a selection from - ceramic arts network...with varnish to use for table tops. we purchased...

M O N T H L Y

A Selection from

Homemade Studio Equipment

An Environmentally Safe Spray Boothby Bill Campbell

Editor’s note: Also see “A Low-Cost Spray Booth” by Lawrence Blazey in the May 1991 issue of CM.

No one wants to pollute the environment with glaze overspray, but most spray booths designed to catch airborne particles leave something to be desired. One solution is an environmentally friendly booth that uses ordinary tap water to “scrub” exhaust air.

This scrubbing action is quite simple. Water from a reservoir at the bottom of the booth is pumped by a submersible pump (A) through a lV^-inch-diameter plastic pipe (running up the exterior of the booth) into another P^-inch-diameter pipe (B)—horizontally mounted through the walls on either side of the booth and along the top of a sheet- metal backdrop (C). This horizontal pipe has ¾-inch-diameter holes drilled along its top, so that water sprays up toward a second backdrop (D) of curved sheet metal. (Any commercial roofer or metal shop should be able to do the sheet- metal work for a reasonable price.)

When glazing, some overspray simply falls through the expanded metal floor of the booth, but air drawn up and over the primary backdrop (C) must pass through water falling from the curved secondary backdrop (D) toward the primary backdrop. Any particulates that are not caught by this waterfall must then pass through water spraying from the horizontal pipe (B), then through a second waterfall directed by the bottom of the secondary backdrop toward the back of the primary backdrop. The particulate-laden water simply flows to the reservoir below.

Almost all glaze overspray is stopped by that first waterfall. At my studio in Pennsylvania, an inspector from the Department of Environmental Resources found that there weren’t even enough

particulates coming through this system to require a permit.

A drain at the bottom of the tank facilitates the removal of the settled glaze materials from time to time. Drained into a bucket, this scrap can be recycled (if you are spraying only one glaze) or left to dry completely for disposal. Re- sponsible/safe disposal involves putting the dry scrap glaze into scrap bisque- ware and firing until vitreous, before discarding it with your regular trash. Glaze that has been turned into a solid is accepted at most landfills.

Exhaust power for the booth is provided by a tubeaxial fan—often found for less than retail wherever used indus

trial equipment is sold. This type of fan has an aluminum (sparkless) blade, and its motor, drive belts and ball bearings are protected from any debris moving through the air stream. A shutter over the exhaust opening in the studio wall will keep cold air from coming in when the fan is not in use. To avoid any special lighting, keep light fixtures outside the booth.

Caution: Despite the fact that virtually no glaze particles make it to the outside, you should still wear a respirator when spraying. Remember, air at the front of the booth is just entering the filtering system, and you only have one set of lungs. ▲

November 1992 51

Making Choices for a New Clay Studio

by Nila Petty

To make the best use of the new space, the work area was designed to be open so that students have room to work at any scale, have quick access to the slab roller and extruder, and can move ware carts around the room with ease.

When I arrived at Saint Louis University (SLU—in St. Louis, it’s pronounced “slew”), the only ceramic equipment they owned was one kick wheel and an electric kiln that had seen better days. As a new ceramicslsculpture professor, I assisted with the plans for a new studio space, including the selection of equipment. While it is great fun to pick out new toys, it also can be daunting. The whole experience has been a learning process that helped me focus on the specific needs of the studio art program at SLU, as well as my own needs and goals. The planning process would be the same for anyone designing a studio, whether for private use, a production studio, or an academic setting. There are three main issues to consider: determining the use requirements of the space (based on curriculum, volume of students and work, and multiple media); selecting equipment (guided by budget considerations); and finally designing the space.

Use RequirementsThe fine and performing art department at SLU offers a B.A. (not a B.FA.), and the studio art component is relatively small. The focus is on the strength of a liberal arts education, and our program is

geared to nonmajors as well as art majors. Three-dimensional design classes are held in the same space. Painting classes use the space to stretch canvases, and an advanced sculpture class will use other media, such as plaster, wood and metal along with clay. There are three to four classes in the space per semester and about twenty students per class. I did not want to spread resources too thin by trying to do everything at once in every sculpture medium and be forced to offer too many classes for our program. I thought it was better to combine ceramics and sculpture at the beginning level in order to maximize the versatility of the space and equipment.

The smaller size and the multipurpose needs of the studio have advantages. Students use clay in the context of other art-making activities. It discourages students from over-specializing in one technique too early. It encourages creative exploration, which includes the full range of possibilities offered by clay, and is informed by a sculptural awareness of line and form along with idea development. One of the unique qualities of clay as a material that excites me is that it can be modeled, thrown, carved, constructed, cast or any combination of the above. This makes it an ideal material for beginning-level sculpture students.

Ceramics Monthly November 2005

Equipment Choices:What Do I Really Need?

Sometimes need and want coincide well.Other times, it is necessary to make careful choices. I believe that well-selected wish-list purchases are wise, particularly if they make you feel good, which increases creative energy and encourages you to make something that you would not have made otherwise. I decided that I wanted and needed an 82-cubic-foot gas kiln, the largest I could fit into the available space.This may seem extravagant, but I felt that this choice would encourage my students’ and my own creative production.

A large kiln obviously offers the most flexibility in creating sculpture as well as functional vessels. It allows a more open- ended ceramic sculpture program, encouraging the wheel to be thought of in the same context as other clay tools. It becomes part of a more holistic picture. I want the students to value everything that can be created using clay.

One decision that can sometimes be difficult is whether to buy it or make it yourself. I decided to purchase, rather than build, our first gas kiln, especially given the time constraints. I chose a gas shuttle kiln with a trackless car and free-rolling door. We purchased a single car for budgetary reasons, but can retrofit a second car later.

I plan to build a second smaller gas kiln with the students. We purchased an 18½- cubic-foot oval electric kiln, a second kick wheel and eight electric wheels.

I decided to design a wedging table, since I wanted a large one and knew that it could be made for a fraction of the cost of purchasing one. I designed a 4-foot-square wood table (see Homemade Wedging Table, page 51). I did not want cutting wires in the center because they tend to annoy me, and I also wanted to be able to use the wedging table to dry sheets of clay. The legs are bolted so they can be tightened as needed.

The new ceramics studio is in a space previously used by the university bookstore. They left shelving that we are using and sheets of Masonite that we sealed with varnish to use for table tops. We

purchased additional secondhand shelving, two new ware carts, a large slab roller, an extruder, a spray booth for glazes and a test kiln, which we put on an old printer stand. We bought a clay mixer,because I did not want to have to purchase premixed clay, and Iwanted the students and myself to be able to mix our own clay bodies. We don’t need a pugmill yet. For storage of clay and glaze materials, 20- and 55-gallon containers on casters work well, along with 22-quart food-storage bins from a local restaurant supplier.

“Biomorphic Landscape,” 18 inches (46 centimeters) in height, terra cotta fired to Cone 2 in reduction, with

limestone, 2004, by Nila Petty, St. Louis, Missouri.

The wedging table is conveniently located next to the wheel-throwing area. There is a large space behind the lockers that is used for critiques, slide shows and photography.

Designing the SpaceEquipment choices and the design of the studio space shape the choices you make as you are creating in clay, or in any medium. The space should be inspiring and conducive to good work habits, and the equipment should be flexible.

We considered the space and layout that was already in place. An area directly off a loading dock made an ideal location for the kiln room, the clay- and glaze-mixing room, and a metalworking area. The kiln and mixing areas are separated by doors to allow control of temperature, ventilation and access.

The classroom space has an area for woodworking that is partly divided from ceramics. One of the main problems of the classroom space was that it sloped downhill! If the entire floor had been leveled by filling the difference, then the ceiling would be too low. For a while, I thought all the clay work was going to have a characteristic “SLU slant” due to the incline of the room! The cost to level the floor by removing material was prohibitive. Therefore, only the ceramic classroom was leveled, leaving an awkward area at one end.

I wanted an area for photographing artwork, for critiques and for showing slides, so this seemed a good use of that “leftover” space. I requested ¾-inch plywood on the wall to allow for hanging, patching and rehanging work. Spotlights and overhead lights are on a separate switch, and the space is partly divided from the rest of the room by lockers. (I now put self-leveling feet on the pedestals.)

Designing the space was a collaborative project. The university hired an architect, who worked with me, our department chair, and the Design and Construction department. In general, architects are not familiar with the specific needs of art studios. I feel fortunate that our department chair also is an architect. He helped me write a survey for each area listing needs, such as electrical, square footage, equipment, lighting, ventilation, plumbing, etc. Clear communication with the architect, and anyone else working on the project, is vital. Specific needs that should be stated include easy-to-clean traps on all of the sinks, enough electrical outlets and appropriate amperage, and equipment layout that makes sense for work flow.

For good work flow, the worktables, slab roller and wedging table are accessible from every side. Floor space is left for larger work on carts and modeling stands. The extruder is on a wall near the slab roller, with a table nearby, creating one work area. The wedging table is near the wheels, creating another work area. Pottery wheels are grouped along each side of a raised power strip. Students can see each other as they are working, and I have access to help them.

Whatever the project is, give yourself more time than you think you will need. No matter how carefully you plan, unexpected complications and delays seem to be inevitable. As fun and exciting as the whole process can be, it also can be stressful. Be patient with yourself. Don’t make unreasonable demands on your productive abilities during the process of setting up or rearranging a studio space. I had to keep reminding myself that I had moved to a new city, started a new job and set up a new studio. It helps to be specific with your goals, plan ahead, try not to make assumptions, ask lots of questions, research everything, and try to communicate clearly. Remember, like any creation, it is a process; plans can be revised and mistakes can be resolved.

M O N T H L Ym e t h o d sHomemade Wedging TableEach leg is constructed of a 2x4 and 2x6 secured together at a right angle (like angle iron). Bolts should be used to secure the legs and braces so they can be tightened as needed. The four legs are attached to a frame of 2x6-inch lumber. The frame needs several horizontal braces to support approximately 300 pounds of plaster. Diagonal braces connect the frame to the legs. They should be attached at a 45° angle and the attachment points should divide the span of the frame into thirds. A ¾-inch sheet of plywood is attached to the top of the frame using screws. This will form the bottom of the box that will be filled with plaster. The sides of the box are constructed of lx6-inch lumber that extends 2½ inches above the plywood. The sides should be screwed to the outside of the plywood and frame so the sides can be removed when the plaster needs to be replaced (do not make a separate box and attach it to the frame because it will not allow easy replacement of the plaster later). The insides of the 1x6s and the plywood should be sealed with wood sealant or varnish before the plaster is poured.

Ceramics Monthly November 200551

32 september 2012 www.ceramicsmonthly.org

CLAY CULTURE

a new/classic spin Helen D’Angelo has reinvented the wheel, so to speak. A senior at the Massachusetts College of Art and a Worcester native, she was visiting with her friend, Mary Remington, in Hardwick when the two decided to stop at Larry Crockett’s barn sale. Crockett is a blacksmith, and D’Angelo asked him if he had any old wood that she could use for a project she was working on in school. When D’Angelo explained that she wanted to make a bicycle pedal-powered pottery wheel, Crockett, being an artist in his own right, offered to help.

D’Angelo already had a set of blueprints for the project that she obtained from John George, the man who invented the pedal-powered pottery wheel, and whose invention appeared on page 94 in the September 1979 issue of Ceramics Monthly (he still sells plans through www.johngeorgestudio.com).

D’Angelo, whose love of pottery began when she was 15 while attending the Worcester Center for Crafts, realized that purchasing an electric potter’s wheel would cost $1000 or more. “A lot of my friends were doing a lot of things with bicycles,” she said. “One of my friends actually built a washing machine powered by a bicycle, so I thought I would give it a try, although Larry and I had no idea what building it would involve.”

When researching on the Internet to find out if it had been done before, she came across George’s patent from 1977 for the pedal-powered wheel. “I found his website and I called him,” D’Angelo said. “He told me no one had mentioned it to him in over 20 years and was surprised that someone wanted to build one. He sent me his blueprints in the mail along with a wheel-head part for the machine.”

by Cristy Bertini

After reviewing George’s plans, D’Angelo and Crockett decided to make the machine a little more modern, but they had to be cre-ative to keep costs down. Crockett took a wheel hub off of an old trailer, D’Angelo found old bicycles to take the wheels from, and parts from broken tables, a desk top, and even a weedwhacker shaft were used. D’Angelo came home from school every weekend and she and Crockett worked on the project for about six weeks, with help from Crockett’s apprentice Connor Elliot, and Joe Bolger of Barre.

She said she is very grateful to everyone for their help, particu-larly Crockett. “I couldn’t have done it without him,” she said. “He helped me redesign and build the whole thing.”

The total project cost for D’Angelo’s wheel was approximately $150—coincidentally, the same amount that George budgeted for his original wheel. “I didn’t have much money, like all potters, and pottery wheels are and were very expensive,” George said. “I’m pleased that it was built again after all these years. It was a nice surprise.”

George lives and operates his studio in Tucson, Arizona. He said he came up with the idea to create the bicycle-powered wheel in 1976 when he was riding his own bicycle to a shop where he apprenticed. “I thought it would be an excellent way to transmit power, so I got on a kick wheel and noticed how clumsy, heavy, and off-centered it was,” George explained. “I thought I could build a better wheel than this, so I combined a kick wheel and a bicycle into one machine. I quickly realized the reason no one else had made one before was that it was very difficult. But, it’s a great wheel, because it’s always balanced . . . and it’s a lot easier to operate.”

1 John George pedaling pots from the September 1979 issue of CM. 2 Helen D’Angelo and the team who helped make her idea a reality. From left: Joe Bolger, Connor Elliot, and Larry Crockett. 3 D’Angelo at work, on her bicycle-pedal powered wheel. As a tribute to John George, she’s pictured barefoot, just as he was in the original photo in CM.

In the 1970s a young potter had a great idea to make a pottery wheel on the cheap. Fast forward 33 years and his pedal-powered plans are helping another young potter to keep working after finishing college.

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18 december 2012 www.ceramicsmonthly.org

TIPS AND TOOLS

dial-in levelAs a potter’s throwing skills advance, the pots get taller and thinner. When the pots begin to reach ten inches and higher, a funny thing happens near the base. The potter notices that while working on the rim, the base has a tendency to soften, wobble, and sometimes collapse.

The blame for this has been attributed to several demons including using too much water, using clay that is too soft, the wheel is not level, and there was too much time spent on throwing the cylinder, causing the bottom to get soggy. No one wants a soggy bottom. All these ideas and more contribute to the problem, but one that can be corrected before you even get started is leveling the wheel.

I have designed a simple attachment to the legs of a potter’s wheel to make leveling quick and easy. This attachment lets you level the

There is often more than one fix to the throwing woes one experiences at the wheel. One solution that many of us overlook or dismiss as too difficult is actually as simple as a trip to the hardware store.

1 The leg of a Shimpo VL-Whisper with the two allen-wrench-style set screws in the upper section of the pipe leg. The lower leg can be adjusted for leveling. 2 Here is the plastic coupling and the end cap; you will need to purchase one set for each leg of the wheel. The rubber foot on the Shimpo legs is then replaced with the plastic pipe coupling. The coupling is not threaded on the upper half and will slip right into the leg pipe. The lower half is threaded and will accept a threaded end cap as shown. The end cap is turned in the coupling to level the wheel.

wheel as often as needed—after it has been moved for mopping or cleaning, after months of continuous use, and before each throwing session, if you want.

The potter’s wheels that can be leveled with the dial-in method are ones with single pipe or double pipe legs. The inside pipe usually slides up or down and can be secured with setscrews or a thumbscrew from the outer pipe. This will often get you close to a level wheel.

If you have one of these wheels, take out the inner pipes and head for the hardware store to have a pipe thread cut on one end (the store in my neighborhood will do this for free). Locate the plastic pipe section in the same store and find a threaded coupling that matches your pipe size.

If your wheel has legs that cannot be removed, measure the outside diameter and find a plastic coupling that will fit over the pipe and is threaded on the other end. Match the threaded side with an end cap. The non-threaded side fits over the leg.

Put your wheel back together. Place a bubble level on the wheel head—I use one of the bubble levels designed for a trailer but any good level will do. Use the factory’s leveling system (that came with the wheel) to get close and then turn the newly installed threaded feet to dial-in a level wheel.

Once the wheel is level, you will find that many of your throwing problems disappear. In a school environment where students and custodians are constantly moving wheels, the dial-in level feature is very handy. Tip: Put tape marks or a magic marker line in front of each leg in case the wheel is moved. To see Jim’s work check out, https://sites.google.com/site/wyldartsite.

Send your tip and tool ideas, along with plenty of images, to [email protected]. If we use your idea, you’ll receive a complimentary one-year subscription to CM!

3–4 The Soldner P-Series wheels also use a pipe within a pipe style. The inside pipe is adjusted with a thumb screw through a nut that is welded on. The rubber foot has been replaced with a plastic threaded coupling. Note that the inside pipe needs to be threaded before it will receive the coupling. Once all four legs have been threaded, leveling the wheel is accomplished by turning the required coupling.

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by Jim Wylder

50 october 2014 www.ceramicsmonthly.org

1 Ronald Shaw’s carved vase made on his homemade Onggi wheel. 2–3 Materials and recommended tools needed to build an Onggi wheel. 4 The wheel’s base and welded axle.

THE ONGGI WHEEL A Modern Approach to an Ancient Tool by Ronald Shaw

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www.ceramicsmonthly.org october 2014 51

I’ve always been fascinated by artists who create their tools using raw materials (it’s even better if they are recycled). I admire the re-sourcefulness of an individual and his or her ability to problem-solve with the materials at hand, rather than purchasing a mass-produced product. So when I was graciously invited to watch an Onggi pot demonstration at Florida Atlantic University given by Adam Field, an “aha!” moment occurred. I looked at his wheel and thought to myself, I’ve got to do that! And in that moment, the course of my work was set on a new path.

A friend welded the axle to the base plate for me, while the rest of the materials were purchased from a hardware store and an industrial supply company with a total cost of roughly $225, which would have been more had the steel been purchased rather than salvaged and the welding commissioned rather than donated.

Base Plate and Center Axle

The two bearings, the base plate, and the center axle (4), in my opinion, are the most important parts in terms of the quality, dura-bility, and strength of the materials used. The base plate acts as the foundation and counterweight when large amounts of clay are being

Recommended Tools (3)

(8) 24-inch adjustable clampsRuler or tape measureBanding wheelRubber or wooden malletElectric drill and driver17⁄34-inch-wood drill bit½-inch-hex-head lag-bolt driver2 inch and 1½-inch Forstner drill bit3⁄32-inch and 5⁄32-inch hex-key Allen wrenchPaint brushPencilNeedle tool24-inch bubble level

Materials (2)

(1) 16 inch × 1¼ inch solid-steel (recycled)(1) 17 inch-wide × 3⁄8–inch-thick steel base plate (recycled)(10) 17 inch × 1 inch round-pine tabletop (2) 1¼-inch bore flange bearing with setscrews(1) 1¼-inch lock collar(1) 6 foot × 1¼ inch-schedule-40 PVC (8) 5 inch hex-head lag bolts 50 foot × 3⁄8 inch manila natural fiber ropeWood glueLoctite Heavy-Duty Two-Part EpoxyBulls Eye Amber Shellac220- and 400-grit sandpaper

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5 Apply wood glue to the first layer of wood, brush until even over the entire face of one side. Repeat this step until you have two separate stacks of five round tabletops laminated together. One will be the wheel head, the other will be the kick wheel.6 Place the stacks (separately) on a banding wheel and rotate to check the alignment. Very minimal deviation is acceptable. Clamp the wheels (in separate stacks) using wooden sticks to protect the wood from clamp marks and to help evenly distribute the clamp force across the surface of the wheel. Wipe off any excess glue immediately and let sit for at least 24 hours. 7 Mark the center with a 2-inch circle for a drilling guide. Clamp the kick wheel to the workbench for drilling. 8 Center the bearing and trace it and the bolt pattern onto the kick wheel. Drill pilot holes for the lag bolts. Position the bearing on center and drive the lag bolts into the kick wheel. Repeat step 7 to attach the bearing to the bottom of the wheel head. DO NOT drill a 2-inch axle hole in the wheel head, it is not necessary.9 Measure 1 inch, on center, from each of the four walls of the bearing mount, these are for the PVC support posts. Do this for all four posts. Drill a 1-inch-deep hole for all four PVC support locations. The PVC supports will seat into these holes and line up the wheel head and kick wheel. Repeat step 8 for the wheel-head bearing as well. 10 Dry fit all PVC supports and check the alignment of all parts before proceeding. Apply a layer of wood glue to the outside of the PVC and to the inside of the corresponding hole. Hand tighten then tap into place with a wooden or rubber mallet. Seat and glue the four PVC supports into the kick wheel first.

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www.ceramicsmonthly.org october 2014 53

worked on the wheel, which for me is a coil and paddle technique with approximately 100 pounds or more of clay being used per pot. Anything less than the 1¼-inch-thick solid-steel rod would not be adequate for the axle, as vibration and wobble will eventu-ally become a problem with any pieces heavier than 50 pounds. I always err on the side of caution—it will improve the overall stability, strength, and lifespan of the wheel if you use high-quality, strong materials. The same goes for the bearings—use a heavy-duty bearing capable of supporting, at minimum, a couple of hundred pounds safely. There will be a significant amount of torque and directional forces applied to the wheel during use, so the bearings, axle, and base plate must be sturdy or a failure will occur.

Wheel Head and Kick Wheel

The wheel head and kick wheel share essentially the same construc-tion process. Each are composed of five round pine tabletops that are laminated together using wood glue (5). Alternate the direction of the wood grain on each layer as you stack the pieces together, this makes the wheel stronger and helps prevent any splitting of the wood, also it will enhance the overall finished look. Rotate the finished pieces on a banding wheel to check the alignment of the wood layers before clamping. Once properly aligned, clamp or apply adequate weight for compression (6) and let it sit for 24 hours, allowing the glue to dry.

Mounting the Bearings

After the glue has dried, drill one hole com-pletely through the center of the kick wheel. This allows it to spin freely around the axle when the bearing is mounted. Attach one flange bearing to the bottom side of the wheel head and the other to the top side of the kick wheel (7). Attach the flange bearings on center, with four of the 5-inch hex-head lag bolts per bearing, with a centered pilot hole pre-drilled for each lag bolt (8). A pre-cise centering of the bearing on both wheels is necessary for a smooth and aligned rota-tion of the wheels in tandem. Take your time and triple check all measurements before moving forward.

PVC Supports

The four vertical support posts that secure the two wheels together are each a 10 × 1¼-inch-section of schedule-40 PVC, with the edges lightly sanded. Four 1½-inch holes are drilled at a 1-inch depth, approximately

11 Glue and place the wheel head on top of the supports. Sandwich together and tap with a rubber mallet. Move the wheel to level ground and tap it until plumb and level. Let sit for 24 hours. 12 With the wheel placed onto the axle and base plate, shim up the wheel so no contact with the base plate is made by the kick wheel. Tighten the setscrews on the kick wheel bearing onto the axle. Place the lock collar onto the shaft and attach it directly under the wheel head bearing. Hand tighten all setscrews with Allen keys. Remove the shims and test the rotation. 13 Brush a thin layer of two-part epoxy on the outside of all four PVC supports to attach manila rope. Tie one end of the rope to the axle, start at the bottom and wind the rope tightly around the PVC supports. Use 220-grit followed by a 400-grit sandpaper on all wood surfaces to smooth. 14 You can stop here or apply two coats of shellac or marine polyurethane to seal the wood.

1 inch from the edge of the bearing mount using a Forstner drill bit (9), then sanded. Once everything is dry fit, and all parts are properly aligned and the level checked, the posts can be glued in place, joining the kick wheel and wheel head permanently (10). Be sure to apply a generous layer of glue to the outside of the PVC and the inside of its corresponding hole. There is a lot of torque between the top and bottom wheel that occurs during use, and a strong bond is needed.

Wheel Head

Once the glue has dried the wheel can be mounted onto the axle, the level should be checked (11). Now the lock collar should be secured tightly under the top bearing (12). This is to prevent any downward slipping of the bearings on the axle. Be sure no contact is made between any of the parts while in motion, which would result in friction and lost or reduced rotation.

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Finishing Touches

Apply glue to the supports, then wrap 50 feet of 3⁄8–inch-natural fiber manila rope tightly around the support posts (13) to create an authentic, finished look. Once everything is mounted and securely tightened, all the wood can be sanded and left bare, or a shellac can be applied. I chose amber shellac finisher and sealer (14). If shellac is used, sand the wheel head where the clay makes contact to prevent the pots from sticking.

Building on the Onggi Wheel

The method I’ve developed for constructing my pots is not a tradi-tional Korean Onggi technique, however there are some parallels. I start with a 25-pound, 3⁄4-inch-thick, wheel-thrown base, which is allowed to set up overnight. Once the base has set up to soft leather hard, I roll out 13 coils, which are approximately 9 pounds each and 33–45 inches long. The increase in length corresponds to the increasing circumference of the pot. Each coil is stacked

onto the one below it one layer at a time making sure both ends of the new coil meet. Then the coil is compressed and joined to the one below it using equal pressure from the palm of my left hand and the index finger and thumb of my right hand, going around the entire pot, rotating the wheel with my right foot. This is how each layer is joined—there is no scoring, slipping, or water used. After adding every three coils, I use the palm of both hands in a rhythmic clapping fashion while pulling up to expand and com-press the walls of the pot, as well as refine the form and increase the height. The process is repeated until the pot is complete, the entire surface is then ribbed in a crosshatch pattern to ensure all the coils are adequately married to one another and the form is consistent (15). Finally the entire surface of the pot is marked and carved and sections are removed to reveal a open form (16). Since I’m removing about half of the original material, the walls need to be thick and the clay body needs to be a strong stoneware with 15–20% grog added to withstand the building and carving process.

the author Ronald Shaw is a full-time potter in West Palm Beach, Florida where he maintains a studio and teaching position at The Armory Art Center. You can find him on Instagram and Facebook @TheClawAndTheSea or visit www.TheClawAndTheSea.com.

15 Start with a thrown base and add thick coils one at a time, compressing and slapping the coils as you build. The entire surface is crosshatched with a serrated rib, then smoothed to ensure a good join, and to make sure the form is consistent and the surface is even.16 I draw and mark on the pot to create an overall pattern. Next I carve out small sections and smooth each opening to refine the entire pot.

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A MIXED MEDIA SHOW OF AMERICAN CONTEMPORARY ARTISTS

FREEHAND GALLERY • 8413 WEST THIRD STREET, LOS ANGELES • 323.655.2607 • WWW.FREEHAND.COM

womens work

Chloe Darke • Richard Davidson • Claudia Grau • Heather McLarty • Beth Novak • Lisa Piaskowy and Studio VesceMichael Rohde • Leslie Rosdal • Stephen Sidelinger • Christina Smith • Amelia Stamps • Holly Tornheim • Sandra TorresElaine Unzicker • Julia Walther • Rob Watt

Visit www.ceramicsmonthly.org to check out a time-lapse video of Ronald Shaw building and using his Onggi wheel.

66 december 2014 www.ceramicsmonthly.org

TIPS AND TOOLS

kiln shelf storageProblemWhen I first set up my studio a few years back, figuring out a storage solution for my kiln-shelves quickly became a priority. Precariously leaning the shelves against the wall (1) was not a viable long-term solution. As I wanted to have easy access to each shelf, I was looking for a solution that would allow me to store the shelves vertically, rather than stacked. To that end, my husband Nick, who is a firm believer that there are few design problems that cannot be solved with PVC pipe, came up with this simple shelf storage rack (2–3). Everything needed to build this rack can be found at your local home-improvement store—mostly in the plumbing aisle.

SolutionHalf of the fun of building with PVC (also known as Legos for adults), is customizing your construction to your exact needs. This is easily accomplished by using different types of connectors and different pipe lengths. For our rack design, in addition to multiple lengths of 3⁄4-inch PVC pipe used for the uprights and horizontal support pieces, we used a variety of connector pieces (crosses, T pieces, 90° elbow pieces and end caps). Though not integral to the rack design, we had some spare casters so decided to add them to the rack to increase its mobility. Once you’ve figured out your design (Nick has been known to ‘mock up’ PVC constructions while in the hardware store!), a bit of PVC cement is advised in the joints to keep everything in its place. Including your kiln shelves!

Note: Our design was highly influenced by materials we had available. You might find alternate pieces to streamline your design.

We’ve all seen it in community studios, kiln shelves carelessly set aside and forgotten only to later be found in pieces. Here’s a great solution to an age-old kiln-room problem.


by Nick and Miri Hardy

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Materials• 2 10-foot, ¾-inch diameter PVC pipes

• 10 end caps

• 12 T-pieces (8 for uprights, 4 for casters)

• 6 × 90° elbow pieces

(4 for corners, 2 for central cross-brace)

• 2 cross pieces (for central cross-brace)

• 4 casters

• PVC Cement

Total material cost: approximately $25

64 april 2015 www.ceramicsmonthly.org

TIPS AND TOOLS

Can’t find your favorite trimming tool? Having trouble getting organized in the studio? Mike Jabbur’s pegboard easel can help.

pegboard easelI use a simple 3-legged pegboard structure to store my pottery tools next to my wheel. It’s a 3-sided 2x4 frame with a plywood top that stands on the two vertical boards of the frame, with the third vertical support attached further back on the plywood top. The pegboard is held out at an angle by a shorter board with a 30°-angle miter cut on one end that’s attached to the plywood top. I secured the hooks to the pegboard with epoxy putty (PC-7) from both the front side and the back. I recommend placing the hooks, hanging some tools on them, then making pots for a few days and testing the functionality before gluing the pegs into place to make sure that you’re happy with your configuration.

Most pottery tools are designed with a hole big enough to fit over a hook or nail so they’re easier to store and organize. Other tools can be fitted with an eye hook. For tools that can’t be stored this way, I’ve created a top shelf on my pegboard. If I were making mine over again, I’d leave a little extra room around the edges so I could add more pegs and tools over time. I might also build the backside of the structure as shelving to store items I don’t regularly use. The pegboard can be mounted directly to the wall or left free standing near your wheel for easy access to tools while throwing. I recommend this type of setup for anyone who’s tired of hunting for tools or works in a shared studio, as well as for anyone looking to better organize their studio.

1 Mike Jabbur’s 3-legged pegboard easel. Photo: Eliot Dudik. 2, 3 After hanging the hooks and testing their functionality, use epoxy putty to secure the hooks in place from both the front side and the back. 4 Tools that can’t be stored on the pegboard can be stored on the top shelf. 5 Side view of Jabbur’s 3-legged pegboard setup.

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by Mike Jabbur

66 february 2016 www.ceramicsmonthly.org

TIPS AND TOOLS

One of the best ways to thoroughly mix a clay body is to mix it into a slip or slurry and then dry it out. A home-built gravity filter press is an effective tool to turn that slip into a workable clay body.

gravity filter press

While in North Carolina, this past summer as a resident artist at STARworks Center for Creative Enterprises, I was fascinated with the prevalent use of local clays by area potters and by their systems for refining it. After the raw clays were dried out, they were mixed as slips, passed through a screen or a series of screens, and then blended with other clays to make the potters’ custom clay bodies.

Mixing these materials as a slip allows them to be readily passed through screens and it also addresses the biggest issue when making any clay regardless of whether or not you’re using local materials—the difficulty of thoroughly mixing it. The simplest way to mix materials thoroughly is by blunging them together as a slip, but then you have all of this slip, and how are you supposed to dry it to a workable clay state? You could dry your slip on a plaster block, but plaster dries your clay unevenly, and if it’s already saturated with water from a previous round of slip drying, you have to wait until the plaster dries out.

The Solution?Clay drying beds—or the gravity filter press, as I like to call it (1). Much like a traditional filter press would pump pressurized clay slip into a cloth, pushing water out through the cloth, not allowing the clay to pass through, and quickly leaving you with workable clay, the gravity filter press accomplishes the same result with just a little more time and far less technical equipment. Instead of pumping the slip in, you just pour the slip on top of a suspended cloth and watch as crystal clear water drips out the bottom (2). With a rudimentary wooden frame, some chicken wire, an old bed sheet, some plastic, a bucket, and a few thumbtacks, you’ll be thoroughly mixing and drying your slip or reclaim into a usable clay body like the pros in no time!


1 The gravity filter press before tacking the bedsheets in place. 2 Henry Crissman pouring slip into his gravity filter press. 3 The gravity filter press in action. Water drips out of the slip and through the bedsheet, catches on the plastic, and drips into the bucket.

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Many of the North Carolina potters had drying beds larger than 4×8 feet, but with limited space and resources, I built mine to stack on top of each other using the wood from a couple of old pallets. Their drying beds were often outside, with the draining water from the clay just falling to the ground. Being indoors, I stretched a sheet of plastic under mine that directs the water to drip into a bucket on the floor. The bed sheet I use has a standard thread count and it would work just fine as a single layer, but I’ve doubled it over for strength. The slip seems to dry most evenly when it is no deeper than 2 inches thick in the drying bed (3). With more heat and/or air circulation the process is sped up and you can more readily dry a deeper layer of slip.

This can be a great tool to use when making a fresh batch of clay or to reconstitute your reclaim. Now get out there, mix your clay bodies as a slip, maybe get some local clays involved, and enjoy your perfectly blended clay!

the author Henry James Haver Crissman currently resides in Alfred, New York, and is the studio manager at the Wellsville Creative Arts Center in Wellsville, NewYork.

by Henry James Haver Crissman

Learn more about using local materials in Robert Balaban’s article “My Own Back Yard” from the April 2011 issue of CM, which is available in the sub-scriber extras section at www.ceramicsmonthly.org.

a selection from - ceramic arts network...with varnish to use for table tops. we purchased...

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