BG08CADFreemiumV2

08

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

BuyersGuideto CeramiC SupplieS and materialS

Find

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

Extruders

Clays

Glazes

Tools

Tile

Bisque

Books

Videos

STudio REFEREnCE

Technical information

Buying information

Recipes

Firing Chart

Glossary

Suggestions

...and more!

Copyright © 2008 Ceramic Publications Company | 2

2 How Glazes Melt by Dave Finkelnburg

5 Primary Function of Common Ceramic Materials by Mimi Obstler

6 The Many Faces of Iron by Dr. Carol Marians

9 Brushes for China Painting by Paul Lewing

13 Kenny Delio’s Subtle Glazes by Myra Bellin

15 Darren Emenau’s Texture Glaze by Mandy Ginson

17 Buying a Raku Kiln by Steven Branfman

19 Raku Glazes by Steven Branfman

20 Selecting a Clay

21 Perfect Plaster by Bill Jones

22 The Battle of the Bulge by Arnold Howard

23 How Low Voltage Effects Firing Time by Arnold Howard

24 Suggestions

26 The Degrees of Kiln Firing

27 Using Cones by Tim Frederich

28 Glossary of Common Terms by Vince Pitelka

52 Glossary of Common Ceramic Raw Materials by Vince Pitelka

32 Buyers Guide Geographic and Product Locator

41 Buyers Guide Company Directory

table of contents

08

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

BuyersGuideTO CERAMIC SUPPLIES AND MATERIALS

FIND

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

Extruders

Clays

Glazes

Tools

Tile

Bisque

Books

Videos

STUDIO REFERENCE

Technical Information

Buying Information

Recipes

Firing Chart

Glossary

Suggestions

...and more!

On the Cover: Tracy Gamble trims a foot on a vessel. Photo by David Gamble.


Welcome to the 2008 Buyers Guide to Ceramic Supplies and Materials, a valuable resource you’ll use throughout the coming year. This comprehensive studio reference contains information pub-lished in Ceramics Monthly, Pottery Making Illustrated and some of

the books we publish.

Equipment and SuppliesIn this year’s Guide, we’ve included information on buying a raku kiln, se-

lecting commercial clays, and a few tips on some kiln maintenance issues. To locate equipment and supplies, turn to our Geographic Locator and you’ll find a handy chart that will tell you at a glance who supplies what and where.

Studio ReferenceTo help you increase your understanding of ceramics, you’ll find the article

on how glazes work most informative, and the glossaries of terms and materi-als invaluable. If you just want to try a few new glazes, turn to recipes from Kenny Delio or Darren Emenau or review the criteria for raku glazes from Ste-ven Branfman. We’ve also touched on how to mix plaster and included a guide to the wide assortment of brushes used for china painting and brushwork.

Company DirectoryThe Company Directory serves as the “yellow pages” of the ceramic studio

arts scene. We’ve listed more than 330 companies involved in some way with meeting the needs of the studio potters or clay artist. From the Geographic Locator, you may discover new resources near your own home. Or perhaps you’ll locate three nearby suppliers from whom you can get cost estimates for your next major purchase. The Company Directory gives you most complete and convenient listing you’ll ever find. Better than searching the Internet, bet-ter than looking through receipts for a store number, and better than sorting through scraps of paper with names written on them—the Company Directory puts it all in one place at one time. Enjoy the convenience of having the infor-mation you need to help accomplish your artistic goals right at your fingertips.

Enjoy this supplement, keep it nearby and happy potting!

2008 Buyers Guide to Ceramic Supplies and Materials

A Supplement to Ceramics Monthly and Pottery Making Illustrated

PublisherCharles Spahr

EditorsBill Jones Pottery Making IllustratedSherman Hall Ceramics Monthly

Associate EditorJennifer Poellot

Editorial AssistantBrandy Agnew

EditorialTelephone: (614) 895-4213Fax: (614) 891-8960

Graphic Design & ProductionProduction Editor Cyndy Conklin

[email protected]: (614) 794-5834Fax: (614) 891-8960Advertising Manager Mona ThielAdvertising Services Jan Moloney

MarketingTelephone: (614) 794-5809Marketing Manager Steve Hecker

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

ceramicartsdaily.org2008 Buyers Guide to Ceramic Supplies and Materials is a supplement to Pottery Making Illustrated (ISSN 1096-830X) and Ceramics Monthly (ISSN 0009-0328) and 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 Ceramic Society.

Photocopies: Permission to photocopy for personal or internal use beyond the limits of Sections 107 and 108 of the U.S. Copyright Law is granted by The American Ceramic Society, provided that the appropriate fee is paid directly to Copyright Clearance Center, Inc., 222 Rosewood Dr., Danvers, MA 01923 USA; (978) 750-8400; www.copyright.com. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center, Inc.

This consent does not extend to copying items for general distribution, for advertising or promotional purposes, or to republishing items in whole or in part in any work and in any format. Please direct republication or special copying permis-sion requests to the Ceramic Arts Publisher, The American Ceramic Society, 600 N. Cleveland Ave., Suite 210, Wester-ville, OH 43082.

Copyright © 2008 The American Ceramic SocietyAll rights reserved

Welcome

Bill JonesEditorPottery Making Illustrated

Sherman HallEditorCeramics Monthly

ceramicartsdaily.org

Copyright © 2008 Ceramic Publications Company | �

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Okay, I think I got it, or at least I knew where to look if I needed to get it later, so I read on. “For example, if, on a cold winter night in Yellowknife, you make a line blend of finely powdered ice (crystalline phase of H2O) and fine salt (crystalline phase of NaCl), and then warm up the blends, the blend that is 23.3% salt by weight will melt first. It will melt at a lower temperature than any other mixture of salt and ice which you might make. The eutectic composition is 23.3 weight percent salt in ice.”

“Hey Art, that actually makes sense!” I looked up, ex-pecting to see Art beaming. Instead, he looked a bit—anx-ious.

“That is what a phase diagram can tell you” he said. “For two components, like salt and water, the diagram looks like that binary diagram there on the next page. Up the side you read the temperature and across the bottom is the composi-tion. You could think of the bottom line, the horizontal axis, as a line blend. 100 parts of ice on the left, 100 of salt on the right, and increasing amounts of salt, decreasing amounts of water as you go along from left to right. That white circle is where the eutectic point is. In fact, any two inorganic ma-terials will have a eutectic composition. But there are a few little details you haven’t gotten to yet,” he said.

“For instance?” I growled.“Well, to give you an actual ceramic example; there is

the classic calcia-alumina-silica eutectic at about Cone 4. It melts at only 2138°F (1170°C). The composition of that eutectic is 23.25% calcium oxide (CaO), 14.75% alumina (Al2O3) and 62% silica (SiO2). That’s percent by weight,” he added, ever the stickler for details. “To illustrate three phases like this, it helps to have three sides on your dia-gram and then imagine you are looking straight down on it from above. This just looks more complicated, but it’s

HoW Glazes meltby Dave FinkelnburG

“R iddle me this,” commanded Arthur (Art) Clay as we labored diligently in the studio. “What do art professors lecture about, yet no human being

has ever seen? Come to think of it,” he added, chewing thoughtfully on the handle of one of my best trimming tools, “no human ever will see it.”

“Do I get any clues here?” I asked, taking the bait.“It’s genuinely important to anyone who works with

anything ceramic,” he offered.“I thought it might be.” I gave him my best can’t-you-

be-more-helpful look.“Well, although most artists don’t realize it, all ceramics

make use of it.” My glare may have been slightly petulant. “Why, you could even say it’s—elemental!” he grinned.

“You aren’t,” I asked, with painfully measured words, “going off on another rant about a eutectic, are you?”

“The elusive eutectic!” Art positively shouted. I might have rolled my eyes, because he quickly added, “Listen Professor Line blend, you mix glaze tests until I posi-tively want to puke. None of that stuff would ever melt if it weren’t for a eutectic.”

“You know I’m visual,” I said honestly. “I need to see what happens when I fire something.”

“You can see it in a phase diagram,” he cried, throwing up his hands as if everyone should know what a phase diagram is.

“Right, and everyone should understand the cryptic chemical mumbo jumbo phase diagrams use,” I said, “and be able to interpret them, too. How can that gobble-dygook tell me anything?”

“You—could try—reading.” The cadence of Art’s words revealed his impatience, but he almost smiled as he jammed a paper at me.

“In Search of the Elusive Eutectic—an Essay,” by Ar-thur Clay, read the title. “In all ceramic raw materials,” the paper began, “it is rumored there lurks a scientific phenomenon—a eutectic. Does it really exist, or is it just a figment of the imagination of wild-eyed ceramists? You decide. Eutectic; the term comes from the Greek eutek-tos, meaning ‘easily melted.’”

“Nice Wikipedia research, Art,” I allowed sarcastically.It continued, “The precise combination of two or more

phases of any substances which has the lowest possible melting point of those phases is called the eutectic.”

“Okay, phase diagrams have to do with melting, but what is a phase and why do I care?”

Art frowned. “Do you think I should have credited Wikipedia?” Then he snapped back, “Uh, right, phases. Funny you should ask. Check out the handy sidebar ‘What is a Phase and Why do I Care?’”

What is a Phase and why do I care?

Phases are specific forms of materials. The most familiar phases are solid, liquid and vapor. Any phase of a mate-rial is identical in composition and structure in all parts of that phase. For instance, a glass of water is the liquid phase of H2O, top to bottom; if it weren’t, we’d call it something else, like ice if it were solid (structural change), or lemonade if it had lemon and sugar dissolved in it (compositional change).

In ceramics, many phases come into play: The solid phase of raw materials, the liquid phase of a molten glaze ma-trix, the glass phase of fired, cooled glaze. Throughout the firing process, both chemical and structural changes take place, meaning the phase of the material changes. Quartz, for example, is a crystal phase of silica. All parts of quartz have the same chemical composition (SiO2) and the same hexagonal crystal structure. A glossy glaze, however, is made up of only a glass phase. It’s chemical composition is still SiO2, but it is no longer crystalline.

Copyright © 2008 Ceramic Publications Company | �

studio reference | glazesreally not. It’s like the difference between a line blend and a triaxial blend.” Blends! Now he was beginning to speak my language.

“The three corners are labeled with the chemical components that make up the particular system rep-resented by the diagram,” he added. “Since we’re working in two dimen-sions, we have to represent temperature with contour lines, like the lines on a topographical map. You can see it all here on the ternary diagram,” he said (see “Navigating the Land of Phases” on page 8).

“Now, I digress. We were going to address the…um…uh…details using the classic lime eutectic. It’s im-portant, you see. Chinese potters were making celadon glazes with that composition 750 years ago. They did this not with the aid of chemical analysis, or phase diagrams, but by trial-and-error testing. However, the…er…detail is, if you just mix up whiting, alumina and quartz in the eutec-tic composition, the glaze won’t exactly melt at 2138ºF.”

“What are you telling me, Art?” I demanded.

“Well, the fact is, the mixture will melt in the vicinity of the eutectic temperature, you know, within a few cones.”

“A few cones? Vicinity? What? Why?” I spluttered.

“A phase diagram, regardless of the number of phases in-volved, is just that, a diagram of phases,” Art replied. The ‘phases’ that melt at this eu-tectic are a calcium feldspar called anorthite, a calcium sili-cate called wollastonite, and a high-temperature form of quartz called tridymite. If you mix…”

“Oh mix, shmix!” I interrupted. “What I want to know is, how does any of this help me make better art?”

“Now let me finish this part first,” said Art. “You know we can duplicate any glaze, at least chemically, by using glaze calculation. With a computer that’s easy. But that doesn’t tell us anything about how the specific materials used influence the fired results, even when glazes have

precisely the same chemistry. The materials you use do make a difference, as you know.

“And regarding art,” he hurried on, “if an artist un-derstands that eutectics exist, then the artist un-derstands how glazes melt. Essentially, eutec-tics tell us that glazes melt because of what they are made of. I’m not just talking about their chemical makeup, but also about the ma-terials used to arrive at that chemical makeup.

“What the eutectic tells us is that specific combinations of spe-cific minerals will melt at a lower temperature than any other possible combination of those minerals. Knowing that,

we artists just have to search, either using trial and er-ror, or study, to find clues about what combinations may work for us.

“So, Art,” I interrupted again. “Are recipes that have already been tested such clues?”

“Of course,” he shot back. “And if you look at glaze reci-pes from both a chemical and a materials perspective, you will get a lot more out of them than if you just follow them cookbook fashion.”

“Art,” I laughed out loud, “if I can just use recipes that have already been proven, why should I study phase dia-grams? If a chemist can tell me the composition of a glaze on a Chinese pot from the Sung Dynasty so I can even work out recipes that match it, why re-invent the wheel?”

“You may be right,” conceded Art. “But I truly be-lieve the advantage of learning about eutectics is that the knowledge gained can help artists troubleshoot glazes that don’t work, understand glazes that do, and invent new glazes that don’t necessarily look exactly like some-one else’s.

“Besides, you may not be willing to admit it,” Art ob-served a bit slyly, “but now you know about eutectics. There’s no going back.”

This phase diagram for salt and ice is based on Figure 6-59, p. 376, of R. E. Dickerson’s Molecular Thermodynamics (Pasadena, California), 1969.

NaCl (% by weight)

Tem

per

atu

re (

°C)

0 23.3 �00

0°

-2�.�°

saltwater

saltwaterand ice

saltwater and salt crystals

ice and salt crystals

A Eutectic Is Your Friend

In combination with alumina and silica, eutec-tics for alkalis occur at significantly lower tem-peratures than eutectics for alkaline earths. This is one reason alkalis are considered stronger fluxes.

Alkali Eutectic Points• Sodia (Na2–Al2O3–SiO2): �32°C• Potassia (K2O–Al2O3–SiO2): �9�°C • Lithia (LiO2–Al2O3–SiO2): 9��°C

Alkaline Earth Eutectic Points• Calcia (CaO–Al2O3–SiO2): ��0°C• Baria (BaO–Al2O3–SiO2): �2�0°C• Magnesia (MgO–Al2O3–SiO2): �3��°C• Strontia (SrO–Al2O3–SiO2): ��00°C


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Phase diagrams, to studio artists, can seem like a different planet; unfamiliar, perhaps frightening and difficult to navigate. Just think of a phase diagram as a map of that planet—a map of melting points for different compositions. Each “map” is devel-oped for a specific group of chemical elements. A complex phase diagram may represent the melting of three materials, which is called a ternary phase diagram. Each corner of the map represents the “home,” or 100%, of the compo-nents being mapped—in this case calcia (CaO), alumina (Al2O3) and silica (SiO2). Just as in line blends and triaxial blends, the further you move away from the 100% point, the lower the percentage of that component, and the higher the percentage of the other(s). The eutectic composition of 23.25% CaO, 24.75% Al2O3, 62% SiO2 is on our “map” of melting points, right inside the white circle, and the eutectic temperature of 2138°F (1170°C) is written right there (see A Eutectic Is Your Friend, on page 7).

You’ll recognize the “countries” of phase fields, like mullite and crystobalite and others (see “What Is a Phase and Why do I Care?” on page 6). The contour lines you see indicate temperature. Just as contours on a topographical map indicate elevation, these show the melting points of the various compositions (see the three-dimensional phase model below). The borders between phases are the minimum melting temperatures between those phases. Notice the arrows along the bor-ders all point “downhill” to the eutectic.

This eutectic temperature is only valid if we melt the materials that are the adjacent phases. This “map” shows that, of all pos-sible mixtures of minerals made only of calcium, aluminum, silicon and oxy-gen, only anorthite (calcium feldspar), quartz and wollastonite, will melt at precisely 1170°C. More importantly, it shows this is the lowest possible melt-ing point achievable with these elements. With other minerals made from these elements, the minimum melting tempera-ture will be higher.

Is this more than we need to know in or-der to formulate glazes that will melt well? Not at all; if we understand that a mixture of substances melts at a lower temperature than the substances themselves, and a eutectic shows the composition that melts at the low-est temperature, you can understand how any glaze melts. If you have a glaze that isn’t melt-ing, you know it is either made of the wrong elements, or the combination of elements is just too far from a eutectic composition. Glazes melt because their composition is appropriate for the temperature the work is fired to.

No phase diagrams exist for most of the virtually infinite combinations of elements we could come up with. BUT, if we know eutectics exist, AND we know we are working with a relatively refractory mate-rial, we know we need to find a complex composition that will bring our refractory material into the melt.

SiO2

��23°

��90°

�3�8°��0�°

��0�°

��0°

��3�°

��0°��°

20�0°20�0°

��3�° �39�° ��00° ��9�° ��30° Al2O3

2020°CaO

~2��0°

Lime

��2°

�2��°

�3��°

�380°

��°

��00°�380°

�33�°��°

CorundumGehlenite

Mullite

Anorthite

Pseudowollastonite

Cristobalite

Tridymite

Ca2SiO4

2�00°

2200°

2000°

�800°

��00°

��00

°

��00°

��00°

��00

°

��00

°

�800

°

�800°

��00°

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The top diagram is a birds-eye view of the three-dimensional model above. Each side represents a line blend of the components at the corners, with the corners being 100% of that component and 0% of the others. The entire diagram, therefore, is similar to a triaxial blend. The white circles mark the lowest-melting point for calcia, alumina and silica.

CaO~2��0°

Al2O3

2020°

SiO2

��23°

��3�°

�39�° ��00°

��9�°

��30°

20�0°

��0°

��3�°

��0�°

��0°

Eutectic point for CaO, Al2O3, SiO2(degrees are in Celsius)

Al2O3CaOThis side is a line blend of calcia and alumina.

naviGatinG tHe lanD oF PHases

Copyright © 2008 Ceramic Publications Company | �0

CERAMIC MATERIAL GLAZE FUNCTION CLAYBODY FUNCTION

Albany Slip Clay Glaze Core Colorant Alberta Slip (s) Jasper Slip (s)

Ball Clay Alumina Plasticity Opacity

Barnard Clay Glaze Core Color Color (ST, P)

Bone Ash Opacifier Melter (4–6)

Borax Melter (5–6, E) Melter (4–6, E Glassmaker Carbon Trap (ST, P)

Boric Acid Melter (5–6, E) Melter (4–6, E) Glassmaker

Boron Frits Glaze Core (5–6, E) Melter (4–6, E) Melter Colemanite (s) Gerstley Borate (s)

Colemanite Glaze Core (5–6, E) Melter (4–6, E) Melter Gerstley Borate (s) Boron Frits (s)

Cornwall Stone Glaze Core (ST, P) Melter (P) (Low melter, high SiO2)

Dolomite Melter (ST) Melter (ST) Opacifier Whiting (s)

EPK Kaolin Alumina Core (P, W) Opacity (ST, P)

Silica (Flint) Glassmaker Glassmaker Glaze-fit

Fluorspar Melter

Gerstley Borate Glaze Core (4–6, E) Melter (4–6, E) Melter Colemanite (s) Boron Frits (s)

Goldart Clay Core (ST)

Kentucky Ball Clay Core (ST)

Lepidolite Lithium Glaze Core Melter (FL)

Magnesium Carbonate Melter (ST, P, W) Melter Opacifier

Nepheline Syenite Glaze Core Melter (ST, P) (low SiO2) (high Na2O) (high Al2O3)

Petalite Lithium Glaze Core (ST 9-10) Melter (FL)

Primary Function oF common ceramic materials st

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func

tion

s

CERAMIC MATERIAL GLAZE FUNCTION CLAYBODY FUNCTION

Potash Spars Glaze Core (ST, P) Melter (ST, P)

Custer G-200, K200 (s)

G-200 Custer, K200 (s)

K200 Custer, G-200 (s)

Redart Color Melter Color Core (E)

Rotten Stone Glaze Core Melter (ST, P) Color (ST)

Soda Spars Glaze Core (ST, P) Melter (ST, P)

Kona F-4 C–6 (s)

Spodumene Lithium Glaze Core Melter (ST, P) (FL)

Talc Melter Melter Opacifier (E, 4–6, W)

Volcanic Ash Glaze Core (ST, P) Cornwall Stone (s)

Whiting Melter (ST, P) Melter (ST) Opacifier Wollastonite (s) Dolomite (s)

Wollastonite Melter (ST, P) Melter (ST, P) Opacifier Whiting (s) Dolomite (s)

Wood Ash Glaze Core (ST, P) Melter (ST, P) Colorant

Zinc Melter (ST, P) Opacifier (ST, P)

Key: (s)=substitute option

(E)=earthenware claybody

(ST)=stoneware claybody

(P)=porcelain claybody

(FL)=flameware claybody, c/9-10

(W)=white-burning claybodies, c/4-10

This chart is excerpted from Out of the Earth, Into the Fire, 2nd Edition, by Mimi Obstler, published by The American Ceramic Society, 2000.


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One of the more fascinat-ing, sometimes frustrat-ing parts of ceramics is learning to balance the

innumerable factors that affect the outcome of a firing. Glaze ingredi-ents, the clay body used, firing cycles, atmospheres, kiln-stacking techniques and geography (to name a few vari-ables) can all affect firing results.

This may be frustrating if you don’t control those variables, but if you do, there is opportunity for new discov-eries. By changing just one variable, the same glaze recipe can be deliber-ately manipulated to yield different results. In this instance, I decided to investigate one variable in an iron-rich glaze: the cooling period.

I achieved greatly differing results in a single glaze with a single clay body, consistent glaze thickness and application, and the same heating schedule for all of the firings. The differences in the resulting appear-ance of the glaze on the pots came exclusively from their heat treatment after they reached maturity.

When the witness cone bends, the glaze should be fully vitrified. The kiln has reached temperature, but has not yet begun to cool. I studied what happens between that point and the return of the kiln to room tempera-ture. I found that I could get a glossy black surface, a densely textured rough surface, a golden red/mud col-or, or anything in between, just from different cooling schedules.

How does this happen?

At the top of the firing cycle, the glaze is matured, but not watery; it doesn’t flow off the pot. At this point, the glaze is not a homogenous melt, but a mixture of several melts. It is not fully blended. It may contain a dis-solved second phase—in our case an iron compound—analogous to sugar dissolved in hot tea. More sugar dis-solves in hot tea; less as the tea cools. The sugar precipitates as crystals as

the tea cools. Our glaze, when melted, has a dissolved iron compound—the “sugar” in the tea. The iron precipi-tates as the glaze cools. So how does the iron form in the glaze?

Glaze is more complex and more viscous than tea, inhibiting motion. The iron crystals cannot precipitate and sink to the bottom of the glaze, nor can they grow very large, as the iron ions do not congregate in the same location. Instead, as the glaze cools, the dissolved iron separates out, forming numerous small crystals suspended in the glaze. The number of particles, and their eventual size, is affected by the surface texture of the underlying clay body, the cooling speed of the melt, the thickness of the glaze application and several other factors. The competition between the number and size of particles as the glaze cools results in the variety of desirable ef-fects (see accompanying figures).

As it cools, the glaze becomes pro-gressively more viscous and less mo-bile, until it reaches a temperature at which it “freezes” and nothing can move or precipitate within it. If the glaze is held at a temperature high enough to permit continued mobility of the iron into progressively larger crystals, but low enough that the glaze doesn’t run off the pot, the surface will become matt. The multitude of tiny iron particles disrupt light trans-mission. Otherwise, the glaze so-lidifies with the same smooth, glossy surface as it had while fully melted. If the glaze is cooled quickly, few visible, very small particles form. Most of the visible color is the reflection off the smooth surface. This gives an aestheti-cally pleasing clear glossy black glaze, somewhat akin to a temmoku (see test 1). The opacity and depth of the glossy black show that the glaze can dissolve quite a lot of iron.

As the glaze cools and becomes more viscous, crystals begin to form at edges and imperfections in the body. If the glaze layer is thin, differ-

ent kinds and shapes of crystal will form. If the crystals are stuck to the clay body at the bottom of a thick opaque glaze layer, they will be largely invisible. Crystals that float on top of the glaze give the appearance of sand-paper, which can present utilitarian problems. We want the crystals near the surface but not on it, large enough to create surface and color effects, but not be overwhelming.

A series of cool-down profiles with lots of jigs and jags showcases a dif-ferent phase, exposing a range of surface effects. This translates into profiles with one or more narrow temperature ranges with extreme slow cooling and/or long holds, and pos-sibly no retarded cooling outside the selected ranges. Since extended firing cycles can be costly, I framed my ex-periments with a maximum extension to the firing cycle of four hours.

tHe many Faces oF ironby Dr. carol marians

The glaze used in these tests is a minor modification of the glaze GA�� from Michael Bailey’s Cone 6 Glazes, poured thick on Georgies Ceramic Supply’s G Mix � clay body.

GA16 VariationCone 6

Bone Ash. . . . . . . . . . . . . . . . . . . . �.� %Dolomite . . . . . . . . . . . . . . . . . . . . �3.�Lithium Carbonate . . . . . . . . . . . . �.�Red Iron Oxide . . . . . . . . . . . . . . . 9.�Unispar . . . . . . . . . . . . . . . . . . . . . 22.�Bentonite . . . . . . . . . . . . . . . . . . . �.8OM� Ball Clay. . . . . . . . . . . . . . . . 20.9Silica . . . . . . . . . . . . . . . . . . . . . . . 22.� �00.0 %

Empirical FormulaCaO . . . . . . . . . . . . . . . . . . . . . . . . 0.��2�K2O . . . . . . . . . . . . . . . . . . . . . . . . 0.0��Li2O . . . . . . . . . . . . . . . . . . . . . . . . 0.20�3MgO . . . . . . . . . . . . . . . . . . . . . . . 0.2�2�Na2O . . . . . . . . . . . . . . . . . . . . . . . 0.088�Al2O3 . . . . . . . . . . . . . . . . . . . . . . . 0.3�2�SiO2 . . . . . . . . . . . . . . . . . . . . . . . . 2.��P2O� . . . . . . . . . . . . . . . . . . . . . . . . 0.0�80Fe2O3 . . . . . . . . . . . . . . . . . . . . . . . 0.�9�2TiO2 . . . . . . . . . . . . . . . . . . . . . . . . 0.0�0�


studio reference | functionsCool down: A continuous cool from Cone 6 to 1500°F at –150°F per hour.

Results: This is the cool-down profile from Hesselberth and Roy. It gave a predominantly glossy black glaze, not greatly different from the quick cool, but with a hint of variegated color. I could see isolated metallic bronze and red flecks, but no crystals breaking the surface.

Cool down: An uncontrolled drop from 2200°F to 1750°F, then –50°F per hour from 1750°F to 1500°F.

Results: The cooling was slower from 2200°F down to 1450°F. Because the solubility of iron in glaze decreases at lower tem-peratures, I cooled at 1/3 the speed between 1750°F and 1500°F. The result was a substantially textured surface, with much visible variation, and crystals of a variety of colors breaking the surface. The glossy black was gone, and the surface variation uniformly distributed. There were a relatively small number of largish parti-cles. The color was intermixed red, bronze and mud brown. Bronze predominated where the glaze was thickest. I interpreted this as substantial particle growth below 1750°F, with little precipitation of new particles.

test 1

test 2

Cool down: An uncontrolled drop to 1750°F, then –50°F per hour to 1600°F, a hold at 1600°F for one hour, then –50°F per hour to 1500°F.

Results: By adding a one-hour hold at 1600°F, the color shifted from gold/brown to red/gold. The red and brown regions followed the throwing lines, indicating that glaze thickness has significant influ-ence. The strength of this effect showed there is a critical region for this glaze’s development somewhere near the temperature 1600°F.

test 3

5

Cool down: An uncontrolled drop to 1750°F, hold at 1750°F for half an hour, then –50°F per hour to 1650°F, hold at 1650°F for one hour, then –50°F per hour to 1500°F.

Results: Adding a half-hour hold at 1750°F and a one-hour hold at 1650°F gave smaller particles and a near-smooth, lustrous satin, variegated bronze glaze with small specks of red and brown. The original glossy black was completely gone. Color variation in the throwing line showed the considerable effect that glaze thickness has. The half-hour hold at 1750°F facilitated the formation of a large number of small particles, leaving little free iron to add to crystal growth later. This uniform result was much like a pointillist painting, with exceedingly fine points. Moving the hold from 1600°F up to 1650°F could have a similar effect. Alternatively, we could see this change as a result of the glaze spending more time in the critical temperature interval for crystal development.

test 4

Copyright © 2008 Ceramic Publications Company | ��

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ons Cool down: An uncontrolled drop to 2000°F, then –50°F per

hour to 1650°F.

Results: The slow cool from 2000°F to 1650°F gave a surface and color as in test 1, with a much greater number of gold particles. This also shows that the effects of test 4 depended on the 1650°F hold. This critical test showed that the greater color effect I wanted needed two holds.

Cool down: From Cone 6 to 2100°F at –50°F per hour, then un-controlled cooling to 1700°F, then –25°F per hour to 1600°F.

Results: To test a second slow-cooling region, the kiln was cooled quickly from the top temperature to 1700°F, then slowly to 1600°F. The result was an intensely variegated effect with relatively few but larger particles in red and brown. The throw-ing lines were not prominent, so glaze thickness was not as important. The texture is lizard-skin satin, not the gloss of tests 1 and 5, nor the smooth satin of test 4. This result was related, but not quite like anything previous. This could be a jumping off point for a new series of tests.

Cool down: An uncontrolled drop to 1800°F, then –50°F per hour to 1450°F.

Results: As the previous test result could have come from ex-tended time in the crystal growing range, or specifically from the hold at 1650°F and 1750°F, I gave this firing just as much time in the sensitive zone, but uniform decrease in temperature over the extended region. The results were similar to the previ-ous test, but with larger grain size and a lizard-skin feel to the texture. The glaze was mottled and less uniform. The smooth satin look was gone. I concluded one of the holds in the previ-ous test hit the “sweet spot,” at which point many small par-ticles form. I did not know at which level.test 5

test 6

test 7I started out with the firing profile in

Hesselberth and Roy’s Mastering Cone 6 Glazes. The ramp for reaching temper-ature was a fast rise (200°F in the first hour, then 500°F per hour to 2100°F) until the last three hours, which had a rise of approximately 30°F per hour. Orton cones showed a hard cone 6. These firings were done in a very old Skutt 1227 with a computer controller. I examined the results of my firings and based my next firings on those results, only changing one factor with each firing. I chose 1450°F as a low

end for controlled cooling, selecting intervals for markedly slow cooling in the temperature range 2200°–1450°F.

Speculation

With this limited series of tests, I produced a variety of textures and colors, by “poking” the cool-down profile. Each firing included several identically glazed test pieces distrib-uted throughout the kiln. I obtained an encouraging indication that the dif-ferent results were caused by the cool-ing-down profiles and not extraneous

effects. I next will explore whether maximal particle size growth takes place “hotter” than the temperature at which the greatest number of par-ticles is formed. Cooling to approxi-mately 1600°F, then reheating to around 1800°F should obtain both good numbers and development of microcrystals.

Dr. Carol Marians holds a Ph.D. in materials science from MIT, and makes pots at Basic Fire Studio in Portland, Oregon. For comments, contact her at [email protected].

Copyright © 2008 Ceramic Publications Company | ��

studio reference | brushes

Brush shapes with round ferrules. Top to bottom: round, liner, scroller, script, cat’s tongue, cut liner, stencil, deerfoot and whirley.

Almost any of the supplies for other forms of painting, and many of those for ceramics or printmaking, are use-ful for china painting. Most novice china painters have had some experience with at least one other form of art,

and will have many of the necessary tools already on hand.My brother the musician always says there’s nothing to playing the

piano; you just hit the right key at the right time. I reply that there’s also nothing to drawing; you just make the right mark in the right place. And very often in art, that “right mark” is best made with a brush. When choosing brushes, remember that the only thing that matters is the finished piece. Your hand and eye determine where the “right place” is, but the brushes make that “right mark,” and thus, are your most important tools.

Artist’s brushes are designated as watercolor or oil painting brush-es, softer ones generally being for watercolor and stiffer ones for oil. Watercolor brushes generally work well for china painting, particu-larly if water is used as the medium. Oil-based china paint is a bit thicker and stickier, so many china painters, including myself, prefer a slightly stiffer brush. Size, shape and hair type are the variables that affect the cost and function of a brush.

ShapesA brush’s designation is determined by the shape of its ferrule (the

metal or plastic piece that holds bristles to handle) and its end pro-file. Some common round-ferruled shapes are rounds, liners, riggers, scrollers, scripts and stencils.

A good watercolor round is the one indispensable brush. Most china painters prefer them in sizes 4 to 6. The very tiny ones are su-perfluous if you’ve got a larger one with a very good point.

Liners are long and thin, and riggers (so named because they’re good for drawing the rigging of ships) are longer still. They make long, thin, even lines. The point of a liner may be round or it may be angled, in which case it is called a cut liner. A more exaggerated version of this shape may be made with a flat ferrule and be called a sword liner, specifically designed for banding.

Scrollers are slightly thicker in the body, but also have a long thin point. They are used when a line with a small amount of variation in width is needed. They are also the brush of choice for raised paste and enamel work.

Scripts are similar to liners, but with fatter bodies. If only the point is used, they make lines similar to liners, but if you press down slight-ly, they will produce a wider line. As the name implies, they are used for italic script.

Stencil brushes are flat on the ends, and are used to fill stencils with even areas of color. They can also be used to remove brush strokes laid down with another brush, producing a stippled pattern. Water-based china paint blotted with a dry stencil brush will have a finer grain pattern than that made with a wet brush. Very tiny stencil

The following article is excerpted from China Paint and Overglaze, by Paul Lewing, published by the American Ceramic Society, Westerville, Ohio, 2007.

brusHes For cHina PaintinGby Paul leWinG


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sbrushes can be hard to find, but you can make your own by clipping the end off an old round. When a stencil brush’s end is cut at an angle, it is re-ferred to as a deerfoot stippler. Some brush suppliers make a variation on the stencil brush shape, with shorter, softer bristles, called a pouncer.

A cat’s tongue brush has a thick body, and a short, sharp point. A flat-ferruled version of this shape is often called a berry brush, and is specifi-cally designed for painting many tiny shapes, such as the individual seeds of blackberries.

Mops may be round or flat, but of-ten have no ferrule. They hold large quantities of liquid and dispense it a little at a time. Mops are also used dry to pick up powdered color when lay-ing a dry ground.

Most of the above brush shapes are made with either metal or quill fer-rules. Many china painters prefer quill brushes to metal ferrules because they are more flexible and “spring” better. Quill brushes also differ from fer-ruled brushes in that they are not per-fectly round, and must be held with the flat side down, or the point will split or “quack” into a shape resem-bling a duck’s open bill. Many quill brushes are sold without a handle, requiring the artist to move points from one handle to another, which often splits the quill. They should be soaked in warm water to soften them and pushed gently onto the handle. If they do split, you may slip a short piece of heat-shrink tubing over the quill and heat it gently with a match.

The common flat-ferruled shapes are brights, flats (also known as shaders), filberts and fitches.

Brights are the most versatile flat-ferruled brushes. They are slightly longer than they are wide. Flats are similar, but their length and width are the same. Both are used to fill in broad areas and washes of color, and both are made with either square or angled tips. Flats and brights make a broad, straight-sided, square-ended mark when they’re moved up or down, and a thin mark when moved sideways. Moving them in a circular motion produces a C-shaped mark.

Filberts have a rounded profile and make an oval mark. Fitches taper to a chisel point and make a teardrop shape, useful for drawing foliage. Fitches and filberts are typical-ly not moved sideways, but only up and down, although the straight side of a fitch can be used like the square end of a flat.

Fans also have a flat ferrule, but the bristles are splayed into a wide round-ed end. They are useful for making streaky marks, and are often used dry to blend areas of different colors while the paint is still wet. Clipping some of the bristles can result in very interesting marks.

Flats and rounds are the most ver-satile shapes. A selection of these and a good liner or rigger will cover most painting situations. Many china paint-ers use no more than a small round, a liner, and a large and small shader, either square or angled. In traditional china painting the “American style,” featuring soft naturalistic effects, is usually painted using square shad-ers, while the more rigid and bright-er “Dresden style” employs more rounds and liners.

Whirleys (or spooleys) and spatter brushes are unlike the above shapes, and are made up of stiff bristles protruding from a central shaft. A whirley’s bristles are very stiff and short, and are designed to be dragged through a wet stroke to simulate hair. Spatter brushes have longer bristles, as well as a piece of wire or wood along one side. When the brush is rotated against the wire, droplets of paint are flung onto the work.

BristlesThe best watercolor brushes are Kolinsky sable, re-

nowned for strength, springiness and fine point. Next best are red sable, not as springy as Kolinsky, but about half the price. Sabeline is a fine ox hair dyed to resemble sable, and is cheaper but not as good. The cheapest wa-tercolor brushes are squirrel, sheep, or goat hair. Squirrel hair is very fine and limp.

The best oil painting brushes are hog bristle and very stiff. Hog bristle brushes are generally too stiff for most china painters’ taste. A softer oil brush might be mon-goose, and an ox hair brush will be softer yet. “Camel hair” is a trade name applied to any number of hairs, none of which come from camels.

The wide variety of synthetic bristles has an enormous range of stiffness, price and holding capacity. It is often difficult to compare brands of brushes, because so many different bristles are simply labeled “synthetic.” Nylon bristles, which do not taper, are very resilient and easy to clean.

Brush shapes with flat ferrules. Top to bottom: flat, bright, filbert, fitch, fan, angled and mop.


studio reference | brushes

Brush strokes made with a round-ferruled brush. Brush strokes made with a flat-ferruled brush.

PriceThis is a tricky issue for ceramists because bisqueware

and raw glaze abrade brushes quickly. A fine brush that would last a watercolorist a lifetime may lose its point in a year or two of oxide decoration. China painting is not nearly as hard on brushes, as the smooth glazed surface is not as abrasive. For banding or laying on flat areas of glaze, an expensive brush may be wasted. Sometimes though, only a very good brush will make the mark you need, con-sistently and repeatedly.

With brushes, price is a very good indication of quality, so remember that your brushes are your most important tools. It’s often tempting to save a little money by getting the next-best bristles, or a slightly smaller size, but all that matters in making art is what it looks like. Skimping is fool-ish if the art doesn’t look right.

CareNever dip a dry brush into colors, either water- or oil-

based. The brush will not load completely if the bristles are not wetted first. Dip the brush into water or other medium and dry it slightly on a rag.

Brushes should be rinsed after use as dried china paint will abrade the bristles. Soap or solvent is not necessary with water-based china paints, but might be with gum-filled commercial products. Oil-based mediums should be rinsed out in clean turpentine or paint thinner. Some china painters also rinse their brushes in alcohol at the

end of each session. Avoid strong solvents such as lacquer thinner, shellac remover, or acetone, as they will weaken the glue which holds the hairs in place. If you work with both oil and water mediums, use a separate set of brushes for each.

Never rest a brush on its bristles. A brush left to dry that way becomes useless. Brushes which have the bristles glued into the handle, like sumi brushes, should not be left to dry with the tips up. Sumi brushes often have a silk loop on the end of the handle, used to hang the brush point down. Don’t let your brushes dry on a heating element or in a blast of hot air. This will dry out the natural oils and make the brush less flexible.

Use a palette knife to mix colors, not a brush. I must admit I am consistently guilty of this sin, and my brushes pay the price for it.

If you transport your brushes, protect the tips. You can buy a specially made brush case, but a length of plastic pipe or even a cardboard box will work as well. I roll mine in a woven bamboo place mat, which allows them to dry, as well as protects them. Specially made brush boxes are avail-able, with springs fixed inside, to hold brushes in place.

Testing BrushesEvaluating brushes is very difficult, but some art supply

stores will provide plain water and paper. New brushes of-ten have a protective plastic sleeve over the bristles. If you remove this, be very careful if you put it back on, as it’s easy


to bend a few hairs back and damage them. Sharp-pointed brushes usually have a stiff sizing in them to protect the point. Soak this out in water before testing them.

Drop a dry, unsized brush on its tip to assess springiness. Wet it and see if it comes to a point naturally. Make strokes up, down and in a circle, to see the differences in the mark. Push the brush straight down to see what mark that makes. Vary the pressure from light to hard to light again, to see if the point returns. Keep doing this until the brush is dry to test its capacity.

Brush StrokesA brush’s size, shape and type of bristle all contribute to

the mark it will produce, but the art is in the stroke. While there are an infinite variety of combinations and permuta-tions, all brush marks are the result of a few basic motions. Try all these motions with every one of your brushes. Try them with the brush well loaded, and almost empty. Use a very fluid medium and a sticky one, on both vertical and horizontal sur-faces. Notice how a soft or a stiff brush, or a short or long handle, feels. Just lightly touch the surface, and continue to press until the ferrule touches the work.

The easiest stroke might be called a “peck-ing” stroke. Just touch a loaded brush tip straight down on the surface. A flat brush produces a line; a round one, a dot. Notice how clean or frayed the mark is. Continue this until the brush is empty, noting how well the tip springs back, how the color flows, and how much the brush will hold.

Make a “comma” stroke by moving this dot stroke to the side. Push down, ease up, move the tip and lift up. A good brush will make a clean mark throughout the stroke, with no stray hairs dragging alongside.

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sA “C” or “S” stroke is made by mov-

ing the brush tip sideways and in a half-circle. A flat-ferruled brush will leave a thick or thin trail according to the an-gle it’s traveling. Notice how thin a line you can make when traveling sideways. Test your control of pressure by mak-ing this stroke with a round or a liner. If you can maintain an even pressure when changing directions, you will leave a line of even width.

You should also be able to make a line of even width with a flat or bright, using a straight stroke. This is the stroke you will use most often, to fill in areas of color. It’s most often made by pulling the brush toward yourself, but practice making it in all directions.

Try using more than one color on your brush. To load a round brush with two colors, fill it normally, blot

off the tip, and load the tip with a contrasting color. Using a flat brush, load each side with a different color. For an even gradation, mix the two colors next to each other on a palette, and drag the brush back and forth between them until they blend. Now practice all the above strokes.

An interesting practice exercise is to load two colors on a flat or bright, and make a straight stroke in which you vary the pressure on one edge, but not the other. This produces a mark that is straight on one side and wavy on the other. Interesting leaves and vegetation can be depicted this way. Flip the brush over and draw the other side of the leaf, to shade on the opposite side.•

Paul Lewing is the author of China Paint and Overglaze, and has been a professional clay artist since 1972. For comments, con-tact Paul at [email protected].

Paul Lewing, “Verses,” china paint on porcelain tile, each 12x8 inches 2005. Text was printed full-size, transferred to the tile using graphite paper, and lettered with a #2 script brush.

Paul Lewing, “Psalm 121:1,2,” 40x52 inches. First Presbyterian Church, Seattle, Washington. Lettering done with a #8 bright.


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Kenny Delio’s subtle glazesby Myra bellin

Kenny Delio glazes his work subtly. He thinks of glazes as a skin, choosing matt glazes that are soft and supple, or shiny surfaces that appear wet and visceral. Or

he may choose to mimic scales and fur with multihued textures, an important consideration when glazing the legs for his tables and props for his shelves. The guid-ing consideration for his glazing choices is enticement. Delio wants people to interact with his work, to be drawn to touch it and to use it.

Right: “Buddy Teapot,” 10 inches in height, thrown and altered white

stoneware with White and Speckled glazes, fired to cone 6 in oxidation.

Below: Shelf with bottles, 36 inches in width. The shelf is curly cherry with tung oil and the shelf base is

thrown and altered white stoneware with Brown Slip and White Glaze, fired to cone 6. The bottles are

thrown and altered white stoneware with White and Speckled Glazes,

fired to cone 6.


studio reference | glazes

Brown SlipCone 6

Ferro Frit 3124 . . . . . . . . . . . . . . . . . 10 %Nepheline Syenite . . . . . . . . . . . . . . 10 EPK Kaolin . . . . . . . . . . . . . . . . . . . . 40 Kentucky OM 4 Ball Clay . . . . . . . . . 30Silica . . . . . . . . . . . . . . . . . . . . . . . . . 10 100 %

Add: Red Iron Oxide . . . . . . . . . . . . .8 %

Olive GlazeCone 6

Barium Carbonate* . . . . . . . . . . . . . 7 %Gerstley Borate . . . . . . . . . . . . . . . . 16Whiting . . . . . . . . . . . . . . . . . . . . . . . 7Kona F-4 Feldspar. . . . . . . . . . . . . . . 30EPK Kaolin . . . . . . . . . . . . . . . . . . . . 9Silica . . . . . . . . . . . . . . . . . . . . . . . . . 31 100 %Add: Mason Stain #6503 . . . . . . . . . 2 %

White GlazeCone 6

Dolomite . . . . . . . . . . . . . . . . . . . . . . 23 %Nepheline Syenite . . . . . . . . . . . . . . 72Ball Clay . . . . . . . . . . . . . . . . . . . . . . 5 100 %

Add: Tin Oxide. . . . . . . . . . . . . . . . . 8 % Red Iron Oxide . . . . . . . . . . . . 1 % Bentonite . . . . . . . . . . . . . . . . . 2 %

Black GlazeCone 6

Bone Ash. . . . . . . . . . . . . . . . . . . . . . 10 %Whiting . . . . . . . . . . . . . . . . . . . . . . . 15Ferro Frit 3124 . . . . . . . . . . . . . . . . . 20Nepheline Syenite . . . . . . . . . . . . . . 20EPK Kaolin . . . . . . . . . . . . . . . . . . . . 18Silica . . . . . . . . . . . . . . . . . . . . . . . . . 17 100 %

Add: Mason Stain #6616 . . . . . . . . . 12 %

Speckled GlazeCone 6

Gerstley Borate . . . . . . . . . . . . . . . . 59 %Talc . . . . . . . . . . . . . . . . . . . . . . . . . . 41 100 %

Add: Rutile . . . . . . . . . . . . . . . . . . . . 18 %

*Glazes high in barium carbonate are not suitable for liner glazes on func-tional ware.

Teapot, 12 inches in height, thrown and altered white stoneware with pulled handle, Brown Slip and Black Glaze,

fired to cone 6 in oxidation.

recipes


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Darren eMenau’s texture glazesby ManDy ginson

Right: “Bud Vase,” 5 inches in height, local earthenware, with MNO

Lichen Glaze, fired to cone 06.

Below: “Ellie Euer,” 4 inches in height, local earthenware, with MNO

Lichen Glaze, fired to cone 06; detail at far right.

Texture takes on an important role in Darren Emenau’s work. Impurities, such as twigs and stones, are not removed but rather retained to effect unique markings and in-

teresting surfaces. The roughed-up, worn exteriors convey a rich sense of history. This is not by chance. Individual works have been fired up to eight or nine times. History is not imitated but created. Emenau is a self-professed glaze fanatic. As he increasingly exploits this knowledge, the glaze is used not as mere surface decoration but the surface itself. Emenau experiments with applying successive layers of glaze and refiring. The results, he admits, might be irreproducible, but the intent here is not to make models but rather to unearth possibilities.


studio reference | glazes

MNO LichenCone 06

Borax. . . . . . . . . . . . . . . . . . . . . . . . 24.7 %Lithium Carbonate . . . . . . . . . . . . . 9.3Magnesium Carbonate . . . . . . . . . 39.2 Ferro Frit 3134. . . . . . . . . . . . . . . . . 3.1Nepheline Syenite . . . . . . . . . . . . . 23.7 100.0 %

Add: Copper Carbonate . . . . . . . . 5.2 % Bentonite . . . . . . . . . . . . . . . . 3.1 %

This recipe was inspired by low-fire recipes by Lana Wilson. I brush it on in various thicknesses. Some of the glaze can flake off during firings. After firing, I scrape or sand blast the surface to remove any loose glaze. I rub beeswax into some areas and then torch it to remove most of the wax. Forms are often multifired. A nepheline syenite wash will prevent flaking during firings. My local clay contains a high percentage of iron oxide and salt crystals, which act as strong fluxes.

“Ellie Euer,” detail, with MNO Lichen glaze, fired to cone 06.

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buying a raKu Kiln

Raku firing is expressive, exciting and fun. Wheth-er you’re rakuing in your own studio, or taking part in a group firing at a school, workshop or community center, raku offers many rewards.

But the process requires more than just enthusiasm; you need the proper equipment and tools to make the event successful. If you’re interested in getting started with raku or in adding raku to your program, here are a few point-ers for getting off to a good start with the right kiln—the most important tool you’ll need.

The Basic Raku ProcessWith raku you begin by placing your work in a cold kiln

and bringing it up to temperature, approximately 1800–1900ºF. The rate at which you attain this temperature is based on a variety of factors: size of the work, size and type of kiln, burner output, etc. A raku session usually consists of firing more than one load, so the ability to preheat the waiting work, unload the hot ware safely, reload and then reheat the kiln all need to be considered. The choice of fuel—natural gas, wood, electric or propane—is important because each of these carries limitations as well as benefits. You’ll need to consider the physical location of the kiln so that it can be placed with ample space around it for safety and space to work. And finally, consider whether you’ll be firing alone, with an assistant, or with a group.

ConfigurationsThere are many configurations for raku kilns—top load-

ers, front loaders, top hats, car kilns and clam shells. Some top hats have pulley systems, springs, counter weights and guiding tracks to raise and lower the chamber. Without the lifting mechanism, a large top-hat kiln requires two people to safely lift the body off, while smaller kilns require only one person. After gaining experience, most raku potters gravitate to one specific style and design. The important thing with any kiln is that you are comfortable with its workings. It must accommodate your work. It must be possible to safely open the extremely hot kiln, remove the contents, reload, and close it up again losing as little heat as possible. Before buying or building a kiln, do as much observation, participation and research as possible.

TemperatureEven though most raku firing takes place in the Cone

010–04 range some of the kilns on the market are rated for higher temperatures—up to Cone 10. While some kilns are designed specifically for raku, others were originally de-signed as stoneware kilns that can be used for raku or were modified for raku. You’ll need to check with manufacturers about the full capabilities of their kilns.

FuelRaku kilns can be fired with natural gas, wood, propane

or electric (see page 36). If using propane, you’ll need to purchase or rent a tank. While a 20 lb. tank works on warm days or with smaller kilns, it is recommended that you get a larger, refillable tank, or purchase two or three smaller tanks and gang them together with the appropriate con-nectors. You can take 30, 40, 60, 70 and even 100 pound tanks in for refilling. With propane, more surface area in the tanks means more gas will be produced assuring a steady supply. This is especially important as you get into larger kilns with bigger burners. With natural gas, you are limited to the available pressure and location of a gas line, but there is some flexibility because you can lead a gas hose to the burner.

BurnersBurners are rated by their output, which is measured in

Btu’s (British thermal units). Natural gas and propane use different orifice sizes so you’ll need to specify which kind of fuel you’ll be using. Kiln manufacturers have done the engineering for their kilns and have matched the appro-priate burner(s) with the unit, taking size, insulation and temperature range into consideration. Many manufacturers also offer regulators, gauges and safety features with their burner, which are described in their literature. If you’re building your own kiln, instructions should include burner specifications. If not, consult with a burner supplier. Kiln size, construction materials and type of gas being used is all the information they will need.

ElectricWhile any electric kiln can be used for raku, there are

some electric kilns on the market specifically designed for raku. Regardless, you’ll need to either locate the kiln out-side, or near an outside entrance so you can unload the kiln and quickly move your pieces outdoors for the subsequent post-firing phase. One hazard with using a standard elec-tric kiln is that the power must be shut off before reaching into it with metal tongs to eliminate the possibility of ac-cidentally touching a live element. Some electric kilns are built with a lifting mechanism, which raises the entire body of the kiln, including all the electrics, up and out of the way when loading and reloading.

The Do-It-Yourself OptionOne option is to build a raku kiln from one of the many

plans available in books and online. We have two plans on our website at www.potterymaking.org, one for a fiber-lined wire-frame design and the other a small fiber-lined barrel. Another inexpensive option for the DIY route is to


studio reference | raku kiln

Tim Andrews, Dave Jones and Jim Romberg unloading a top-hat raku kiln at Eagleheart Center for Art & Inquiry, Grand Junction, Colorado.

purchase a kit. Some kits, which include all the materials needed to not only build a kiln, but also essential extras like tongs, furniture, gloves, etc.

SafetyRaku is inherently a dangerous activity, but no more so

than working around a bonfire. If you purchased a com-mercial kiln, you’ll need to read, understand and follow all safety instructions provided by the manufacturer because their warnings are based on experience and following them assures an accident-free experience. If building your own, be sure that you’re comfortable and confident in your de-sign and experience. The appropriate clothing, gloves and eye protection are critical for protection against the kiln’s heat for any of those handling the work, and in both solo and group situations, attention must be paid to the “cho-reography”—the dance—of the raku firing process. It is certainly not the time to be tripping over one another.

CostMany commercial raku kilns are priced under $1000 with

a few fetching more than $2500 because of the need for higher end functionality. Building your own raku kiln from a kit or rounding up all the pieces and parts can lower your costs. It is similar to buying a computer or any other major appliance; determine what’s in your budget and then look around, but don’t forget to factor in tongs, gloves, goggles, shelves and the other equipment you’ll need. We’ve listed

Raku Kiln ManufacturersAxner www.axner.com

Bracker’s Good Earth Clays www.brackers.com

Ceramic Services www.ceramicservices.com

Clay Art Center www.clayartcenter.net

L&R Specialties, Inc. www.claydogs.com

Laguna www.laguna.com

Mile Hi Ceramics, Inc. (Zen Kilns) www.milehiceramics.com

Nabertherm www.nabertherm.com

New Mexico Clay Co. www.nmclay.com

Olympic Kilns www.greatkilns.com

Seattle Pottery Supply www.cruciblekilns.com

Sugar Creek Industries (Good Kilns) www.sugarcreekind.com

Summit Kilns www.swiftweb.com/summit

Ward Burner Systems www.wardburner.com

most of the manufacturers and their website, and several of these sell through distributors, which may be closer to home so you’ll pay less for shipping. See the Company Di-rectory for complete contact information.

Test DriveIf you haven’t tried raku, but have always been fascinated

by the spontaneity, immediacy and simplicity of the craft, by all means, sign up for a workshop. You’ll be amazed at what a great activity this is and why it’s one of the most popular clay studio techniques around, enjoyed by thou-sands of potters of all ages.

Thanks to Steve Branfman, author of Raku, A Practical Ap-proach, 2nd Ed., kp books, for assistance on this article.


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In my workshops, I get asked many questions but never “What is a raku glaze?” Why? Because every-one knows what a raku glaze is. Right? It’s a glaze that is labeled “raku.” Wrong. It’s time to expand

your thinking and understand exactly what this whole raku glaze thing is about.

A raku glaze is any glaze you use in the raku method. It doesn’t have to be a glaze specifically designed for raku, formulated to fire at the temperature you fire your raku to, nor homemade or commercial. It can be most anything. The key to success is understanding the raku firing process and the ability to predict how a particular glaze reacts to that process.

The Raku MethodRaku as practiced in the West is a low-fire method in

which we quickly heat the ware, remove the ware from the kiln when the glaze has melted, and perform some type of post-firing process to the piece. The post-firing phase is usually an immersion in an organic combustible material to affect the final outcome on the glaze and the raw clay. De-ciding when the glaze has melted takes practice and is best done by observation, though many potters use pyrometers to aid in making that decision. Raku is exciting, often un-predictable to the novice and fun to do.

Glaze ApplicationGlazing work for raku can be done by all the methods

known—dipping, pouring, brushing, spraying, splashing, dripping, sponging—you name it. Glazes also can be used alone or in combination. Keep in mind that the application of a glaze has a direct effect on the result.

Dedicated Raku GlazesGlazes specifically designed for raku fall into two catego-

ries—homemade and commercially prepared. If you mix your own, you’ll find scores of recipes. Search the internet, ask friends, look in any book on glazes or raku and look in magazines. In no time you will find more glazes than you could use in a lifetime. Of course, to mix your own glazes you must have a stock of materials, mixing paraphernalia, knowledge and interest. If this doesn’t turn you on there are myriad manufacturers that produce almost as many raku glazes. The advantage of using commercial glazes is that you are given instruction on how to use the glaze, you have a sample of the fired glaze to help guide your results, and the formulation (although not the results!) will be con-sistent time after time. Of course, commercial glazes are a bit more expensive than mixing your own, and by using commercial glazes you are removing what is for some, the most interesting part of the raku process: designing and using your own glazes.

Low-Fire GlazesGlazes used in the raku process need not be “raku” glazes

at all. At its core, raku is a low-temperature firing method. The fact that we remove the ware from the kiln while the pots are hot and the glaze is molten is irrelevant. Under-standing this opens up a whole new world of glazes. Any glaze that is formulated to fire at the low temperature of raku can be used. First, you must decide at what temperature you are firing. Most raku is done in the Cone 010–06 range. Begin by choosing glazes that both appeal to you in color and that fire in your range. You will have to experiment but I have never found a glaze that I couldn’t use successfully.

High-Fire GlazesWe are not limited only to glazes that melt at the low

temperatures. With greater understanding of the raku pro-cess, even mid-range and high-fire glazes can be used in the low-temperature range of raku. Try using your regular stoneware glazes as slips. Over the glaze, apply a clear or white raku or other low-temperature glaze. The low-tem-perature glaze causes the high-fire glaze to melt giving you a new palette of colors to work with.

Other GlazesIn addition to glazes, slips, engobes, underglazes, over-

glazes, china paints, underglaze pencils, oxides and stains are all viable in the raku process.

Food SafetyNo matter what type of glaze or decorative material you

use, raku is inherently unsafe for use as domestic ware. The rapid firing, removal of the ware and subsequent post-fir-ing phase all contribute to fragility, porosity, and thin, easily flaked glaze surfaces. Not all materials used in raku glazes are toxic. In fact, most are not. Confusion arises when you realize that over the centuries some of the most prized teabowls by tea masters have been raku fired. Be safe, and think of your raku ware as decorative and not functional.

steven branfMan raKu glazes

Multilayered brushed commercial low-fire glazes.


Most potters use commercially prepared clays, and ceramic suppliers have met their needs by offering a vast, though sometimes bewil-dering, selection of clays to choose from. If

you’re using the clay someone else just handed you, maybe it’s not the right one for the work you’re doing. Every clay body is formulated for a specific use, and finding the right one for your needs takes a bit of research and experimen-tation. There are several decisions to make when finding a clay body or bodies that meet your skill level, techniques and aesthetic.

Choose A SupplierNow why would you choose a supplier first? They work

with amateurs, professionals, students, teachers, sculp-tors, tile makers, etc., and have solved a wide variety of problems. There are three types of suppliers: those that manufacture their own clays, those that sell clay from other manufacturers and those that do both. And, if you have problems a supplier can’t answer, either you or the supplier can contact the manufacturer.

Choose An ApplicationClay bodies are formulated for different applications.

Throwing tableware requires a clay body that is plastic (malleable) and smooth, while constructing a large sculp-ture may require “toothier” (coarse-grained) clay. In many cases, a clay body may be used for several applications, but some are highly specialized—raku or ovenware, for exam-ple. Make a list of the things you want to do, and you may end up with several bodies to achieve the best results.

Choose A Firing RangeClays are formulated to fire at specific temperatures

within three general ranges: low (Cone 06–2), mid (Cone 3–7) and high (Cone 8–10). Within a range, the higher you fire, the greater the shrinkage and the lower the absorbency of the fired clay. Low-fire clay bodies (earthenware) are easy to work with and fire, and there is a wide range of col-orful glazes available. These clay bodies are also used for raku and pit firing. Mid-range clays are more durable and include stoneware and some porcelain bodies, but color is more limited. This situation improves each year as glaze companies improve and expand their offerings. High-fire clays are very durable and include stoneware and porcelain. Color palettes vary depending on firing atmosphere (oxi-dation or reduction).

Choose A ColorColor in basic studio clay bodies results mostly from nat-

urally occurring iron and/or iron that has been added. Por-celain contains no iron, light buff bodies have some iron and earthenware bodies may have over 10% iron. The body

color (as well as the glazes) changes based on the type of firing atmosphere you have—reduction (from fuel firing) or oxidation. Reduction firing deepens or darkens an oth-erwise neutral-colored clay body. Some clay companies have duplicated this effect by adding more colorants to their formulas making it possible to achieve “reduction” colors from an electric kiln. Since the iron and other col-orants in a body color affect glaze color, you’ll need to test your glazes with each body.

Choose A TextureTexture can range from smooth to rough. Smooth

bodies contain very small particles of clay, which tend to shrink more. These are best suited for small, fine and/or detailed work. Adding grog (ground-up fired clay) or sand gives the body “tooth,” and the larger the particle size, the less water the piece will need (hence less shrinkage). Manufacturers offer a range of bodies that incorporate finer particles of grog and sand to get a texture between smooth and rough.

Buy WiselyBuying prepared clay requires a little judgment. First,

try to find a supplier that is nearby because shipping costs can add up and sometimes equal or exceed the cost of the clay body itself. Next, test a sample before purchas-ing a large quantity. If you’re buying several types of clay bodies, suppliers will typically allow you to combine the weights for a better discount. Finally, buy only enough clay to last you a year maximum. Clay loses moisture in storage and becomes stiffer, possibly even unworkable. You can ask your supplier how long they have stored the clay. A good supplier will only stock what they can sell within a reasonable amount of time.

Buyer BewareAll commercially prepared clay bodies are made from

naturally occurring elements scooped from the earth for industrial users. Studio potters do not purchase enough materials to be a major user, so we have to make do with a small portion of what the industry uses (brick and tile manufacurers, china companies, steel industry, paper mills, pharmaceuticals, etc.). Mother Nature did not use any quality control when she created clay deposits, so seams of clay vary from one spot to another. And a mammoth front loader is not a delicate material-selection tool. The good news is that the industry often requires a degree of consistency in their raw materials, so that clay mines make every effort possible to provide them with the very best product out there for an intended application. To make sure your clay meets your every needs and your own quality standards, always test each batch everytime.

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Water to Plaster Mixing Chart1 quart . . . . . . . . . . . . . . . . . . . . . . . 2 lbs. 14 oz. (1,293 grams)1Z\x quarts . . . . . . . . . . . . . . . . . . . . 4 lbs. 4 oz. (1,937 grams)2 quarts . . . . . . . . . . . . . . . . . . . . . . 5 lbs. 11 oz. (2,585 grams)2Z\x quarts . . . . . . . . . . . . . . . . . . . . 7 lbs. 2 oz. (3,230 grams)3 quarts . . . . . . . . . . . . . . . . . . . . . . 8 lbs. 9 oz. (3,878 grams)3Z\x quarts . . . . . . . . . . . . . . . . . . . . 10 lbs. (4,522 grams)1 gallon . . . . . . . . . . . . . . . . . . . . . . 11 lbs. 6 oz. (5,171 grams)1Z\x gallons. . . . . . . . . . . . . . . . . . . . 17 lbs. 2 oz. (7,756 grams)2 gallons. . . . . . . . . . . . . . . . . . . . . . . 22 lbs. 13 oz. (10,337 grams)2Z\x gallons. . . . . . . . . . . . . . . . . . . . 28 lbs. 8 oz. (12,923 grams)3 gallons . . . . . . . . . . . . . . . . . . . . . 34 lbs. 3 oz. (15,508 grams)This table is based on USG® No. 1 Pottery Plaster mixed to a con-sistency of 73 (73 parts plaster to 100 parts water) recommended for most studio applications. Excessive water yields a more porous but more brittle mold, and less water means a very dense, hard mold that will not absorb water.

Whether you need a drying bat, a simple hump mold, or you’re making a complex slip mold, you’ll need to mix plaster. Get-ting the plaster right requires a bit more

than just “dumping and mixing.” Here are 10 ways to get the best results for your next plaster project.

Prepare Your Mold A common mistake of potters is to mix plaster only to

realize everything’s not set up for pouring. Before casting, make sure your model is set, the mold boards or cottle are secure, and all the surfaces you’re pouring onto are coated with a parting agent such as mold soap.

Prepare Your Work Area You will need a clean mixing container for the plaster, a

scale for weighing the plaster, a measuring cup for the wa-ter and a rinse bucket. Note: Plaster cannot be permitted to go down the drain, because it will form a rocklike mass. Even small amounts will accumulate over time. Line a rinse bucket with a plastic garbage bag and fill it with water for rinsing your hands and tools. Allow the plaster to settle for a day, then pour off the water and discard the bag.

Use Fresh Water The mixing water you use should be at room tempera-

ture or 70°F. If the water is too warm, the plaster will set too fast and vice versa. Use only clean, drinkable tap water or distilled water. Metallic salts, such as aluminum sulfate, can accelerate the setting time, and soluble salts can cause efflorescence on the mold surface.

Use Fresh PlasterPlaster is calcined, meaning chemically bound water has

been driven off through heating. If the plaster has been sitting around in a damp environment, it will have lumps in it, in which case it is no longer usable. Pitch it. Use plaster that has been stored dry and is lump free.

Weigh Out MaterialsDo not guess about the amounts of plaster and water

you’ll need. Once you start the mixing process, you do not want to go back and adjust quantities. To determine the amount you need, estimate the volume in cubic inches then divide by 231 for gallons, or by 58 for quarts. Deduct 20% to allow for the volume of plaster, then refer to the table.

Add Plaster To WaterSlowly sift the plaster onto the surface of the water. Do

not dump the plaster or toss it in by handfuls. Adding the plaster shouldn’t take more than 3 minutes.

Soak The PlasterAllow the plaster to soak for 1–2 minutes maximum.

The soaking allows each plaster crystal to be completely

surrounded by water and it removes air from the mix. Small batches require less soaking than large batches. If the soaking time is too short, it may contribute to pinholes; and if it is too long, it will contribute to fast set times, early stiffening and gritty mold surfaces.

Mix The PlasterSmall batches of plaster can be mixed by hand. Use

a constant motion with your hand and you will notice a change in consistency from watery to a thick cream. Break down lumps with your fingers as you mix. Mix only for a minute or two being very careful not to agitate the mixture so much that air bubbles are incorporated into the mix. Mixing time affects absorption rates—longer mixing times produce tighter and less-absorptive molds.

Pouring The PlasterAfter mixing, tap the bucket on a hard surface to release

trapped air. Pour the plaster carefully. Wherever possible, pour plaster carefuly into the deepest area so the slurry flows evenly across the surface of the mold. Once the mold is poured, tap the table with a rubber mallet to vi-brate the mold and release more air bubbles.

Drying PlasterWhen plaster sets, it heats up because of a chemical reac-

tion. When it has cooled, it is safe to remove the cottles or forms—about 45 minutes to an hour after pouring. Molds must be dry before use. Drying molds properly promotes good strength development, uniform absorption and re-duced efflorescence. Dry molds evenly. Don’t set them near a kiln where one side is exposed to excessive heat or the relative humidity is near zero. Place them on racks in a relatively dry location away from drafts.

Sources: United States Gypsum (USG) Company and Clay: A Studio Handbook, by Vince Pitelka, published by The American

Ceramic Society, 2001.


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When kiln elements expand during firing, they can bulge out of the brick groove if not properly installed. When an element is protruding, it’s brittle and can easily break

if bumped into while loading, unloading or cleaning the kiln. Here are some steps to avoid this unnecessary, costly and time-consuming repair.

Repairing a Bulging Sidewall ElementElements that bulge out of a sidewall brick groove af-

ter the kiln has been fired should be pushed back into the groove. It’s not difficult as long as you first heat the ele-ment, because if you push it back in place while it’s cold, the element will break. For this repair, you’ll need a pro-pane torch, which is available at any home improvement center. Be sure the kiln area is free of flammable materials, such as paint, gasoline, lawn mowers, etc. And, when the propane torch is on, do not reach for tools or do anything that would take your attention away from the torch.

Unplug or disconnect the power to the kiln and heat the element with the propane torch. When the bulging element section turns dull red, squeeze the individual turns in the coils together slightly with needle-nose pliers. Take a little from each turn so that no two turns will be pressed tightly enough to touch.

As the element shrinks, work it back toward the groove and into place. Work rapidly. At the first sign of stiffness in the coils, stop bending and reheat the element with the torch. The elements do not have to be red to be bent safely, as the stiffening can be felt through the pliers.

If the element has popped out from a corner, you will need to expand the distance between the coils to make the element go back into the corner. Use snap-ring pliers, which are available at auto parts stores. When you have the coils positioned above the brick groove, heat the element again and press it down into the groove.

Backed Into a CornerIf elements are popping out of a dropped, recessed

brick groove, it’s probably because the element was not originally pushed all the way to the back of each corner. There are two things you can do to assure a new element is installed correctly. First, bend elements at the corners and push them to the back of the corners when you install them. Second, keep a steady pressure against the element as you thread it into the grooves. If you let go of the ele-ment, or let up on the pressure, it will spring out of the corners. To get the bends to fit into the corners, stretching or compressing may be necessary. If a section of element is too long between the corners, it may bulge slightly. Allow it to bulge until the entire element is installed, then com-press the bulging section with needle-nose pliers.

CAUTION Always unplug the kiln before touching an element

with anything or performing any repairs.

the battle of the bulgeby arnolD howarD

Firing the Kiln to Cone 05After installing new elements or repairing bulging ones,

fire your kiln to cone 05 or hotter (around 1888°F). The elements soften to the point where they no longer support their own weight, and if they are inside the grooves, they will conform to the shape of the grooves. If you normally fire lower than cone 05, occasionally firing higher will help prevent the elements from bulging out of the grooves.

Arnold Howard writes instruction manuals for Paragon Indus-tries, L.P. Contact him at [email protected] for any comments or questions.


how low voltage effects firing tiMeby arnolD howarD

When your kiln takes too long to fire, it’s not always because of worn heating elements. Low voltage can double your firing time.

Electrical current in most of the United States is so reliable we take it for granted. Voltage levels rise and fall regularly, though usually not enough to mat-ter; however, when it drops too low, problems arise.

Autry, a master electrician, described one of his experi-ences. In a customer’s home, light bulbs kept burning out, and the air conditioner and other appliances did not oper-ate properly. He took a voltage reading from the recepta-cles in their home. “There’s nothing I can do to help you,” he told his customer. “Your problem is low voltage.”

The power company insisted that the voltage in that home was normal and eventually sent a supervisor to meet Autry at the customer’s home with a voltage recorder. The supervisor recorded 190 volts for a 240-volt system. “That was the lowest voltage drop I had ever encountered,” Au-try said. The power company changed the transformer to raise the voltage.

Some power companies do not have enough generating capacity to correct low voltage, and in those cases, chang-ing the power transformer won’t help. Voltage commonly drops during periods of heavy electrical demand. In Dal-las during the summer, voltage can drop from 240 to as low as 190 between 4:30 and 8:30 P.M. when people come home from work and turn on air conditioners. To raise voltage during peak periods, some utility companies kick in extra generators.

208 & 240 Volt SystemsA common mistake in ordering kilns is to confuse a 208-

volt wall receptacle for a 240-volt wall receptacle. This is an easy mistake, because both wall receptacles will look the same. You cannot determine the voltage by visual in-spection of receptacles.

Residential houses are usually wired for 120/240 volts. Yet industrial buildings that use mostly 120-volt outlets are often wired for 120/208 volts. It is more efficient to wire 120/208 than 120/240. Strip malls and schools use mostly 120-volt lighting circuits, so they are frequently wired at 120/208 instead of 120/240.

On 208 volts, a 240-volt kiln will fire at only 75% power and never reach maximum temperature. Some 240-volt electronic kilns may not even operate on 208 volts. So be sure about voltage before ordering a kiln.

Often, large 10 and 12 sided 208-volt kilns are shipped without cord sets. This is because 208-volt kilns draw more amperage than 240-volt kilns. Consequently, stan-dard cord sets on 240-volt models are not heavy enough for 208. An electrician must wire kilns without cord sets directly to the outlet.

What to Check• Be sure your 240-volt kiln is not plugged into a 208-

volt outlet, and vice versa. Check on the side of the kiln for the rating.

• Check the voltage of your wall receptacle. Unless you are proficient with electricity, this should be performed by the power company or a professional electrician.

• Check the receptacle under load (again, this is for experienced persons or professionals only). Pull the kiln plug ¹⁄₄ inch from the wall receptacle. Start the kiln. Place a voltmeter probe against each of the two hot blades of the cord plug to measure voltage. If voltage is low, try fir-ing the kiln during periods of low demand when voltage is higher.

• Check the circuit. If the kiln is sharing a circuit with other appliances, that can also reduce the voltage and slow down the firing.

CAUTION: Do not perform a voltmeter test unless you are experienced with electrical repairs.

Solutions• If your power company cannot correct the low volt-

age, your kiln manufacturer can probably make special ele-ments for your kiln. These elements overcome low voltage by drawing more power; however, should you ever plug the kiln into a circuit with normal voltage, the elements will pull too much power, damaging the cord set.

• If the voltage is low on an unloaded circuit and when nothing in the house is drawing current, you may have low voltage to the house, which requires changing the trans-former. This is done by the electric company.

• Schedule your firing during off-peak periods. Low voltage slows down the kiln and also strains the elements, which struggle to reach firing temperature.

• Do not run high-voltage appliances or air conditioners during your firing.

Estimating Low-Voltage Power Loss

To determine how much power is lost through low voltage, divide low voltage squared by correct voltage squared.

[low voltage]2

[correct voltage]2

For instance, to figure power loss of a 240-volt kiln fired on 208 volts:

2082 208×208 43,264 2402 240×240 57,600

In this case, power loss is .25 or ¼ (.75 represents remaining power).

= =

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Quick-Change ArtistFor throwing mugs and small

bowls, I use a quick-change bat system. To make one, you need one square plastic bat that at-taches to your wheel head with bat pins, PVC molding from the hardware store, PVC cement and some commercial 6-inch-square terra-cotta tiles. Cut the PVC molding into two 5-inch lengths and two 4¼-inch lengths. Place

Height and ComfortThe splash pan that came with

my wonderful new wheel was a little short for the thick bats I use for large platters. This created a lot of problems with slip and trimmings splashing everywhere. Out of frustration came this an-swer to my problems:

I cut a piece of ¾-inch foam pipe insulation (the kind with a slit all the way down the length) and a piece of ½-inch clear vinyl tubing to fit the circumference of the splash pan. I inserted the

Sponge BrushFor making a sponge-on-a-

stick, I use one of those 3-inch-diameter round yellow sponges. I cut off about 1 inch on oppo-site edges and glue an old paint brush into the center of the re-maining sponge using Superglue. This gives the sponge long, sharp edges that reach all the way into the corner of a pot. The two pieces that are cut away are ex-

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one of the terra-cotta tiles in the center of the plastic bat and dry-fit the PVC molding around it, leaving two corners open to make it easy to remove the tiles. Glue down the molding with the cement and let it dry. Remove the tile from the assembly while it dries or you won’t get it out later. Once it’s dry, mount the plastic bat on your bat pins, insert a terra-

cotta tile and throw your pot. You can quickly remove the tile and insert a fresh one for your next pot. A terra-cotta tile costs about 30 cents, so it makes a really cheap bat.—Sylvia Shirley, Pittsburg, KS

tubing into the insulation foam and placed it on top of the splash pan rim, working it down gently onto the rim, making sure the vi-nyl tubing stayed on top of the rim. I taped the two ends of the foam insulation tightly together with duct tape. This ring can be removed and replaced when ex-tra height is needed, and it also provides a good deal of cush-ion for your arms when throw-ing.—Ann Krestensen, Bozman, MD

cellent for fettling excess glaze from the bottoms of pots and smoothing rims. Since they are triangular at their ends, they can easily get into tight corners.—Eugene Prial, Westfield, NJ


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Balloon Greenware TransportOne problem I constantly en-

counter is transporting fragile greenware from place to place. Over the years I have used many methods with varying success. One of the easiest methods I have discovered for carting green-ware over short distances is to use inflated balloons to hold the vari-ous pieces in place while in transit. Pictured here is a simple example of securing a greenware piece. For transporting fragile (especially

bone-dry ware) over longer dis-tances, I pour a couple of inches of vermiculite (available at garden centers and drywall supplies) into a box and lay a large sheet of poly cleaner bag material on the ver-miculite bed. I then place the gre-enware piece in the center, bunch the poly sheeting up over the piece and fill the box with vermiculite. The vermiculite can be removed from around the piece with a small hand vacuum, or it can be

saved for reuse. With this method, you are able to transport even the most delicate pieces with ease. —David Ogle, Los Gatos, CA

Extrude AnywhereIn order to make an extruder

portable (those of us who have limited studio space need to make all sorts of things portable), pur-chase an adjustable roller stand and a piece of steel tub-ing the same size in cross-section as the adjustable tube. Mine is 5 feet long, and that seems to be plenty tall enough. Drill holes in this piece of steel tube

Remove this part

Add this part and attach your extruder at the proper height.

to correspond to your extruder’s mounting holes and attach it. That’s really all there is to it!

The adjustable roller stand is designed to be used with woodworking equipment like a tablesaw or planer, so it can be found at most places that sell woodworking power tools. —Fujie Robesky, Fresno, CA

Lid LooseningIf gentle tapping will not free a

stuck lid that has found a bit of stray glaze, place the pot in the freezer for about an hour. Quite often, this will free the lid. If not, have someone hold the pot while you gently tap the lid with a small rubber or plastic ham-mer. Make certain all persons in-volved are wearing safety glasses

and gloves. If the location of the sticking is known, tap opposite that spot; if it is not known, tap gently around the circumference of the lid. If this effort fails, re-turn the pot to the freezer. The next time, have the person hold-ing the pot wrap the location just below the lid with a damp hot rag or towel; try the same tapping as

previously described. Be prepared to catch the lid or have it fall onto a soft surface; it would be a shame to lose a pot you just saved! —Richard Erickson, Green Bay, VA


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kiln firing chart

Temperature °C °F 1400 2552

1300 2372

1200 2192

1100 2012

1000 1832

900 1652

800 1472

700 1292

600 1112

500 932

400 752

300 572

200 392

100 212

Cone(approx.)

141312111098765432010203

04

05

06070809010011012013014015016

017

018

019

020

021

022

Incandescence

Brilliantwhite

White

Yellow-white

Yellow

Yellow-orange

Orange

Red-orange

Cherryred

Dullred

Darkred

Dullredglow

Black

Event Endofporcelainrange.

Endofstonewarerange.

Endofearthenware(redclay)range.

1100–1200˚C: Mullite and cristobalite (two types of silica) form as clay

beginstoconverttoglass.Particlesstartmeltingtogethertoformcrystals,

andmaterials shrinkas theybecomemoredense.Soaking (holding the

endtemperature)increasestheamountoffusedmaterialandthemount

ofchemicalactionbetweenthefluxesandthemorerefractorymaterials.

800–900˚C:thebeginningofsintering,thestagewhereclayparticlesbegin

tocementthemselvestogethertocreateahardmaterialcalledbisque.

300–800˚C: Carbonaceous materials (impurities in the clay along with

paper,wax,etc.)burnout.Thekilnrequiresampleairduringthisstage

sinceafter800˚Csinteringbeginsandtheclaysurfacebeginstosealoff,

trappingunburnedmaterialsandsulfides,whichcancausebloatingand

blackcoring.

573˚C:Quartzinversionoccurswherethequartzcrystalschangefroman

alpha(a)structuretoabeta(b)structure.Theinversionisreversedoncool-

ing.Thisconversioncreatesstresssesintheclaysotemperaturechanges

mustbeslowtoavoidcrackingthework.

Between480–700ºCchemicalwater(“watersmoke”)isdrivenoff.

Uponcooling,cristobalite,acrystallineformofsilicafoundinallclaybod-

ies, shrinks suddenly at 220ºC. Fast cooling at this temperature causes

waretocrack.

Waterboilsandconvertstosteamat100ºC.Trappedwatercausesclayto

explodesokeepthekilnbelow100ºCuntilallwaterhasevaporated.

Firing converts ceramic work from weak greenware into a strong, durable permanent form. As the temperature in a kiln rises, many changes take place at different temperatures and understanding what happens during the firing can help you avoid problems with a variety of clay and glaze faults related to firing.


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s may need to decrease the firing time.Manual Kilns: Place small cone in kiln

sitter in offset position with small end toward center or place next lower cone in kiln sitter.

Controller Kilns: Decrease small amounts of “hold” or “soak” time if this has been set, or lower your end set-point temperature in custom programs.

“Hold” or “Soak” TimeWhen you “soak” a kiln, you hold

the kiln at a certain temperature. As shown here, you can see that it takes a significant amount of soaking to cause the next cone to deform. Soak time can be used to equalize the temperature distribution within the kiln and ware.

Pyrometric cones, often re-ferred to simply as “cones” (or more formally as “wit-ness cones”), are used in

pottery making to indicate the amount of “heat work” (or energy) needed during a kiln firing. Cones are shaped like elongated pyramids made of spec-ified mixtures of ceramic materials, and they come in a variety of standard shapes. To get the best results from cones, they must be used correctly. Here are a few guidelines . . .

Cone MountingThree cones are typically used

when firing: a “warning cone” to in-dicate that the target firing tempera-ture is close; a “firing cone,” which indicates that temperature has been reached; and a “guard cone,” which indicates that the maturing tempera-ture has been exceeded.

• Large cones should be mounted with the face at an 8° angle.

• Large cones can be mounted at a height of 2 inches above the plaque or conepack. If you mount at

the 1¾ inch height, you can use the temperature for self-supporting base (SSB) cones.

• SSB cones are made to sit at the correct mounting height and angle without the need to mount them.

Cone Placement

• Mount cones in a straight line (A), turned to an angle (B) or spaced diagonally (C). Diagonal placement is handy when viewing SSB cones through a peephole.

• Place cones at least 6 inches from the kiln’s inner wall to protect the cones from the effects of drafts.

Interpreting Cones• The difference between 60° and

90° bending angles is usually a small amount in equivalent temperature.

• If your firing cone deforms to a lesser bending angle than desired, you may need to increase the firing time.

Manual Kilns: Place small cone in kiln sitter in offset position with large end toward center or place next higher cone in kiln sitter if firing cone has hardly moved. (Note: You cannot ad-just a pyrometric bar by moving it.)

Controller Kilns: Add small amounts of “hold” or “soak” time or raise your end setpoint temperature in cus-tom programs.

• If your firing cone is deformed to a greater bending angle than desired, you

CAUTION Always use proper safety glasses when viewing cones during firing.

Using conestim frederich

A.

B.

C.


Excerpted from Clay: A Studio Handbook by Vince Pitelka, published by The American Ceramic Society, 2001.

absorption The ability of a fired clay to absorb water. Used as a gauge of vitrification.

applique Low-relief clay shapes added to scored, slurried leath-er-hard surface for decoration.

aventurine A glaze featuring iridescent metallic flecks as a result of iron crystals just beneath the surface.

ball mill A mechanically revolving vessel in which ceramic mate-rials can be placed along with water and flint pebbles or high-fired porcelain slugs. Used to grind clay and glaze materials.

banding wheel Hand-operated turntable for applying wax resist and banded decoration.

bat Rigid flat disc of wood, plastic, or plaster placed on wheel-head. When throwing is finished, bat is lifted off wheelhead, avoiding damage or warpage.

beading glaze; beaded glaze A specialized controlled-crawl glaze designed to crack and crawl significantly during firing, then melt into isolated beads on the surface.

bisque-firing Initial kiln firing in which clay sinters without vitri-fying, and though very porous, will no longer soften in water.

blackware firing Bonfire firing that is smothered with manure and/or sawdust at maximum temperature and then buried in sand, dirt, or ash, to trap smoke, causing wares to turn black.

blistering Glaze defect where fired glaze surface contains bubbles, which often break open to leave sharp-edged cra-ters in surface.

bloating Firing defect where blisters form within clay body, rais-ing large lumps on the surface. Caused by expansion of gases within clay as a result of excessive early reduction, excessively fast bisque-firing, or overfiring.

blunge The process of mixing a glaze or slip with a motorized impeller-mixer.

body reduction Period of reduction atmosphere induced be-tween cone 012 and 08 to bring out iron color and speckles in clay body, especially in high-fired stoneware.

bone dry Completely dry (and very brittle) state clay must reach before firing.

bonfire firing Earliest and most basic firing process, where wares are fired in an open bonfire.

breaking In glazes, phenomenon where a glaze gives different col-ors in thick and thin areas—the color breaks from thick to thin.

burnishing Method of achieving a shine by rubbing clay or slip with smooth hard object.

celadon Classic East Asian transparent or translucent glaze with small percentages of iron and/or copper and/or chrome, giv-ing range of soft greens, blue-greens, and gray-greens.

centering Critical step in throwing, occurring during and after wheel wedging, whereby the clay mass is formed into a sym-metrical lump before penetrating and raising walls.

chamois Very soft, pliable animal skin—when wet works well to smooth wet clay surfaces.

china paints; enamels Very low temperature (cone 018) glaze colors applied over a previously fired higher-temperature glaze. Allow greater detail, brighter colors than other ceramic glaze effects, but are vulnerable to surface abrasion.

chuck On the wheel, a temporary wet-clay form or reusable bisque-fired form upon which wares may be inverted for trimming.

clay Widely occurring aluminum silicate mineral resulting from natural decomposition of feldspar and granite. Composed of microscopic disk-shaped platelets that give clay its slippery, plastic quality.

coefficient of expansion A measurement of a material’s ten-dency to expand when heated and contract when cooled. The higher the coefficient of expansion, the lower the thermal shock resistance. In firing dissimilar materials in contact with one another the coefficient of expansion must be matched.

coil construction Ceramic forming method utilizing ropelike coils of plastic clay, assembled in successive courses to build up wall of vessel or sculpture.

compression In wheel throwing, the act of hand or finger pres-sure on the clay, resulting in lower moisture content and a denser structure. Lack of compression in bottoms of pots can result in S-cracks.

crackle glaze A glaze designed to craze for decorative effect. Used primarily for nonfunctional objects and surfaces, as craz-ing is a flaw and weakens wares.

crawling Glaze fault where glaze recedes away from an area in the firing, leaving bare clay. Usually caused by dusty, dirty, or oily surface beneath glaze or by excessively powdery glaze.

crazing Very fine surface cracks in fired glaze surface—techni-cally a fault in glazed wares, but often sought after, especially in raku.

crystalline glazes Glazes in which significant macrocrystalline structure forms in surface of low-alumina glaze seeded with zinc or titanium. Crystalline glazes feature large, visible crystal development versus microcrystalline effects, as in matt glazes and saturated-iron glazes.

cuerda seca Technique where a design is outlined in oxide-tinted wax resist, and the intervening spaces coated with glazes. Finished results show areas of glaze divided by dark unglazed lines.

deairing: The process of removing the air from a plastic clay mass, usually accomplished through wedging, or far more ef-fectively with a vacuum deairing pug mill.

dunting Traditional term referring to serious cracking occurring in cooling, resulting from drawing too soon, from extreme ex-cessive glaze-compression, or from low thermal shock-resis-tance in over vitrified wares resulting from over fluxing and/or over firing.

earthenware Low-fired ware, usually still porous after firing—must be sealed with vitreous glaze to be functional.

earthenware clay Natural low-fire secondary clay, fluxed with iron, fires porous. Often called “common” clay, found almost everywhere, matures below 2000°F.

egyptian pasteA self-glazing clay body in which soluble alkaline fluxes effloresce to the surface as the piece dries, and subse-quently form a thin glassy coating in the firing.

Glossary of Common Termsstudio reference | glossary


engobe Slip formulated with less raw clay content in order to reduce drying shrinkage, to allow application to bone-dry or bisque-fired clay.

extruder Machine that forces plastic clay through a die to pro-duce extruded clay shapes.

faceting Decorating technique involving cutting or paddling flat facets in the clay surface.

faience Widely used (and misused) term referring to any earth-enware pottery glazed with an opaque glaze (usually white) and overglaze decoraton.

feathering, feather-combing Decorating technique where a soft, fine pointed tool is drawn through adjacent contrasting-colored bands of liquid slip applied to a damp clay surface.

fettling knife Long tapered knife useful for trimming cast or pressed pieces, and separating molds.

firing down Maintaining some heat input after maturation, to retard cooling, or to maintain reduction atmosphere during cooling.

firing ramp The profile or schedule for temperature change in a kiln-firing, often including both the heating and cool-ing ramps.

fluting Decorating technique involving carving or forming vertical flutes or grooves in surface of a piece.

flux Low-melting component in clay or glaze that reacts with silica to form glass.

frit Combinations of ceramic materials that have been melted to a glass and crushed/ground back to a powder, in order to give greater chemical stability and to eliminate toxicity result-ing from water solubility of raw material.

glaze Coating of powdered ceramic materials usually prepared and applied in water suspension, which melts smooth and bonds to clay surface in glaze firing.

glaze compression In high-fired wares, ideal state when clay body shrinks slightly more than glaze, putting glaze under slight compression, giving greater strength, resiliency.

glaze-firing Kiln firing in which glazes are melted to form a smooth glassy surface.

glaze-fit The matching of glaze to clay body in terms of com-position and coefficient of expansion so that it will adhere permanently.

glaze-resist Decorating technique where resist materials are applied to prevent glaze from adhering to certain areas.

greenware Any dry, unfired clay form.

green glazing; raw glazing Glazing leather-hard or bone-dry wares for single- firing.

grog Filler or tempering grit formed by grinding high-fired clay; added to clay bodies to reduce shrinkage and give struc-ture for throwing or handbuilding.

heatwork Work done by effective heat transfer to wares, result-ing from ramp rate, temperature and duration of firing.

high-fire High-temperature firing range usually including cone 8-12, for firing stoneware or porcelain.

impressing Decorating technique where textured or patterned material or object is pressed into clay surface.

incising Decorating technique where design is formed by cut-ting or carving shallow lines in clay surface.

inclusions Any particles or bubbles of material that remain sus-pended within the glaze-melt, affecting the glaze appearance.

insulating firebrick; ifb; softbrick Porous firebrick with insu-lating values much higher than hardbrick.

kanna Japanese trimming tool, formed of a steel strap bent and sharpened on the ends.

keramos Greek term meaning earthenware from which the word ceramics is derived.

kiln furniture Refractory shelves, posts, and stilts used in a kiln to support the wares.

kiln sitter Automatic shutoff device mounted on many elec-tric kilns; accepts a small-size pyrometric cone, and shuts off kiln when cone deforms.

kiln wash Refractory slip coating applied to top surface of kiln shelf to protect from glaze runs. For all but salt and wood firings, 50-50 kaolin and silica. For salt and wood, 60% alu-mina, 30% kaolin, 10% ball clay.

leather-hard Condition of clay where it has stiffened but is still damp.

low-fire Low-temperature firing range, usually below cone 02 (2048°F), used for most bisque-firing and for glaze-firing ter-racotta and whiteware.

low mid-range Firing range usually including cone 01 to cone 3, underused in studio ceramics, useful for functional earth-enware, refractory sculpture bodies, and outdoor terracotta work.

luster Metallic overglaze finish created either by painting pre-pared luster (metallic salt in organic binder) over previously fired glaze and firing to cone 018.

matt glaze Glaze featuring a dull, nonglossy surface.

mid-range Glaze-firing range usually including cone 4 to cone 7, very popular with electric kilns.

mishima East Asian method of creating an inlaid effect by applying contrasting slip into a design incised in leather-hard clay. When the slip stiffens, the excess is scraped off.

opacifier In glaze formulation, a material that produces inert inclusions or minute crystals in glaze, causing it to become opaque. Most common are tin oxide and zirconium silicate.

oxide A molecule combining any element with oxygen.

oxide stain A mixture of coloring oxide and water, sometimes including a little flux, used as an overall patina (often on un-glazed work) or for overglaze brushwork.

oxidation firing Any kiln atmosphere with an abundance of oxygen to combust the fuel and oxidize the ceramic materi-als. Includes all electric firings and any gas firing with ad-equate air to insure complete combustion of the fuel close to the burner.

Glossary of Common Termsst

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paddle and anvil Forming technique where a soft leather-hard form may be shaped and thinned with a wood or bisqued clay paddle on the outside and a rounded “anvil” of wood, stone, or bisqued clay applying corresponding pressure on the inside.

paddling Technique of shaping a soft or medium leather-hard piece by gently hitting with a wooden paddle (some-times textured) to create flat facets or to resolve irregulari-ties in the surface.

paper clay Technique popularized by Rosette Gault, utiliz-ing a clay body or slip containing paper pulp, which re-duces shrinkage in drying stage, and encourages extremely strong joinery, allowing unconventional joinery such as wet to dry.

paper resist Decoration technique where strips of moist or adhesive paper are adhered to the surface to resist applica-tion of slip or glaze.

patina An overall thin wash of glaze or oxide stain, allowing the color and texture of the clay body to show through.

peephole; spy-hole Small holes in kiln door or wall, allow-ing viewing of cones, flames, wares, and/or atmosphere during firing.

pinholing Glaze defect characterized by fine pinholes in the surface—often caused by pinholes already present in dry unfired glaze coating. Can also be caused by burst bubbles in glaze surface that are not given opportunity to “heal” at end of firing.

pit-firing A type of bonfire-firing where wares are buried in sawdust in a pit in the ground and a bonfire is built on top, so that the fire and coals slowly burn away the sawdust and fire the wares. Not to be confused with sawdust smoking.

plasticity Quality of moldable flexibility in damp clay—su-perior plasticity depends on smaller clay particle size, slight acidity, less nonplastic additives, aging of damp clay body, adequate water content, and/or addition of accessory plas-ticizers, such as Veegum T or Macaloid.

porcelain High-fired vitreous clay body containing kaolin, silica, fluxes and often ball clay to increase plasticity, with total clay component not more than 50%. Usually pure white or “eggshell” in color; some porcelains may fire translucent where thin.

posts Refractory columns used as kiln furniture to support kiln shelves.

press-mold A mold, usually plaster, into which moist clay is pressed to crease multiples.

pugmill A machine similar to an oversized meat grinder, used to homogenize plastic claybodies. Deairing pugmill has vac-uum pump attachment, effectively removes all air from clay, eliminating need for hand wedging.

pyrometric cones Small slender pyramidal-shaped indicators made of ceramic material formulated to bend at a specific temperature—standard method for determining maturing temperature of firing. Like clay and glazes, cones respond to temperature, duration, and atmosphere of firing far more accurately than mechanical measurement.

quartz inversion Abrupt expansion in heating and corre-sponding contraction in cooling that occurs in silica crystals in all clay and glazes at around 1063°F. Greatest risk is in cooling high-fired wares and in refiring previously high-fired wares.

raku In the West, firing process inspired by traditional Japanese raku firing. In American raku, work is removed from kiln at bright red heat and subjected to post-firing smoking by plac-ing in containers of combustible materials, which blackens raw clay and craze cracks in glaze.

ramp Profile of the firing of a kiln, including speed, duration, soaking periods, etc. of both the heating and cooling cycle, as in firing ramp and cooling ramp.

reduction Chemical reaction in which oxygen atoms are re-moved from a compound.

reduction firing In fuel-burning kilns, firing atmosphere with insufficient oxygen to completely combust fuel, introducing abundance of unoxidized carbon and hydrogen, which ex-tract oxygen molecules from surface of wares, altering ap-pearance of clay and glaze.

refractory Capable of withstanding very high temperatures.

refractories Any materials highly resistant to the effects of heat.

resist Material used in glazing and decorating that can be ap-plied to surface to prevent adhesion of slip or glaze.

rib Wide, flat handheld tool used to shape, smooth, and/or scrape clay surfaces; usually wood, rubber, plastic, or metal, either rigid or flexible, with straight, curved, or profiled edge.

roulette; coggle Small stamp wheel with raised pattern around the rim, which when rolled along a plastic clay surface leaves a band of relief pattern. Usually formed with damp or dry clay and bisque-fired.

s-cracks S-shaped cracks that occasionally appear in the bot-toms of wheel-thrown pots, resulting from inadequate compression of the bottom and/or excessive water left in bottom. Occur most often in fine-grain gritless claybodies, especially thrown off the hump.

saggar-firing Contemporary firing process in which wares are placed within refractory saggars, along with chemicals and combustibles, in order to achieve certain surface effects.

sawdust smoking; sawdust firing Cosmetic smoking process where unglazed wares are buried in sawdust in a brick enclo-sure or a perforated steel drum. Sawdust is ignited at the top and allowed to smolder down over a period of hours. Often mistakenly referred to as pit-firing, but does not achieve true firing temperatures, and wares must be bisque-fired first.

scoring Process of incising surface of wet or leather-hard clay in crosshatch pattern before applying slurry and join-ing pieces.

set To place wares in a kiln. Or, in a loaded kiln, the entire structure of shelves, furniture, and wares.

sgraffito Decorating technique achieved by scratching or carv-ing through a layer of slip or glaze (helps to apply wax-resist over glaze before carving) before firing to expose contrasting clay body beneath.

studio reference | glossaryGlossary of Common Terms


shino Classic Japanese glaze ranging from gray to white to orange, often containing spodumene or other source of lithium, and/or nepheline syenite. The orange color is achieved with thinner glaze coating when fluxes in the glaze activate iron content in the clay body. In the West, many potters seek shinos that break from off-white to orange, often with carbon-trapping effects. Carbon trapping can be accentuated with a brush coat of saturated soda ash solution.

shivering Serious and dangerous glaze defect where excessive glaze compression causes small razor-sharp chips of glaze to pop off along outer edges, corners, and rims. All wares showing shiver-ing must be destroyed. Cure is to slightly increase flux and/or decrease silica in glaze.

short Clay with insufficient plasticity—tends to fragment dur-ing forming.

shrinkage Permanent contraction of the clay in both drying and firing stages. Overall may be as much as 18%.

sieve A container with fine-mesh wire screen in the bottom, avail-able in different mesh sizes, used for straining slips and glazes.

single-firing; green firing Process of glaze-firing glazed green-ware without a bisque-firing.

sintering In heating clays and glazes, a solid-state reaction where particles stick together permanently, and the mass can be considered fired. With increasing temperature, fluxes and glass-formers begin to interact, increasing the strength of bond between refractory particles, still leaving an open, po-rous structure, as in bisque-fired and low-fired wares, which are sintered but not vitrified.

slab roller A mechanized but usually manually operated device for rolling out large uniform slabs of clay.

slip Clay suspended in water, usually the consistency of thick cream. May be colored and used to decorate surfaces, or may be cast into plaster molds to create ceramic forms.

slip trailing Application of decoration to wet or leather-hard clay by flowing on lines of slip with a fine pointed dispenser, such as a rubber syringe.

slump-mold A mold over which a moist clay slab is slumped in order to create a vessel form.

slurry Very thick clay slip, often used for joining clay pieces after scoring surfaces.

soaking During firing or cooling ramp, the act of holding kiln at steady temperature for a period of time to allow proper forma-tion or maturation of certain clay and glaze effects.

specific gravity The weight or density of a liquid measured in proportion to that of water. A glaze with a specific gravity of 1.2 is 1.2 times as dense as water per unit of measure.

sprigging Surface decorating technique in which small coils or balls of clay are affixed to the damp or leather-hard surface, usu-ally with a layer of slip.

stain Commercial ceramic colorants that have been fritted in or-der to eliminate solubility problems and give greater stability in firing and truer color before firing. Mixture of ceramic stains or pure coloring oxides (sometimes with a little flux) in water suspension, which can for overglaze brushwork, or as a patina on unglazed clay.

stilts Term often applied to all kiln posts, but more correctly re-ferring to specialized refractory furniture pieces equipped with ceramic or metallic points designed to support fully glazed wares during firing.

stoneware High-fired vitreous ware, literally as hard and durable as stone. Matures from cone 5–11.

terra sigillataUltrarefined clay slip that can give a soft sheen when applied to bone-dry wares and if polished or burnished while still damp may give a high gloss. All ancient Greek red-black pottery and Roman red wares were finished with this technique, without the use of glaze.

triaxial blend Method for testing three-way combinations of glaze materials, where proportional amounts vary through a series of samples between three limits. May involve change in glaze materi-als, or addition of colorants or modifiers.

trimming At the leather-hard stage, removal of excess clay from a piece, using any of a variety of sharp cutting tools.

underglaze; engobe Colored slips formulated to have low dry-ing shrinkage, allowing application to bone-dry or bisque-fired surface before glazing. Commercial underglazes are available in a wide palette of colors primarily for low-fire, but many will sur-vive high-fire.

underglaze decoration Process of applying any decoration to the bare, (usually bisque-fired) clay surface directly before glazing.

underglaze pencils Underglaze pigments in pencil form, excellent for marking wares and test-tiles, and for “pencil-drawn” decora-tive effects.

viscosity; viscous Reference to a material’s resistance to flowing. A viscous glaze flows less. As glass is heated it slowly becomes less viscous over a broad temperature range.

vitreous; vitrified; vitrification Fired clay that has fused together completely, so that the pores between refractory particles are filled with glass and the body is impervious to water.

vitreous engobe An engobe containing sufficient flux to form to a vitreous clay coating.

water of plasticity Amount of water required to bring a dry clay to its state of ideal plasticity. The more water needed, the finer the particle size, the more plastic the clay, and the greater the drying shrinkage.

water-smoking stage The stage during bisque-firing or single-firing, below 1200°F, when carbonates, nitrates, sulfates, or-ganic contaminants and chemically combined water volatize and outgas.

whiteware Low-temperature white clay body.

stud

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Clay: A Studio Handbook By Vince Pitelka

Drawing on more than 30 years of experience in ceramics, Pitelka has created the most practical, all-inclusive studio handbook for students, studio artists, educators and all those interested in the art of clay. Ten chapters, addressing the full range of ceramic processes, bring a lifetime of ceramic knowledge directly into the hands of potters. Concerned about safe and efficient studio operation, Pitelka pays diligent attention to safety practices.

Price: $44.95 | Order code: G055 ISBN: 1-57498-090-0Published 2001 | Hardcover 384 pages | 269 photos | 34 illustrationsOrder online at www.ceramicartsdaily.org/books


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Excerpted from Clay: A Studio Handbook by Vince Pitelka, published by The American Ceramic Society, 2001.

Albany slip clay Traditional dark brown slip clay. No longer being mined—use Alberta slip or Albany slip substitute.

Alberta slip clay Substitute for Albany slip. Highly fluxed with iron—true slip clay—will form glaze at high temperature.

alumina hydrate Al(OH)3—alumina source, rarely used in claybodies or glazes, because all needed alumina comes from clay and feldspar. Used primarily for shelf wash and wadding—better adhesion and suspension than aluminum oxide (Al2O3). Small additions increase viscosity of glaze melt. Should not be used as matting agent in func-tional glazes—produces immature glaze.

ball clay Al2O3•2SiO2•2H2O—fine particle-size secondary clay, ex-tremely plastic—primary plasticizing clay in most claybodies—in large quantities promotes high shrinkage.

barium carbonate BaCO3—alkaline earth—active high temperature flux, but also promotes matt glaze surface. Unsafe for low-fire func-tional glazes. Often used as additive in clay bodies in very small per-centages to render sulfates insoluble, reducing scumming.

bentonite Al2O3•5SiO2•7H2O—montmorillonitic clay formed from decomposition of airborne volcanic ash—finest particle-size of all clays—plasticizer (3-times as powerful as ball clay), suspension agent, should be used in quantities no more than 3% of dry materi-als weight.

blackbird slip/barnard slip Slip clay with very high iron content, often used as brown colorant for claybodies.

bone ash (calcium phosphate) Ca3(PO4)2—high temperature flux—opacifier in low temperature glazes—translucence in high tempera-ture glazes (from colloidal phosphorus globules) and especially in bone china (from supercharged glassy-phase).

borax (sodium tetraborate) Na2O•2B2O3•10H2O—a major low tem-perature alkaline flux, available in granular or powdered form. Gives smooth finish, bright colors. Water soluble, so is often used in fritted form. In excessive amounts creates brittle glass and can cause blister-ing and pinholing.

burnt umber Iron-manganese ore—good color source for basalt bodies.

chrome oxide Cr2O3—standard vivid green colorant—often softened with a little iron or manganese. Very refractory. With tin produces pink. May go gray-brown in reduction.

CMC gum Carboxymethylcellulose—an organic gum used as a sus-pension/adhesion agent in glazes. Normally, a small amount of gum is added to a quart or so of warm water and left overnight. Once dissolved, this solution may be added in small doses to glazes, slips, and engobes to improve application performance.

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

cobalt oxide Co3O4—calcined cobalt carbonate—twice as powerful—coarser than carbonate, and may give mottling in glaze. Works well for underglaze brushwork, with few crawling problems.

colemanite See Gerstley borate.

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.

copper oxide, black (cupric oxide) CuO—alternate source of cop-per, coarser particle size, twice as powerful as copper carbonate.

copper oxide, red (cuprous oxide) Cu2O—alternate source of cop-per, may help promote copper reds in LT and high temperature glaz-es. Rarely used, because has no affinity for water, and floats back to surface, but a few drops of detergent will break surface tension.

cryolite Na3AlF6—small amounts promote crackle effects, larger amounts become very volatile with silica and may cause blistering. Used for crater glazes.

Darvan Common deflocculant for casting slips.

dolomite MgCO3•CaCO3—high temperature alkaline earth flux, pro-motes hard, durable surfaces and recrystallization/matting in glazes. Often added to clay bodies to give longer firing range and can pro-mote more durable low-fire bodies.

Epsom salts (magnesium sulfate) MgSO4—water soluble, rarely used as magnesium source in glazes. Most often used as flocculant for slips and glazes. Often added to porcelain and porcelaineous stoneware bodies (H of 1% of dry materials weight) to counteract deflocculating alkalinity released by kaolins or fluxes.

feldspar High temperature alkaline fluxes—insoluble aluminum sili-cates of potassium, sodium, calcium, and/or lithium—inexpensive flux for clay and glaze. Substitution of soda spar for potash spar can lower vitrification by 100ºF.

fire clay Very refractory clay, for sculpture and raku bodies. Tremen-dous variation between different brands.

flint See silica.

fluorspar CaF2—limited use as flux. As with cryolite, fluorine reacts with silica at high temperatures, can cause pinholing, blisters. Useful in special-effect crater-glazes.

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

Gerstley borate, colemanite, calcium borate CaO•3B2O3—tradi-tional important low temperature alkaline flux.

grog Crushed hard-fired clay—a source of grit for claybodies—graded in sizes from 15-mesh (very coarse) to 150 mesh (extra fine). Does not shrink in firing, so in medium and coarse grades will show tex-ture through thin to medium glaze.

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—powdered rust—refrac-tory 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. More than 5% in a glaze significantly increases fluxing in reduction.

iron oxide, black (ferrous oxide) FeO—reduced form of iron ox-ide—gives same results as red iron in the firing, dependent on oxida-tion/reduction.

kaolin; china clay Al2O3•2SiO2•2H2O—very refractory white primary clay—essential ingredient of porcelain and whiteware—less plastic than most other clays.

kyanite 3Al2O3•2SiO2—aluminum silicate used in place of alumina and silica to promote formation of mullite crystals, increase thermal shock resistance. Coarse-ground used as grog in refractory bodies for kiln furniture.

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

macaloid Suspension agent/plasticizer similar to bentonite and Veegum T. Up to 2% of dry-materials weight as plasticizer in high-kaolin claybodies. Up to 0.05% of dry-materials weight as suspen-sion agent, brushing medium in glazes/slips. Mix with water before adding ingredients.

Glossary of Common CeramiC raw maTerials


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magnesium carbonate MgCO3—alkaline earth—high temperature flux, promotes mattness and opacity in LT glazes, smooth, hard, buttery surface in high temperature glazes—promotes purples or pinks with cobalt. High L.O.I., used to promote controlled crawl glaze effects.

magnesium sulfate See Epsom salts.

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. Concentra-tions of more than 5% may promote blistering.

molochite Porcelain grog—source of grit for pure white claybodies.

mullite 3Al2O3•2SiO2—calcined kyanite, but also found naturally. In-terlocking needlelike aluminum silicate crystals form in clays and glazes above 1800°F, increasing strength of body, glaze, and clay-glaze interface.

nepheline syenite K2O•3Na2O•4AlO3•9SiO2—a common feldspathic flux, high in both soda and potash, used in claybodies and glazes. Less silica than soda feldspars, and therefore more powerful. In-creases firing range of low-fire and mid-range glazes.

nickel carbonate, green NiCO3—weaker nickel colorant, reduces to green nickel oxide when fired.

nickel oxide, black Ni2O3—reduces to green nickel oxide early in fir-ing, and produces similar effects.

nickel oxide, green NiO—colorant or modifier—can give blues, tan, browns, greens, grays, dependent on fluxes present. Often used to mute the effects of cobalt, copper, and other colorants.

opax Zircon opacifier.

pearl ash (potassium carbonate) K2CO3 —high temperature alkaline potash flux, but soluble. Occasionally used as AT color modifier to soften effects of coloring oxides.

petalite Li2O•Al2O3•8SiO2—lithium feldspar—high temperature alka-line flux—good for reducing thermal expansion, increasing thermal-shock resistance.

plaster CaSO4•2H2O—hydrated calcium sulfate, manufactured from gypsum, which will set to a hard solid after being mixed properly with water. Used for making molds for pressing or casting ceramic forms.

pyrophyllite Al2O3•4SiO2•H2O—used in high temperature claybodies (20% or less) to reduce thermal expansion, increase thermal shock resistance, reduce shrinkage, give stronger vitreous bodies. May re-duce plasticity.

rutile Titanium ore, used as source of titanium dioxide, contains iron, other trace minerals—gives tan color, promotes crystallization giving mottled multicolor effects in some high temperature glazes, or in over-glaze stain (very refractory, use sparingly). Gives rich mottled medium blue in some high temperature glazes. Dark rutile contains higher per-centage of iron.

sand Granular silica (usually) —source of grit for claybodies—high shrinkage in high temperature claybodies, but gives smoother fired surface than grog.

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

silicon carbide SiC—used in very small quantities for localized reduction of copper reds—larger amounts for frothing glazes.

soda ash (sodium carbonate) Na2CO3—soluble source of soda, used as deflocculant, or to supply soda in vapor-glazing process. Source of flux in Egyptian paste recipes. Brush solution over hi-fire glaze to increase carbon trapping.

soda feldspar Na2O•Al2O3•6SiO2—feldspars contributing sodium (and potassium), primarily as a high temperature flux.

sodium silicate (waterglass) Na2SiO3—comes as liquid—used as a de-flocculant in slips, as an air-setting binder for low temperature refrac-tories. Many potters promote use in “magic water” for joining wet or soft leather-hard ceramic forms. Add 1.5% sodium silicate and 1.5% soda ash by weight to a measure of water.

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

stains Stable fritted ceramic colorants available in wide range of colors, suitable for coloring clays, slips, engobes, and glazes. Most are stable up to cone 5, many to cone 10. Can be mixed with 25–50% Ferro 3134 frit for Maiolica overglaze decoration.

strontium carbonate SrCO3—alkaline earth, high temperature flux, similar to barium, slightly more powerful—gives semi-matt surfaces. Nontoxic in balanced glaze. Substitute ¾ parts strontium to one part barium.

talc 3MgO•4SiO2•H2O—high temperature alkaline earth flux in glaze, promotes smooth buttery surfaces, partial opacity—similar compo-sition to clay, but in low temperature claybodies gives low shrinkage and high thermal shock resistance, as in standard 50/50 talc/ball clay whiteware body.

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

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

vanadium pentoxide V2O5—weak yellow colorant—toxic, expen-sive—usually fritted with tin to produce stronger yellow.

Veegum Cer Combination of Veegum T and carboxymethylcellulose (CMC) gum, used as a suspension and adhesion agent in glazes.

Veegum T Suspension agent/plasticizer similar to bentonite and ma-caloid. Up to 2% of dry materials weight as plasticizer in high-kaolin claybodies, and up to ½ of 1% of dry-materials weight as suspension agent, brushing medium in glazes and slips. Mix with water before adding other ingredients.

vermiculite A porous expanded mica product used to introduce mica flecks in claybodies and as filler in insulating refractory layer on kiln exterior.

volcanic ash (pumice) High temperature alkaline flux, similar in com-position to potash feldspar, but higher in silica, with at least 1% iron. May be substituted for 7 parts potash spar, 3 parts flint.

whiting (calcium carbonate, limestone) CaCO3—alkaline earth, contributing calcium oxide to glaze—powerful AT flux—major high temperature flux for glazes—gives strong durable glass. Sometimes used in low-fire claybodies to extend firing range and give greater fired strength.

wollastonite (calcium silicate) CaSiO3—used in partial replacement of silica and whiting in high temperature bodies, improves thermal shock resistance. In some cases, it is used in place of whiting to elimi-nate L.O.I.

yellow ochre High-iron yellow clay mineral, used as colorant in glazes and slips, converts to red iron oxide in oxidation or black iron oxide in reduction and/or high-fire.

zinc oxide ZnO—high temperature flux that promotes brilliant glossy surfaces. In some glazes can encourage opacity. With titanium in low-alumina glaze can encourage macrocrystalline growth (crystal-line glazes). Volatizes in high-fire reduction.

zirconium silicate ZrSiO4—zircon opacifier—inert dispersoid in glaze melt—low-cost substitute for tin oxide—use double the recipe weight of tin. Includes Zircopax, Opax, Superpax, Ultrox.

Glossary of Common CeramiC raw maTerials


Your resource for findingKilns | Clays | Tools | Glazes | Wheels | Supplies | Refractories | Raw Materials | and More

Geographic & Product LocatorQuickly locating one of 335 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. If you don’t see your local supplier, tell them to contact us to get in the next Buyers Guide.

Company DirectoryOnce you’ve located a local supplier or national resource, the Company Directory helps with all the nitty gritty. We’ve listed 335 of the most significant companies providing equipment, supplies and services potters and ceramic artists of all skill levels can use. The companies supplied us with information to help you find out more about what they offer and how they can help you.

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08BuyersGuideC E R A M I C A R T S

The only complete Buyers Guide for the studio potter


ALABAMAMeccaPotteryTools(Florence) • SouthAlabamaCeramicSupply(Montgomery) • • •

ARIZONAMarjonCeramicsInc.(Phoenix) • • • • • • • • • • DolanTools(Scottsdale) •

MarjonCeramicsInc.(Tucson) • • • • • • • • • • • Equipmentrepair,kiln,wheel

ARKANSASFlatRockClaySupplies(Fayetteville) • • • • • • • • • • • ConsultingforSchools&Artcontests

CALIFORNIAPhoenixCeramic&FireSupply(Arcata) • • • • • • • • • • W.P.DawsonInc.(Brea) • CreativePaperclayCo.(Camarillo) • Air-drymodelingmaterialsCeramicServices(Chino) • • • • • • KemperTools(Chino) • LagunaClayCo.(CityofIndustry) • • • • • • • • • • Graber’sPotteryInc.(Claremont) • GordonBrushMfg.Co.Inc.(Commerce) • SnyderImports(Comptche) • LamppartsTheChineseClayArt,USA(Cupertino) • • • ChinatourandculturalexchangeMudinMind(ElCajon) • • • • • • CreativeIndustries(ElCajon) • • • • MoldsChrisHenleyTools(Encinitas) • DuncanEnterprises(Fresno) • • • • • B&WTileCo.Inc.(Gardena) • GeilKilnsCo.(HuntingtonBeach) • • ArtDecalCorp.(LongBeach) • DecalsEchoCeramics(LosAngeles) • • • • • • • WestCoastKiln(LucerneValley) • NascoArts&Crafts(Modesta) • • • • • • • OlsenKiln(MountainCenter) • FreeformClay&Supply(NationalCity) • • • • • • • • • • • KilnrepairFalconCompany(Olivenhain) • • KeithCompany(PicoRivera) • Aftosa(Richmond) • • • • JiffyMixerCo.Inc.(Riverside) • AlphaFiredArts(Sacramento) IndustrialMineralsCo.(Sacramento) • • • • • • • HyperGlaze/RichardBurkett(SanDiego) • SoftwareforglazesCeramics&CraftsSupplyCo.(SanFrancisco) • • JapanPotteryTools(SanFrancisco) • A&DWeighing(SanJose) • BalanceandscalesLilyPondProducts/CambellIndustrialSupply(Sanger) • • • SlipcastingequipmentAardvarkClay&Supplies(SantaAna) • • • • • • • • • MilesCeramicColor(SantaAna) • ClayPlanet(SantaClara) • • • • • • • • • • CaliforniaPotTools(SantaPaula) • PeterPuggerMfg.,Inc.(Ukiah) • • CeramicArtSpace(VanNuys) • • • Pure&SimplePotteryProducts(Willits) • • Molds

COLORADOHerringDesigns,LLC(Breckenridge) • • CarbondaleClayCenter(Carbondale) • ClassesSouthernColoradoCeramicSupply(ColoradoSprings) ThomasStuartWheels(Denver) • • • MileHiCeramics,Inc.(Denver) • • • • • • • • • • • Silverclay,chinapaintsKillamGasBurnerCo.(Denver) • • BluebirdMfg.Inc.(Ft.Collins) • • • • RockyMountainWoodMasters,Ltd.(HighlandRanch) ARC(Lakewood) • • • • BNZMaterialsInc.(Littleton) • • InsulatingfirebricksSculptureDepot(Loveland) GlypticModelingTools(Loveland) •

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CONNECTICUTTRustyKilnCeramicStudio(NorthWindham) • • • • • • • • R.T.VanderbiltCo.Inc.(Norwalk) • DuraliteInc.(Riverton) • •

DELAWAREJ.&J.CeramicStudio(Dover) • • • • • Nabertherm,Inc.(NewCastle) •

FLORIDAAtlanticPotterySupplyInc.(AtlanticBeach) • • • • • • • JepsonPottery&WorldPotteryInstitute(Geneva) • • • • Jen-KenKilns(Lakeland) • SummitKilns(LandOLakes) • • • • CandRProducts,Inc.(Ocala) • • • • • BennettPotterySupply(Ocoee) • • • • • • • CalcoworldCeramicDecals(Orlando) • DecalsAxnerCo.Inc.atradenameofLagunaClayCo.(Oviedo) • • • • • • • • • • TheArtsCenter(St.Petersburg) • • Year-roundclasses&workshopsHighwaterClaysofFlorida(St.Petersburg) • • • • • • • • • St.PetersburgClayCompanyInc.(St.Petersburg) • • StudiorentalArmoryArtCenter(WestPalmBeach) • ExhibitionsandclassesOTT-LITETechnology(Tampa) • •

GEORGIADavensCeramicCenter(Atlanta) • • • • • • • • • FortPotteryCo.(Augusta) • • • • • • • • Deliveryin3statesCreativeGlazes(Duluth) • • OlympicKilns(FloweryBranch) • • • LarkinRefractorySolutions(Lithonia) • • • RefractoriesKickwheelPotterySupplyInc.(Tucker) • • • • • • • • • •

HAWAIICeramicsHawaiiLtd.(Honolulu)

IDAHOThePotter’sCenter(Boise) • • • • • • • • WendtPottery(Lewiston) • • • • • • • •

ILLINOISU.S.PigmentCorp.(Bloomingdale) • • GreatLakesClay&Supply(Carpentersville) • • • • • • • • • • PaascheAirbrushCo.(Chicago) • MetomicCorporation(Chicago) • LamppartsSapirStudios(Chicago) • DisplayproductsBootheMoldCompany(Dupo) •CeramicSupplyChicago(Evanston) • • • • • • • • • • BadgerAirBrushCo.(FranklinPark) • • DickBlickArtMaterials(Galesburg) • • • • • • • • CrystalProductions(Glenview) • • PrintsandpostersShimpoCeramics(Nidec-ShimpoAmericaCorp.)(Itasca) • • • • InternationalDecalCorp.(Northbrook) • • • DecalsArtClayWorld,USA(OakLawn) • • • • • • DebcorInc.(SouthHolland) • EdHoyInternational(Warrenville)

INDIANAUnitedArt&Education(Ft.Wayne) • • • • • • • BrickyardCeramics&Crafts(Indianapolis) • • • • • • • • • • • MoldsAmericanArtClayCo.,Inc.(Amaco/Brent)(Indianapolis) • • • • • • • • SugarCreekIndustry,Inc.(Linden) • • • RoyalandLangnickelBrushMfg.(Merrillville) •

IOWAJohnsonGasApplianceCo.(CedarRapids) • • BartlettInstrumentCo.(Ft.Madison) • ScotlinCeramics(McGregor) • • • • • • • •

KANSASCreativeParadise(Goddard) • EasyCeramicDecals,LLC(KansasCity) DecalsBracker’sGoodEarthClays(Lawrence) • • • • • • • • • • SoldnerClayMixersbyMuddyElbowMfg.(Newton) • ClayStamps.com(Olathe) EvansCeramicSupply(Wichita) • • • • • • • • • •

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KENTUCKYOldHickoryClayCo.(Hickory) • • KentuckyMudworksLLC(Le•ington) • • • • • • LouisvilleFireBrickWorks(Louisville)

LOUISANASouthernPotteryEquipment&Supplies(BatonRouge) • • • • • • • • • AlligatorClayCompany(BatonRouge) • • • • • • • • BlueDiamondKilns(Metarie) • NewOrleansClay(NewOrleans) • • • •

MAINEPortlandPotterySupply(Portland) • • • • • • • • • • MiracleBat(York) • •

MARYLANDClayworksSupplies,Inc.(Baltimore) • • • • • • • • • BaltimoreClayworks(Baltimore) • BuyersMarketofAmericanCraft(Baltimore) • • ChesapeakeCeramicsSupply(Baltimore) • • • • • • • • BearCreekPottery(Bowie) • • • • • Sinks,stilts,postsPotteryTools.com(Sinkburg) •

MASSACHUSETTSPortlandPotterySupplySouth(Braintree) • • • • • • • • • AmherstPottersSupply(Hadley) • • • • • • • GareInc.(Harverhill) • • • • • MoldsThePottersShopandSchool(Needham) • SheffieldPotteryInc.(Sheffield) • • • • • • • • • • • EquipmentrepairCeramicsConsultingServices(Southampton) • • CeramicsconsultingBostonKilnSales&Service(Watertown) • • • • • Repairservice

Saint-GobainCeramics(Worcester) • SiCkilnshelves

MICHIGANPebblePress,Inc.(AnnArbor) • • EvenheatKilnInc.(Caseville) • RunyanPotterySupplyInc.(Clio) • • • • • • • • • • • GlasskilnsandglasssuppliesGilmourCampbellCo.(Detroit) • WestMichiganClay(Hamilton) • • • • • • • • • CrossroadsPottery&ClayCompany(Jackson) • • • • • • • • • ManitouArts(Leland) • WoodaccessoriesfortilesDu-AllDrafting&Art(MadisonHts.) • • • Har-BonCeramics&Decals(PresqueIsle) • DecalsRovinCeramics(Taylor) • • • • • • • • • •

MINNESOTAMinnesotaClayCo.USA(Edina) • • • • • • • • • • MasterKilnBuilders(Farmington) • • DunghanrachClayCo.(Melrose) • • • • • BrownToolCo.(Minneapolis) • ContinentalClayCo.(Minneapolis) • • • • • • • • • • Smith-SharpeFireBrickSupply(Minneapolis) • • TriarcoArts&CraftsLLC(Plymouth) • • • • • • • • • •

MISSISSIPPIDogwoodCeramicSupply(Gulfport) • • • • • • • • • • Slabrollers

WhistlePress(Petal) •

MISSOURIChristyMineralsCo.(HighHill) • KCMetroCeramic&PotterySupplies(KansasCity) • • • • • • • • L&RSpecialtiesInc(Nixa) • • • • • • • • • KruegerPottery,Inc.(St.Louis) • • • • • • • • • • • Classes&Workshops

MONTANAArchieBrayFoundation(Helena) • • • • • • • • • •

NEVADACressMfg.Co.(CarsonCity) • AardvarkClay&Supplies(LasVegas) • • • • • • • • • BisonStudios(LasVegas) • BigCeramicStore.com(Sparks) • • • • • • • • NevadaDan’s(Sparks) • • • PotteryWest(LasVegas) • Classes

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NEW HAMPSHIREW.K.Hillquist,Inc.(Hudson) • • DisplayproductsMidlanticClay(Bellmawr) • • • • • • • • •

NEW JERSEYInstarBeautifulDecals(E.Brunswick) • Decals,ceramicandglassCurranPfeiffCorp.(Edison) • • HobbyColorobbia(ElmowwodPark) • • • • Hammill&GillespieInc.(Livingston) • CeramicSupplyCompany(Lodi) • • • • • • • • • • NewBrunswickLampShadeCo.(NorthBrunswick) • LampshadesAmericanPotters.com(Rockaway) L&LKilnMfg.Inc.(Swedesboro) • • •

NEW MEXICOCoyoteClay&Color(Albuquerque) • • NewMexicoClay,Inc.(Albuquerque) • • • • • • • • • • • SilverclayTaosClay(ElPrado) • SantaFeClay(SantaFe) • • • • • • • • • • • Classes,workshops,gallery

NEW YORKCharlesA.HonesInc.(Amityville) • KilnburnersEastValleySupply(Andover) • CeramicsepoxyStudioSalesPotterySupply(Avon) • • • • • • • • • • TheMudpit(Brooklyn) • • • • • • • • Equip.repair,studiorental,firingsTekaFineLineBrushesInc.(Brooklyn) • • DecalsVent-A-KilnCorp.(Buffalo) • CeramicArtsLibrary(Corning) • PCFStudios(Honeoye) • BaileyPotteryEquipment(Kingston) • • • • • • • • • • • Pugmills/ClaymixersArtsystems,Ltd.(NewYork) • • SoftwareforgalleriesAmericanCraftCouncil(NewYork) • • AssociationArtfi•tures(NewYork) • DisplaystandsEagleZincCompany(NewYork) • RocklandColloidCorp.(Piermont) • ClayscapesPotteryInc.(Syracuse) • • • • • • • OneidaAirSystems,Inc.(Syracuse) • • • ShopvacuumaccessoriesNortheastCeramicSupply(Troy) • • • • • • • • Doo-WooToolsLLC(Warwick) • AlpineKilnsandEquipmentLLC(Warwick) • • Kiln-RayServices(Warwick) • • • • • RochesterCeramics,Inc.(Webster) • • • • • • • • •

NORTH CAROLINAHighwaterClays,Inc.(Asheville) • • • • • • • • • LarkBooks(Asheville) • CarolinaClayConnection(Charlotte) • • • • • • • • • Potterystamp.com(Charlotte) • Claymakers(Durham) • • • • • • • • RescoProductsInc.(Greensboro) • Mudtools(Hendersonville) • BasicMachineryCo,Inc.(SilerCity) WilliamsSupply(Star) • • • • • • SpeedballArtProductsCo.(Statesville) • • ScreenprintingproductsFatCatPotteryInc.(Wilmington) • • • • • • • •

OHIONationalArtcraftCo.(Aurora) • • • • • • • AccessoriesA&KClayCompanyLLC(Bethel) LagunaClayCo.(Byesville) OlympicEnterprisesInc.(Campbell) • • • VulcanKilns(Centerville) • • • FunkeFiredArts(Cincinnati) • • • • • • • • • MaxfieldCeramicsSupplyInc(Cincinnati) • • • • • • • • • • • Extruders,slabrollersandslipAegeanSpongeCo.(Cleveland) • Mudmats(Columbus) • • • • MatsBareclay(Columbus) • ColumbusClay(Columbus) • • • • • • • • • RAMProductsInc.(Columbus) • WiseScreenprint(Dayton) • Customceramicandglassdecals.

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CornellStudioSupply(Dayton) • • • • • • • • • • • EnamelingandsculptingsuppliesInnovativeCeramicCorp.(EastLiverpool) • Ceramicdecals,DurafireinksMasonColorWorksInc.(EastLiverpool) • • StainsMaycoColors(Hilliard) • • • • Brushes,magicmetallicsMarylandRefractoriesCo.(Irondale) • OhioCeramicSupplyInc.(Kent) • • • • • • • • • • • SlipHandmadeLampshades(Maumee) • LampshadesCedarHeightsClayOperation(OakHill) • KrumorInc.(ValleyView) • ThermocouplesandRTDsOrtonCeramicFoundation(Westerville) • • • • ConesOlympiaEnterprises,Inc.(Youngstown) • • • Decals,blankporcelain

OREGONTheKilnElementsCo.(Birkenfeld) • • AimKilnMfg.(Corvallis) • • • • • GeorgiesCeramic&ClayCo.Inc.(Eugene) • • • • • • • • • • Mudshark(Portland) • • MoldmakingSkuttCeramicProducts(Portland) • GeorgiesCeramic&ClayCo.Inc.(Portland) • • • • • • • • • • PotteryVideos.com(Portland) • SouthernOregonPotterySupply(Talent) • • • • • • • • • • Repairs

PENNSYLVANIACeramicServicesInc.(Bensalem) • • InsulatingFirebrick,Inc.(Butler) • InsulatingfirebricksTheClayPlace(Carnegie) • • • • • • • • • • M&MPotterySupply(Corry) • • • • • • • • • DelValPotter’sSupplyCo.(Glenside) • • • • • • • Penn-MoFireBrickCo.(Harrisburg) • • • • • • • Nilfisk-AdvanceAmericaInc.(Malvern) • IndustrialvacuumsShenangoAdvancedCeramics(NewCastle) • TheCeramicShop(Philadelphia) • • • • • • • • • • RentalstudiospaceCamp’sClayAccessories(Philadelphia) • StandardCeramicSupplyCo.(Pittsburgh) • FrogPondPottery(Pocopson) • • GlazesoftwarePlacidCeramics(Washington) • • • • • • • PetroMoldCo(Waterford) • • Moldmaking

RHODE ISLANDDewClawStudios(Pawtucket) • • • • • • Customglazesprepared

SOUTH CAROLINAClay-King.com(Spartanburg) • • • • • • • • eArtWorld.com(Spartanburg) • • • • • • • • CoastalCeramics(Summerville) • • • • • •

SOUTH DAKOTAPacerCorp.(Custer) • DakotaPottersSupply(SiouxFalls) • • • • • • • • •

TENNESSEEWardBurnerSystems(Dandridge) • • • • • ArrowmontSchoolofArts&Crafts(Gatlinburg) • • • TheClayLady(Herdersonville) • • • • • • • • • • ClayLadyproductsMid-SouthCeramicSupplyCo.(Nashville) • • • • • • • • • • • ClayLadyproductsKentucky-TennesseeClayCo.(Nashville) • H.C.SpinksClayCo.Inc.(Paris) • ShakeragWorkshops(Sewanee) • Workshops

TEXASArmadilloClay&Supplies(Austin) • • • • • • • • • • TrinityCeramicSupplyInc.(Dallas) • • • • • • • • AmericanCeramicSupplyCo.(Ft.Worth) • • • • • • • • • TexasPotterySupply&ClayCo.(Ft.Worth) • • • • • • • • • PMCConnection(Garland) • • • • CeramicStoreInc.(Houston) • • • • • • • • • BellaBisque,Inc.(Kyle) • • DisplayYourArtbyGlassica(LibertyHill) • • DisplayproductsParagonIndustries,L.P.(Mesquite) • OldFarmhousePottery(Rusk) • ClayworldInc.(SanAntonio) • • • • • • • • • • Ex-CelslipGSMEnterprises,KilnSalesandServices(SanAntonio) • • • • • Etc.,Etc.,Etc.(WichitaFalls) • • • • • • • • • •

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studio reference | geographic locator


UTAHCapitalCeramicsInc.(SaltLakeCity) • • • • • • • •

VIRGINIASpunEarthPottery(Forest) • • • • TheKilnDoctorInc.(FrontRoyal) • • • • • Consulting/InstallationTinBarnPotterySupplyatManassasClay(Manassas) • • • • • • • • • • • GlazekitchenCampbell’sCeramicSupplyInc.(Richmond) • • • • • • • ClayPeople(Richmond) • • • • • • • • •

WASHINGTONNorthStarEquipmentInc.(Cheney) • • GiffinTecInc.(LummiIsland) • • NewCenturyCeramicArtsInc.(Seattle) • • • CrucibleKilns(Seattle) • SeattlePotterySupply(Seattle) • • • • • • • • • • PrecisionTerrefirma(Spokane) • Rings&ThingsWholesale(Spokane) • ClayArtCenter(Tacoma) • • • • • • • • • • ScottCreekPotteryInc.(Tacoma) • • ClayInMotion(WallaWalla) • • • Industrial

WISCONSINMKMPotteryToolsLLC(Appleton) • NascoArts&Crafts(Ft.Atkinson) • • • • • • • SaxArts&Crafts(NewBerlin) • • • • • • • • A.R.T.StudioClayCo.Inc.(Sturtevant) • • • • • • • • •

AUSTRALIAVencoProducts(KelmscottWA) • •

CANADAPlainsmanClayLtd.(MedicineHat) • • • • • • • • • • GreenbarnPottersSupplyLtd.(Surrey) • • • • • • • • • BambooTools(Surrey) •CeramicArts&CraftsSupply(Burlington) • • • • • • EuclidsKilns&Elements(Oakville) • • • • Euclid’s/ThePotterySupplyHouseLtd.(Oakville) • • • • • • • • • • Tucker’sPotterySuppliesInc.(RichmondHill) • • • • • • • • • • SpectrumGlazes(Toronto) • MercedesCeramicSupplies(Woodbridge) • • • • • • • • DigitalFireCorp.(Cornwall) • • EdouardBastaracheInc.(Sorel-Tracy) •

ITALYLaMeridiana(Certaldo) • Workshops

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A & K ClAy CompAny llC 937-379-1495 3664 Bethel new Hope Rd. Bethel, oH 45106

A & D WeigHing 408-263-5333 1756 Automation pkwy. Fax: 408-263-0119 San Jose, CA 95131 Toll-free: 800-726-3364A&D sells scales, balances and indicators. established in 1977, A&D is always providing clearly a better value to those it serves.

A.R.T. STuDio ClAy Co. inC. 262-884-4278 9320 michigan Ave. Fax: 262-884-4343 Sturtevant, Wi 53177-2425 A.R.T. Studio Clay Company has a rainbow of glazes from around the country, and a great selection of clay, tools, wheels, kilns and equipment.

AArdvArk ClAy & SupplieS 714-541-4157 1400 e. pomona St. Fax: 714-541-2021 Santa Ana, CA 92705-4812

e-mail: [email protected] Website: www.aardvarkclay.com

Most comprehensive line of products from cone 018 thru cone 10 in the u.S.

AArdvArk ClAy & SupplieS 702-451-9928 6230 Greyhound lane Fax: 7024519928 las vegas, Nv 89122

e-mail: [email protected] Website: www.aardvarkclay.com

AegeAn Sponge Co. 216-749-1927 4722 memphis Ave. Fax: 216-749-2110 Cleveland, oH 44144 Toll-free: 800-276-8542natural and synthetic sponges: silk, elephant ear, sea and wool. Wholesaler of ceramic and craft supplies, including electrical, clocks, music boxes, Hanovia products, Royal brushes and more. Catalog available.

AFtoSA 510-233-0334 1776 Wright Ave. Fax: 510-233-3569 richmond, CA 94804 toll-free: 800-231-0397

e-mail: [email protected] Website: www.aftosa.com

Aftosa is the leading wholesaler of supplies to the ceramic and pottery community. Aftosa offers bisque ware and contract manufacturing as well.

Aim Kiln mFg. 541-758-8133 350 SW Wake Robin Ave. Fax: 541-758-8051 Corvallis, oR 97333-1619 Toll-free: 800-647-1624electric and gas-fired kilns, kiln controls and kiln accessories. Custom builds and repairs.

AlligAToR ClAy CompAny 225-932-9457 2721 W. perdue Fax: 225-932-9446 Baton Rouge, lA 70814 Toll-free: 888-503-2299Alligator Clay Company, a division of Southern pottery equipment and Supplies llC, manufactures quality moist clay bodies and custom clay bodies.

AlpHA FiReD ARTS 916-484-4424 4675 Aldona lane Fax: 916-484-6172 Sacramento, CA 95841 Classes and supplies

Alpine KilnS AnD equipmenT llC 888-222-9196 65 Southern lane Fax: 845-926-3125 Warwick, ny 10990-1275 manufacture front loading gas and electric kilns since 1943, glaze formulating, tables, work tables, spray booths, wedging tables and ball mills.

AMeriCAN Art ClAy Co. (AMACo/BreNt) 6060 Guion rd. 317-244-6871 indianapolis, iN 46254-1222 Fax: 317-248-9300 toll-free: 800-374-1600

e-mail: [email protected] Website: www.amaco.com

Ceramic supplies and equipment including clay, kilns, slip, glazes, tools, molds, greenware, wheels and slab rollers plus art and craft products. We carry all the name brands including AMACo, Brent, excel, Mayco, duncan, Gare, Creative paradise, doc Holliday, Madeinfire and many more. Ask about our workshops.

AMeriCAN CerAMiC Supply Co. 817-535-2651 2442 ludelle St. Fax: 817-536-7120 Ft. Worth, tX 76105-1060 toll-free: 866-535-2651

e-mail: [email protected] Website: www.AmericanCeramics.com

Great 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. National and international daily shipping.

AmeRiCAn CRAFT CounCil 212-274-0630 72 Spring St. Fax: 212-274-0650 new york, ny 10012 American Craft Council is a publisher.

AmeRiCAnpoTTeRS.Com 973-945-3553 165 Hoagland Ave. Rockaway, nJ 07866-3013

AmHeRST poTTeRS Supply 413-586-4507 47 east St. Fax: 413-584-5535 Hadley, mA 01035 We specialize in custom mixed de-air clays and an assortment of our own cone 6 glazes visible on our website.

ARC 303-232-2616 7801 W First Ave Fax: 303-232-4545 lakewood, Co 80226 precision kilns for production or professional potters. new burner assemblies to code. Alpine Kiln sales and rebuilding. Studio setup consulting, Turnkey bids. 25 years experience.

ArCHie BrAy FouNdAtioN 406-442-2521 2915 Country Club Ave. Fax: 406-443-0934 Helena, Mt 59602-9240 toll-free: 800-443-6434

e-mail: [email protected] Website: www.archiebray.org

the u.S. distributor for Alberta and ravenscrag slip, a base glaze material. A supplier for Bray patch, a repair and patch material that can be used on green or bisqueware. Manufacture of 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 Armadillo sells both retail and wholesale. We are a one-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!

Armory Art Center 561-832-1776 1700 parker Ave. Fax: 561-832-0191 West palm Beach, Fl 33401-7042

Website: www.armoryart.orgCommunity-based visual arts education and exhibition center providing opportunities for individuals. the Center seeks to educate, enrich and engage a diverse population through the experience of art.

ARRoWmonT SCHool oF ARTS & CRAFTS 865-436-5860 556 parkway Fax: 865 430-410 gatlinburg, Tn 37738 educational classes, workshops, galleries and a supply store.

ART ClAy WoRlD, uSA 708-857-8800 4535 S.W. Hwy. Fax: 708-636-5408 oak lawn, il 60453 Art Clay uSA specializes in unique types of clay and materials as well as offering multi-level classes in many locations across the united States and Japan.

ART DeCAl CoRp. 562-434-2711 1145 loma Dr. Fax: 562-494-7869 long Beach, CA 90804 quality single and multi-color, made to order waterslide onglaze, inglaze and glass decals for the decorator.

ARTFiXTuReS 212-472-7760 211 e. 70th St. Fax: 212-472-3555 new york, ny 10021 Wholesale/retail, large and small acrylic display stands.

THe ARTS CenTeR 727-822-7872 719 Central Ave. Fax: 727-821-0516 St. petersburg, Fl 33701 master Artists Workshops and classes in ceramics for novice to professional: wheel-throwing, sculpting, hand-building. Studio classes offered in all media. members exhibit and sell work.

ARTSySTemS, lTD. 212-620-5500 11 W. 25th St. Fax: 425-940-1060 new york, ny 10010 Art gallery business management software with support services.

ATlAnTiC poTTeRy Supply inC. 904-249-4499 400 levy Rd. Fax: 904-339-0014 Atlantic Beach, Fl 32233 Retail and wholesale pottery supply business.

AXNer Co. iNC. A trAdeNAMe oF lAGuNA ClAy Co. 490 kane Ct. Fax: 407-365-5573 oviedo, Fl 32762 toll-free: 800-843-7057 407-365-2600

e-mail: [email protected] Website: www.axner.com

Axner pottery Supply offers you the best quality, pricing and service for pottery supplies, materials, equipment and books.

B & W Tile Co. inC. 310-538-9579 14600 S. Western Ave. Fax: 310-528-2190 gardena, CA 90249 Toll-free: 800-499-TileFamily-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: 847-671-4352 Franklin park, il 60131 Toll-free: 800-222-7553Badger manufactures several types of airbrushes designed to meet a vast array of spray needs. We also offer many airbrush-related products including a full spectrum of airbrush paints, masking mediums, etc.

BAiley pottery equipMeNt 845-339-3721 62 tenbroeck Ave. Fax: 845-339-5530 kingston, Ny 12402 toll-free: 800-431-6067

e-mail: [email protected] Website: www.baileypottery.com

quality 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 5706 Smith Ave. Fax: 410-578-0058 Baltimore, mD 21209 youth and adult classes, workshops and exhibitions.

BAmBoo ToolS 604-782-3202 po Box 74009 111-16033 108th Ave. Surrey, BC V4n 5H9 CanadaBamboo tools are the most widely used pottery tools by production potters inthe orient for centuries. Bamboo is the best material for pottery tools because they are durable, lightweight, and fit human anatomy.

BAReClAy 614-271-8225 399 Thurman Ave. Columbus, oH 43206 Bareclay specializes in repair and restoration of damaged ceramics. We can, in most cases, restore broken heirlooms to their original beauty. Before and after photos on web. letters of reference available.

BARTleTT inSTRumenT Co. 319-372-8366 1404 Ave. m Fax: 319-372-5560 Ft. madison, iA 52627 Bartlett instrument Company designs and manufactures kiln controllers used by many major kiln manufacturers. our mission is to provide reliable, easy-to-use and economical controllers.

BASiC mACHineRy Co, inC. 919-663-2244 po Box 6878 Siler City, nC 23744-0688

BeAR CReeK poTTeRy 301-860-1664 x14 5409 lake Ford lane Bowie, mD 20720 manufacturers and wholesalers of Cone 1, 6, 10 bisque sinks, kiln stilts, 130 different styles, kiln posts, saggers, tile and now we are adding to our glass mold catalog. Retail accounts welcome at wholesalers prices.

BellA BiSque, iNC. 512-405-3848 po Box 1212 Fax: 512-405-3849 kyle, tX 78640 toll-free: 866-902-3552

e-mail: [email protected] Website: www.bellabisque.com

We are a bisque manufacturer 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.

BeNNett pottery Supply 407-877-6311 431 enterprise St. Fax: 407-877-3559 ocoee, Fl 34761 toll-free: 800-432-0074

e-mail: [email protected] Website: www.bennettpottery.com

Complete line of Skutt and l&l kilns, and Brent, pacifica and Shimpo potters wheels at super discounted prices. Call for our wholesale catalog. online catalog.

BiGCerAMiCStore.CoM 775-351-2888 881 e. Glendale Ave. Fax: 419-858-9679 Sparks, Nv 89431 toll-free: 888-513-5303

e-mail: [email protected] Website: www.bigceramicstore.com

Huge 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 manufacturer of functional tungsten carbide trimming/turning tools for potters. Direct sales.

Blue DiAmonD KilnS 504-835-2035 2009 S. Hullen Fax: 504-835-6548 metarie, lA 70004 Toll-free: 800-uSA-Kilnmanufacturer of electric ceramic, glass and custom-ordered kilns.

BlueBiRD mFg. inC. 970-484-3243 po Box 2307 Fax: 970-493-1408 Ft. Collins, Co 80522-2307 Toll-free: 800-335-0741manufacturers of 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. 303-978-1199 6901 S. pierce St. #260 Fax: 303-978-0308 littleton, Co 80128 We are the manufacturer of BnZ-24 HK insulating Firebrick, which is the premium brick available today for the proper lining and insulation of hobby kilns.

BooTHe molD CompAny 618-286-5100 #9 Boothe plaza Dupo, il 62239 Reference site for fired art information.

BoSTon Kiln SAleS & SeRViCe 617-926-1802 po Box 841 Fax: 781-391-8942 Watertown, mA 02472 Boston Kiln provides 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 785-841-4750 1831 e. 1450 rd. Fax: 785-841-8142 lawrence, kS 66044 toll-free: 888-822-1982

e-mail: [email protected], [email protected]

Website: www.brackers.comSupplying ceramic and sculpture materials, equipment, tools and accessories to potters, sculptors, teachers, schools, institutions and hobbyists since 1982.

BriCkyArd CerAMiCS & CrAFtS 317-244-5230 6060 Guion rd. Fax: 317-248-9300 indianapolis, iN 46254 toll-free: 800-677-3289

Website: www.brickyardceramics.comBrickyard Ceramics and Crafts carries supplies for potters, teachers, hobby ceramics and the crafter. We are indiana’s largest supplier and carry many glaze lines, plus equipment.

BRoWn Tool Co. 612-331-1556 212 13th Ave. ne Fax: 612-331-1556 minneapolis, mn 55413 Toll-free: 800-980-8665Replaceable-blade trimming tools and adjustable glazing tongs.

BuyeRS mARKeT oF AmeRiCAn CRAFT 3000 Chestnut Ave. Ste. 300 410-889-2933 Baltimore, mD 21211 Toll-free: 800-432-7238 Fax: 410-889-1320

The Buyers market of American Craft is the 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. 7495 SW 38th Street Fax: 352-861-2507 ocala, Fl 34474 Toll-free: 800-657-7020C and R products–your Fired Art Superstore! Full distributors for color, bisque, kilns, supplies and glass.

CAlCoWoRlD CeRAmiC DeCAlS 407-352-6176 312 Houston Woods Ct Fax: 407-903-1392 orlando, Fl 32824 unique selection of imported ceramic decals with hundreds of designs available in open stock. Contact us for your full-color catalog.

CAliFoRniA poT ToolS 805-525-0080 792 manor Ridge Rd. Fax: 805-525-4704 Santa paula, CA 93060-1651

We manufacture a variety of clay decorating tools. This includes 42 embossed patterns, in different shapes and sizes, that can be rolled or pressed into wet clay. Send for our free catalog.

CAmpBell’S CeRAmiC Supply inC. 804-329-0109 4231 Carolina Ave. Fax: 804-329-1439 Richmond, VA 23222 Toll-free: 800-399-0660Campbells manufactures a complete line of pottery, clay, glaze and slip. Visit us at our headquarters in Richmond, VA, or stop by one of 24 dealers along the east Coast.

CAmp’S ClAy ACCeSSoRieS 215-333-9060 11 longford St. philadelphia, pA 19136 Camp’s Clay Accessories sells tool and other clay accessories.


CApiTAl CeRAmiCS inC. 801-466-6471 2174 S. main St. Fax: 801-466-6946 Salt lake City, uT 84115 For more than 50 years we have been the main source of potters’ supplies and equipment for utah and the surrounding area. outstanding customer service and prompt shipment of orders have contributed to our reputation as a good place to do business.

CArBoNdAle ClAy CeNter 970-963-2529 135 Main St. Fax: 970-963-4492 Carbondale, Co 81623

e-mail: [email protected] Website: www.carbondaleclay.org

the Clay Center is a nonprofit community clay studio serving Colorado’s roaring Fork valley and beyond, offering year-round, high quality ceramic arts classes and activities for adults and children.

CARolinA ClAy ConneCTion 704-376-7221 2132 Hawkins St. Fax: 704-376-6824 Charlotte, nC 28203 We are a full-service supplier, featuring clays by Standard, Highwater and laguna. We carry equipment by most major manufacturers. We are very service-oriented with easy accessibility.

CeDAR HeigHTS ClAy opeRATion 740-682-7794 po Box 295 Fax: 740-682-6438 oak Hill, oH 45656 large selection of castables, plastics and refractory brick.

CeRAmiC ARTS & CRAFTS Supply 905-335-1515 3103 mainway Dr. Fax: 905-332-4403 Burlington, on l7m 1A1 CanadaWholesaler, distributor, classes. Business package. Wholesale ceramic supplies. online shopping.

CeRAmiC ARTS liBRARy 607-962-6042 79 e. Third St. Fax: 607-962-1636 Corning, ny 14830-3101

e-mail: [email protected] Website: www.ceramicartslibrary.com

Specializing in out-of-print and hard-to-find books, catalogs and slide programs in the ceramic field. We also do appraisals.

CeRAmiC ARTSpACe 818-782-1500 6020 Woodman Ave. 1-888-CeRAmiX Van nuys, CA 91401 Full service online supply store, bisque, plastercraft, glazes, tools, kiln supplies, acrylics and much more at great prices.

CeRAmiC SeRViCeS 909-986-1566 po Box 1352 Fax: 909-986-1566 Chino, CA 91709 Complete line of professional raku kilns from 4 to 14 cubic feet, downdraft kilns and California potters wheel.

CeRAmiC SeRViCeS inC. 215-245-4040 1060 park Ave. Fax: 215-638-1812 Bensalem, pA 19020-4652 Solutions 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. philadelphia, pA 19134 Full service ceramic supply with a 3000 square foot studio and walk-in store. We are the home of the Hydro-Bat, a gypsum cement bat designed to fit all wheels.

CeRAmiC SToRe inC. 713-864-6442 1002 W 11 St. Fax: 713-864-6550 Houston, TX 77008 Toll-free: 800-290-8990Serving 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

e-mail: [email protected] Website: www.ceramicsupplychicago.com

Materials & equipment for potters, sculptors, ceramic decorators. Standard moist clays; duncan, Mayco, Amaco, Spectrum, opulence glazes; raw clay & glaze materials; plasters; kemper, dolan, Sherrill tools; Skutt, 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

e-mail: [email protected] Website: www.eceramicsupply.com

Materials & equipment for potters, sculptors, ceramic decorators. Standard moist clays; duncan, Mayco, Amaco, Spectrum, opulence glazes; raw clay & glaze materials; plasters; kemper, dolan, Sherrill tools; Skutt, l&l, Brent, North Star, Shimpo. uNder NeW oWNerSHip.

CeRAmiCS & CRAFTS Supply Co. 415-982-9231 490 Fifth St. Fax: 415-957-1492 San Francisco, CA 94107 materials 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 Ceramics consulting services offers technical information on clays, glazes, raw materials, kilns, equipment, product development and ceramic toxicology. Specializing in clay body and glaze defects cause and corrections.

CeRAmiCS HAWAii lTD. 808-845-8100 501 Kokea St., Bldg. A-6 Honolulu, Hi 96817-4935

CHARleS A. HoneS inC. 631-842-8886 607 Albany Ave. Fax: 631-842-9300 Amityville, ny 11701-0518 5th generation family business which dates back to 1911. We supply potters, artists, studios and schools with kiln burners, casting equipment and forging equipment.

CHeSApeAKe CeRAmiCS Supply 410-247-1270 4706 Benson Ave. Fax: 410-247-1708 Baltimore, mD 21227-1411 Toll-free: 800-962-9655Wholesale supplier of ceramic supplies and equipment.

tHe CHiNeSe ClAy Art, uSA 408-343-3919 po Box 1733 Fax: 408-343-0117 Cupertino, CA 95016 toll-free: 800-689-2529

e-mail: [email protected] Website: www.chineseclayart.com

Web store, manufacturer and wholesale company. We offer patented and newly invented clay tools, brushes, ceramic materials and ceramic art books. We also offer China ceramic tours and cultural exchange programs.

CHRiS Henley ToolS 760-942-0086 912 Third St. encinitas, CA 92024 Handcrafted potters tools for throwing, handbuilding, sculpture and tile molding. Crafted from exotic/domestic woods, bamboo and high carbon tool steel. Custom/traditional patterns available, or to your specifications.

CHRiSTy mineRAlS Co. 636-585-2214 833 Boonslick Fax: 636-585-2220 High Hill, mo 63350 products include Hawthorn Bond and other specialty clays. Christy minerals mines, refines and markets a variety of raw clay, calcined clay and brick grog for potters. products are available in bags.

ClAy Art CeNter 253-922-5342 2636 pioneer Way e Fax: 253-922-5349 tacoma, WA 98404 toll-free: 800-952-8030

e-mail: [email protected] Website: www.clayartcenter.net

Northwest’s leading manufacturer of custom clay and glazes. distributors for Skutt, laguna, kemper, duncan, AMACo and most other manufacturers. kiln, wheel, and equipment repair. Complete pottery supply resource.

ClAy in moTion 509-529-6146 959 Reser Rd. Fax: 509-529-5116 Walla Walla, WA 99362 We custom produce and bring customer ideas into production. We sell bisque, dental sinks and finished ware—all in a high-fire stoneware.

THe ClAy plACe 412-276-3260 one Walnut St., Suite 2 Fax: 412-276-3250 Carnegie, pA 15106 We sell ceramic equipment, supplies and books. We are distributors 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-ClAynorthern California’s most complete ceramic supplier. manufacture clay and glazes, full retail store plus workshops, repair services and firing services.

ClAy-King.Com 864-579-1752 125 Ben Abi Rd. Fax: 864-579-1756 Spartanburg, SC 29307 Toll-free: 888-838-3625online discount store with a huge product index for all levels of ceramic artists.

ClAymAKeRS 919-530-8355 705 Foster St. Fax: 919-530-8306 Durham, nC 27701 A multifunctional clay center offering classes for beginner through advanced clay artists, retail clay, supplies and equipment, a gallery of fine pottery and clay art, and individual studio rentals.


ClAypeople 510-236-1492 1430 potrero Ave. Richmond, VA 94804-2141 Toll-free: 888-236-1492Supplier of ceramic materials and equipment.

ClAySCApeS pottery iNC. 315-424-6868 1003 W. Fayette St. Fax: 315-424-8877 Syracuse, Ny 13204

e-mail: [email protected] Website: www.clayscapespottery.com

premier distributor of clay and equipment in central Ny and the northeast. offering a wide variety of clay bodies, wet and dry glazes, kilns, wheels and tools. Clayscapes has virtually everyting a ceramic artist or teacher needs!

ClAySTAmpS.Com 913-206-7753 14637 S. Constance St. Fax: 866-429-3533 olathe, KS 66062

ClAyWoRKS SupplieS, inC. 410-235-5998 4625 Falls Rd. Fax: 410-235-6061 Baltimore, mD 21209 20+ years selling a full line of clay supplies to school and artists. products from Standard Ceramics, Highwater, laguna, Campbells, Duncan, Kemper, l&l and Skutt. Truck delivery to mD, DC, northern VA, De and Se pA.

ClAyWoRlD inC. 210-222-1331 1200 e. Houston St. Fax: 210-222-1777 San Antonio, TX 78205 Toll-free: 800-284-2529Clayworld is your 1-stop shop for all your pottery supplies and equipment. our prices are discounted every day.

CoASTAl CeRAmiCS 843-873-1211 115 Varnfield Dr. Summerville, SC 29483 Toll-free: 800-688-0602Full 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 Complete source of supplies for ceramic art class and pottery making. 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.

CoNtiNeNtAl ClAy Co. 612-331-9332 1101 Stinson Blvd. Ne Fax: 612-331-8564 Minneapolis, MN 55413 toll-free: 800-432-2529


Website: www.continentalclay.compremier source for pottery, handbuilding, sculpting and casting supplies. Clays, glazes, chemicals, kilns, pottery wheels, tools, books and related equipment. Stock clay bodies and superior custom blending. Catalog available.

CoRnell STuDio Supply 937-454-0357 8290 n. Dixie Dr. Fax: 937-454-0397 Dayton, oH 45414 Complete line of supplies for pottery, sculpture and enameling. our technician has over 30 years of equipment repair experience. Knowledgeable and courteous staff ready to assist customers. Catalog available.

Coyote ClAy & Color 505-344-2250 5707 edith Blvd. Ne Albuquerque, NM 87107 toll-free: 866-344-2250

e-mail: [email protected] Website: www.coyoteclay.com

Coyote Cone 6 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. Coyote high fire underglazes stay bright and true from cone 6-10.

CReATiVe glAZeS 770-476-7322 3407 Highway 120 Duluth, gA 30096 Creative glazes features Duncan, mayco and gare glazes, kiln wash, orton cones, Dynasty brushes and Kemper tools, as well as other tools and paint brushes. open monday–Friday, 9 A.m.–6p.m.

CreAtive iNduStrieS 619-449-1834 1946 John towers Ave. Fax: 619-449-1854 el Cajon, CA 92020 toll-free: 800-748-5530

e-mail: [email protected] Website: www.creativewheels.com

Manufacturer of potter’s wheels for over 30 years. professional series and entry wheels: Artista, Clay Boss, Big Boss, elite, Mp and Hp. Also a manufacturer of grinders, bats, stools, tools and “Cink,” a complete clay filtering and water recycling system.

CReATiVe pApeRClAy Co. 805-484-6648 79 Daily Dr. Ste. 101 Fax: 805-484-8788 Camarillo, CA 93010 Toll-free: 800-899-5952We offer air hardening, nonfiring, modeling materials for artists and crafters.

CreAtive pArAdiSe 316-794-8621 415 industrial Box 734 Fax: 316-794-8226 Goddard, kS 67052 toll-free: 888-794-8621

e-mail: [email protected] Website: www.handbuilding.com

Ceramic design firm dedicated to offering unique handbuilding forms and tools.

CReSS mFg. Co. 775-884-2777 4736 Convair Dr. Fax: 775-884-2991 Carson City, nV 89706 Toll-free: 800-423-4584producers of 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 517-783-2942 3022 Francis St. Fax: 517-817-0252 Jackson, mi 49203 Toll-free: 877-872-8471Variety of ceramics/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.

CRuCiBle KilnS 206-587-0570 35 S. Hanford St. Fax: 888-587-0373 Seattle, WA 98134-1807 Toll-free: 800-522-1975manufacturer of 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: 800-255-8629producer and distributor of art resources including videos, prints, posters and books. Committed to providing the highest quality resources throughout the world.

CurrAN pFeiFF Corp. 732-225-0555 liddle Ave. Fax: 732-225-5012 edison, NJ 08837 Manufactures 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.

DAKoTA poTTeRS Supply 605-332-1946 2315 W. madison St. Fax: 605-332-2729 Sioux Falls, SD 57104 We 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 equipment, Amaco-Brent and north Star.

dAveNS CerAMiC CeNter 770-451-2105 5076 peachtree rd. Fax: 770-455-7012 Atlanta, GA 30341 toll-free: 800-695-4805


Website: www.davensceramiccenter.comdavens carries a complete line of pottery equipment and supplies. Anything needed to make pottery. if we don’t have it, we’ll get it! purchase orders welcome.

W.p. DAWSon inC. 714-529-2813 399 Thor pl. Fax: 714-529-3254 Brea, CA 92821 Specifications, instructions, parts and service information for the world’s most popular control for ceramic kilns.

DeBCoR inC. 708-333-2191 513 W. Taft Dr. Fax: 708-333-2245 South Holland, il 60445 manufacturer of quality furniture and equipment for ceramic work areas, including ware trucks, clay carts, drying and damp cabinets, kiln carts, work tables, storage containers and wedging boards.

Del VAl poTTeR’S Supply Co. 215-233-0655 1230 e. mermaid lane Fax: 215-233-0496 glenside, pA 19038 Full-service pottery supply offering dependable, friendly, helpful service to the professional and the hobby ceramist. We are distributors of many manufacturers and stand behind the materials and equipment that we sell.

DeW ClAW STuDioS 401-312-0540 545 pawtucket Ave., Ste. 106 pawtucket, Ri 02860 Full-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).


diCk BliCk Art MAteriAlS 309-343-6181 695 uS Hwy 150 e, po Box 1267 Fax: 800-621-8293 Galesburg, il 61402-1267 toll-free: 800-828-4548

e-mail: [email protected] Website: www.dickblick.com

We offer 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.

DigiTAlFiRe CoRp. 406-662-0136 Box 432 Fax: 866-223-7132 Cornwall, pe C0A 1H0 Canada our inSigHT and 4SigHT ceramic chemistry and database software, books and Digitalfire websites empower potters to understand, formulate and adjust their own ceramic glazes and clay bodies.

diSplAy your Art By GlASSiCA 512-778-9398 3051 N. Hwy. 183, Bldg. 1, Ste. 1 Fax: 512-778-9477 liberty Hill, tX 78642

e-mail: [email protected] Website: www.displayyourart.com

We manufacture 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 Dogwood Ceramic Supply is one of the largest multi-line pottery and ceramic distributors in the southern united States offering a great selection of kilns, clay, glazes, wheels, molds and related supplies.

DolAn ToolS 480-998-7169 po Box 15161 Fax: 480-991-4509 Scottsdale, AZ 85260 Toll-free: 800-624-3127A complete line of pottery tools. All handcrafted, 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 primary u.S. wholesale distributor of fine pottery tools designed by Dong-Hun Chung of S. Korea. A variety of tool sets and individual tools, and custom tool sets assembled according to customer needs.

Du-All DRAFTing & ART 248-583-9158 31431 John Rd. Fax: 248-583-4714 madison Hts., mi 48071 Toll-free: 877-583-9158Du-All has been in business for over 50 years specializing in art, drafting and picture framing. All major brands and hard-to-find art and drafting products. Special orders.

DunCAn enTeRpRiSeS 559-291-4444 5673 e. Shields Ave. Fax: 559-294-2447 Fresno, CA 93727-7819 Toll-free: 800-237-2642one of the world’s leading manufacturers of ceramics, low and high fire underglazes and overglazes, bisque and acrylics. Serving educators, potters, studio owners, finishware manufacturers and hobbyists for 60+ years.

DungHAnRACH ClAy Co. 320-256-3496 536 n. Third Ave. W. Fax: 320-256-3496 melrose, mn 56352 Venco pugmills, Skutt Kilns and Creative industries throwing wheels at discount prices.

DuRAliTe inC. 860-379-3113 15 School St. Fax: 860-379-5879 Riverton, CT 06065 A family business for over 50 years, manufacturing custom quality electric heating elements for kilns and furnaces, replacement elements, switches, controls, connectors and thermocouples; and design service by qualified experienced engineers.

eAgle ZinC CompAny 212-582-0420 30 Rockefeller plaza Fax: 212-582-3412 new york, ny 10112 producers of slab zinc, zinc dust & powders.

eARTWoRlD.Com 864-585-6014 108 garner Rd. Fax: 864-582-3936 Spartanburg, SC 29303 Toll-free: 888-838-3625eArtWorld offers the best ceramic supplies, kilns, pottery wheels and potters tools at discount prices. We offer toll free customer support. All purchases come with a money back guarantee.

eAST VAlley Supply 607-478-8178 4635 e. Vally Rd. Andover, ny 14808 Specializes in epoxies specific for repairing ceramics.

eASy CeRAmiC DeCAlS, llC 913-573-2132 1401 Fairfax Trafficway Kansas City, KS 66115

eCHo CerAMiCS 310-815-1525 2856 S. robertson Blvd. Fax: 310-815-1525 los Angeles, CA 90034

e-mail: [email protected] Website: www.echoceramics.com

echo Ceramics is a great place for potters to work. Beginning, intermediate and advanced classes are held each month. tools, supplies and clay are available for sale. Home of the unique echo Ceramics apron, anything else you can think of—we got it.

eD Hoy inTeRnATionAl 800-323-5668 27625 Diehl Rd. Warrenville, il 60555

eDouARD BASTARACHe inC. 450-742-2170 2340 Des erables Sorel-Tracy, pq J3R 2W3 Canadai am the author, editor, publisher and distributor of Substitutions for Raw Ceramic materials. This book is also available in French, german, Spanish, portuguese, italian and esperanto. please contact me by e-mail.

eTC., eTC., eTC. 940-781-2529 3101 Barnett Rd. Fax: 940-696-0223 Wichita Falls, TX 76310 Distributor for laguna Clay Co. in north Texas, easily accessible to oklahoma or louisiana. Deliver within 150 miles. established 1983.

euClidS kilNS & eleMeNtS 1120 Speers rd Fax: 905-849-0001 oakville, oN l6l 2X4 toll-free: 800-296-5456 Canada

e-mail: [email protected] Website: www.euclids.com

Buy direct from the manufacturer and save. euclid manufactures quality electric kilns for pottery and glass as well as replacement elements, bricks and slabs for any kiln. euclid offers custom kiln and element design service.

euClid’S/tHe pottery Supply HouSe ltd. 1120 Speers rd. 905-849-5540 oakville, oN l6l 2X4 Fax: 905-849-0001 Canada toll-free: 800-296-5456

e-mail: mail@euclids Website: www.euclids.com

pSH carries all your needs for making pottery: kilns, kiln furniture, wheels, clay, raw materials, pre-made glazes and tools. We also have an assortment of glass fusing and slumping supplies.

eVAnS CeRAmiC Supply 316-262-2551 1518 S. Washington Fax: 316-262-1396 Wichita, KS 67211-0654 For over 50 years, evans Ceramic Supply has been a supplier of 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 manufacturer of high quality kilns for over 50 years for private and commercial studios. Accessories available are: Rampmaster ii & Set-pro computer controls, pC-based kiln software, pyrometers, Ventmaster, kiln shelves and posts.

FAlCon CompAny 858-759-6746 3435 Jasmine Crest Fax: 858-759-9756 olivenhain, CA 92024 manufacture quality heavy duty hand tools for ceramic and craft areas and publisher of technical books for the studio potter.

FAT CAT poTTeRy inC. 910-395-2529 419-A Raleigh St. Fax: 910-395-4684 Wilmington, nC 28412 offers working studio space by hour or month, classes, distributors for Skutt kilns, l&l Kilns, Standard Ceramics clays, Kemper tools, Spectrum glazes and underglazes, Amaco glazes, pottery wheels and our own glaze book.

FlAT RoCK ClAy SupplieS 479-521-3181 2002 S. School Ave. Fax: 479-443-3772 Fayetteville, AR 72701 We provide a full range of supplies and equipment to schools and potters in AR, eastern oK and southeast mo through our brick & mortar location and our new online store. We also service what we sell.

FoRT poTTeRy Co. 706-364-2296 3689 peach orchard Rd. Fax: 706-364-2297 Augusta, gA 30906 Toll-free: 866-798-4062Ceramic supply. offering moist clays by Highwater, Tucker, KpS, Standard and others. Serving customers and institutions in gA, SC and northern Fl.

FReeFoRm ClAy & Supply 619-477-1004 1912 Cleveland Ave Fax: 619-477-1333 national City, CA 91950 San Diego’s leading ceramic supplier. Best prices on equipment.

FRog ponD poTTeRy 610-388-1254 po Box 88 Fax: 610-388-1254 pocopson, pA 19366 glazemaster is 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.


FuNke Fired ArtS 513-871-2529 3130 Wasson rd. Fax: 513-871-5576 Cincinnati, oH 45209 toll-free: 866-Get-ClAy

e-mail: [email protected] Website: www.funkefiredarts.com

Supplier of ceramic materials and equipment. public studio facilities/rental. Classes in handbuilding and wheel. Workshops. professional and hobbyist potters, art teachers. unified purchasing approved.

gARe inC. 978-373-9131 165 Rosemont St Fax: 978-372-9432 Harverhill, mA 01830 leaders in ceramics since 1950. over 500 bisque designs and several hundred glazes for artists, studios and commercial accounts. Contact us for your special bisque or glaze needs.

geil KilnS Co. 7201 Clay Ave. Fax: 714-847-6145 Huntington Beach, CA 92648 Toll-free: 800-887-4345manufacturer of portable downdraft gas kilns, electric fired kilns, gas burners and controls, and industrial furnaces.

geoRgieS CeRAmiC & ClAy Co. inC. 541-338-7654 1471 Railroad Blvd. #9 Fax: 541-338-7565 eugene, oR 97402 Toll-free: 866-234-2529Specialize in cone 6 electric glazes, plus offer great tips and techniques on how to use them. many new glazes being introduced for fall 2007. Visit our website for details.

geoRgieS CeRAmiC & ClAy Co. inC. 503-283-1353 756 ne lombard Fax: 503-283-1387 portland, oR 97211 Toll-free: 800-999-2529

GiFFiN teC iNC. 360-758-7008 4135 Sunny Hill ln. Fax: 360-758-2520 lummi island, WA 98262

e-mail: [email protected] Website: www.giffingrip.com

proud manufacturers of the Giffin Grip and lidmasters pottery tools. offering the utmost in customer care and satisfaction.

gilmouR CAmpBell Co. 313-568-0561 2700 erskine Fax: 313-568-1008 Detroit, mi 48207-2208

We manufacture Kingspin portable electric potters wheels and hand turntables. our emphasis is on our low-priced hand turntables, which we sell large quantities of.

glypTiC moDeling ToolS 970-663-5190 418 W. 8th St., Se, unit B5 Fax: 970-663-5127 loveland, Co 80537 Toll-free: 800-260-4690glyptic (from the greek ‘to carve’) modeling tools are high quality, interchangeable tools. There is a good variety of sizes and a wide range of loop shapes for every size project from miniature to monumental. great for modeling and cutting/trimming.

goRDon BRuSH mFg. Co. inC. 323-724-7777 6247 Randolph St. Fax: 323-724-1111 Commerce, CA 90040 manufacturer of quality custom and standard industrial brushes.

Graber’s Pottery Inc.

GrABer’S pottery iNC. 951-675-5468 2058 North Mills Avenue #217 Claremont, CA 91711

e-mail: [email protected] Website: www.graberspottery.com

the Steve tool - “one tool, Many results” designed to work best on clay. 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.

GreAt lAkeS ClAy & Supply 847-551-1070 120 S. lincoln Ave. Fax: 847-551-1083 Carpentersville, il 60110 toll-free: 800-258-8796

e-mail: [email protected] Website: www.greatclay.com

inventors of the versa-Bat and Glaz-eze markers, we’re Chicagoland’s most respected source of ceramic and pottery making supplies. provider for commercial potters, hobby/craft artists and school programs.

gReenBARn poTTeRS Supply lTD. 604-888-3411 9548 192nd St. Fax: 604-888-4247 Surrey, BC V4n 3R9 Canadagreenbarn supplies potters on the west coast of Canada. We carry everything potters need: clay, materials, glazes, tools, equipment, books and much more.

gSm enTeRpRiSeS, Kiln SAleS AnD SeRViCeS 210-842-0363 5847 Castle Hunt Fax: 210-656-2234 San Antonio, TX 78218-4112 on-site kiln repair and rebuild service, parts and supplies; all Texas. Sell all kiln brands and models. one-year warranty on all work. Kiln repair and firing seminars. Refurbished kilns with warranty.

H.C. SpinKS ClAy Co. inC. 731-642-5414 275 Carothers loop Fax: 731-642-5493 paris, Tn 38242 Specialize in mining of nonmetallic clay minerals used in casting slips and moist bodies. Sold through distributors throughout the u.S., Canada and mexico. other products sold direct: Alumina trihydrate, bentonite, calcium carbonate and ceramic additives.HAMMill & GilleSpie iNC. 973-994-3650 154 S. livingston Ave. Fax: 973-994-3847 livingston, NJ 07039-0104 toll-free: 800-454-8846

e-mail: [email protected] Website: www.hamgil.com

Hammill & Gillespie is an experienced manufacturer and distributor of ceramic raw materials. We are the producers of Gillespie Borate as well as importers of fine english china and ball clays.

HAnDmADe lAmpSHADeS 419-887-1780 1552 Reynolds Rd maumee, oH 43606 Wide variety of handmade lampshades based near Toledo, ohio.

HAR-Bon CeRAmiCS & DeCAlS 989-595-2463 24475 uS 23 S. Fax: 989-595-2326 presque isle, mi 49777 Ceramic decals for every purpose. over 7500 in our online Shopping Cart. Add your site to our busy links

page. Sign up for a free listing in our Service Directory. Advertise sales in our Bulletin Board.

HeRRing DeSignS, llC 970-547-4835 po Box 3099 Fax: 775-206-7526 Breckenridge, Co 80424-3009 Toll-free: 888-391-1615Herring Designs provides productivity enhancement tools for ceramic artists (including Slabmat, a non-woven fabric for slab rolling and hand building- and secure e-commerce internet marketing opportunities for artists.

HiGHWAter ClAyS oF FloridA 727-553-9344 420 22nd St. S. Fax: 727-553-9346 St. petersburg, Fl 33712

e-mail: [email protected] www.highwaterclays.com/HWCFlorida.html

Florida potters need look no further than our St. petersburg facility for all their supplies. Celebrating our 6th year, Highwater Clays of Florida features 40+ clay bodies, glazes, tools, equipment, books and more.

HiGHWAter ClAyS, iNC. 828-252-6033 600 riverside dr. Fax: 828-253-3853 Asheville, NC 28801-2140

e-mail: [email protected] Website: www.highwaterclays.com

there’s a lot more to our clays than the ingredients. With nearly three decades of experience, Highwater Clays knows how to prepare clay bodies that perform batch after batch. We serve customers from around the globe and offer a full-line of tools, kilns, glazes, equipment, raw materials and books.

W.K. HillquiST, inC. 603-595-7790 37 executive Dr. Fax: 603-595-1451 Hudson, nH 03051-4903 large selection of all types of display products as well as plastic injection molding services.

HoBBy ColoRoBBiA 201-797-4882 3 Boumar pl. Fax: 201-797-7950 elmowwod park, nJ 07407 producer of the finest ceramic materials, including clay bodies, frits, glazes, stains, precious metals, hi-tech ceramics and equipment.

HypeRglAZe/RiCHARD BuRKeTT 619-286-1836 6354 lorca Dr. Fax: 619-583-3894 San Diego, CA 92115-5509 Hyperglaze is the easiest-to-use glaze calculation software for ceramics artists. powerful features. newly revised. now for Windows (98 or newer), linux and macintosh oSX.

inDuSTRiAl mineRAlS Co. 916-383-2811 7268 Frasinetti Rd. Fax: 916-383-8741 Sacramento, CA 95828 industrial minerals Co. provides a wide range of products and services for the mineral processing industry and ceramic art markets. imCo manufactures a wide range of clays. please see our website for more information.

innoVATiVe CeRAmiC CoRp. 330-385-6515 432 Walnut St. Dept. 11 Fax: 330-385-6510 east liverpool, oH 43920-3130 provide creative solutions to product identification and decoration. manufacture glass and ceramic decals, rubber stamps and DuraFire inks.


iNStAr BeAutiFul deCAlS 732-238-0979 35 Cotters ln. e. Brunswick, NJ 08816 toll-free: 800-975-4678

e-mail: [email protected] Website: www.instardecals.com

quality open stock and custom designed decals/transfers, for both vitrifiable and cold application. Art library. design concepts and reproduction services. open stock decal catalog.

iNSulAtiNG FireBriCk, iNC. 724-282-1012 610 e. Butler rd. Fax: 724-285-7673 Butler, pA 16002

e-mail: [email protected] Website: www.insulatingfirebrick.com

Supplier of insulating firebrick, 2300˚–3000˚F, standard sizes and oversized bricks, straights and shapes. First quality iSo certified insulating firebrick. We stock brick at our Claysburg, pA warehouse ready to ship

inTeRnATionAl DeCAl CoRp. 708-498-5820 3318 Commercial Ave. Fax: 708-498-6356 northbrook, il 60062 manufacturer of custom ceramic and glass decals. Specialize in 4-color process photographic reproductions. We produce overglaze, inglaze and reactive decals as well as glass and non-fire decals.

J. & J. CeRAmiC STuDio 302-678-2845 666-A S. Dupont Hwy. Fax: 302-678-2845 Dover, De 19901 A full-service traditional studio, serving the tri-state area since 1974. large selection of greenware from over 15,000 molds, bisque, brushes, tools, firings, classes, low-fire and high-fire/cone 6 colors.

JApAn poTTeRy ToolS 1032 irving St. pmB 967 San Francisco, CA 94122 Hard-to-find Japanese tools, and learn new techniques for throwing, trimming and glazing on our website.

Jen-Ken KilnS 838-648-0585 3615 Ventura Dr. W Fax: 863-701-9867 lakeland, Fl 33811 Different types of kilns including glass fusing kilns.

JepSon poTTeRy & WoRlD poTTeRy inSTiTuTe 2300 St. Rd 46 e 407-349-5587 geneva, Fl 32732 Toll-free: 800-742-3055 Fax: 407-349-4009Classes include beginners, experienced professionals and every stage in between. emphasis is on individual instruction. Central focus is on throwing.

JiFFy miXeR Co. inC. 951-272-0838 4120 Tigris Way Fax: 800-666-4120 Riverside, CA 92503 Toll-free: 800-560-2903you can mix any dry or liquid ingredients or combination thereof quicker and more thoroughly using a Jiffy mixer. The three bladed mixing head pulls all material to be

mixed inside the head, reducing mixing time up to 90%.

JoHnSon gAS AppliAnCe Co. 319-365-5267 520 east Ave. nW Fax: 319-261-0726 Cedar Rapids, iA 52406 pioneer in the development and manufacture of gas burning equipment including many types of furnaces, kilns and burners.

KC meTRo CeRAmiC & poTTeRy SupplieS 15900 east 40 Hwy. 816-350-3003 Kansas City, mo 64136 Toll-free: 800-944-6653 Fax: 816-350-3056nationwide dealer and distributor of high quality kilns, wheels, clay, glazes, tools and ceramic/pottery supplies.

KeiTH CompAny 562-948-3636 8323 loch lomond Dr. Fax: 562-949-3696 pico Rivera, CA 90660 Toll-free: 800-545-4567Keith manufactures kilns, as well as provides service/replacement parts. We’ve been serving institutional kilns and the needs of studio potters. Replacement parts including wire heating elements for any brand/model.

KempeR ToolS 909-627-6191 13595 12th St. Fax: 909-627-4008 Chino, CA 91710 Toll-free: 800-388-5367over 500 tools for clay. Don’t be fooled by imitations. Kemper hand-crafts tools with over 60 years of technical design experience using durable, quality materials.

KenTuCKy muDWoRKS llC 859-389-9681 825 national Ave. Fax: 859-389-9681 lexington, Ky 40502 Kentucky’s largest full-service ceramic supplier. Beginner to advanced classes offered. Firing services, equipment repair and studio space rental available.

KenTuCKy-TenneSSee ClAy Co. 615-365-0852 1441 Donelson pike Fax: 615-365-0842 nashville, Tn 37217 produce old mine #4, Tennessee #1-4 Sgp, K-T #1-4, the ceramic art standards for ball clay. Also a major producer of china clays for the ceramic art trade.

KiCKWHeel poTTeRy Supply inC. 770-986-9011 1986 Tucker industrial Rd. Fax: 678-205-2001 Tucker, gA 30084 Toll-free: 800-241-1895manufactures over 40 premium clays plus custom. Kilns, wheels, tools, books, general supplies and materials. our staff is very helpful and highly trained in assisting all phases of pottery. See our extensive online catalog.

KillAm gAS BuRneR Co. 303-722-2871 1240 S. Bannock St. Fax: 303-871-8049 Denver, Co 80223-3202 Toll-free: 877-328-9330Atmospheric and power type natural and lp gas burners, auto gas valves, gas pressure regs. Flame safeguard controls Honeywell, Fireye.

tHe kilN doCtor iNC. 540-636-6016 po Box 721 Fax: 540-631-9476 Front royal, vA 22630 toll-free: 877-kilNdoC

e-mail: [email protected] Website: www.thekilndoctor.com

New equipment consulting, sales, delivery, assembly, instruction and service for most brands of electric kilns, pottery wheels, pug mills, slab rollers, kiln venting systems and more. House calls, service accounts, and shop repairs.

THe Kiln elemenTS Co. 503-755-2289 71898 northshore Dr. Birkenfeld, oR 97016 Kiln 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.

Kiln-RAy SeRViCeS 845-987-9589 po Box 1275 Fax: 845-926-3125 Warwick, ny 10990-1275 Complete repairs on gas and electric kilns, pottery wheels and all studio equipment. Sales in kiln and wheels primarily. Authorized dealer for Alpine, geil, nabertherm, Frederickson, ConeArt, Amaco, Shimpo and Brent.

KRuegeR poTTeRy, inC. 314-963-0180 8153 Big Bend Blvd. Fax: 314-963-7712 St. louis, mo 63119 Toll-free: 800-358-0180Full service supplier of materials, new/used equipment, supplies as well as kiln repair and maintenance. monthly classes, weekend and summer workshops, kid’s classes and pottery workshops.

KRumoR inC. 216-328-9802 7655 Hub pkwy. Fax: 216-328-9803 Valley View, oH 44125

manufacturer of temperature sensors: thermocouples and RTD’s. Carry accessories. Supply most applications in ceramic industry. Contact factory direct. Fast service. no middleman.

l&l kilN MFG. iNC. 856-294-0077 505 Sharptown rd. Fax: 856-294-0070 Swedesboro, NJ 08085 toll-free: 877-468-5456

e-mail: [email protected] Website: www.hotkilns.com

l&l kilns feature hard ceramic element holders to protect firebrick and elements. Complete line of kilns ranging from one-cubic-foot test kilns to 36-cubic-feet production kilns. 3-yr limited warranty on easy-Fire, Jupiter, davinci and easy-load front-loading kilns.

l & r SpeCiAltieS iNC 417-725-2606 202 e. Mount vernon Fax: 417-725-2607 Nixa, Mo 65714 toll-free: 877-454-3914

e-mail: [email protected] Website: www.claydogs.com

Missouri’s only moist clay manufacturer and home of the Claydog raku kiln with vacuum pressed fiber shell and light-weight, portable stand. We have provided 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

e-mail: [email protected] Website: www.lagunaclay.com

Since 1932 manufacturer and worldwide supplier of clay, glaze, equipment, tools and raw materials. thousands of stock and custom, high and low-fire glazes and clay bodies. Manufacturer of pacifica potter’s Wheels. thorley kiln furniture, laguna kilns.

lAGuNA ClAy Co. 740-439-4268 61020 leyshan dr. Byesville, oH 43723

e-mail: [email protected]


lARK BooKS 828-253-0467 67 Broadway Fax: 828-253-7952 Asheville, nC 28801-2919 publishers of fine craft books, including lark Ceramic Series. lark titles are distributed by Sterling publishing Company. Together, lark and Sterling have published over 30 how-to books about pottery and ceramics.

lA MeridiANA 39-0571-660084 loc. Bagnano 135 Fax:39-349-7500225 50052 Certaldo (Fl) italy

e-mail: [email protected] la Meridiana has grown throughout the years, its goal has grown as well. one simple vision still remains, and that is to offer to our patrons a facility dedicated to a continual education in the ceramic arts.

lArkiN reFrACtory SolutioNS 678-336-7090 po Box 716 Fax: 678-336-7094 lithonia, GA 30058

e-mail: [email protected] Website: www.larkinrefractory.com

larkin refractory Solutions is a full-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.

lily ponD pRoDuCTS/ 559-876-0118 CAmBell inDuSTRiAl Supply Fax: 559-876-3305 po Box 939 Sanger, CA 93657 professional and hobby ceramic slip casting equipment, pouring tables, slip mixing equipment and casting products.

louiSVille FiRe BRiCK WoRKS 502-363-2656 4500 louisville Av. Fax: 502-363-3331 louisville, Ky 40209

m&m pottery Supply 814-663-0866 RD 2 Box 178A Fax: 814-663-0866 Corry, pA 16407 Toll-free: 800-611-2529A supply and repair business with emphasis on customer service.

mAniTou ARTS 231-386-7977 po Box 910 Fax: 231-386-7978 leland, mi 49654-0910 Toll-free: 866-240-3434Distributor of english earthenware bisque tiles, switchplate/outlet covers and wood products in which the potter can place finished tiles, e.g., mirrors, tables.

mARJon CeRAmiCS inC. 602-272-6585 3434 W. earll Dr. Fax: 602-272-1507 phoenix, AZ 85017-5284 Toll-free: 800-903-ClAyWe serve Arizona and the surrounding area with ceramic/pottery supplies, service and equipment. in business for 50 years thanks to customers who we feel are very special!

mARJon CeRAmiCS inC. 520-624-2872 426 W. Alturas Fax: 520-624-3127 Tucson, AZ 85705

mARylAnD ReFRACToRieS Co. 330-532-9845 267 Salisbury Rd. Fax: 330-532-3224 irondale, oH 43932 Toll-free: 800-228-4672High-duty grog for potters since 1957. High-quality, volume-stable grog recommended for all uses to 3200F. Suitable for ceramic supplies and art applications. price depends on size and quantity ordered.

mASon ColoR WoRKS inC. 330-385-4400 250 e. 2nd St. Fax: 330-385-4488 east liverpool, oH 43920-5076 Since 1842 mason Color has manufactured high-quality, but economical, ceramic pigments. Serving the ceramic arts community for many years with colorants for body, glaze, underglaze and engobe uses. .

mASTeR Kiln BuilDeRS 612-250-6208 27607 grenada Ave. Fax: 612-250-6208 Farmington, mn 55024 master Kiln Builders have built over 140 custom kilns for schools, individual artists and institutions throughout u.S.

mAXFielD CeRAmiCS Supply inC 513-793-5545 4761 Creek Rd Fax: 513-793-5109 Cincinnati, oH 45242 Toll-free: 800-783-5871We are a full service hobby, ceramics and pottery supply house servicing wholesale and retail.

mAyCo ColoRS 614-876-1171 4077 Weaver Court South Fax: 614-876-9904 Hilliard, oH 43026 manufacturers and distributors of ceramic/pottery decorating colors, glazes, bisque, molds, brushes and decorating accessories. marketing, educational programs and workshops expand appeal of clay and ceramic surface decoration.

meCCA poTTeRy ToolS 256-757-5614 7270 County Rd. 63 Florence, Al 35634 Hand-crafted wood pottery tools, texture tools (stamps, rollers, paddles-, turntables, clay cutters of various widths. impressions last a lifetime–make a good one.

meRCeDeS CeRAmiC SupplieS 905-851-0851 8060 Kipling Ave. Fax: 905-851-1064 Woodbridge, on l4l 2A1 CanadaRetailer, wholesaler, manufacturer, distributor. mail order available, equipment rental, used equipment, repairs. Furnaces for ceramics, metal, enameling, glass annealers, beads, slumping, etc. Supplies.

meTomiC CoRpoRATion 773-247-4716 2944 W. 26th St. Fax: 773-247-2563 Chicago, il 60623 Toll-free: 800-847-8342Supplies components to assemble lamps and lighting fixtures. For over 60 years we have been supplying quality parts to the pottery industry, including sockets, cords, harps and decorative brass finials.

miDlAnTiC ClAy 856-933-0022 900A Creek Rd. Fax: 856-931-1240 Bellmawr, nJ 08031 Discount distributor of all supplies for potters, sculptors and teachers, offering a 96-page catalog and same-day shipping.

Mid-SoutH CerAMiC Supply Co. 615-242-0300 1416 lebanon pike, Bldg. C Fax: 615-244-3191 Nashville, tN 37210 toll-free: 866-203-5286

e-mail: [email protected] Website: www.midsouthceramics.com

Manufacturer of opulence Glaze. Full-service pottery supplier with complete line of pottery equipment and supplies.

mile Hi CeRAmiCS, inC. 303-825-4570 77 lipan St. Fax: 303-825-6278 Denver, Co 80223

mile Hi Ceramics is a 50-year-old ceramic/pottery supply house. We carry Duncan, mayco, Amaco, Spectrum and opulence glazes, Skutt, paragon, Aim and Shimpo kilns, raw materials and manufacture over 30 clay bodies.

mileS CeRAmiC ColoR 714-556-1329 2112 S. grand Ave. Santa Ana, CA 92705 The miles Ceramic Color line includes glazes formulated for a wide range of firings, as well as our Fireshade palette of 65 versatile underglazes.

MiNNeSotA ClAy Co. uSA 952-884-9101 7429 Washington Ave. Fax: 952-884-1820 edina, MN 55439-2410 toll-free: 800-252-9872

e-mail: [email protected] Website: www.minnesotaclayusa.com

Minnesota Clay Co. uSA is a nationwide dealer and distributor and has been serving the clay community for over 50 years with high quality clay, glazes and ceramics items.

miRACle BAT 802-659-4886 647 uS Rte 1 york, me 03909 miracle Bat - new pottery equipment - not your typical bat. Strongest, most secure hold. Won’t lift of jump. quick easy on/off. unique properties prevent cracking due to drying-patented, strong, lightweight material.

MkM pottery toolS llC 920-830-6860 217 e. pacific St. Fax: 920-830-9394 Appleton, Wi 54911

e-mail: [email protected] Website: www.mkmpotterytools.com

Manufacturer of pottery tools: MkM Stamps4Clay™, MkM throwing tools, MkM decorating disks and ribs (wood, stainless steel and Coconut Cocoribs™).

muD in minD 619-729-7889 2111 paseo grande Fax: 270-423-0593 el Cajon, CA 92019 Toll-free: 800-655-3611Discount ceramic supplier.

muDmATS 614-403-5853 1110 elmwood Ave Fax: 614-488-1395 Columbus, oH 43212

e-mail: [email protected] Website: www.mostlymud.com

Create a healthier, less dusty work environment. mudmats are the smooth, canvas eliminating, tool-tough, easy to clean multimedia work surface that makes ceramic work possible anywhere.

THe muDpiT 718-218-9424 228 manhattan Ave. Brooklyn, ny 11206 The mudpit is a full-service clay facility. We teach classes, rent studio space, sell supplies and do custom work. Fully equipped for wheel throwing, tile making, handbuilding, mold making and slip casting.

muDSHARK 971-645-8611 416 n.e. 26th St. portland, oR 97232 Accepting commissions and custom designs, mudshark studios provides model and mold making as well as production services.

muDToolS 828-625-1852 923 edney inn Rd. Hendersonville, nC 28792 We offer a wide range of tools for all your mud sculpting needs.


NABertHerM, iNC. 302-322-3665 54 read’s Way Fax: 302-322-3215 New Castle, de 19720

Website: www.nabertherm-usa.comHigh quality industrial grade kilns for pottery, raku, glass fusing, slumping, casting and annealing. High firing top and front loading kilns. the best three-year warranty and service of any manufacturer. Built to last.

nASCo ARTS & CRAFTS 209-545-1600 4825 Stoddard Rd. Toll-free: 800-558-9595 modesta, CA 95356A comprehensive kindergarten-to-college selection of arts and crafts supplies.

nASCo ARTS & CRAFTS 920-563-2446 901 Janesville Ave. Fax: 920-563-8296 Ft. Atkinson, Wi 53538 Toll-free: 800-558-9595

nATionAl ARTCRAFT Co. 330-562-3500 300 Campus Dr. Fax: 330-562-3507 Aurora, oH 44202 Toll-free: 888-937-2723A 50+ year old company providing component parts used in functional or decorative craft and hobby projects. Some examples are clock and musical movements, lamp-making parts, display hardware, glitters, etc.

neVADA DAn’S 775-425-9494 345 Cortez Ct. Fax: 775-425-6504 Sparks, nV 89436-8599 Toll-free: 877-325-poTSSpecializing in pottery wheels, kilns, extruders, slab rollers, pugmills and much more. Visit my website for secure online sales.

neW BRunSWiCK lAmp SHADe Co. 732-545-0377 po Box 7449 Fax: 732-545-6993 north Brunswick, nJ 08902 lamp 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 Seattle, WA 98109 experts in commercial, patented trademarked, reliable manufacture of ready-to-use pugged (p’Clay®, p’Slip®) paper clays. licenses know-how and ongoing support provided to commercial manufacturers.

NeW MeXiCo ClAy, iNC. 505-881-2350 3300 Girard Ne Fax: 505-881-6067 Albuquerque, NM 87107 toll-free: 800-781-2529

e-mail: [email protected] Website: www.nmclay.com

pottery and ceramic supplies. duncan and Mayco paint and glaze for low fire, three brands of Cone 6 glazes, kilns for firing, wheels and clay for throwing, kemper and dolan tools, plus 2 brands of precious metal silver clay.

neW oRleAnS ClAy 504-947-3937 3517 Chartres St. Fax: 504-947-3937 new orleans, lA 70117 Source finder for many ceramic supplies.

nilFiSK-ADVAnCe AmeRiCA inC. 610-647-6420 300 Technology Dr. Fax: 610-647-6427 malvern, pA 19355 Toll-free: 800-645-3475Complete line of specialized industrial vacuum cleaners and dustless power tools for the collection of hazardous and nuisance materials. line includes wet/dry vacuums, air-operated vacuums, explosion-proof vacuums.

NortH StAr equipMeNt iNC. 509-235-9200 po Box 189 Fax: 509-235-9203 Cheney, WA 99004 toll-free: 800-231-7896

e-mail: [email protected] Website: www.northstarequipment.com

quality u.S.A. 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

We are a wholesale/retail ceramic equipment and supply company. We are 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: 800-899-4627Distributor of hobby ceramic supplies worldwide. We supply products to schools, institutions, military facilities, potters, sculptors, studios and hobbyists. We have a gSA contract.

olD FARmHouSe poTTeRy 903-795-3779 232 County Rd. 1805 Rusk, TX 75785

olD HiCKoRy ClAy Co. 270-247-3042 po Box 66 Fax: 270-247-1842 Hickory, Ky 42051 Toll-free: 800-242-6885old Hickory Clay Company, a family-owned and operated company established in 1918, produces high-quality ball clays for all types of ceramics, including slip casting, moist clay, modeling and glaze formulations.

olSen Kiln 760-349-3291 60520 manzanita #205 Fax: 760-349-8009 mountain Center, CA 92561 Kiln Kits—12,16, 24, 36, 50, 72 and 100.

olympiA enTeRpRiSeS, inC. 330-746-2726 715 mcCartney Rd. Fax: 330-746-1156 youngstown, oH 44505 offer highest quality decals, brushes, sponges and blank porcelain products at the best prices. Visit our website.

olympiC enTeRpRiSeS inC. 330-746-2726 po Box 321 Fax: 330-746-1156 Campbell, oH 44405 We offer 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 770-967-4009 4225 thurmon tanner rd. Fax: 770-967-1196 Flowery Branch, GA 30542 toll-free: 800-241-4400

e-mail: [email protected] Website: www.greatkilns.com

Manufacturer of electric and gas kilns for pottery, ceramics and glass, and low-fire glaze and stilts. We build small 120-volt kilns to large custom car kilns for production.

oneiDA AiR SySTemS, inC. 315-476-5151 1001 W. Fayette St. Fax: 315-476-5044 Syracuse, ny 13204 Toll-free: 800-732-4065oneida Air Systems dust deputy turns your shop vacuum into a cyclonic vacuum. it separates 99% of waste before it reaches your shop vacuum. Vacuum up to 50 times longer before cleaning your filter.

oRTon CeRAmiC FounDATion 614-895-2663 x36 po Box 2760 Fax: 614-895-5610 Westerville, oH 43086-2760 largest producer of pyrometric cones in the world. We are considered the world standard due to accuracy and repeatability. orton also manufactures downdraft kiln-vent systems and electronic controllers for electric kilns.

oTT-liTe TeCHnology 813-621-0058 1214 West Cass St. Fax: 813-626-8790 Tampa, Fl 33606 Toll-free: 800-842-8848Trust oTT-liTe® TrueColor™ lighting to help you see colors accurately and details easily. energy efficient, low heat and low glare illumination helps reduce eyestrain, and makes your work area more comfortable.

pAASCHe AiRBRuSH Co. 773-867-9191 4311 n. normandy Ave. Fax: 773-867-9198 Chicago, il 60634 paasche provides the largest selection of airbrush models, industrial sprayers and support equipment worldwide.

pACeR CoRp. 605-673-4419 po Box 912 Fax: 605-673-4459 Custer, SD 57730 Toll-free: 800-568-2492producer of industrial minerals including high potash feldspar in 200, 325, 500 and micronized mesh sizes, and chip spar for the various ceramic industries.

pArAGoN iNduStrieS, l.p. 972-288-7557 2011 S. town east Blvd. Fax: 888-222-6450 Mesquite, tX 75149-1122 toll-free: 800-876-4328

e-mail: [email protected] Website: www.paragonweb.com

paragon manufactures Cone 10 electric kilns, which include popular-sized top loaders, front loaders and small glaze test models.

pCF STuDioS 585-229-2976 po Box 722 Honeoye, ny 14471 pCF Studios offers step-by-step instructional books and DVDs, as well as unique sculpting aids and workshops taught by artist philippe Faraut.

peBBle pReSS, inC. 734-327-0833 1610 longshore Dr. Fax: 734-327-1081 Ann Arbor, mi 48105 manufacturer of the piepenburg Trimming Disc. offers books and DVDs on ceramics.

penn-mo FiRe BRiCK Co. 717-234-4504 825 paxton St. Fax: 717-234-1895 Harrisburg, pA 17104 Ceramic and refractory sales and service.


peter puGGer MFG., iNC. 707-463-1333 3661 Christy ln. Fax: 707-462-5578 ukiah, CA 95482

e-mail: [email protected] Website: www.peterpugger.com

peter pugger manufactures 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: 814-796-6635 Waterford, pA 16441 Toll-free: 888-811-6653offer 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 designs and increase your productivity and profits.

pHoeniX CeRAmiC & FiRe Supply 707-822-4556 824 l St. Fax: 707-822-4146 Arcata, CA 95521 We excel at offering a full spectrum ceramic supply store: clay, tools, glazes, equipment, raw materials, books and magazines. (only such store within 200 miles in any direction.) We enjoy helping people with their projects!

plACiD CeRAmiCS 724-225-6778 172 S. main St. Fax: 724-225-6779 Washington, pA 15301 Supplies for Ceramic Hobbyists, potters, porcelain Artisans, School Art programs and industrial Ceramic product users.

plAinSmAn ClAy lTD. 403-527-8535 po Box 1266 Fax: 403-527-7508 medicine Hat, AB T1A 7m9 Canada manufacturers of a complete line of blended pottery clays ranging from low to high temperatures, mined exclusively for pottery from our own clay deposits.

pmC ConneCTion 3718 Cavalier Dr. Fax: 972-487-2022 garland, TX 75042 Toll-free: 866-762-2529pmC Connection is an importer and distributor of precious metal Clay supplies and related tools and materials. emphasis is on the newest forms of precious metal Clay, plus and pmC3.

poRTlAnD poTTeRy Supply 207-772-3273 118 Washington Ave. Fax: 207-780-6451 portland, me 04104 Toll-free: 800-539-4301Wholesaler/retailer of pottery supplies to schools, colleges, universities, art museums, art schools, and commercial and home potters. We stock a wide variety of clays, raw materials, kilns, wheels, glazes and tools.

poRTlAnD poTTeRy Supply SouTH 781-848-2772 87 messina Dr. Fax: 781-356-4112 Braintree, mA 02184

THe poTTeR’S CenTeR 208-378-1112 110 ellen St. Fax: 208-378-8881 Boise, iD 83714-4605 Toll-free: 800-498-1126The potter’s Center offers a full line of pottery and ceramic supplies, and equipment. The potter’s Center gallery features handmade works in clay by a variety of idaho artists.

THe poTTeRS SHop AnD SCHool 781-449-7687 31 Thorpe Rd. Fax: 781-449-9098 needham, mA 02194

The largest selection of books and videos in the universe, plus over 800 items in our catalog. Also studio membership, firing and services for clay workers.

poTTeRySTAmp.Com 704-968-3864 2719 Dilworth Heights ln. Charlotte, nC 28209 one stop shop for all your pottery stamp needs! We produce long-lasting, impression-making signature and year stamps for your pottery pieces.

poTTeRyToolS.Com 443-536-5705 4459 lewisville Rd. Sinkburg, mD 21048 Handcrafted tools from exotic hardwoods from managed-growth forest. Bevel hand tools, shaping tools, throwing tools, texture tools, fine craft and sculpture. gift certificates available.

poTTeRyViDeoS.Com 250-247-8109 4922 ne going Fax: 250-247-8145 portland, oR 97218 Toll-free: 800-668-8040producers and distributors of educational videos on ceramic arts. Hosted by artists Robin Hopper, gordon Hutchens and graham Sheehan, we have 21 titles for potters at all levels.

pottery WeSt 702-987-3023 5026 N. pioneer Way las vegas, Nv 89149-5846

e-mail: [email protected] Website: www.potterywest.com

pottery West is a privately owned pottery school and studio located in the northwest part of las vegas. the 2100 sq ft facility sits on 1.25 acres in a rural setting.

pReCiSion TeRReFiRmA 509-879-5964 2525 e. 29th Ave. #10-B Spokane, WA 99223 Full service specialty tools for ceramics.

puRe & Simple poTTeRy pRoDuCTS 707-459-1483 po Box 337 Fax: 707-459-1483 Willits, CA 95490Keyed plaster bat molds, both domes and flat in 11 shapes and sizes. Reversible drape molds. SlumpHump molds in 16 shapes and sizes.

r.t. vANderBilt Co. iNC. 203-853-1400 30 Winfield St. Fax: 203-853-1452 Norwalk, Ct 06855-5150 toll-free: 800-243-6064

e-mail: [email protected] Website: www.rtvanderbilt.com

r.t. vanderbilt supplies quality raw materials for ceramics, including peerless® kaolin clay, Nytal® talc, vansil® wollastonite and pyrax pyrophyllite, darvan® and veegum®.

rAM produCtS iNC. 614-443-4634 1091 Stimmel rd. Fax: 614-443-4813 Columbus, oH 43223

e-mail: [email protected] Website: www.ramprocess.com

We manufacture 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: 888-283-5547manufactures raw materials and refractory block for ceramic applications and basic clay industry. Cedar Heights Clay produces goldart, Redart, Roseville, Salt lick, Bond Clay and Fireclay.

RingS & THingS WHoleSAle 509-252-2900 po Box 450 Fax: 509-838-2602 Spokane, WA 99210-0450 Toll-free: 800-366-2156everything you need to turn ceramic art beads into finished jewelry: gluable disk-and-loop bracelet forms, bails, chain, pendant cords , 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 Ceramic and pottery supplies, laguna glazes, raw materials and pacifica wheels. Dealers/distributors of laguna clays and slip, kilns by l&l, paragon and more. Also peter pugger and lehman Studio equipment, Kemper tools, Amaco products and Duncan.

RoCKlAnD ColloiD CoRp. 845-359-5559 po Box 376 Fax: 845-365-6663 piermont, ny 10968 liquid light photographic emulsion for printing black-and-white photographs on ceramics. Also has supplies for firing images onto ceramics glass.

RoCKy mounTAin WooDmASTeRS, lTD. 9364 South painted Canyon Circle 303-947-8471 Highland Ranch, Co 80129 Fax: 303-683-8193

RoVin CeRAmiCS 734-374-0010 15333 Racho Rd. Fax: 734-374-0930 Taylor, mi 48180 Rovin Ceramics has been a full line pottery supplier for 45 years. We manufacture our own moist clays, all certified Ap nontoxic. We also manufacture Bright ice cone 05 gloss glaze and Soft Touch underglaze.

RoyAl AnD lAngniCKel BRuSH mFg. 6707 Broadway 219-660-4170 merrillville, in 46410 Toll-free: 800-247-2211 Fax: 219-660-4181large selection of brushes and other supplies.

ruNyAN pottery Supply iNC. 810-686-2529 820 tacoma Ct. Fax: 810-687-4512 Clio, Mi 48420

e-mail: [email protected] Website: www.runyanpotterysupply.com

leading manufacturer of moist pottery clay and distributor of complete line of ceramic equipment and supplies. Call and talk to real people for repair help, parts and quick shipment of your order and to request free catalog.

RuSTy Kiln CeRAmiC STuDio 860-423-1550 136 Boulevard Rd. Fax: 860-423-7997 north Windham, CT 06256 large selection of clay, glazes, tools, brushes, kilns, wheels, pug mills, venting systems, slab rollers, extruders, as well as kiln and wheel servicing.


SAiNt-GoBAiN CerAMiCS 508-795-5577 1 New Bond St. Fax: 508-795-5011 Worcester, MA 01615-0136

e-mail: [email protected] Website: www.refractories.saint-gobain.com

Saint-Gobain produces nitride-bonded silicon carbide kiln shelves from Advancer®. our marketing partners are Bailey Ceramic Supply and Smith-Sharpe Fire Brick Supply.

SAnTA Fe ClAy 505-984-1122 1615 paseo de peralta Fax: 505-984-1706 Santa Fe, nm 87501 our 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: 800-788-2588

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.

SAX ARTS & CRAFTS 262-784-6880 po Box 510710 Fax: 800-328-4729 new Berlin, Wi 53151 Toll-free: 800-558-6696Full 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, plus a full range of resource materials.

SCoTlin CeRAmiCS 319-873-2289 236 main St. Fax: 319-873-2366 mcgregor, iA 52157-0179

Scotlin sells clay and clay forms in various forms from bulk to bisque to finished. Also molds, glazes and supplies. professional seminars hosted regularly.

SCoTT CReeK poTTeRy inC. 253-926-3254 2636 pioneer Way e. Fax: 253-922-5349 Tacoma, WA 98404 Toll-free: 800-952-8030Scott Creek pottery is the original 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 and handbuilding.

SCulpTuRe DepoT 800-260-4690 418 8th St. Se loveland, Co 80537

SeATTle poTTeRy Supply 206-587-0570 35 S. Hanford St. Fax: 206-587-0373 Seattle, WA 98134-1807 Toll-free: 800-522-1975The largest in-stock supplier of kilns, clay, chemicals, books and sundries on the West Coast.

SHAKeRAg WoRKSHopS 931-968-0210 St. Andrew’s-Sewanee School 290 quintard Rd. Sewanee, Tn 37375Shakerag Workshops opened in June 2004. Classes are offered in book arts, clay, digital arts, papermaking, felting and watecolor. each week 50-60 participants gather to work together in small classes with their teachers.

SHeFField pottery iNC. 413-229-7700 uS rt. 7 Box 399 Fax: 413-229-0200 Sheffield, MA 01257-0399 toll-free: 888-774-2529

e-mail: [email protected] Website: www.sheffield-pottery.com

Ceramic supplies for potters, artists, schools and industry. the finest earthenware, stoneware and porcelain clay bodies. Custom clay, kilns, wheels, tools, glazes, raw materials, bricks, refractories, books, dvds and more! expert repair of kilns and wheels. delivery and studio setup available. educational discounts.

SHenAngo ADVAnCeD CeRAmiCS 724-652-6668 606 mcCleary Ave. Fax: 724-652-6664 new Castle, pA 16103 Ceramics refractory materials, kiln shelves.

SHiMpo CerAMiCS (NideC-SHiMpo AMeriCA Corp.) 1701 Glenlake Ave. 630-924-7138 itasca, il 60143 Fax: 630-924-0340 toll-free: 800-237-7079

e-mail: [email protected] Website: www.shimpoceramics.com

Shimpo Ceramics, a division of Nidec-Shimpo America Corporation, is a worldwide leader in the manufacturing and distribution of ceramic equipment, including potters wheels, electric kilns, pug mills, banding wheels and accessories, to the pottery and school markets.

Skutt CerAMiC produCtS 503-774-6000 6441 S.e. Johnson Creek Blvd. Fax: 503-774-7833 portland, or 97206-9594

e-mail: [email protected] Website: www.skutt.com

Manufacturer of 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 612-331-1345 117 27th Ave. Se Fax: 612-331-2156 Minneapolis, MN 55414 toll-free: 866-545-6743

e-mail: [email protected] Website: www.kilnshelf.com

Source for silicon carbide kiln shelves, specializing in Advancer® low-mass shelves for gas and top-loading, multisided kilns. extensive line of refractory materials for kiln construction including insulating and hard firebrick, mortar, castable refractory and ceramic fiber insulation products. technical assistance available.

SnyDeR impoRTS 707-937-0300 4990 Flynn Creek Rd. Fax: 707-937-3445 Comptche, CA 95427-0207 Supplier of finest european-made solid brass oil lamp burners, glass chimneys, etched glass shades, glass and brass wick inserts, wicks, glass oil candles etc.

SolDneR ClAy miXeRS By muDDy elBoW mFg. 310 W. 4th St. 316-281-9132 newton, KS 67114 Fax: 316-281-9132After 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.

SouTH AlABAmA CeRAmiC Supply 334-264-2349 2509 Highland A ve. montgomery, Al 36107 A ceramic equipment and supplies specialist in montgomery, Alabama

SouTHeRn poTTeRy equipmenT & SupplieS 2721 W. perdue Ave. 225-932-9457 Baton Rouge, lA 70814 Toll-free: 888-503-2299 Fax: 225-932-9446

SouTHeRn ColoRADo CeRAmiC Supply 305 Arrawanna St. 719-634-0294 Colorado Springs, Co 80909

SouTHeRn oRegon poTTeRy Supply 111 Talent Ave. 541-535-6700 Talent, oR 97540-0158 Fax: 541-535-5929Wholesale/retail supplies and equipment serving the needs of schools, professional and hobby potters, china painters, ceramists, mold makers and institutions.

SpeCtruM GlAzeS 416-747-8310 94 Fenmar dr. Fax: 416-747-8320 toronto, oN M9l 1M5 800-970-1970 Canada

e-mail: [email protected] Website: www.spectrumglazes.com

Manufacturer of the largest, most diverse selection of pottery glazes available anywhere.

SpeedBAll Art produCtS Co. 704-838-1475 2301 Speedball rd. Fax: 704-838-1472 Statesville, NC 28677 toll-free: 800-898-7224

e-mail: [email protected] Website: www.speedballart.com

Speedball® glazes 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.

Spun eARTH poTTeRy 434-385-7687 171 Vista Centre Dr. Fax: 434-385-7154 Forest, VA 24551 Toll-free: 866-530-9731Home of plasterBats, the make-your-own plaster bat mold kits. Also, we sell pottery supplies, dry glazes, chemicals, moist clay and offer adult pottery classes.

ST. peTeRSBuRg ClAy CompAny inC. 727-896-2529 420 22nd St. S. Fax: 727-896-0013 St. petersburg, Fl 33712 located in an historic 1920’s train depot, St. petersburg Clay Company is one of the premier ceramic facilities in the u.S. The 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 manufacturer of moist clay bodies. Distributor of raw materials, glazes and tools.

STuDio SAleS poTTeRy Supply 585-226-3030 5557 Rt 5 & 20 Fax: 585-226-3122 Avon, ny 14414 Studio Sales is a pottery supply business, a teaching studio and craft gallery. Repair and maintenance service is available for electric kilns and wheels. Regular classes offered in pottery making, raku, wood firing and kiln use.

SugAR CReeK inDuSTRy, inC. 765-339-4641 po Box 354 Fax: 765-339-4649 linden, in 47955 manufacturer of equipment and kilns for the fired arts. Supplier of 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 Summit Kilns has nearly 30 years of experience making quality electric to gas conversions to convert your electric kiln to a gas kiln. Raku burners, FiberFrax, hi-temp wire and controllers. new and used electric kilns and wheels.

TAoS ClAy 505-758-9884 1208 paseo del pueblo norte el prado, nm 87529 Taos Clay is a fully equipped ceramic studio offering memberships, classes, workshops, school and after school programs.

TeKA Fine line BRuSHeS inC. 718-692-2928 3704 Bedford Ave. Fax: 718-692-2935 Brooklyn, ny 11229 Teka has been making brushes for more than three decades. integrity and quality have supported Teka’s efforts in supporting our clients with their own brand. our essential ceramic accessory products possess the same quality as the brushes we make.

TeXAS poTTeRy Supply & ClAy Co. 817-626-2529 365 Sansom Blvd. Fax: 817-626-6226 Ft. Worth, TX 76179 Toll-free: 800-639-5456Full service ceramic manufacturer and supply warehouse. We carry a complete line of clay, equipment, tools and supplies for any ceramic need.

THe ClAy lADy 615-822-0016 106 Cranwill Dr. Fax: 615-822-6468 Herdersonville, Tn 37075 Toll-free: 877-822-0016The Clay lady is your resource for teaching clay in the classroom!

THomAS STuART WHeelS 303-832-2128 po Box 9699 Fax: 303-832-2124 Denver, Co 80209-9699 Toll-free: 800-848-9565power. Design. Durability. Since 1970. Thomas Stuart Wheels is the premier manufacturer for electric wheels, kick wheels, stands, carts and potter’s aprons.

Tin BARn poTTeRy Supply AT mAnASSAS ClAy 703-330-1173 9122 Center St. Fax: 703-330-1040 manassas, VA 20110 The source for ceramic/pottery supplies in northern Virginia and the metropolitan Washington, DC area.

triArCo ArtS & CrAFtS llC 763-559-5590 2600 Fembrook ln., Suite 100 Fax: 763-559-2215 plymouth, MN 55447 toll-free: 800-328-3360

e-mail: [email protected] Website: www.triarcoarts.com

large selection of arts and crafts supplies featuring AMACo, duncan, Skutt and l&l kilns.

triNity CerAMiC Supply iNC. 214-631-0540 9016 diplomacy row Fax: 214-637-6463 dallas, tX 75247-5304

e-mail: [email protected] Website: www.trinityceramic.com

Ceramics material supplier. distributor for Brent/Amaco, Creative industries, Shimpo, thomas Stuart, A.r.t. Glazewerks, Spectrum, dolan and kemper.

tuCker’S pottery SupplieS iNC. 905-889-7705 15 W. pearce St. unit #7 Fax: 905-889-7707 richmond Hill, oN l4B 1H6 toll-free: 800-304-6185 Canada

e-mail: [email protected] Website: www.tuckerspottery.com

retailer, wholesaler, manufacturer, distributor. Mail order available, repairs. Clay, glazes, tools, kilns, pottery wheels, slab rollers, extruders, kiln elements, repair service. thirty years of experience.

u.S. piGMeNt Corp. 630-893-9217 135 Manchester lane Fax: 630-339-2644 Bloomingdale, il 60108 toll-free: 800-472-9500

e-mail: [email protected] of raw materials, stains, glazes, chemicals, rare earth elements, specializing in cobalt, tin, nickel, chrome and copper elements.

uniTeD ART & eDuCATion po Box 9219 Fax: 800-858-3247 Ft. Wayne, in 46899 Toll-free: 800-322-3247your online source for nearly 10,000 art and craft materials, plus, art resources and project ideas.

veNCo produCtS 61-8-9399-5265 29 owen rd. Fax: 61-8-9497-1335 kelmscott WA 6111 Australia

e-mail: [email protected] Website: www.venco.com.au

international manufacturer and exporter of high quality equipment including electric potters wheels, pugmills and a hand-operated clay extruder.

VenT-A-Kiln CoRp. 716-876-2023 51 Botsford pl Fax: 716-876-4383 Buffalo, ny 14216 Wide variety of kiln and fume vent exhaust systems.

VulCAn KilnS 937-433-1833 7623 Clyo Rd. Fax: 937-433-1833 Centerville, oH 45459 manufacturer of electric hobby kilns. Sales of kilns and kiln accessories, including kiln vents and controllers. Kiln repair, all brands. Wholesale bisque tile.

WARD BuRneR SySTemS 865-397-2914 po Box 1086 Fax: 865-397-1253 Dandridge, Tn 37725 provides equipment for kilns and furnaces, including venturi burners, power burners and a line of raku kilns.

WenDT poTTeRy 208-746-3724 2729 Clearwater Ave. Fax: 208-746-6968 lewiston, iD 83501 Toll-free: 800-554-3724We produce Helmer Kaolin, a replacement for Avery Kaolin in wood-fire bodies. mixed cone 10 Helmer body now available - call for details.

WeST CoAST Kiln 714-778-4354 po Box 2152 lucerne Valley, CA 92356 manufacturer of wide variety of gas kilns since the 60’s.

WeSt MiCHiGAN ClAy 269-751-5839 po Box 427 Fax: 269-751-5831 Hamilton, Mi 49419

e-mail: [email protected] Website: www.westmichiganclay.com

West Michigan Clay serves the needs of potters, schools and hobbyists: consulting services, equipment repair and supplier of products from many companies such as Standard, laguna, l&l, evenheat, kemper, dolan, etc.

WHiSTle pReSS 601-544-8486 po Box 1006 Fax: 601-544-8486 petal, mS 39465

Clear, understandable directions and illustrations on how to make clay whistles and ocarinas, and an extensive problem-solving section that gives the likely cause and remedy for each.

WilliAmS Supply 910-428-9205 132 Allen Rd. Star, nC 27356-7800 Supplier of ceramic materials and equipment.

WiSe SCReenpRinT 937-223-1573 1013 Valley St. Fax: 937-223-1115 Dayton, oH 45404 Toll-free: 888-660-9473manufacturers of custom-made ceramic and glass decals. We have a complete graphics/art department and friendly, dependable customer service. We offer a free fire-on color card and free decal samples.

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