for everything ceramic! Dealers for Shimpo, Skutt, Paragon, Nabertherm, Cress, Amaco/Brent.

http://www.hotkilns.com

http://www.larkinrefractory.com

http://www.klopfensteinart.com

http://www.thekilndoctor.com

http://www.claydogs.com


LILY POND PRODUCTS 559-876-0118 PO Box 939 Fax: 559-876-3305 Sanger, CA 93657 Email: [email protected]: www.lilypond.comCeramic slip casting equipment, pouring tables, slip mixing equipment, and casting products.

MANITOU ARTS 231-386-7977 PO Box 820 Fax: 231-386-7978 Northport, MI 49670 Toll-Free: 866-240-3434 Email: [email protected]: www.manitouarts.comDistribute English earthenware bisque tiles, switchplate/outlet covers, and wood products in which the potter can place finished tiles, e.g., mirrors, tables, trays.

MARJON CERAMICS INC. 602-272-6585 3434 W. Earll Dr. Fax: 602-272-1507 Phoenix, AZ 85017-5284 Toll-Free: 800-903-CLAY Email: [email protected]

MARJON CERAMICS INC. 520-624-2872 426 W. Alturas Fax: 520-624-3127 Tucson, AZ 85705 Email: [email protected]: www.marjonceramics.comServing Arizona and the surrounding area with ceramic/pottery supplies, service, and equipment. In business for 50 years. Two locations to serve you.

MASON COLOR WORKS INC. 330-385-4400 250 E. 2nd St. Fax: 330-385-4488 E. Liverpool, OH 43920-5076 Email: [email protected]: www.masoncolor.comSince 1842, manufacture high-quality, but economical, ceramic pigments. Serving the ceramic arts community for many years with colorants for body, glaze, underglaze, and engobe uses. Most stains can be fired to 2300˚F.

MASTeR KILN BUILDeRS 612-250-620827607 Grenada Ave. Fax: 612-250-6208Farmington, MN 55024 email: [email protected]: www.kilnbuilders.comBuild custom kilns for schools, individual artists and institutions throughout the U.S.

MATT AND DAVE’S CLAYS 347-878-CLAY PO Box 1169 Alfred, NY 14802 Email: [email protected]: mattanddavesclays.comClays designed by scientists to work for artists, Matt and Dave make clays unlike any other. Utilizing the best in material science and filter press clay mixing to make your work its best. Greater workability, wider firing ranges and minimized failures are a result of the research.

MAYCO COLORS 614-876-1171 4077 Weaver Ct. S. Fax: 614-876-9904 Hilliard, OH 43026 Email: [email protected]: www.maycocolors.comManufacture low and mid fire glazes, acrylics, and stains. Design and produce 04 bisque, casting molds, slump molds, and other assorted clay texturing tools. Offer brushes and decorating accessories. Provide hands-on product workshops for schools, potter’s guilds and ceramic studios.

MCCASLIN KILNS/SANTA FE CLAY TOOLS PO Box 153 Santa Fe, NM, 87505 888-988-5001Website: www.mccaslinkilns.com

METOMIC CORPORATION 773-247-4716 2944 W. 26th St. Fax: 773-247-2563 Chicago, IL 60623 Toll-Free: 800-847-8342 Email: [email protected]: www.metomic.comSupply components to assemble lamps and lighting fixtures for over 60 years. Supply quality parts to the pottery industry, including sockets, cords, harps, and decorative brass finials.

MID-SOUTH CeRAMIC SUPPLY CO. 615-242-03001416 Lebanon Pike, Bldg. C Fax: 615-244-3191Nashville, TN 37210 Toll-Free: 866-203-5286email: [email protected]: www.midsouthceramics.comManufacturer of Opulence Glaze. Full-service pottery supplier with complete line of equipment and supplies.

MIDLANTIC CLAY 856-933-0022900A Creek Rd. Fax: 856-931-1240Bellmawr, NJ 08031 Email: [email protected]: www.midlanticclay.comDiscount supplies including Duncan, Mayco, Amaco and Laguna Clay products in stock for immediate shipment.

MIDWEST CERAMIC ART SUPPLY INC. 815-725-8616 1700 Plainfield Rd. Fax: 815-725-8871 Crest Hill, IL 60403 Toll-Free: 800-333-2723 Email: [email protected]: www.ceramicartsupply.comFull-line fired arts supplier, family-owned and operated since 1966 in the Chicago area.

MILE HI CERAMICS, INC. 303-825-4570 77 Lipan St. Fax: 303-825-6278 Denver, CO 80223 Email: [email protected]: www.milehiceramics.com50-year-old ceramic/pottery supply house. Duncan, Mayco, Amaco, Spectrum, and Opulence glazes; Skutt, Paragon, Aim, and Shimpo kilns; raw materials; and manufacture over 30 clay bodies.

MINNeSOTA CLAY CO. USA 952-884-9101 7429 Washington Ave. S Fax: 952-884-1820 edina, MN 55439-2410 Toll-Free: 800-252-9872 email: [email protected]: www.minnesotaclayusa.comNationwide dealer and distributor serving the clay community for over 50 years with high quality clay, glaze and ceramic items.

MIRACLE BAT 802-659-4886 647 U.S. Rte. 1 York, ME 3909 Email: [email protected]: www.miraclebat.comNew pottery equipment - not your typical bat. Strongest, most secure hold. Won’t lift or jump. Quick easy on/off. Unique properties prevent cracking due to drying-patented, strong, lightweight material that won’t warp, chip or crack. Popular trimming tool fits right on top.

MJR TUMBLERS 815-499-0806 720 N. Blackmore St. Fax: 775-256-3808 Davis, IL 61019 Email: [email protected]: www.mjrtumblers.comComplete line of ball mills and milling supplies for making

your own glazes. Industrial quality at affordable prices. All mills come with a 2 year warranty.

MKM POTTeRY TOOLS LLC 920-205-2701 217 E. Pacific St. Fax: 920-830-9394 Appleton, WI 54911 email: [email protected]: www.mkmpotterytools.comManufacture pottery tools: MKM Stamps4Clay™, MKM Throwing Tools, MKM Decorating Disks and ribs (wood, stainless steel and Coconut CocoRibs™).

MUD BUCKeT POTTeRY 843-399-8702279 Hwy. 57 S. Little River, SC 29566 email: [email protected]: www.mudbucketpottery.comSouthern Skies Cone 6 glazes, formulated for professional potters and clay artists, food safe, sold by dry weight. Custom mixing available.

MUD IN MIND 619-729-78892111 Paseo Grande Fax: 619-312-0971El Cajon, CA 92019 Website: www.mudinmind.comDiscount supplier of kilns, wheels and tools for the potter.

MUDMATS 614-403-40301551 Carlton Way Fax: 614-488-1395Blacklick, OH 43004 Email: [email protected]: www.mostlymud.comEliminate canvas in the studio! MudMats are perfect for wedging, handbuilding and in the slab roller as well as providing a chemical resistant table covering for messy tasks. Non-skid, smooth, portable, washable and tough, easy clean-up and help control studio dust.

MUDSHARK 971-645-86115849 NE Simpson St Portland, OR 97218 Email: [email protected]: www.mudsharkstudios.orgAccept commissions and custom designs. Provide model and mold making as well as production services.

MUDTOOLS 828-625-1852PO Box 111 Fax: 828-625-2467Bat Cave, NC 28710 Email: [email protected]: www.mudtools.comInnovative tools by Michael Sherrill for all your ceramic and sculpting needs.

NABERTHERM, INC. 302-322-366554 Read’s Way Fax: 302-322-3215New Castle, DE 19720 Website: www.nabertherm.comHigh quality industrial grade kilns for pottery, raku, glass fusing, slumping, casting, and annealing. High firing top and front loading kilns. NASCO ARTS & CRAFTS 209-545-1600PO Box 101 Salida, CA 95368 Toll-Free: 800-558-9595

NASCO ARTS & CRAFTS 920-563-2446901 Janesville Ave. Fax: 920-563-8296Ft. Atkinson, WI 53538 Toll-Free: 800-558-9595Email: [email protected]: www.enasco.comComprehensive kindergarten-to-college selection of arts and crafts supplies.

http://www.minnesotaclayusa.com

http://www.kilnbuilders.com

http://www.mudbucketpottery.com

http://www.midsouthceramics.com

http://www.mkmpotterytools.com


NATCHEZ CLAY 601-660-2375 101 Clifton Ave. Natchez, MS 39120 Email: [email protected]: www.natchezclay.comNatchez Clay extends southern hospitality to potters of all ages and experience levels. Join us for a class, private lesson or workshop in our spacious studio located in beautiful Natchez, MS, or stop into our gallery. Visit www.natchezclay.com for details of upcoming workshops and fun “Getaway” packages for potters.

NATIONAL ARTCRAFT CO. 330-562-3500 300 Campus Dr. Fax: 330-562-3507 Aurora, OH 44202 Toll-Free: 888-937-2723 Email: [email protected]: www.nationalartcraft.comProvide component parts used in functional or decorative craft and hobby projects for over 50 years; clock and musical movements, lamp-making parts, display hardware, frames, etc.

NEVADA DAN’S 775-425-9494 345 Cortez Ct. Fax: 775-425-6504 Sparks, NV 89441-8599 Toll-Free: 877-625-POTS Email: [email protected]: www.potterywheel.comSpecialize in pottery wheels, kilns, extruders, slab rollers, pugmills, and much more. Visit website for online sales.

NEW BRUNSWICK LAMP SHADE CO. 732-545-0377 7 Terminal Rd. Fax: 732-545-6993 New Brunswick, NJ 08901 Email: [email protected]: www.nbls.comLamp shades, made to order, in a wide range of materials, sizes and shapes. Low minimums, high quality, reliable delivery, and personal service.

NEW CENTURY CERAMIC ARTS INC. 206-284-7805 Queen Anne Station PO Box 9060 Seattle, WA 98109 Email: [email protected]: www.paperclayart.comP’Clay® and P’Slip® high performance ceramic paperclay from Rosette Gault and licensed manufacturers is available for low to high fire trusted base clays. Information, books, DVD, and support for the paperclay community, artists, muralists, designers, educators, K-12 special needs, sculptors, and manufacturers.

NeW MeXICO CLAY, INC. 505-881-23503300 Girard N.e. Fax: 505-881-6067Albuquerque, NM 87107 Toll-Free: 800-781-2529email: [email protected]: www.nmclay.comPottery and ceramic supplies. Duncan and Mayco paint and glaze, cone 6 glazes, kilns, wheels and clay, Kemper, precious metal silver clay. School and community center credit cards and POs accepted.

NORTH STAR EQUIPMENT INC. 509-235-9200 1341 W. First St. Fax: 509-235-9203 Cheney, WA 99004 Toll-Free: 800-231-7896 Email: [email protected]: www.northstarequipment.comQuality U.S. manufactured slab rollers, extruders, ware carts, tile presses, and throwing bats. For over 30 years potters have trusted North Star to provide exceptionally well-made studio equipment.

NORTHEAST CERAMIC SUPPLY 518-274-2722 621 River St. Fax: 518-272-5962 Troy, NY 12180 Website: northeastceramicsupply.comWholesale/retail ceramic equipment and supply company. Dealer/distributor of Laguna Clay Co., Skutt Kilns, Duncan, Gare, Amaco, Brent, Shimpo, Kemper, and Dolan Tool Co., in upstate New York and western Massachusetts.

OHIO CERAMIC SUPPLY INC. 330-296-3815 PO Box 630 Fax: 330-296-5346 Kent, OH 44240 Toll-Free: 800-899-4627 Email: [email protected]: www.ohioceramic.comDistribute hobby ceramic supplies worldwide. Supply products to schools, institutions, military facilities, potters, sculptors, studios, and hobbyists. GSA contract.

OLD FARMHOUSE POTTERY 903-795-3779 232 County Rd. 1805 Rusk, TX 75785 Email: [email protected]: www.farmpots.comProducer/suppllier of “Extrude It!” instructional videos.

OLD HICKORY CLAY CO. 270-247-3042 962 St. Rte. 1241 Fax: 270-247-1842 Mayfield, KY 42066 Toll-Free: 800-242-6885 Email: [email protected]: www.oldhickoryclay.comHigh-quality ball clays for all types of ceramics, including slip casting, moist clay, modeling, and glaze formulations.

OLSEN KILN 760-349-3291 60520 Manzanita Fax: 760-349-8009 Mountain Center, CA 92561 Email: [email protected]: www.olsenkilns.comKiln Kits—12,16, 24, 36, 50, 72 and 100 cu.ft. kilns.

OLYMPIA ENTERPRISES INC. 330-746-2726 715 McCartney Rd. Fax: 330-746-1156 Youngstown, OH 44505 Email: [email protected]: www.olympiadecals.comOffer the largest selection of quality imported decals, chinaware, plates, and sponges. High-quality brushes and tools made in the U.S. Order our 326-page color decal catalog. $22.00 includes shipping and handling.

OLYMPIC KILNS 770-967-40094225 Thurmond Tanner Rd. Fax: 770-967-1196PO Box 1347 Toll-Free: 800-241-4400Flowery Branch, GA 30542 email: [email protected]: www.greatkilns.comManufacturer of electric and gas kilns for pottery, ceramics, glass, and heat-treating; and low-fire glazes and stilts.

ONEIDA AIR SYSTEMS, INC. 1001 W. Fayette St. Fax: 315-476-5044 Syracuse, NY 13204 Toll-Free: 800-732-4065 Email: [email protected] Website: www.oneida-air.com Design and manufacture cost effective, state-of-the-art cyclonic dust collection systems used to collect dust from numerous applications, and awarded several tool test awards. Oneida Air dust collectors have HEPA filters or optional HEPA filter upgrades.

ORTON CERAMIC FOUNDATION 614-895-2663 x36PO Box 2760 Fax: 614-895-5610Westerville, OH 43086-2760 Email: Website: www.ortonceramic.comLargest producer of pyrometric cones in the world. Considered the world standard due to accuracy and repeatability. Manufacture downdraft kiln-vent systems and electronic controllers for electric kilns.

PAUL OTTAWAY BONE CHINA 120 Grantville Glen Alvie Rd. Grantville Vic 3984, Australia http://www.paulottawaybonechina.com Email: [email protected] Website: www.paulottawaybonechina.com

PAASCHE AIRBRUSH CO. 773-867-91914311 N. Normandy Ave. Fax: 773-867-9198Chicago, IL 60634 Email: [email protected]: www.paascheairbrush.comProvide largest selection of airbrush models, industrial sprayers and support equipment worldwide.

PARAGON INDUSTRIES, L.P. 972-288-75572011 S. Town East Blvd. Fax: 888-222-6450Mesquite, TX 75149-1122 Toll-Free: 800-876-4328Email: [email protected]: www.paragonweb.comManufacture Cone 10 electric kilns, including popular-sized top loaders, front loaders and small test models.

PCF STUDIOS 585-229-2976PO Box 722 Fax: 585-229-2865Honeoye, NY 14471 Email: [email protected]: www.pcfstudios.comOffer step-by-step instructional books and DVDs, as well as unique sculpting aids and workshops taught by artist Philippe Faraut.

PEBBLE PRESS, INC. 734-327-08331610 Longshore Dr. Fax: 734-327-1081Ann Arbor, MI 48105 Email: [email protected] books and DVDs on ceramics. Manufacture the Piepenburg Trimming Disc.

PeTeR PUGGeR MFG., INC. 707-463-13333661 Christy Ln. Fax: 707-462-5578Ukiah, CA 95482 email: [email protected]: www.peterpugger.comManufacture the original clay mixing pugmill. All Pugger-Mixers recycle scrap, and the Power Wedgers also deair, making wedging unnecessary. Six models available, all with simple single auger design.

PETRO MOLD CO. 12775 Donation Rd. Fax: 814-796-6635Waterford, PA 16441 Toll-Free: 888-811-6653Email: [email protected]: www.petromolds.comOffering custom mold making and mold production services to all facets of the ceramic industry. Services include original sculpting, master mold design, and production mold manufacturing to easily reproduce your popular designs.

PHOENIX CERAMIC & FIRE SUPPLY 707-822-4556 824 L St. Fax: 707-822-4146 Arcata, CA 95521 Email: [email protected]: www.phoenixceramic.comOffer full spectrum ceramic supply store: clay, tools, glazes, equipment, raw materials, books, and magazines.

CONTROLED EXCENTRICS/PLACID CERAMICS 400 4th St. 304-765-3655 Sutton, WV 26601 Fax: 724-225-6779 Email: [email protected]: www.placidceramics.comSupplies for ceramic hobbyists, potters, porcelain artisans, school art programs, and industrial ceramic product users.

PLAINSMAN CLAY LTD. 403-527-8535 702 Wood St. S.E. Fax: 403-527-7508 Medicine Hat, AB T1A 1E9 Canada Email: [email protected]: www.plainsmanclays.comManufacture a complete line of blended pottery clays ranging from low to high temperatures, mined exclusively from our own clay deposits.

http://www.nmclay.com

http://www.greatkilns.com

http://www.peterpugger.com


PLINTH GALLERY 303-909-5488 3520 Brighton Blvd. Fax: 303-296-3581 Denver, CO 80216 Email: [email protected]: www.JonathanKaplanceramics.comDesign and prototype/sample maker for ceramics & pottery; master mold and model maker for slip casting, hydraulic pressing and jiggering. Clay and glaze consulting service. L&L Kilns and Shimpo distributors, Paragon and Nabertherm kilns distributor.

PORTION MASTeR LLC 989-329-4753810 Dale Road Beaverton, MI 48612 email: [email protected]: www.portion-master.comManufacture Portion Master adjustable clay cutter.

PORTLAND POTTERY SUPPLY 207-772-3273 118 Washington Ave. Fax: 207-780-6451 Portland, ME 04101 Toll-Free: 800-539-4301 Email: [email protected]: www.portlandpottery.comWholesale/retail pottery supplies to public and private schools, colleges, universities, art museums, art schools, and commercial and home potters. Stock a wide variety of clays, raw materials, kilns, wheels, glazes, and tools.

PORTLAND POTTERY SUPPLY SOUTH 781-848-2776 87 Messina Dr. Fax: 781-356-4112 Braintree, MA 02184 Email: [email protected]: www.portlandpottery.com

THE POTTER’S CENTER 208-378-1112 110 Ellen St. Fax: 208-378-8881 Garden City, ID 83714-4605 Toll-Free: 800-498-1126 Email: [email protected]: www.potterscenter.comOffer full line of pottery and ceramic supplies and equipment. Gallery features handmade works in clay

THE POTTERS SHOP AND SCHOOL 781-449-7687 31 Thorpe Rd. Fax: 781-449-9098 Needham, MA 02494 Email: [email protected]: www.thepottersshop.blogspot.comLargest selection of books and videos in the universe, over 800 items in our catalog. Provide studio membership, firing and services for clay workers.

POTTERY TEXTURE QUEEN 704-494-6265 Email: [email protected]: potterytexturequeen.com

POTTERY WEST 702-685-7573 5026 N. Pioneer Way Fax: 702-685-7641 Las Vegas, NV 89149-5846 Email: [email protected]: www.potterywest.comPottery school and studio located in the northwest part of Las Vegas. Workshops and classes year round. Residencies with on-site housing is available. A 3,000 sq. ft. facility with 20 wheels, spray booths, Geil gas kiln, wood-soda kiln, train kiln, and Raku firings.

POTTERYTOOLS.COM 443-536-5705 4459 Louisville Rd. Finksburg, MD 21048 Email: [email protected]: www.potterytools.comHandcrafted tools from exotic hardwoods from managed-growth forest. Bevel hand tools, shaping tools, throwing tools, texture tools, fine craft, and sculpture. Gift certificates available. Special orders and customer orders filled in 2–4 weeks.

POTTERYVIDEOS.COM 250-247-8109 1665 EL Verano Fax: 360-453-0011 Gabriola, BC V0R 1X6 Canada Toll-Free: 800-668-8040 Email: [email protected]: www.potteryvideos.comProduce and distribute educational videos on ceramic arts. 21 titles for potters of all levels. Hosted by artists Robin Hopper, Gordon Hutchens and Graham Sheehan.

PRECISION TERRAFIRMA 509-879-5964 2525 E. 29th Ave., #10-B Spokane, WA 99223 Email: [email protected]: www.precision-terrafirma.comFull-service specialty tools for ceramics.

PURE & SIMPLE POTTERY PRODUCTS 707-459-1483 PO Box 337, Willits, CA 95490 Fax: 707-459-1483 Email: [email protected]: www.pureandsimplepottery.comReasonably priced keyed plaster bat molds, both domed and flat, in 11 shapes and sizes that won’t wobble. Reversible SlumpHump molds in 16 shapes and sizes. Both flat and curved bottom drape molds.

R.T. VANDERBILT CO. INC. 203-853-1400 30 Winfield St. Fax: 203-853-1452 Norwalk, CT 06855-5150 Toll-Free: 800-243-6064 Email: [email protected]: www.rtvanderbilt.comRaw materials for ceramics, including Peerless® Kaolin clay, Vansil® wollastonite and Pyrax pyrophyllite; also supply processing agents such as Darvan® dispersants, Veegum® suspension and plasticizing clays.

RAM PRODUCTS INC. 614-443-4634 1091 Stimmel Rd. Fax: 614-443-4813 Columbus, OH 43223 Email: [email protected]: www.ramprocess.comManufacture forming, finishing, and glazing equipment and molds and models for studio and industrial potteries.

RESCO PRODUCTS INC. 336-299-1441 3514 W. Wendover Ave. Fax: 740-682-6438 Greensboro, NC 27407 Toll-Free: 888-283-5547 Website: www.rescoproducts.comManufacture raw materials and refractory block for ceramic applications. Cedar Heights Clay produces Goldart, Redart, Roseville, Salt Lick, and an assortment of mesh sizes in Bond Clay and Fireclay.

RINGS & THINGS WHOLeSALe 509-252-2900PO Box 450 Fax: 509-838-2602Spokane, WA 99210-0450 Toll-Free: 800-366-2156Website: www.rings-things.comSupply everything you need to turn your ceramic art beads into finished jewelry: gluable disk-and-loop bracelet forms, bails, chain, pendant cords, and chokers, earring findings and much more! Wholesale to professional craftspeople.

ROCHESTER CERAMICS, INC. 585-872-6190 102 Commercial St. Fax: 585-872-6199 Webster, NY 14580 Email: [email protected]: www.rochesterceramics.comSell ceramic and pottery supplies, Laguna glazes, raw materials, and Pacifica wheels. Dealer/distributor of Laguna clays and slip, kilns by L&L, Paragon, and more. Also Peter Pugger and Lehman Studio equipment, Kemper tools, Amaco and Duncan products.

ROCKLAND COLLOID CORP. 845-359-5559 PO Box 376 Piermont, NY 10968 Email: [email protected]: www.rockaloid.com

Liquid light photographic emulsion for printing black-and-white photographs on ceramics and supplies for firing images onto ceramics glass.

ROVIN CERAMICS 734-374-001015333 Racho Rd. Fax: 734-374-0930Taylor, MI 48180 Email: [email protected]: www.rovinceramics.comFull-line pottery supplier for 50 years. Manufacture moist clays, all certified AP nontoxic, Bright Ice cone 05 gloss glaze, and Soft Touch underglaze. Two very economical AP nontoxic series, supplied dry in a ready-to-use container.

ROYAL AND LANGNICKEL BRUSH MFG. 515 W. 45th 219-660-4170 Munster, IN 46321 Fax: 219-660-4181 Email: [email protected] Toll-Free: 800-247-2211 Website: www.royalbrush.comLarge selection of brushes and other supplies.

RUNYAN POTTeRY SUPPLY INC. 810-687-4500 Clio Industrial Park Fax: 810-687-4512 820 Tacoma Ct. Clio, MI 48420 email: [email protected]: www.runyanpotterysupply.comManufacture moist pottery clay and distribute complete line of ceramic equipment and supplies. Nearly everything in our 100-page discounted catalog is in stock and ready for immediate shipment or pick-up. Call and talk to real people for repair help, parts, quick shipment of your order or request free catalog.

RUSTY KILN CERAMIC STUDIO 860-423-1550 136 Boulevard Rd. Fax: 860-423-7997 North Windham, CT 06256 Email: [email protected]: www.rustykiln.comLarge selection of clay, glazes, tools, brushes, kilns, wheels, pug mills, venting systems, slab rollers, extruders, as well as kiln and wheel servicing.

SAINT-GOBAIN CERAMIC MATERIALS 508-795-5577 1 New Bond St., MS 301-432 Fax: 508-795-5011 Worcester, MA 01615-0136 Email: [email protected]: www.refractories.saint-gobain.comProduce Advancer®, the original thin, lightweight, nitride-bonded silicon carbide kiln shelf. Marketing partners are Smith-Sharpe Fire Brick Supply & Bailey Ceramic Supply.

SANTA FE CLAY 505-984-1122 545 Camino de la Familia Fax: 505-984-1706 Santa Fe, NM 87501 Website: www.santafeclay.comOccupies a 10,000 sq. ft. warehouse in Santa Fe’s historic Railyard District. Facility includes a beautiful contemporary ceramics gallery, a complete retail ceramics supply business, a fully equipped teaching studio, 11 resident artists’ studios, and year-round classes and workshops.

SAPIR STUDIOS 773-794-0066 2924 N. Pulaski Rd. Fax: 773-794-3465 Chicago, IL 60641 Toll-Free: 800-788-2588Create risers, original design plate stands, and bowl holders for upright and wall-mounted display with minimal visual interference. Made of clear acrylic, single-piece construction for enhanced versatility, strength, and durability. Custom fabrication available.

SCHOOL SPECIALTY/ SAX ARTS & CRAFTS PO Box 1579 262-784-6880 Appleton, WI 54912-1579 Fax: 888-388-6344 Toll-Free: 888-388-3224 Email: [email protected]: www.saxarts.com

http://www.rings-things.com

http://www.runyanpotterysupply.com

http://www.portion-master.com


Trusted supplier of art materials and equipment to schools and art professionals for over 62 years. Full line catalog includes kilns, potter’s wheels, clay, glazes, tools, etc. as well as everything you need for painting, drawing, printmaking, art metals, and crafts, and a full range of resource materials.

SCOTT CReeK POTTeRY INC. 253-926-3254 2636 Pioneer Way e. Fax: 253-922-5349 Tacoma, WA 98404 Toll-Free: 800-952-8030 email: [email protected]: www.scottcreekpottery.comOriginal manufacturer of ceramic extruders and die sets dating back to 1971. The extruder is a valuable tool for breaking away from the limits of wheel throwing, handbuilding, and other more traditional methods of forming clay.

SCULPTOOLS INC 786-242-32328880 SW 129th Ter. Fax: 786-242-3656Miami, FL 33176 email: [email protected]: www.sculptools.comSculpture and pottery supply store in south Miami serving local artists and schools in Miami-Dade and Broward. Yes we do ship.

SEATTLE POTTERY SUPPLY 206-587-0570 35 S. Hanford St. Fax: 206-587-0373 Seattle, WA 98134-1807 Toll-Free: 800-522-1975 Email: [email protected]: www.seattlepotterysupply.comLargest in-stock supply of kilns, clay, chemicals, books, and sundries on the West Coast.

SHAKERAG WORKSHOPS 931-968-0210 x3165 St. Andrew’s-Sewanee School Sewanee, TN 37375 Email: [email protected]: www.shakerag.orgOpened in June 2004. Classes offered in book arts, clay, digital arts, papermaking, felting, and watercolor. Each week 50-60 participants gather to work together in small classes with their teachers.

SHeFFIeLD POTTeRY INC. 413-229-7700U.S. Rt. 7 Fax: 413-229-0200Sheffield, MA 01257-0399 Toll-Free: 888-774-2529Email: [email protected]: www.sheffield-pottery.comSince 1946. Supply earthenware, stoneware, porcelain clay bodies, custom clay, kilns, wheels, tools, glazes, raw materials, bricks, refractories, books, DVDs, and more for potters, artists, schools and industry. expert repair of kilns and wheels. Delivery and studio setup available. educational discounts.

SHIMPO CeRAMICS 1701 Glenlake Ave. Fax: 630-924-0340Itasca, IL 60143 Toll-Free: 800-237-7079email: [email protected]: www.shimpoceramics.comA division of Nidec-Shimpo America Corporation, worldwide leader in the manufacture and distribution of ceramic equipment, including potters wheels, electric kilns, pug mills, banding wheels, and accessories to the pottery and school markets.

SIERRASCORINGTOOLS.COM 336-765-0604163 Wynbrook Ct.

Winston-Salem, NC 27103 Email: [email protected]: sierrascoringtools.com

SKUTT CeRAMIC PRODUCTS 503-774-60006441 S.e. Johnson Creek Blvd. Fax: 503-774-7833Portland, OR 97206-9552 email: [email protected]: www.skutt.comManufacture the number one brand of electric kilns, vents and controllers. KilnMaster (automatic) and KilnSitter controlled kilns, envirovent Downdraft Vent system, KilnMaster wall-mounted controllers. Larger models feature spring assisted lid lifter. easy to load, program and repair.

SMITH-SHARPe FIRe BRICK SUPPLY 612-331-13452129 Broadway St. Ne Fax: 612-331-2156Minneapolis, MN 55413 Toll-Free: 866-545-6743email: [email protected]: www.kilnshelf.comComplete source for silicon carbide kiln shelves, specializing in Advancer® (a product of Saint-Gobain Ceramics), low-mass shelves for gas, and top-loading, multisided kilns. extensive line of refractory materials for kiln construction including firebrick, mortar, castable refractory, and ceramic fiber insulation. Technical assistance always available.

SOLDNER CLAY MIXERS 316-281-9132 310 W. 4th St. Fax: 316-281-9132 Newton, KS 67114 Email: [email protected]: www.soldnerequipment.comMuddy Elbow Mfg. -- After four decades of building pottery equipment, we have the knowledge and experience to do it right. By combining low-tech design with high performance, you get the best of all solutions when you buy Soldner.

SPeCTRUM GLAZeS 416-747-831094 Fenmar Dr. Fax: 416-747-8320Toronto, ON M9L 1M5 Toll-Free: 800-970-1970Canada email: [email protected]: www.spectrumglazes.comManufacture the largest, most diverse selection of pottery glazes available anywhere.

SPeeDBALL ART PRODUCTS CO. 704-838-14752301 Speedball Rd. Fax: 704-838-1472Statesville, NC 28677 Toll-Free: 800-898-7224email: [email protected]: www.speedballart.comGlazes and underglazes are 100% lead free and nontoxic; all carry the ACMI AP Seal. Bright, intense colors highly saturated for spectacular results. quality, value and superior customer service have distinguished the Speedball® brand as the artists choice since 1899.

ST. PETERSBURG CLAY COMPANY INC. 420 22nd St. S. 727-896-2529 St. Petersburg, FL 33712 Fax: 727-896-0013 Email: [email protected]: www.stpeteclay.comOne of the premier ceramic facilities in the U.S. Located

in historic 1920’s train depot. Four main areas of focus are studio rental, retailing of clay supplies, gallery sales, and education.

STANDARD CERAMIC SUPPLY CO. 412-276-6333 PO Box 16240 Fax: 412-276-7124 Pittsburgh, PA 15242-0240 Email: [email protected]: www.standardceramic.comManufacture moist clay bodies. Distribute raw materials, glazes, and tools.

STARLITE MOLD COMPANY 316-262-3350 1518 S. Washington Fax: 316-262-1396 Wichita, KS 67211 Email: [email protected]: www.starlitemolds.comProduce 10,000 mold designs for ceramic hobbyists, finished ware, and bisque producers. Catalog available.

STUDIO SALES POTTERY SUPPLY 585-226-3030 5557 Rt 5 & 20—PO Box 344 Fax: 585-226-3122 Avon, NY 14414 Email: [email protected]: www.studiosalespottery.comPottery supply business, teaching studio, and craft gallery. Repair and maintenance service available for electric kilns and wheels. Regular classes offered in potterymaking, raku, woodfiring, and kiln use.

SUGAR CREEK INDUSTRY, INC. 765-339-4641 PO Box 354 Fax: 765-339-4649 Linden, IN 47955 Email: [email protected]: www.sugarcreekind.comManufacture equipment and kilns for the fired arts. Supply mixing, pouring, and firing needs for ceramic and porcelain.

SUMMIT KILNS 813-996-2575 PO Box 573 Fax: 813-996-2575 Land O Lakes, FL 34639 Email: [email protected]: www.swiftweb.com/summit30 years experience making quality electric to gas conversions to convert your electric kiln to a gas kiln. Offer raku burners, FiberFrax, hi-temp wire, and controllers. New and used electric kilns and wheels. Kiln and potters wheel repair in central Florida.

SUNSHINE GLASSWORKS LTD. (NEW) 716-668-2918 111 Industrial Pkwy. Fax: 716-668-2932 Buffalo, NY 14227 Toll-Free: 800-828-7159 Email: [email protected]: www.sunshineglass.comSunshine Glassworks has provided individualized service to glass artists for over 30 years. Stocking frits, stringers, rods and sheet glass in COE 90 and 96. Plus kilns, molds, paints, enamels and tools. Go to www.SunshineGlass.com/shop for complete information.

TAOS CLAY 505-758-9884 1208 Paseo del Pueblo Norte El Prado, NM 87529 Email: [email protected]: www.taosclay.comFully-equipped ceramic studio offering memberships, classes, workshops, schools, and after school programs.

TEXAS POTTERY SUPPLY & CLAY CO. 817-626-2529 365 Sansom Blvd. Fax: 817-626-6226 Ft. Worth, TX 76179 Toll-Free: 800-639-5456 Email: [email protected]: www.texaspottery.comFull-service ceramic supply warehouse. Complete line of clay, equipment, tools, and supplies for any ceramic need.

TIN BARN POTTERY SUPPLY AT MANASSAS CLAY 9122 Center St. 703-330-1173 Manassas, VA 20110 Fax: 703-330-1040 Email: [email protected]: www.tinbarnpottery.com

http://www.speedballart.com

http://www.spectrumglazes.com

http://www.kilnshelf.com

http://www.skutt.com

http://www.shimpoceramics.com

http://www.sheffield-pottery.com

http://www.sculptools.com


VENT-A-KILN CORP. 716-876-2023 51 Botsford Pl Fax: 716-876-4383 Buffalo, NY 14216 Toll-Free: 877-876-8368 Email: [email protected]: www.ventakiln.comWide variety of kiln and fume vent exhaust systems.

VULCAN KILNS 937-433-1833 7623 Clyo Rd. Fax: 937-433-1833 Centerville, OH 45459 Email: [email protected]: www.vulcankilns.comManufacture electric hobby kilns. Sell kilns and kiln accessories, including kiln vents and controllers. Kiln repair, all brands. Wholesale bisque tile.

WARD BURNER SYSTEMS 865-397-2914 PO Box 333 Fax: 865-397-1253 Dandridge, TN 37725 Email: [email protected] Website: www.wardburner.comProvide equipment for kilns and furnaces, including venturi burners, power burners and a line of raku burners.

WENDT POTTERY 208-746-3724 2729 Clearwater Ave. Fax: 208-746-6968 Lewiston, ID 83501 Toll-Free: 800-554-3724 Email: [email protected]: www.wendtpottery.comProduce Helmer Kaolin, a replacement for Avery Kaolin in wood-fire bodies. Mixed cone 10 Helmer body now available - call for details.

WeST MICHIGAN CLAY 269-751-5839PO Box 42 7 Fax: 269-751-5831 Hamilton, MI 49419 email: [email protected]: www.westmichiganclay.comServe the needs of potters, schools, and hobbyists; consulting services; equipment repair and products from Standard, Laguna, L&L, evenheat, Kemper, Dolan, Shimpo, Skutt Wheels and Sterling Books.

WILLIAMS SUPPLY 910-428-9205 132 Allen Rd. Fax: 910-428-9200 Star, NC 27356-7800 Email: [email protected]: www.williamssupplync.comSupply ceramic materials and equipment.

XIeM GALLeRY 626-794-58331563 N. Lake Ave. Pasadena, CA 91104 email: [email protected]: www.xiemclaycenter.comMultifunctional clay center offering classes, studio memberships and gallery. Our retail store carries a full range of pottery tools from the leading brands, clays, glazes and books. We manufacture our own design Xiem Studio Tools including art rollers, art bags, precision applicators, and flexible rulers.

The source for ceramic/pottery supplies in Northern Virginia and the metropolitan Washington D.C. area.

TRIARCO ARTS & CRAFTS LLC 763-559-55902600 Fembrook Ln., Ste. 100 Fax: 763-559-2215Plymouth, MN 55447 Toll-Free: 800-328-3360Email: [email protected]: www.triarcoarts.comLarge selection of arts and crafts supplies featuring AMACO, Duncan, Skutt, and L&L Kilns.

TRINITY CeRAMIC SUPPLY INC. 214-631-05409016 Diplomacy Row Fax: 214-637-6463Dallas, TX 75247-5304 email: [email protected]: www.trinityceramic.comCeramics material supplier. Distribute Brent/Amaco, Creative Industries, Shimpo, Thomas Stuart, North Star equipment, Spectrum Glazes, Kemper, Laguna Clays, Armadillo Clays, Pemco Stains, Cerdec Ceramic Stains. Manufacture Trinity moist clays.

TRINITY ENTERPRISES INTERNATIONAL 208 N. Main Ave. 863-699-4082 Lake Placid, FL 33852 Fax: 863-699-4083 Email: [email protected]: www.instardecals.comQuality open stock and custom designed decals/transfers, for both vitrifiable and cold application. Art library. Design concepts and reproduction services.

TUCKeR’S POTTeRY SUPPLIeS INC. 905-889-770515 W. Pearce St. Fax: 905-889-7707Richmond Hill, ON L4B 1H6 Toll-Free: 800-304-6185Canada email: [email protected]: www.tuckerspottery.comRetail/wholesale, manufacture, distribute clay, glazes, tools, kilns, pottery wheels, slab rollers, extruders, and kiln elements. Repair service. Thirty five years of experience. Mail order available.

U.S. PIGMENT CORP. 815 Schneider Dr. Fax: 630-339-2644S. Elgin, IL 60177 Toll-Free: 800-472-9500Email: [email protected]: www.uspigment.comSupply raw materials, stains, glazes, chemicals, rare earth elements, specializing in cobalt, tin, nickel, chrome, and copper.

UNITED ART & EDUCATION PO Box 9219 Fax: 800-858-3247Ft. Wayne, IN 46899 Toll-Free: 800-322-3247Email: [email protected]: www.unitednow.comOnline source for nearly 10,000 art and craft materials, art resources and project ideas.

UNIVERSITY OF PA PRESS 215-898-91843905 Spruce St. Fax: 215-898-0404 Philadelphia, PA 19104 Toll-Free: 800-537-5487 Email: [email protected]: www.pennpress.orgPublisher of books on ceramic arts.

VENCO USA 508-662-5706 9 Sycamore Ave. Spencer, MA 1562 Email: [email protected]: www.vencousa.comExclusively Venco pug mills, wheels and parts.

CheCk out our online

book speCials!


by JIM RObISON &

IAN MARSHAlthough this is essentially a very simple subject, slabs can be used to make the most basic of forms to the most complex. This broad approach to slab work shows a wide variety of building methods and illustrates the work of many high profile ceramic artists in this area.

The book explores and explains most of these methods through step-by-step images and text, using a varied range of both pots and sculpture. There are often several techniques that could be used to achieve the same result and this book shows that no one method is correct, but there will be one which is appropriate for the potter, the clay and the firing process.

JUSTARRIVED




http://www.xiemclaycenter.com

http://www.westmichiganclay.com

http://www.tuckerspottery.com

http://www.trinityceramic.com

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