10 Ceramic Supplies · that looks like it came out of the woods or off a rock formation. ... into...

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10

A Free Ceramic Arts Da i ly Download

Ceramic SuppliesA S t u d i o R e f e R e n c e o n P u R c h A S i n g A n d u S i n g c e R A m i c S u P P l i e S A n d P o t t e R y t o o l S

StuDio ReFeRence

technical information

Buying information

Glaze Recipes

Working with texture

Materials Glossary

...and more!

WheRe to FinD

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

extruders

clays

Glazes

tools

tile

Bisque

Books

Videos

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


4 Darren Emenau’s Textured Ceramic Glazes by Mandy GinsonDarren Emenau loves the surfaces found in nature and has researched his technique to get an effect that looks like it came out of the woods or off a rock formation.

5 Kenny Delio’s Subtle Pottery Glazes by Myra BellinKenny Delio thinks of glazes as a skin, choosing matt glazes that are soft and supple, or shiny surfaces that appear wet and visceral.

6 Weights and Measures: Tracking the Amount of Clay Needed for your Pottery Projects by Robin Hopper

How much clay do you need for a casserole or a mug? Here’s Robin’s chart of dozens of items he makes and how much clay is needed for each.

7 Mid-Range Reduction Glazes: Reformulating Glazes to Cone 6 by John BrittJohn Britt points out that firing to cone 6 is cheaper, faster, and the results are almost indistinguishable from high fire.

11 The Potter’s Palette: A Useful Guide to Colorants for Ceramic Glazes by Robin HopperUnless you use no color whatsoever in your work, you’ll want to keep this one handy on glaze-testing day.

14 Variations on a Ceramic Glaze Base by Kristina BogdanovWouldn’t it be wonderful to have just a single set of ingredients for a whole bunch of glazes? Take a look at Kristina’s cone 5-9 oxidation/reduction results.

16 Buying Porcelain: A Guide to Purchasing Porcelain Pottery Clay by Antoinette BadenhorstHere’s some sage advice about how to determine whether porcelain is the clay you’re looking for – lots of tips to prevent some of the most common problems.

18 Kick Wheels: The Green Option for Pottery Wheels by Bill JonesIf you have the itch to go green in your studio, you may be interested in getting a kick wheel. Choose between top of the line models and economical kits to make your own custom pottery wheels.

20 Choosing a Slab Roller by Daryl BairdDaryl Baird gives some guidelines on determining if a slab roller is right for you, and explains some of the different options available.

22 Low-Fire Electric Red Ceramic Glazes by David GambleDavid Gamble discusses a red hot topic for many a ceramic artist: how to achieve reliable red ceramic glazes.

24 Adding Depth to Your Ceramic Glazes by Lisa Bare CulpReally bring your own style and voice forward when you start using techniques like pouring, carving, and layering to create depth in the ceramic glaze surface.

26 Designing with Texture: Incorporating Texture into your Pottery in the Design Stage by Daniel Gegen

Dan Gegen explains how he begins working with texture before the construction process even begins, and therefore makes it integral to the design of the pot.

29 Reticulation Glazes for Pottery and Ceramic Art by Robin HopperRobin Hopper explains how to formulate ceramic glazes to intentionally crawl and create reticulated surfaces resembling lichens, leopard coats, or lizard skin.

31 Perfect Plaster: How to Successfully Mix Plaster for Pottery Molds by Bill JonesDon’t be mystified by bad plaster. Get perfect results every time with a few simple tips.

32 Glossary of Common Ceramic Raw Materials by Vince PitelkaConfused about feldspars, clays, oxides, carbonates, and silicates? Check out Vince’s list for a refresher.

33 Primary Function of Common Ceramic Raw MaterialsOut of Kona F-4 and need a substitute? Here’s a list of what materials do what and their substitutes.

34 Geographic and Product Locator for Ceramic SuppliesLocate ceramic suppliers and ceramic equipment manufacturers in North America. Arranged by state/province and city; quickly find companies in 10 product categories.

41 Ceramic Suppliers Company DirectoryNeed to find ceramics supplies? Check out the world’s most complete directory of ceramic suppliers, ceramic equipment manufacturers, and ceramic services for the ceramic studio artist.

table of contents


10

A Free Ceramic Arts Da i ly Download

Ceramic SuppliesA S t u d i o R e f e R e n c e o n P u R c h A S i n g A n d u S i n g c e R A m i c S u P P l i e S A n d P o t t e R y t o o l S

StuDio ReFeRence

technical information

Buying information

Glaze Recipes

Working with texture

Materials Glossary

...and more!

WheRe to FinD

Manufacturers

Suppliers

Kilns

Pottery Wheels

Slab Rollers

extruders

clays

Glazes

tools

tile

Bisque

Books

Videos

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

On the Cover: Potter Paul Eshelman, Elizabeth, Illinois.


www.ceramicartsdaily.org


Welcome to the 2010 Buyers Guide to Ceramic Supplies, a valu-able resource you’ll use throughout the coming year. This comprehensive studio reference contains information pub-lished in Ceramics Monthly and Pottery Making Illustrated as

well as some of the books published by The American Ceramic Society.

Decisions, decisionsWe have a dilemma each year as we put this free resource together in that we have to select what information goes into it. With all the information we’ve published in CM, PMI, and the books, that can be a tough call because there’s so much to choose from. We think you’ll enjoy this year’s selection of a broad range of topics that includes ceramic glazes, ceramic raw materials, pottery equipment, and pottery studio supplies.

Glazes and GlazingGlazing makes the piece, there’s no doubt about that. As potters and ceramic art-ists, we have the ability to create anything our imagination can dream up. When you look at the list of ceramic colorants compiled by Robin Hopper or the glaze experiments of John Britt, you can really get excited about firing effects, color and texture. Or if you want to simplify your life, there’s Kristina Bogdanov’s quest for the perfect glaze base that works over a range of temperatures.

Looking for Something?Our Company Directory is the only complete listing of resources for the stu-dio ceramic artist. This comprehensive directory provides complete contact information and descriptions of more than 285 companies and organizations involved in some way with meeting your studio needs. From the Geographic Locator, which lists companies and organizations by state and city, you may discover new resources near your own home. Or perhaps you’ll locate three nearby suppliers where you can get cost estimates for your next major pur-chase. Whether you’re looking for kilns, studio equipment, pug mills, slab rollers, glazes, clays, modeling tools or extruders, this directory of ceramic suppliers is a handy guide.

Enjoy!

2010 Buyers Guide to Ceramic Supplies A Free Ceramic Arts Daily Download

PublisherCharles Spahr

editorsBill Jones, Pottery Making IllustratedSherman Hall, Ceramics Monthly

Assistant editorsHolly GoringJessica Knap

editoral AssistantErin Pfeifer

editorialTelephone: 614-794-5895Fax: 614-891-8960

Graphic DesignBury Design, Westerville, OH

Graphic ProductionCyndy Griffith

[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

2010 Buyers Guide to Ceramic Supplies 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 Ce-ramic Society.

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

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

Copyright © 2010 The American Ceramic SocietyAll rights reserved

Welcome

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

Bill JonesEditorPottery Making Illustrated

Sherman HallEditorCeramics Monthly

CeramicArtsDaily.org


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Darren emenau’s texture glazesby manDy ginson

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

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

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 Lana Wilson’s low-fire recipes . I brush it on in various thicknesses . Be aware that some of the glaze can flake off dur-ing firings, so use shelves that are coated with kiln wash . 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 fired multiple times . A nepheline syenite wash will prevent flaking during firings . Additionally, my local clay contains a high percentage of iron oxide and salt crystals, which act as strong fluxes .

recipes

Bud vase, 5 in. (13 cm) in height, local earthenware, with MNO Lichen Glaze, fired to cone 06.

Ellie Euer, 4 in. (10 cm) in height, local earthenware, with MNO Lichen Glaze, fired to cone 06; detail below.

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Kenny Delio’s subtle glazes by 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 viscer-al. Or he may choose to mimic scales and fur with multi-hued textures, an impor-tant consideration when glazing the legs for his tables and props for his shelves. The guiding 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.

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 %

Teapot, 12 in. (30 cm) in height, thrown and altered white stoneware with a pulled handle, Brown Slip, and Black Glaze, fired to cone 6 in oxidation.

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 %

recipes

Left: Buddy Teapot, 10 in. (25 cm) in height, thrown and altered white stoneware with White and Speckled glazes, fired to cone 6 in oxidation.



WeigHts anD measuresby robin Hopper

If you’re doing repetitive throwing or produc-tion work, keep a chart of weights and measures showing the amount of clay needed and size of objects at the throwing stage. Here is a list of

weights and measures of standard items produced in

my studio. These are for an average throwing thickness of ³/16 in. for smaller objects, and ³/8 in. for larger objects. Ad-just accordingly if throwing thinner or thicker. Excerpted from Functional Pottery by Robin Hopper and pub-lished by The American Ceramic Society.

Weights and Measures for Basic Production ItemsITEM WEIGHT HEIGHT WIDTH Grams lb./oz. inches cm inches cmDrinking vessels6 oz. coffee mug 275 10 oz. 3 7.5 3 7.58 oz. coffee mug 400 14 oz. 5 12.5 3 7.514 oz. beer mug 600 1 lb. 5 oz. 7 17.5 3.5 8.5chalice (cup only) 500 1 lb. 2 oz. 4 10.0 4 10.0goblet (cup only) 340 12 oz. 5 12.5 3 7.5cup 300 11 oz. 2.75 7.0 3.75 9.5saucer 350 13 oz. 1 2.5 5.5 13.5large dinner plate 1800 4 lb. 1.25 3.0 11.5 29.0medium dinner plate 1350 3 lb. 1 2.5 10 25.0side plate 1000 2 lb. 3 oz. 1 2.5 8 20.0bread and butter 600 1 lb. 5 oz. .75 2.0 6.5 16.0glutton plate 2300 5 lb. 2 oz. 1.25 3.0 14 35.0

Bowlslarge 2600 5 lb. 12 oz. 6 15.0 12 30.0medium 1800 4 lb. 4.5 11.0 10 25.0small 600 1 lb. 6 oz. 3 7.5 6 15.0onion soup 600 1 lb. 5 oz. 3 7.5 6 15.0large mixing bowl 1800 4 lb. 4.5 11 10 25.0

Casseroles4 quart 2600 5 lb. 12 oz. 8 20 12 30.0lid 1600 3 lb. 8 oz. - - - -2 quart 1800 4 lb. 4.5 11 8.5 21.0lid 1000 2 lb. 3 oz. - - - -1 quart 1000 2 lb. 3 oz. 4 10 6.5 16.0lid 750 1 lb. 12 oz. - - - -individual 600 1 lb. 6 oz. 3 7.5 5.5 13.5lid 450 16 oz. - - - -

Pots for pouringcream pitcher 400 14 oz. 5 12.5 3 7.51 pint pitcher 675 1 lb. 8 oz. 6.5 16.5 4 10.04 pint pitcher 2600 5 lb. 12 oz. 14 35 6 15.0coffee pot 1800 4 lb. 11 27.5 4.5 11.0lid 400 14 oz. - - - -large teapot 2000 4 lb. 6 oz. 8 20 8 20.0lid 250 9 oz.medium teapot 1500 3 lb. 6 oz. 6 15 6 15.0lid 200 7 oz. - - - -small teapot 1000 2 lb. 3 oz. 4.5 11 5 12.5lid 150 5 oz. - - - -1 liter decanter 2000 4 lb. 6 oz. 12 30 6 20.0small decanter 1200 2 lb. 11 oz. 8 20 5 12.5liqueur or sake bottle 1000 2 lb. 3 oz. - - - -

Storage containerslarge storage jar 2250 5 lb. 12 30 5 12.5medium storage jar 1500 3 lb. 6 oz. 10 25 4 10.0small storage jar 800 1 lb. 12 oz. 7 17.5 3 7.5jam or honey pot 450 16 oz. 3.5 8.5 4 10.0

Serving disheslarge cooking/serving 2500 5 lb. 8 oz. 3.5 8.5 15 37.5small cooking/serving 1350 3 lb. 2.25 6 10 25.0cheese bell 2000 4 lb. 6 oz. 6 15 10 25.0base 1500 3 lb. 6 oz.butter dish 600 1 lb. 5 oz. 3 7.5 5.5 13.5base 600 1 lb. 5 oz.salt and pepper shakers 400 14 oz. 4.5 11 3 7.5egg bakers 400 14 oz. 1.25 3 3.5 8.5

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miD-range reDuction glazesby JoHn britt

MudFire Clayworks and Gallery, a communi-ty ceramic art center in just outside of At-lanta offers studio space, workshops and a beautiful gallery. They also fire to cone 6 in

reduction. Erik Haagensen and Luba Sharapan, the own-ers, started to fire cone 6 reduction because of a defect in the kiln they’d purchased, but after seeing the results they had no reason to change back, even after the kiln was repaired. Firing to cone 6 was cheaper, faster, and the results were almost indistinguishable from high fire.

The ProjectAlthough they fire to mid-range reduction, Erik and Luba wanted me to give a workshop on the cost and time ben-efits of cone 6 reduction firing, as well as to explain the reasoning behind glaze recipes, firing cycles, and to show them how to bring glazes from cone 10 down to cone 6.

I normally work with, and teach about, high-fire glazes (cone 9–11), approximately 2350°F (1288°C), while mid-range, (cone 5–7), is about 2200°F (1204°C). Although this is only about a 150°F (66°C) temperature difference, raising the temperature 150°F at the peak of the firing takes quite a bit more energy and puts a lot of extra wear and tear on the kiln. It could easily take two to four more hours of firing to go from cone 6 to cone 10 with the gas on high, so firing to mid-range reduction would save con-siderable fuel if comparable glazes could be found.

At that time, I didn’t have a lot of experience with mid-range reduction and I found it hard to believe that the results were “almost indistinguishable.” I did have a good bit of experience firing mid-range oxidation in an elec-tric kiln and the results are far from the look of cone 10 reduction. But the idea intrigued me, and the more I thought about it, the more I realized that the same prin-ciples of high fire reduction should apply to mid-range reduction. The key question would be if the oxides and materials needed to melt the glazes at a lower temperature would negatively affect the glaze colors. So I took the challenge, reasoning that I could use the same research methods I used for the high-fire glazes to explore these mid-range glazes.

Mid-range firing in both oxidation and reduction is a well researched area dating back before the energy crisis of the 1970s. There are also several college clay programs using mid-range reduction and have published their glazes. One notable example is Diana Pancioli, at Eastern Michigan University in Ypsilanti, MI, who started her “Glaze For-ward” program. (For a small shipping fee, you could send for a list of cone 6 reduction recipes and test tiles of those glazes.) There are also organizations like the Clay Studio in Philadelphia, Pennsylvania that fire cone 6 reduction and have developed a wonderful palette.

The ResearchMy first step is always completing an exhaustive sur-vey of known glazes from books, the Internet and workshop handouts. Luba and Erik generously sent me all their recipes from MudFire [see selected reci-pes on page 15], and I pulled out my cone 6 glaze notebooks and began assembling recipe lists and fir-ing instructions.

There is so much information available today that it is almost paralyzing; you don’t know what to do with it all. So, in order to make it usable, I organized the recipes into types, like iron glazes (celadon, tenmoku, kaki, iron saturate, etc.), shino, copper red, oribe (cop-per green), magnesium matt, etc. Then, after elimi-nating all the duplicates, I looked for similarities and differences, and from those, selected enough glaze recipes to test that would show a broad range of pos-sibilities within a type. Then I test those recipes in a variety of firing cycles, like heavy reduction, light re-duction, early reduction, late reduction, and oxidation. This way, I can reveal a glaze’s full potential.

Thrown and altered platter, 12 in. (30 cm) in diameter, stoneware with Cherry Blossom Shino and Woo Yellow glaze, fired in reduction to cone 6, by Barbara Morgenbesser.

Mugs, 4 in. (10 cm) in height, stoneware with Temmoku Gold, gas fired in reduction to cone 6, by Luba Sharapan.



Iron glazes are a great type to start with because you can see a wide range of colors by incrementally adding one colorant; iron oxide. For example, when firing in reduction using the same base glaze, add-ing 1% red iron creates a blue celadon, adding 2–4% iron oxide will give green to amber celadons, adding 5–10% iron oxide makes tenmokus, and 10–20% iron oxide gives iron saturates. Teadust tenmokus result from additions of magnesium carbonate to tenmokus with cooling soaks. Kakis, which are also part of the iron glaze type, are obtained with additions of bone ash and magnesium carbonate. Finally, oil spots result from stiff oxidized tenmokus with magnesium oxide. So you can see how one glaze type can show you a world of glaze colors.

Copper red glazes are generally low alumina and high alkaline bases with small amounts of copper car-bonate (0.3%) and tin oxide (1%). Oribe glazes use copper to get greens while magnesium matt glazes yield satin whites and purples with cobalt oxide. You can try to reproduce these “types” at various cones and, as always, you may then have to make adjust-ments after you see the results.

The final type I concentrated on was shino glazes. Shinos are generally made with varying amounts of feldspar and clay. For example, you may have some-where between 60–90% feldspar and 10–40% clay. A typical recipe would be 70% feldspar and 30% clay. This is the most difficult glaze type to reproduce at mid-range because most feldspars melt around cone 9 and then with the added clay it is hard to melt much lower than cone 10. I started by using nepheline sy-enite, which is not a true feldspar but rather a feld-spathoid (containing less silica than a true feldspar). It melts around cone 6. Because it is high in sodium oxide and lower in silica, the effects are not identical, but it was a good starting point and worth a try.

FiringI loaded the kiln with these various glaze types and then filled the remainder with line blends within

these glaze types and a variety of other recipes, like blues, greens, yellows, blacks, etc., to see the overall effect of varying firing cycles across the board of glaze colors.

For first firing, I started reduction at cone 010 and kept it heavy (0.65–0.72 on the oxygen probe) to cone 6 at 3 o’clock (cone melting position, not time of day). I had pretty good copper reds and iron glazes but the shinos were dull and washed out. For the next firings, I increased the firing temperature to cone 7 at 3 o’clock, which gave me about 25°F more and brightened up the glazes. I ran five more firings to this cone, including full oxidation, light reduction, medium reduction, heavy reduction, and oxidation with reduction at peak temperature. I also tested numerous glazes with flux variations, exploring mid-range fluxes like boron oxide, sodium oxide, lithium oxide, calcium oxide, and zinc oxide. Adding fluxes and reducing alumina and silica affects the response of col-oring oxides in glazes, so the trick was finding suitable colors in properly melted glazes.

ResultsThe results were great for copper reds and iron glazes, as well as greens, blacks, blues, and carbon-trap shinos, which were very nice in heavy reduction. The carbon trap shinos worked because they contain soda ash, which melts very early, and with early reduction the carbon is already “trapped” below the soda layer so the peak tem-perature is not a factor. The only glaze type I could not achieve was traditional shinos, as I had expected. And I

Porcelain vase with Mint Julep Glaze, gas fired in reduction to cone 6, by Melissa Keen-Boggan.

Stoneware bowl with Malcolm Davis Shino Glaze, gas fired in reduction to cone 6, by Erik Haagensen.

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Jeff’s Red Cone 10 Reduction

Barium Carbonate . . . . . . . . . . . . . . 4 .4 %Dolomite . . . . . . . . . . . . . . . . . . . . . 8 .7Whiting . . . . . . . . . . . . . . . . . . . . . . 8 .4Zinc Oxide . . . . . . . . . . . . . . . . . . . . 1 .7Ferro Frit 3134 . . . . . . . . . . . . . . . . 8 .7Custer Feldspar . . . . . . . . . . . . . . . 41 .9Silica . . . . . . . . . . . . . . . . . . . . . . 26 .2 100 .0 %

Add: Tin Oxide 2 .6 % Copper Carbonate 0 .5 % Bentonite 1 .0 %

Panama Red Cone 6 Reduction

Dolomite . . . . . . . . . . . . . . . . . . . . 7 .8 %Gerstley Borate . . . . . . . . . . . . . . 10 .7Strontium Carbonate . . . . . . . . . . . . 4 .2Whiting . . . . . . . . . . . . . . . . . . . . . . 2 .6Zinc Oxide . . . . . . . . . . . . . . . . . . . . 2 .6Custer Feldspar . . . . . . . . . . . . . . . 44 .1Ferro Frit 3110 . . . . . . . . . . . . . . . . . 9 .7EPK Kaolin . . . . . . . . . . . . . . . . . . . . 2 .6Silica . . . . . . . . . . . . . . . . . . . . . . . 15 .8 100 .0 %

Add: Tin Oxide 2 .6 % Copper Carbonate 1 .8 %

Shaner OribeCone 10

Bone Ash . . . . . . . . . . . . . . . . . . . . . 1 .1 %Talc . . . . . . . . . . . . . . . . . . . . . . . . . 7 .9Whiting . . . . . . . . . . . . . . . . . . . . . 22 .1Custer Feldspar . . . . . . . . . . . . . . . 31 .0Kaolin . . . . . . . . . . . . . . . . . . . . . . 12 .6 Silica . . . . . . . . . . . . . . . . . . . . . . 25 .3 100 .0 %

Add: Copper Carbonate 5 .2 %

Selsor OribeCone 6

Gerstley Borate . . . . . . . . . . . . . . . 12 .5 %Whiting . . . . . . . . . . . . . . . . . . . . . 10 .4Nepheline Syenite . . . . . . . . . . . . . 56 .3Silica . . . . . . . . . . . . . . . . . . . . . . . 20 .8 100 .0 %

Add: Copper Carbonate 5 .0 %

This is a test I made with Selsor Copper Red and I removed the colorants and added copper carbonate, so I called it Selsor Oribe .

Coleman Teadust TenmokuCone 10

Talc . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 %Whiting . . . . . . . . . . . . . . . . . . . . . . 16Custer Feldspar . . . . . . . . . . . . . . . . 40Ball Clay . . . . . . . . . . . . . . . . . . . . . 12Silica . . . . . . . . . . . . . . . . . . . . . . . 25 100 %

Add: Red Iron Oxide 10 %

Teadust TenmokuCone 6

Whiting . . . . . . . . . . . . . . . . . . . . . 10 .5 %Pemco Frit P-25 . . . . . . . . . . . . . . . 26 .3Alberta Slip . . . . . . . . . . . . . . . . . . 63 .2 100 .0 %

Add: Red Iron Oxide 5 .0 %

only had limited success with oil spots in the gas oxidation trials. This was also to be expected as iron oxide only starts to self reduce at 2250°F (1232°C) and that is about the peak tempera-ture we reached. Soaking at cone 7 helped, but they were not as spectacular as a cone 13 oil-spot firing. Nevertheless, we did get spotting and some promising oil-spot recipes.

From all this testing, I came to the inescap-able conclusion that Erik and Luba were cor-rect. Ninety percent of the mid-range glazes were indistinguishable from their high-fire twins. This leads us to ask, why don’t more pot-ters fire to cone 6/7 in reduction?

Making the Switch There seem to be a few obstacles in getting potters to convert to the idea of mid-range fir-ing. First, there is the inertia of their current practice. Change is hard in spite of the obvious benefits, especially if you have been doing the same thing for 20 years and it is working.

Also, there is an underlying belief, although it is completely incorrect, that cone 10 is supe-rior to mid-range or low-fire, and changing this mind set is an educational challenge. I think that this comes from the long, historical European search to imitate Chinese, high-fire porcelain. The goal was always to achieve high fire, so it gained the psychological high ground.

When you mention mid-range, potters im-mediately think, as I initially did, of mid-range electric oxidation. But this is not the only way to fire mid-range. Mid-range reduction has a completely different look, as does mid-range oxidation soda firing or mid-range reduction soda firing.

And finally, when you mention firing to mid-range, potters immediately want to change or convert their cone 10 glazes to this lower tem-perature. This is perceived as a significant chal-lenge because it means that they will have to learn a glaze calculation software and unity molecular formulation. Most just want recipes that work. They know it will take time and effort to learn to convert all these recipes and they just don’t want to spend their time doing that.

I don’t recommend converting glazes to the lower temperature, because when you lower the firing temperature of a glaze you are using dif-ferent fluxing oxides that have different color responses. So although it is possible to convert your glaze to the lower temperature, you will end up with a different glaze anyway. It is better to use the many tried and true mid-range glazes al-ready in use and test them in your cycle. This is

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John’s ShinoCone 5–6

Gerstley Borate . . . . . . . . . . . . . . . . . 5 %Soda Ash . . . . . . . . . . . . . . . . . . . . . 3Nepheline Syenite . . . . . . . . . . . . . . 54Spodumene . . . . . . . . . . . . . . . . . . . 23OM4 Ball Clay . . . . . . . . . . . . . . . . . 15 100 %

Malcolm Davis ShinoCone 10

Soda Ash . . . . . . . . . . . . . . . . . . . . . . 16 %Kona F-4 Feldspar . . . . . . . . . . . . . . . 9Nepheline Syenite . . . . . . . . . . . . . . . 39Cedar Heights Redart . . . . . . . . . . . . . 6EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 17OM4 Ball Clay . . . . . . . . . . . . . . . . . . 13 100 %

Cherry Blossom ShinoCone 6

Soda Ash . . . . . . . . . . . . . . . . . . . . . . 10 %Nepheline Syenite . . . . . . . . . . . . . . . 40Spodumene . . . . . . . . . . . . . . . . . . . . 40EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 10 100 %

Raw SiennaCone 6

Wollastonite . . . . . . . . . . . . . . . . . . . 28 %Ferro Frit 3195 . . . . . . . . . . . . . . . . . 23Nepheline Syenite . . . . . . . . . . . . . . . 4EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 28Silica . . . . . . . . . . . . . . . . . . . . . . . . . 17 100 %

Add: Red Iron Oxide 6 % Rutile 6 %

Mint JulepCone 6

Gerstley Borate . . . . . . . . . . . . . . . . . 3 %Magnesium Carbonate . . . . . . . . . . . 3 Whiting . . . . . . . . . . . . . . . . . . . . . . 22Ferro Frit 3124 . . . . . . . . . . . . . . . . . . 9Nepheline Syenite . . . . . . . . . . . . . . 23EPK Kaolin . . . . . . . . . . . . . . . . . . . . 20Silica . . . . . . . . . . . . . . . . . . . . . . . . 20 100 %


Woo YellowCone 6

Dolomite . . . . . . . . . . . . . . . . . . . . . 15 %Strontium Carbonate . . . . . . . . . . . . 24Nepheline Syenite . . . . . . . . . . . . . . 43Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 9Silica . . . . . . . . . . . . . . . . . . . . . . . . . . 9 100 %

Add: Zircopax 19 % Bentonite 5 % Epsom Salt 1 % Red Iron Oxide 4 %

Tenmoku GoldCone 6

Cornish Stone . . . . . . . . . . . . . . . . . 67 %Dolomite . . . . . . . . . . . . . . . . . . . . . . 8Gerstley Borate . . . . . . . . . . . . . . . . . 4Lithium Carbonate . . . . . . . . . . . . . . . 6Whiting . . . . . . . . . . . . . . . . . . . . . . . 9Silica . . . . . . . . . . . . . . . . . . . . . . . . 6 100 %


Tumblers, 7 in. (18 cm) in height, stoneware with Gold Temmoku liner and Raw Sienna exterior glaze, gas fired in reduction to cone 6, by Erik Haagensen.

the same way potters find high-fire glazes; they get glaze recipes from books or from friends and then vary the colorants and opacifiers.

Although change is hard, pot-ters should focus on the benefits of firing mid-range reduction. First, it saves fuel, reduces your carbon footprint, and costs less. Second, it saves time. It may take 2–4 hours to get the extra tem-perature of cone 10 and maybe longer depending on the size of the kiln. So rather than firing for 10–12 hours, you will be out in 8–10 hours. Firing to mid-range also reduces the wear and tear on your kiln, which means that it lasts longer. Finally, and most im-portantly, you get great results!

After all this testing, we discov-ered that the methods used to test high-fire glaze types also apply to mid-range types and, as a result, we found some very nice glazes. Erik, Luba, and the potters of MudFire Clayworks are proof of that. Hopefully, this will help other potters get started firing to mid-range reduction.John Britt lives in Bakersville, NC, and is the author of The Complete Guide to High-Fire Glaze: Glazing & Firing at Cone 10. For more information, go to www.johnbrittpottery.com.

Eggy Vase, 15 in. (38 cm) in height, John’s Shino with decora-tion using Amaco Velvet under-glaze, gas fired in reduction to cone 6, by Erik Haagensen.

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COLORANT CONE ATMOS. % COMMENTS

Dark Red

Copper Vary Red . 0 .5%-5% Best in glazes containing less than 10% clay content, and a high alkaline content . Needs good reduction . In low temperatures it can be reduced during cool-ing . Good reds as low as cone 018 .

Iron Vary Both 5%-10% Good in many glaze bases at all temperatures . Can be improved with the addition of 2%-5% tin oxide .

Nickel 4-10 Ox . 5%-8% Use in barium-saturated glazes .

Burgundy

Iron See Dark Red, Iron .

Copper See Dark Red, Copper . Owing to the unstable nature of copper, this colorant can produce a wide range of results . Very controlled reduction firing and cooling are important .

Maroon

Chrome-Tin Stains Vary Ox . 1%-5% Use in glazes with calcium . There should be no zinc in the glaze .

Copper Vary Red . 0 .5%-5% Best in high alkaline glazes .

Crimson

Copper + Titanium 8-10 Red . 1%-5% Try various blends of copper (1%-5%) and titanium (2%-5%) .

Calcium- 010-05 Ox . 0 .5-5% Best with special frits .

Indian Red

Iron Vary Both 5%-10% Best in high calcium glazes; small amount of bone ash helps . Tin addition up to 5% also helps . Also works well in ash glazes .

Brick Red

Iron Vary Both 5%-10% Similar to Indian Red . Tin to 2% helps .

Orange-Brown

Iron + Rutile Vary Both 1%-10% Various mixtures (up to 8% iron and 2% rutile) in most glaze bases .

Iron + Tin Vary Both 1%-5% Various mixtures (up to 4% iron and 1% tin) in most glaze bases . Creamier than iron with rutile .

Orange-Red

Cadmium- 012-05 Ox . 1%-4% Best with special frits such as Ferro 3548 or 3278 or both . Helps to opacify with zirconium .

Orange

Iron Vary Both 1%-5% Use in tin or titanium opacified glazes .

Rutile Vary Both 5%-15% Many glaze types, particularly alkaline . More suc-cessful in oxidation .

Copper 8-10 Both 1%-3% Use in high alumina or magnesia glazes . Addition of up to 5% rutile sometimes helps .

Orange-Yellow

Iron Vary Both 2%-5% With tin or titanium opacified glazes .

Rutile Vary Ox . 1%-10% Best with alkaline glazes .

Yellow Ocher

Iron Vary Both 1%-10% Use in high barium, strontium or zinc glazes .

Iron + Tin Vary Ox . 1%-5% Various mixtures (up to 3 .5% iron and 1 .5% tin) in many glaze bases .

Iron + Rutile Vary Both 1%-5% Various mixtures (up to 2 .5% iron and 2 .5% rutile) in many glaze bases .

Vanadium- Vary Ox . 5%-10%Various mixtures in many Zirconium stain glaze bases .

Lemon Yellow

Praseodymium Stains Vary Both 1%-10% Good in most glazes . Best in oxidation .

Pale/Cream Yellow

Iron + Tin Vary Both 2%-5% Various mixtures (up to 3 .5% iron and 1 .5% tin) in high barium, strontium or zinc glazes . Titanium opacification helps .

Vanadium Vary Both 2%-5% Use in tin-opacified glazes .

Rutile + Tin Vary Ox . 2%-5% Various mixtures (up to 2 .5% iron and 2% tin) in variety of glaze bases . Titanium opacification helps .

Selenium Stains

Zirconian Stains

Selenium Stains

Note: Colors bars are for visual reference only, and do not represent actual colors .

Red to OrangeThe potter’s palette can be just as broad as the painter’s. Different techniques can be closely equated to work-ing in any of the two-dimensional media, such as pen-cil, pen and ink, pastel, watercolor, oils, encaustics or acrylics. We also have an advantage in that the fired clay object is permanent, unless disposed of with a blunt in-strument! Our works may live for thousands of years—a sobering thought.

Because a number of colors can only be achieved at low temperatures, you need a series of layering techniques in order to have the fired strength of stoneware or porcelain and the full palette range of the painter. To accomplish this, low-temperature glazes or overglazes are made to adhere to a higher-fired glazed surface, and can be super-imposed over already existing decoration. To gain the full measure of color, one has to fire progressively down the temperature range so as not to burn out heat-sensitive colors that can’t be achieved any other way. Usually the lowest and last firing is for precious metals: platinum, pal-ladium, and gold.

For the hot side of the spectrum—red, orange, and yellow—there are many commercial body and glaze stains, in addition to the usual mineral colorants. Cera-mists looking for difficult-to-achieve colors might want to consider prepared stains, particularly in the yellow, violet, and purple ranges. These colors are often quite a problem with standard minerals, be they in the form of oxides, carbonates, nitrates, sulfates, chlorides or even the basic metal itself.

Minerals that give reds, oranges, and yellows are cop-per, iron, nickel, chromium, uranium, cadmium-sele-nium, rutile, antimony, vanadium, and praseodymium. Variations in glaze makeup, temperature and atmosphere profoundly affect this particular color range. The only materials which produce red at high temperature are cop-per, iron, and nickel . The results with nickel are usually muted. Reds in the scarlet to vermilion range can only be achieved at low temperatures.

The chart should help pinpoint mineral choices for de-sired colors (note that the color bars are for guidance only and not representative of the actual colors —Ed.). Colors are listed with the minerals needed to obtain them, ap-proximate temperatures, atmosphere, saturation percent-age needed, and comments on enhancing/inhibiting fac-tors. Because of the widely variable nature of ceramic color, there are many generalities here. Where the word “vary” occurs in the column under Cone, it signifies that the intended results could be expected most of the time at various points up to cone 10.

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Yellow Green

Copper + Rutile Vary Both 2%-10% Various mixtures in a wide variety of glazes, particularly those high in alkaline materials . Almost any yellow glaze to which copper is added will produce yellow green .

Chromium Vary Both 0 .5%-3% In yellow glazes without tin or zinc .

Chromium 4-8 Ox . 0 .25%-1% In saturated barium glazes .

Chromium 018-015 Ox . 0-2% In high alkaline glazes with no tin .

Cobalt Vary Both 0-1% In any yellow glazes .

Light Green

Copper Vary Ox . 0-2 .5% In various glazes except those high in barium or mag-nesium . Best in glazes opacified with tin or titanium .

Cobalt Vary Both 0-2% In glazes opacified with titanium, or containing rutile .

Apple Green

Chromium Vary Both 0-2% In various glazes without zinc or tin . Good in al-kaline glazes with zirconium opacifiers . Also use potassium dichromate .

Copper 1%-2% See Light Green; use in non-opacified glazes .

Celadon Green

Iron Vary Red 0 .5%-2% Best with high sodium, calcium or potassium glazes . Do not use with zinc glazes .

Copper Vary Ox . 0 .5%-2% Good in a wide range of glazes .

Grass Green

Copper 010-2 Ox . 1%-5% In high lead glazes; sometimes with boron .

Chromium 018-04 Ox . 1%-2% In high alkaline glazes .

Olive Green

Nickel Vary Both 1%-5% In high magnesia glazes; matt to shiny olive green .

Iron Vary Red . 3%-5% In high calcium and alkalines, usually clear glazes .

Hooker’s Green

Copper + Cobalt Vary Ox . 2%-5% In a wide variety of glaze bases .

Cobalt + Vary Both 2%-5% In a wide variety of glaze Chromium bases: no zinc or tin . Good opacified with zirconium or titanium .

Chrome Green

Chromium 06-12 Both 2%-5% In most glazes; no zinc or tin .

Dark Green

Copper Vary Ox . 5%-10% Many glaze bases, particularly high barium, strontium, zinc or alkaline with a minimum of 10% kaolin .

Cobalt + Chromium Vary Both 5%-10% Blends of these colorants will give a wide range of dark greens .

Cobalt + Rutile Vary Both 5%-10% Dark greens with blue overtones .

Teal Blue

Cobalt + Rutile Vary Both 1%-5% In a wide variety of glazes .

Cobalt + Chromium Vary Both 1%-5% In most glazes without tin or zinc .

Turquoise

Copper Vary Ox . 1%-10% In high alkaline and barium glazes . Bluish with no clay content; tends toward greenish tint with added clay .

Copper + Rutile Vary Both 1%-5% In high alkaline and barium glazes .

Copper + Tin Vary Ox . 1%-10% In high alkaline and barium glazes; usually opaque .

Light Blue

Nickel Vary Ox . 1%-2% In high zinc or barium glazes .

Rutile Vary Red . 1%-5% In a wide range of glazes; best with low (10% or less) clay content .

Cobalt Vary Both 0 .25%-1% Use in most glazes, particularly those opacified with tin . Also use mixed with small amounts of iron .

Celadon Blue

Iron 6-10 Red . 0 .25%-1% In high alkaline or calcium clear glazes . Black iron is generally preferable to red iron .

Wedgewood Blue

Cobalt + Iron Vary Both 0 .5%-2% In most glazes; small amounts of cobalt with iron, manganese or nickel yield soft blues . Added tin gives pastel blue .

Cobalt + Manganese Vary Both 0 .5%-2%

Cobalt + Nickel Vary Both 0 .5%-2%

Cobalt 4-10 Both 0 .5%-3% In high zinc glazes .

Nickel 4-10 Ox . 1%-3% In high barium/zinc glazes; likely to be crystalline .

Blue Gray

Nickel Vary Ox . 0 .5%-5% In high barium/zinc glazes .

Rutile Vary Red . 2%-5% In a wide variety of glazes, particularly high alumina or magnesia recipes .

Cobalt + Manganese Vary Both 0 .5%-2% In most opaque glazes .

Cobalt Vary Ox . 0 .5%-5% In high zinc glazes .

Ultramarine

Cobalt Vary Both 0 .5%-5% In high barium, colemanite, and calcium glazes; no zinc, magnesium or opacification .

Cerulean Blue

Cobalt Vary Both 0 .5%-5% In glazes containing cryolite of fluorspar .

Cobalt + Chromium Vary Both 2%-5% In most glazes except those containing zinc or tin .

Prussian Blue

Nickel 6-10 Ox . 5%-10% In high barium/zinc glazes .

Cobalt + Manganese Vary Both 5%-10% In most glaze bases .

Cobalt + Manganese Vary Both 5%-10% In most glazes; for example, cobalt 2%, chromium 2% and manganese 2% .

Navy Blue

Cobalt Vary Both 5%-10% In most glazes except those high in zinc, barium or magnesium .

COLORANT CONE ATMOS. % COMMENTS COLORANT CONE ATMOS. % COMMENTS

Yellow-Green to Navy BlueThe cool side of the glaze spectrum (from yellow-green to navy blue) is considerably easier, both to produce and work with, than the warm. In the main, colorants that control this range create far fewer problems than almost any of the red, orange, and yellow range. Some are temperature and atmosphere sensitive, but that’s nothing compared to the idiosyncrasies possible with warm colors.


The colorants known for creating cool hues are cop-per, chromium, nickel, cobalt, iron, and sometimes mo-lybdenum. For variations, some are modified by titani-um, rutile, manganese or black stains. The usual three variables of glaze makeup, temperature, and atmosphere still control the outcome, though it is less obvious in this range.

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Indigo

Nickel Vary Ox . 8%-15% Use in high barium/zinc glazes . Also likely to crystal-lize .

Cobalt + Manganese Vary Both 5%-10% Various mixtures in most glazes .

Cobalt + Black Stain Vary Both 5%-8% Various mixtures in most glazes .

Violet

Cobalt Vary Both 5%-10% In high magnesium glazes .

Nickel Vary Ox . 1%-10% In some saturated-barium glazes .

Manganese Vary Both 5%-10% In high alkaline glazes .

Copper Vary Ox . 8%-10% In some saturated-barium glazes .

Purple

Copper 6-10 Both 8%-10% In high barium and barium/zinc glazes .

Copper 8-10 Red . 1%-5% In copper red glazes opacified with titanium .

Nickel Vary Ox . 5%-10% In some high barium glazes .


Manganese 04-10 Ox . 5%-10% In high alkaline and barium glazes .

Iron 8-10 Red . 8%-10% In high calcium glazes; likely to crystallize .

Copper + Cobalt Vary Red . 2%-8% Various mixtures in many glazes .

Chrome + Tin + Cobalt Vary Ox . 2%-8% Various mixtures in many glazes .

Mauve or Lilac


Nickel Vary Ox . 1%-5% In some saturated-barium glazes .

Pink

Cobalt Vary Ox . 1%-3% In high magnesium glazes opacified with tin . Also in very low alumina content glazes .

Copper Vary Red . 0 .2%-2% In copper red glazes with titanium .

Copper 6-10 Ox . 0 .2%-3% In high magnesium or high alumina glazes .

Copper 8-10 Red . 5%-10% In copper red glazes opacified w/min . 5% titanium .

Chromium Vary Ox . 1%-2% In calcium glazes opacified with 5%-10% tin .

Iron Vary Ox . 1%-5% In calcium glazes opacified with tin .

Rutile Vary Both 5%-10% In high calcium and some ash glazes .

Nickel 018-010 Ox . 1%-3% In high barium glazes with some zinc .

Manganese Vary Both 1%-5% In alkaline glazes opacified with tin or titanium . Also in high alumina glazes .

Brown

Iron Vary Both 3%-10% In most glazes .

Manganese Vary Both 2%-10% In most glazes .

Nickel Vary Both 2%-5% In high boron, calcium, and lead glazes .

Chromium Vary Both 2%-5% In high zinc glazes .

Umber Vary Both 2%-10% In most glazes .

Ilmenite Vary Both 2%-10% In most glazes . High calcium may yield bluish tint .

Rutile Vary Both 5%-10% In most glazes; golden brown .

Gray

Iron Vary Red . 2%-4% In many glaze bases; gray brown .

Iron Chromate Vary Both 2%-5% In most glaze bases without zinc or tin .

Nickel Vary Both 2%-5% In most glaze bases; gray brown .

Copper 8-10 Both 3%-10% In high magnesium glazes . Warm gray in reduction; cold gray in oxidation .

Cobalt + Nickel Vary Both 1%-5% Blue gray in most glazes .

Cobalt + Manganese Vary Both 1%-5% Blue gray to purple gray in most glazes .

Black Stain Vary Both 1%-5% Shades of gray in most opacified glazes .

Black

Iron Vary Both 8%-12% In high calcium glazes — the temmoku range .

Copper Vary Both 8%-10% In a wide range of glazes .

Cobalt Vary Both 8%-10% Blue black in most glazes except those high in zinc and magnesium .

Black Stain Vary Both 3%-10% In most zinc-free, non-opacified glazes .

COLORANT CONE ATMOS. % COMMENTS

Indigo to PurpleThe indigo-to-purple part of the color wheel is small but significant. The colorants that produce this range are nick-el, cobalt, manganese, umber, iron, chromium, rutile ilme-nite, copper, iron chromate, and black stains. In short, one could say that the colorants needed include just about the whole group that are used for all the other colors in the spectrum. The only ones I haven’t talked about previously in this articles series are umber, ilmenite, iron chromate, and black stains.

Black Stains Formulated from a variable mixture of other colorants, black stains are usually rather expensive due to their being saturations of colorant materials. Various com-panies produce black stains usually from a combination of iron, cobalt, chromium, manganese, iron chromate and sometimes nickel mixed with fillers and fluxes such as clay, feldspar and silica. I use the following recipe:

Black StainChromium Oxide . . . . . . . . . . . . . . . . 20 %Cobalt Carbonate or Oxide . . . . . . . . 20Manganese Dioxide . . . . . . . . . . . . . . 20Red Iron Oxide . . . . . . . . . . . . . . . . . . 20Feldspar (any) . . . . . . . . . . . . . . . . . . 8Kaolin (any) . . . . . . . . . . . . . . . . . . . . 8Silica . . . . . . . . . . . . . . . . . . . . . . . . . 4 100 %

This mixture is best ball-milled for a minimum of four hours to limit its tendency toward cobalt specking, and to make sure that the colorants are thoroughly mixed. Because any black stain is a very concentrated mixture, only small amounts are normally needed to cause a strong effect. In a clear glaze, a maximum of 5% should produce an intense black. In opaque glazes, more stain than that may be needed. Black stains and white opacifiers mixed together will pro-duce a range of opaque grays. Stains, like other ceramic ma-terials, are subject to the three variables of glaze makeup, temperature and atmosphere.

Outside the color wheel one finds tones of brown, gray, and black. These moderate other colors. A color wheel could, I sup-pose, include the range of opacifiers since they also have a strong role in affecting color. The toning influence of brown, gray, and black is just as much opacifying in result as are the white opaci-fiers such as tin, titanium, and zirconium compounds such as Zircopax, Opax, Superpax, and Ultrox. Slight additional incre-ments of any of these colors will render most glazes, colored or not, progressively darker as they are added.

Excerpted from The Ceramic Spectrum: A Simplified Approach to Glaze and Color Development, published by The American Ceramic Society.


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Imagine a glaze that fires perfect-ly at both cone 10 and cone 6, in reduction and oxidation, and in a soda firing, yet still produces a

variety of exciting, stable colors. This idea intrigued me after realizing that one of the glazes in our studio fired well at cone 10 reduction in a gas kiln, cone 6 in an electric kiln, and cone 9 reduction in a soda kiln without any change in the recipe. The glaze—Turner’s White—consists of common inexpensive ingredients that are easy to find.

Additionally, this glaze has very good properties—great viscosity but not runny; applies very well on bisque whether you spray, dip or pour; and doesn’t settle out in the bucket over time so remixing is fairly easy.

Turner’s WhiteDolomite . . . . . . . . . . . . . . . . . . . . . . 10 %Whiting . . . . . . . . . . . . . . . . . . . . . . . . 9Soda Feldspar . . . . . . . . . . . . . . . . . . 25Custer Feldspar . . . . . . . . . . . . . . . . . 20EPK Kaolin . . . . . . . . . . . . . . . . . . . . . 18Talc . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Silica . . . . . . . . . . . . . . . . . . . . . . . . . 12 100 %

Add: Bentonite . . . . . . . . . . . . . . . . . . 2 % Zircopax . . . . . . . . . . . . . . . . . . . . . 8 %

Color tests (right)

1 Copper Carbonate . . . . . . . . . . . . 4 %2 Copper Carbonate . . . . . . . . . . . . 0 .6 % Tin Oxide . . . . . . . . . . . . . . . . . . . . . 2 %3 Cobalt Carbonate . . . . . . . . . . . . . . 4 % Lithium Carbonate . . . . . . . . . . . . . . 2 %4 Rutile . . . . . . . . . . . . . . . . . . . . . . . 8 %5 Red Iron Oxide . . . . . . . . . . . . . . . . . 4 % Rutile . . . . . . . . . . . . . . . . . . . . . . . . 4 %6 Mason Stain 6405 (Naples Yellow) 4 % Mason Stain 6433 (Praseodymium) 4 %

Note: Tests 3, 4, and 6 applied over Turner’s White .

Altering a glaze: The top two rows above were fired to cone 10 reduction in a gas kiln and the bottom two rows were fired to cone 6 electric. Rows 1 and 3 contain 100 extra grams of the tested ingredient listed below each row, and rows 2 and 4 contain none of the tested ingredient.

Feldspar EPK Silica Whiting Talc Dolomite Bentonite Zircopax

The tiles above are examples of a single glaze base (Turner’s White) used to ob-tain a variety of colors by adding coloring oxides. The top row was fired to cone 6 electric and the bottom row to cone 10 reduction in a gas kiln.

Variations on a glaze baseby Kristina bogDanoV

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Testing the Base GlazeMy students and I decided to take two directions with the glaze—first explor-ing Turner’s White by changing the ingredients within the recipe, and the second exploring color development.

To explore the base, we made 500 gram test batches where we increased one ingredient by 100 grams and an-other test where we omitted the in-gredient altogether. We did these two tests for each ingredient.

These tests did not require any glaze re-calculation but gave the stu-dents a better understanding of what certain chemicals do in a glaze. For example, Turner’s White’s original recipe produces a nice matt white surface fired to cone 6 electric. Add-ing silica, Turner’s White fluxed more, and at the same temperature gave a more glossy, white surface, but was still very stable. Adding Zircopax and firing to cone 6 electric resulted in a superb white semigloss surface, and omitting Zircopax, produced a nice, light beige. Adding dolomite or talc also made Turner’s White flux when fired to cone 6 electric, but adding EPK yielded a more textured, rough surface, like a slip or engobe.

In the cone 10 reduction tests, elimi-nating feldspars from the recipe gave a creamy matt surface. Eliminating silica from the recipe gave a stone white matt surface. Omitting Zircopax and firing to cone 10 reduction gave an interesting, celadon-like surface. Tests increasing either talc or dolomite at cone 10 reduction seemed to form a crystalline texture on the surface but were runny as well. Note: The brown specks on the cone 10 reduction tests were produced by iron in the stone-ware clay body.Color DevelopmentThe second part of our project was to use Turner’s White as a base, but just exclude the Zircopax (an opacifier). We added a variety of colorants—copper carbonate, cobalt carbonate, rutile, red iron oxide, Mason stains, and others that are not shown here. We fired the tests to cone 6 in both electric and gas reduction. The test

results were both interesting and dis-appointing as they yielded colors that we expected or did not.

Copper carbonate gave light turquoise colors at 2% and at 4% it was dark green in electric firings. A combination of red iron oxide and rutile gave a buckwheat color when fired in electric. Adding 2% cobalt oxide and 4% manganese diox-ide gave a nice purple both in oxidation and reduction. Nickel at 4% in oxidation gave a mustard colored matt surface but produced a chartreuse color and rough surface in reduction.

It is still a work in progress to find the “one glaze” for our studio. I wasn’t keen on glaze testing until I stumbled upon Turner’s White, which motivated me to explore the recipe. I encourage those of you who have one favorite glaze to try out one of the two direc-tions and see what happens, maybe you’ll discover some remarkable sur-face or color. In any case, you’ll better understand the glaze.

Kristina Bogdanov teaches ceramics at Ohio Wesleyan University in Dela-ware, Ohio.

This book covers techniques of firing and finishing at low

temperature, eliminating the need for costly kilns or lengthy waits

between making and finishing your work. Both ancient cultures and

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

slips and burnishing pieces to create finishes not possible with

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

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

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

practical information focusing on various approaches to low firing

and methods of natural finishes. Chapters include burnishing, terra

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

LOW-FIRING & BURNISHING by Sumi von Dassow

Softcover | Order code CA66 | ISBN 978-1-57498-293-0 | Price $24.95

FREE shipping when you order online

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If you’ve only worked with red, brown or buff clay in the past and you’re looking for a change, maybe porce-

lain is the right clay for you. Plan-ning, research, and evaluation are the best ways to assure any future success in making a switch from one clay body to another.

To determine if porcelain is what you’re looking for, you’ll need to evaluate where you want to go with your clay work, your skill level and your vision as a potter. Decide if you’re happy with your current work, and if so, consider the effect that work will have if made with a white or porcelain clay body. Not all works in clay maximize the quali-ties that porcelain has to offer, so if you have to change your work in order to use porcelain, evalu-ate whether that’s something you want to do.

In my own experience, I had a vision of pots dancing like ballerinas—soft figu-rines moving around in bright colors against pure white backdrops. I also envisioned translucent light and instantly knew what to do, but it took some time to find the right porcelain and to develop a body of work.

Studio Setup and Working MethodsDo you have the right studio setup for porcelain and are you able to adjust your current workplace with ease? Can you work with precision and in a clean studio? Do you work with other clay bodies that might contaminate porcelain, or are there other potters working with you that might not respect a porcelain work station? Which techniques do you use most? For instance, if you work mostly with an extruder with a steel chamber and plunger, you’ll need to replace it with a stainless steel or aluminum one to avoid possible rust contamination.

Skill LevelIt’s important to know your own abilities and skill level. If you’re a beginner who wants to throw 20 inch pots, you’ll have a lot of difficulty achieving your goals and there will be a whole lot of frustra-tion, time and money wasted before you can reach them. In such a case, it’s better to use white stone-

ware clay and gradually work your way first through a semi-porcelain body and then eventually use pure por-celain as your skills improve.

Different PorcelainsIf you want to become a porcelain production potter, you’ll look at a different clay body than someone who wants to make one-of-a-kind porcelain pieces, porcelain sculptures or strictly handbuilt forms. Your working methods will differ dramatically from theirs. Maybe you need a clay body that combines some or all of the above mentioned clay techniques.

Once you decide that you want to take on the chal-lenges that porcelain offer, you’ll have to find the clay that suits your newly set goals. There are many different porcelain clay bodies available on the market.

I tested several commercially available cone 6 porce-lain bodies and suggest you do the same before settling on one. Each clay had some special characteristic that I could use for my own work and could see used by any-one else. Commercial porcelain clay bodies meet almost all the needs of the potter, and there are some excellent throwing, handbuilding, and sculpture bodies available. The producers and suppliers know which one best suits each purpose, and they are an excellent resource when you are trying to figure out what you need.

Before making a large investment in porcelain, test several bodies to see which one best suits your needs.

buying porcelainby antoinette baDenHorst

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They develop some bodies to be more plastic and stretchable, but less white and translucent. These bodies can go further in height and thinner in walls than some others that might be pure white and translucent, but may be a little harder to throw.

If you choose to work with pure white, translucent clay, you can always throw thicker and trim thin after-ward. If you need an all translucent, white and a non-warping clay body, it might cost a little more, but your ceramic supplier can recommend the right clay body for your purposes.

Amazingly, you will even find that some of the semi-porcelaneous clay bodies meet all the characteristics of porcelain and have the added green strength that is often missing in true porcelains. Add these qualities to the fact that you can save energy because many of the commercial clays are formulated for firing at cone 6 elec-tric, and there are very few restric-tions left that would limit you from working with this material.

Test several clay bodies for their ability to throw, trim, and to keep their shape when stretched beyond their limits. Also test them to see how they stand up to adjustments and attach-ments, then fire them to the proper cone in an electric kiln. Check them to see if shrinkage can cause prob-lems. Compare the tests for shrink-age, color, and translucency.

Transition CarefullyIt’s always best to start by buying one bag of clay and testing it thoroughly. Then, even when you think you’re satisfied with your choice, make the transition to your new style and clay body slowly and carefully. Porcelain is expensive but if you take a conser-vative approach, and do enough test-ing to make an informed decision, it will pay to make an investment in a large batch of clay.

A Final WordI’ve seen porcelain clay bodies im-prove from one batch to another. Clay companies are constantly do-ing research to improve their clays. If you consult your clay company, they’ll know what to recommend to you only if you understand your own needs and what you want. To us, as potters, that’s good news, because it

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

wall pieces by Dominique Bivar segurado



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means that if we admire a specific clay body today, but it’s not working for our circumstances, it’s worth discussing that with our clay producer and retesting a body again to see if it has changed. Maybe your skills improve, perhaps the clay composition improves, or maybe you and that specific clay body simply get in sync with each other.

Read the literature available online, then talk to a sales representative and they’ll be able to recommend the right clay body for your needs.

Thanks to T Robert at Laguna Clay and Carla Flati of Standard Ceramics. Antoinette Badenhorst has worked with translucent porcelain since the early 1990’s.

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Existing in one form or another for more than 10,000 years, the potter’s wheel has evolved slowly over the millennia. In the 21st century, electric wheels with enhancements reign su-

preme, but the venerable, traditional kick wheel still hangs on—a testimony to its simplicity.

There are basically two types of foot-powered wheels—kick wheels and treadle wheels. The kick wheel utilizes a heavy flywheel that stores energy as it speeds up when pro-pelled by your foot, while the treadle wheel utilizes a lever and cam mechanism that turns a shaft with a weighted fly-wheel. Operating a foot-powered wheel takes a little prac-tice and coordination, but potters who use them swear by

the relaxed rhythm and pace of their throwing as well as their intimate connection to the throwing process.

Kick WheelsThere are three major manufacturers of kick wheels in North America: Thomas Stuart wheels made by Skutt, Brent wheels made by Amaco, and Lockerbie wheels made by Laguna Clay. Most basic kick wheels are con-structed with a steel frame and come with an adjustable seat, reinforced cast concrete flywheel, cast metal wheel head, and a wood or composite work surface. Some ac-cessories are also available. And even though you can power the wheels by foot, some models come with an

Western kick wheels typically feature a steel frame with a reinforced cast concrete flywheel, cast metal wheel head, adjustable seat and wood or composite work surface. Pictured: Brent J Kick Wheel

Once a flywheel is rotating, the weight of it (between 120 and 140 pounds) provides momentum. An electric motor can maintain the momentum of a moving flywheel.Pictured: Skutt Thomas Stuart Kick Wheel with optional motor

For the economy minded, a knock-down wooden Brent wheel comes in a kit with all hardware. The flywheel is weighted with bricks sandwiched between two plywood pieces. Pictured: Brent Kick Wheel Wood Kit

Since the designs of most wheels have been around for up to 40 years, parts are easy to come by. For example, Laguna’s Lockerbie wheels can be retrofitted with a motor. Pictured: Laguna Clay’s Lockerbie Wheel

KicK WHeelsby bill Jones

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electric motor option. With flywheels weighing more than 125 pounds, the motors easily maintain momentum after the flywheel is turning.

Treadle WheelsTreadle wheels, which rely on a foot-powered treadle mechanism to drive a flywheel, were once common in English and American potteries and more recently mass produced for both school and private studio. One common version now available is a sit down version based on a design refined by Bernard Leach at the be-ginning of the 20th century. The so-called Leach wheel is legendary among potters who prefer the non-electric wheel, probably because of the comfort achieved even throwing for long stretches of time. Another type of treadle wheel requires you to stand, which takes pressure off the back. Once common in the U.S., this type of wheel is once again being made in an all-steel version by Klop-fenstein Art Equipment.

Buying ConsiderationsIn the age of electric wheels, kick wheels are a throwback to a simpler time. And while many consider it eas-ier to learn the basics of throwing on

This Leach Treadle Wheel, crafted by Great River Woodworking, is based on a style attributed to Bernard Leach at the onset of the 20th century. Typically made to order, these highly prized wheels remain a favorite of many working potters.

an electric, there remain many potters who rely solely on a kick wheel for all their production needs. Maintenance-wise very little is needed; however, once installed, a kick wheel pretty much remains in one place due to its weight. Since they are bulky and heavy, consider having your wheel shipped unassembled to save on shipping. For the budget conscious, the Brent Kick Wheel Wood Kit is economically priced. And if you’re really industrious, you can search for “kick wheel plans” online and construct your own or give

a set of plans to a local woodworker to have one custom made.

The following manufacturers make kick wheels. Check out their websites for more information.

For More InformationBrent Wheels: www.amaco.com

thomas Stuart Wheels: www.skutt.com

Klopfenstein: www.klopfensteinart.com

Lockerbie & Laguna: www.lagunaclay.com

Great River Woodworking: greatriverwoodworking.com

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

ceramic process. Thirty artists discuss their inspiration, working styles

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

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

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

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

surface decoration: finishing techniques edited by anderson turner


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Currently, there are a handful of manufac-turers and dozens of distributors who of-fer thirty models of a machine designed to help you do one thing: turn a mound of

clay into a flat slab. Slab rollers are sold alone or in a complete package

with legs and a table. With some, the mechanism for moving clay under and past the drum is hand operated using anything from a simple hand crank up to a large “wagon wheel,” while others are motor driven. Some have one roller, others have two. They come in a vari-ety of widths, from 16 inches up to 40 inches, and the tables are anywhere from 18 inches all the way up to 7 feet in length.

Some are designed for portability while the rest are floor models designed for use in a larger studio. Some are light-duty while others are “industrial-grade” and built to work under heavy demand, day in and day out. Prices range from under $200 to more than $2000.

What to ConsiderWHO is going to use the slab roller?

Will the slab roller be used by one person, or a group of people? Answering this may help you determine whether or not you’ll need a model designed to sus-tain heavy use. Some light-duty models carry limited warranty coverage, explicitly stating that they are not intended for commercial or institutional use. If several people are going to use the slab roller, get input from them as to what they want to do with it and how of-ten they plan to use it. Also, consider if anyone has a physical limitation that might interfere with his or her ability to operate the slab roller. If so, test the equip-ment before you buy it.WHAT do you plan to do with the slab roller?

You’re going to roll out slabs of clay, of course, but what will be the width and length of most of your slabs? Will most of your slabs be around one square foot and ¼-inch thick or will you be doing larger proj-ects that require slabs two to three feet wide, several feet long and a ½-inch thick? Bigger isn’t always better. If it looks like you’re going to do mostly small-scale projects, requiring slabs no wider than sixteen inches, then a portable model or a light-duty floor model may fit the bill. WHERE will the slab roller be used?

Space is precious in many studios so careful planning is required when adding a floor-model slab roller. It’s sort of like deciding to put a billiard table in a guest room. The space has to be big enough to use the table, not just fit the table. Ideally, you should have an area in the stu-dio equivalent to the dimensions of the slab roller’s table

plus an additional two feet of walking space all around. However, most of the floor models on the market can be located against a wall and still be conveniently operat-ed. Some models come with locking casters and others can be outfitted with them so the slab roller can be used in an open area, then moved aside when not in use.

Bear in mind that slab rollers equipped with tables also make excellent work-ing surfaces for other studio projects. You may find that the table or bench you’re using now can be replaced with a slab roller without losing work space.

The heavy duty, two roller Shimpo Slab Roller, Rolling Thunder by Axner and the Slab Master by Clay-King are all manufactured by Friendly Manufacturing Cor-poration, located in Taiwan.

The Bailey DRD 30 Electric Dual Roller Drive with op-tional long or short table is Bailey’s top of the line slab roller model.

Bailey’s Mini-Might 22-inch Table Roller with Mini Leg Set and Bailey 16-inch Mini-Might Table Top Roller (above) both offer portability without giving up function and quality. Amaco/Brent also offers a portable model.

Amaco/Brent’s SR-36 Slab Roller, is a large floor model designed for heavy-duty use and comes with vari-able shims to roll slabs of different thicknesses.

cHoosing a slab rollerby Daryl bairD

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If you need to travel with your slab roller, there are six portable models currently on the market. WHEN will the slab roller be used?

This also relates to how often you’ll use the slab roller. Will you use it on a daily basis or just occasionally? Your an-swer here will help you determine if you should invest in one of the heavy-duty models. These are often equipped with ultra-strong gearing and 4-inch rollers. Look for lifetime warranties when pur-chasing these types of machines.HOW MUCH money are you plan-ning to spend?

While this may be your dealer’s opening question, it may not necessar-ily be the first question to ask yourself. By evaluating your needs before you budget, you can do a better job of get-ting the appropriate slab roller.

Axnerwww.axner.com

Bailey Pottery Equipmentwww.baileypottery.com

Amaco/Brent www.amaco.com

Clay-Kingwww.clay-king.com

North Star Equipmentwww.northstarequipment.com

Shimpowww.shimpoceramics.com

For more information

Amaco/Brent has five slab roll-ers in its product line, North-star Equipment seven, and Bailey Pottery Equipment has thirteen. Axner, Clay-King and Shimpo offer similar models. Check out websites for more detailed information and check with your local supplier to see what they carry—it's worth checking them out in person.

Basic models are available but packages can be tailored to your specific needs as illustrated by the North Star SR with add-on wing mounts and a bottom shelf for added functionality.

Daryl Baird is the author of The Extruder Book, published by The American Ceramic Society. He lives in Sagle, Idaho. You can send comments to him at [email protected].

What can you do with an electric kiln? There seems to be no limit to the possibilities. In Electric Firing: Creative Techniques you’ll be in-spired by the range of techniques covering many facets of pottery making and surface treatments. And you’ll also get information on materials, maintenance, glazes or even how to make a wood- or gas-fired kiln out of an old electric kiln. From Pennsylvania redware and lusters to acheiving surfaces similar to reduction firing, you’ll find your electric kiln is capable of most anything.

ElEctric Firing:crEativE tEchniquEs Edited by anderson turner


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loW-fire electric reDsby DaViD gamble

I’ll start by explaining there are two different types of commercial red glazes that I normally use. One type is an extremely bright color and harder to achieve and the other is a newer tomato red color

that is AP (Approved Product of the Arts and Creative Materials Institute) nontoxic and dinnerware safe. The latter is formulated with inclusion stains, which are continuing to be improved. The col-or is encased in zircon, which makes them safe to use even in the classroom.

The AP nontoxic reds are extremely stable and were used to create red velvet underglazes that can be fired from cone 05 to as high as cone 10— only salt seems to blush them out.

The success of underglazes has allowed the development of gloss and matt red glazes that have been formulated to work well at the low-fire cone 05 range and other glazes formulated for the cone 4–6 range. These are extremely reliable. Three brushed coats will usu-ally be enough of an application and you get nice tomato color reds at both temperatures.

Bright reds are not dinnerware safe and are extremely sensitive to variations in firing conditions. There have been many times that an art teacher has asked me about the use of these types of red glazes. I understand the space and time challenges that teachers face, but you cannot put these glazes in with your normal glaze firings and expect good results. They are affected by how tight the load is stacked, other glazes (mostly cop-per greens), and temperature. If you’re firing to cone 05, I can al-most guarantee there will be prob-lems. The glaze will most likely have variations from clear to gray to black, and if you’re lucky, a spot or two of red.

Note: Amaco glazes were used in the pieces shown here, however, many companies produce similar glazes and underglazes.

ProcessHere are my suggestions of what you need to know and do to achieve the bright reds!Bisque your

Left: Untitled, by Scott Bennett. Amaco LM series Coral glaze with wax and black overspray. As the wax melts in the kiln, the black moves.

Above: Plate, by Da-vid Gamble. The cross was created using a red underglaze.

Platter, by David Gamble, glazed with red glaze and blue brush strokes on top.

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Red Hot Chilli Pepper Diner, by Jerry Berta, glazed with red underglazes.

Platter, by David Gamble, glazed with red glaze, blue brush strokes, and one coat of gold used for accents.

clay body slowly to cone 04 (12 hours to get all the gases out). Although these glazes are not considered translucent, the clay body color does af-fect them slightly. White bodies will make the glaze appear brighter in color than darker bodies.

Using a brush, apply the glaze thicker than the normal three coats. Four coats will usually work, but too heavy an application may cause the glaze to run. Glaze application may need experimentation and practice.

Load the kiln very loosely. There is a need for lots of space between the pieces for air circulation. I leave the peephole plugs out during the firing, thus allowing extra oxygen to enter the kiln chamber.

Do not fire above cone 06 (1828°F), preferably using witness cones for observation. I have been firing at cone 07 (1789°F) with great results. These glazes seem to like the cooler temperatures.

Fire as quickly as you can, four hours is ideal. If your pieces are larg-er, an example being my 22-inch platters, take them up slowly to about 1200°F. This may help to eliminate cracking problems. Then turn the kiln on high to fast fire to the end of the firing.

More ObservationsIf your kiln is vented through the bottom with a system that draws air through the top of the kiln, this will help give you more oxygen in the kiln and better red results. Remember that kilns, depending on how they are stacked, may not fire that evenly. This can cause cold spots and hot spots. There can be a difference in tempera-ture equal to a couple of cones from top to bottom—depending where the kiln sitter or thermocouple is located. This variability can really affect bright red glazes. Newer kilns with zone control and multiple thermocouples tend to fire more evenly. If you have an older kiln, place cones in the top, middle and bottom of the kiln so you can keep a record of what happens in the firing. They can help provide answers if problems do occur.

Now that you know the process, I will describe my experimentation with red glazes. I’ve been placing them on different color clay bodies, layering over glazed fired pieces and layering one coat of gold glaze over the top.

I then place the pieces next to peep holes to brighten the color or place shelves over the edges to deepen and take away the color. This is what is exciting to me—not get-ting it perfect, but having the surface color change and vary while having some control over what the changes will be. I am an extreme advocate of using commercial glazes the way a painter would use his tubes of paint. Experiment, test to the “max” and make them your own. Years ago, I was asked to be a glaze doctor at the National Council on Education for the Ceramic Arts (NCECA) in Las Vegas. I agreed, but told them to la-bel me a glaze deviate instead of a glaze doctor.

Don’t be afraid to experiment. Don’t be afraid to sacrifice a few pieces on the way to discovering something more exciting.

David Gamble holds masters degrees from Edinboro and Indiana State Universities in art education and fine arts.

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aDDing DeptH to your glazesby lisa bare culp

As a potter and in-home in-structor for many years, I’ve always mixed my own glazes, or relied on other

professionals who mix dry glazes to my specifications. Recently, an idea for a single pot challenged me to experi-ment with commercially-made glazes. The outcome has been succesful with vibrant new color selections, time sav-ings and the convenience of readily available glazes screened for toxicity—all this without compromising my workspace or my standards.

What changed my thinking on com-mercially prepared glazes was my desire to introduce bold new colors into my work. I envisioned a piece with con-trasting matt black-and-white slip sur-faces offset against a single area glazed in vibrant red. My local supplier rec-ommended a food-safe, nontoxic red glaze, Mayco’s Stroke & Coat Cone 06.

Early ExperimentsEarly tests resulted in pieces with dra-matic and beautiful contrasts between my porcelain slips and the red glaze. In one test, I used Stroke & Coat SC-73 Candy Apple Red, to highlight ar-eas of bisqueware. In another, I used SC-74 Hot Tamale. Sometimes I ap-plied the glaze with a big brush in a single, expressive stroke. Other times, I squeezed the colors from a slip trailer and a turkey baster.

After these loose applications, I dipped the entire piece in my usual

Fish Bowl, matt white glaze over com-mercial glazes, fired to cone 6.

PouringSqueeze a large amount of Stroke & Coat SC-73 Candy Apple Red across the interior of a bisque-fired bowl. Use a 2-inch brush to apply a thin coat of Mayco’s Elements Chunkies EL 203 Coal

Dust (this is a low-fire effect glaze with crystals) over the Candy Ap-ple Red.

A nice feathered edge is created when the piece is dipped into a cone 6 black glossy glaze (above).

CarvingApply a thick coat of Mayco Stroke & Coat SC-71 Purple-Licious and SC-74 Hot Tamale with a large brush to the interior surface of a leather-hard bowl. Once the colors are slightly dry, the design is carved through the glaze with a loop tool,

then bisque fired to cone 08. Dip the entire piece twice in a cone 6 matt white glaze and fire to cone 6 in oxidation. The commercial colors show well through the white matt.

Note: If the lines are too fine they may fill in when the glaze melts.

asparagus tray

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cone 6 glazes. Because of their gum content, the com-mercial glazes resisted my glazes slightly, making the bold strokes of color come through vividly. Stroke edges were blended and their colors softly striking against the cone 6 palette. The outcome was as satis-fying technically as it was aesthetically; I was satisfied with the melt (Stroke & Coat is a glaze, not an under-glaze), the color and the absence of pinholing or other major flaws at cone 6.

A New ToolFurther experiments with sgraffito, layering, mixing with slip and stoneware glazes, and multiple firings have

Gear Dish, slab-built stoneware.

opened up commercial glazes as a new artistic tool—albeit an unexpected one—to share with students. They have learned the importance of experimenting with new surfaces, new materials, combining techniques and achieving balance with different kinds of material.

If you’d like to experiment with commercially pre-pared glazes, I’ve included three of my projects for you to try. Mixing my own recipes will always be an important part of understanding the science behind the art of pottery making. But successfully integrating commercial glazes in the mix is just one more way to pursue the function and beauty of ceramics.

LayeringOn a heavily textured, bisque-fired piece, apply a cone 6 porcelain black slip as a stain, wiping off the high spots with a damp sponge.

Use a 2-inch brush to apply Stroke & Coat SC-71 Purple-Licious to the high spots with a dry brush technique. Next, dry brush Mayco’s Stroke & Coat Red SC-74 Hot Tamale and SC-27 Sour Apple onto the interior. Apply a thick coat of the red glaze in isolated areas to obtain a bright color.

Apply wax resist to the interior sur-face of the piece and allow to dry. Dip the entire piece in a cone 6 blue glaze.

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Textured vase, 10 in. (25 cm) in height, fired to cone 10 and glazed with Weiser Blue on a white stoneware clay body.

Designing WitH textureby Daniel gegen

Amber hat jar, 7 in. (18 cm) in height. Rutile glaze fired to cone 10. In this form, Daniel used three different textures, illustrating the range of variation possible with this technique.

Envelope Vase, 9 in. (23 cm) in length, glazed with Reitz Green and fired to cone 10. The textured slabs used in all the pieces shown here were created collaboratively by Creative Paradise and Daniel Gegen Designs.

One of the greatest challenges for a potter who decorates their work is finding an image or texture that fits the form of the pot. For the past thirteen years, I’ve taught my students to use texture as a

design tool. Recently, I started using textured plaster slabs as a way to apply decorative surfaces directly to the clay before the construction process begins. Interesting things happen when the textured surface is manipulated into a vessel form. Tex-tures can overlap one another to create contrast or add visual tension. The result is similar to the way patterned fabric looks when it is made into clothing, except that I am more interested in how the patterns don’t line up on the seams. Often I push the slabs out from the inside of the vessel to create volume, which softens and distorts the surface texture as well.

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Begin by flattening and rolling your clay using a rolling pin and wooden slats or dowels to create an even thickness. I used ¼-inch-thick slats for this project. Flip the clay over repeatedly after each rolling so it doesn’t stick to the canvas.

Use a template cut from card stock to cut out two hourglass silhouette shapes. Use heavy-weight paper so you can save and reuse your patterns. Tip: To create symmetrical templates, fold the paper in half and cut out the shape.

Place one of the hourglass shapes on a textured plaster slab and tamp into place. Use a rolling pin to press the clay firmly onto the texture, and bevel the edges using a pony roller. Repeat this step using a contrasting texture for the other half of the vase.

Lay the textured clay shapes onto a rolling pin. Gently start forming the curve of the oval vase. Let stiffen until the two halves can stand on their own.

Stand the two halves up and score the inside surfaces using slip to join them together. The seams can fall on the sides of the pot, but I place the seam in the middle of the form to create an emphasis on the two different textures.

Gently press the two halves together, slightly overlapping, taking care not to distort the tex-ture. Blend the seams on the inside, but leave the external seams visible to show that the vase was constructed by hand from slabs.

Attach a slab bottom (texture also could be ap-plied to the bottom slab). Cut the bottom slab 1/8-inch larger than the vase. Bevel the bottom and top edges to give a more finished look.

Create the looped handles by rolling out a 3/8-inch-thick coil of clay. Lay the coil in between two soft cloths.

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Cut the handles to the desired length and fold the ends toward each other creating a loop.

Attach the handles by pressing in on the base of the loop while supporting from the inside.

Carefully soften any rough edges with a damp sponge. Cover the finished form with plastic and let it dry slowly so the seams stay together.

Flatten the coil between the cloths using the ridge in your palm. The cloth will soften the edges and help create a half-rounded effect to the handle.

Use a sponge to moisten the clay so that it can be bent without cracking.

Daniel Gegen has taught both handbuilding and wheel throwing at the Wichita Center for the Arts in Wichita, Kansas, for the past thirteen years. You can send him comments and view his work at www.danielgegen.com.

ROBCone 10

Talc . . . . . . . . . . . . . . . . . . . . . . . . . 11 %Whiting . . . . . . . . . . . . . . . . . . . . . . 20Custer Feldspar . . . . . . . . . . . . . . . . . 31Kaolin . . . . . . . . . . . . . . . . . . . . . . . 16Silica . . . . . . . . . . . . . . . . . . . . . . . . . 20Bentonite . . . . . . . . . . . . . . . . . . . . . . 2 100 %Add: Rutile . . . . . . . . . . . . . . . . . . . . . 5 %

recipes

Reitz GreenCone 10

Calcium Carbonate . . . . . . . . . . . . . . . 6 %Gerstley Borate . . . . . . . . . . . . . . . . . . 2Nepheline Syenite . . . . . . . . . . . . . . . 69Petalite . . . . . . . . . . . . . . . . . . . . . . . 15Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 8 100 %Add: Cobalt Carbonate 1 % Rutile 1 %

Weiser BlueCone 10

Barium Carbonate . . . . . . . . . . . . . 4 .6 %Colemanite . . . . . . . . . . . . . . . . . . 11 .9Whiting . . . . . . . . . . . . . . . . . . . . . 7 .8Ferro Frit 3110 . . . . . . . . . . . . . . . . . 2 .7Kona F-4 Feldspar . . . . . . . . . . . . . 36 .5Grolleg . . . . . . . . . . . . . . . . . . . . . . 3 .7Silica . . . . . . . . . . . . . . . . . . . . . . 31 .9Tin . . . . . . . . . . . . . . . . . . . . . . . . . 0 .9 100 .0 %Add: Barnard 2 .3 % Bentonite 2 .0 %

9 10

11 12

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1. LG 1 • e (10%) • 6 Ox 2. LG 1 • x (5%) • 6 Ox 3. LG 1 • x (5%) • 6 Ox 4. LG 1 • x (7.5%) • 6 Ox

5. LG 1 • x (10%) • 6 Ox 6. LG 1 • d (.625%) • 6 Ox 7. LG 1 • vg (10%) • 6 Ox 8. LG 1 • e (2.5%) • 6 Ox

9. LG 1 • x (5%) • 6 Ox 10. LG 1 • u (7.5%) • 6 Ox 11. LG 1 • h (.625%) • 6 Ox 12. LG 1 • h (7.5%) • 6 Ox

13. LG 2 • b (.625%) • 6 Ox 14. LG 2 • b (1.25%) • 6 Ox 15. LG 2 • h (5 %) • 6 Ox 16. LG 1 • base • 9 R

17. LG 2 • x (10%) • 9 R 18. LG 1 • x (10%) • 9 R 19. LG 2 • c (5%) • 9 R 20. LG 2 • u (10%) • 9 R

reticulation glazesby robin Hopper

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Reticulation glazes form a group of specialized glazes that show patterns of heavy crawling, or reticulation. The

patterns look similar to lichens or lizard skin, depending on the glaze base, under-glaze coatings, and firing temperature. The same glaze may give very different results at a variety of temperatures.

Putting the reticulation glazes over a colored slip allows the top glaze to move and the visible cracks to be colored be-tween “islands” of glaze. Any colored slip will do, but one of the most interesting is usually black, as it intensifies the color of the covering glaze.

With reticulation glazes applied heavily over the slip and fired at cones 04, 6, and 9-10, and with added colo-rants, a wide range of textural pos-sibilities can be developed. The main requirement in the glaze is a saturation of magnesium carbonate as seen in the two base glazes below.

Hopper LG #1Soda Feldspar . . . . . . . . . . . . . . . . . . 27 %Magnesium carbonate . . . . . . . . . . . . 28Ferro frit 3134 . . . . . . . . . . . . . . . . . . . 9Ferro frit 3195 . . . . . . . . . . . . . . . . . . 5Talc . . . . . . . . . . . . . . . . . . . . . . . . . . 7Zinc oxide . . . . . . . . . . . . . . . . . . . . . 5Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 19 100 %

Hopper LG #2Soda Feldspar . . . . . . . . . . . . . . . . . . 35 %Magnesium carbonate . . . . . . . . . . . . 25Ferro frit 3195 . . . . . . . . . . . . . . . . . . 10Talc . . . . . . . . . . . . . . . . . . . . . . . . . . 15Kaolin . . . . . . . . . . . . . . . . . . . . . . . . 15 100 %Excerpted from The Ceramic Spectrum

by Robin Hopper.

Key for Colorant Additionsb = cobalt carbonatec = copper carbonated = manganese dioxidee = nickel carbonateh = chromium oxideu = Commercial Yellow Stainvg = Commercial Victoria Stainx = Cerdec/Degussa inclusion red stain 27496

Key for Firing6 Ox = cone 6 oxidation9 R = cone 9 reduction

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The accepted standard for understanding glazes, this book

explores glaze and color making in a hands-on way that

follows the empirical understanding used for thousands

of years. Hopper provides an impressive description of his

extensive research into glaze, color, texture, and surface

enrichment. It is the perfect practical complement to any

glaze theory or process of calculation, including glaze

calculation software programs.

the ceramic spectrum by robin hopper


(US orders only)

/bookstore

866-672-6993





perfect plasterby bill Jones

Water to Plaster Mixing Chart

1 quart . . . . .2 lbs. 14 oz. (1,293 grams)

1½ quarts . . .4 lbs. 4 oz. (1,937 grams)

2 quarts . . . .5 lbs. 11 oz. (2,585 grams)

2½ quarts . . .7 lbs. 2 oz. (3,230 grams)

3 quarts . . . .8 lbs. 9 oz. (3,878 grams)

3½ quarts . . .10 lbs. (4,522 grams)

1 gallon . . . .11 lbs. 6 oz. (5,171 grams)

1½ gallons . .17 lbs. 2 oz. (7,756 grams)

2 gallons . . . .22 lbs. 13 oz. (10,337 grams)

2½ 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 consistency of 73 (73 parts plaster to 100 parts water) recom-mended for most studio applications . Exces-sive 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 mix-ing.” 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 every-thing’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 contain-er for the plaster, a scale for weighing the plaster, a measuring cup for the water and a rinse bucket. Note: Plaster cannot be permitted to go down the drain, because it will form a rock-like mass. Even small amounts will accu-mulate 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 dis-card the bag.

Use Fresh Water The mixing water you use should be at room temperature 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 alumi-num sulfate, can accelerate the setting time, and soluble salts can cause ef-florescence on the mold surface.

Use Fresh PlasterPlaster is calcined, meaning chemi-cally 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 quan-tities. 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 sur-face of the water. Do not dump the plaster or toss it in by handfuls. Add-ing the plaster shouldn’t take more than 3 minutes.

Soak The PlasterAllow the plaster to soak for 1–2 min-utes maximum. The soaking allows each plaster crystal to be completely surrounded by water and it removes air from the mix. Small batches re-quire 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.Tip: To extend the working time of plaster, allow the plaster and water mixture to stand for about three min-utes without any stirring. After this time, “sweep” the materials together thoroughly, but only until all free wa-ter is absorbed into the mix. Then stir the mix for a very short time, about every 30 seconds or so, but do not stir continusouly, until the proper consis-tency is reached. Another method of retarding the setting action is to add sodium citrate (approximately 1–2%) to the plaster mix.

Pouring The PlasterAfter mixing, tap the bucket on a hard surface to release trapped air. Pour the plaster carefully. Wherever possible, pour plaster carefully 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 vibrate the mold and release more air bubbles.Drying PlasterWhen plaster sets, it heats up because of a chemical reaction. 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 reduced ef-florescence. Dry molds evenly. Don’t set them near a kiln where one side is exposed to excessive heat or the rela-tive humidity is near zero. Place them on racks in a relatively dry location away from drafts.

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

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

bone ash (calcium phosphate) Ca3(PO4)2—high tempera-ture flux—opacifier in low temperature glazes—translu-cence in high temperature glazes.

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

chrome oxide Cr2O3—standard vivid green colorant—of-ten softened with a little iron or manganese. Very refrac-tory. With tin produces pink.

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

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

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

feldspar High temperature alkaline fluxes—insoluble alu-minum silicates of potassium, sodium, calcium, and/or lithium—inexpensive flux for glaze.

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

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

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

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

lithium carbonate Li2CO3—powerful all temperature al-kaline flux, especially with soda or potash feldspars. Pro-motes hardness and recrystallization in low temp glazes.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Excerpted from Clay: A Studio Handbook by Vince Pitelka.

glossary of common ceramic raW materialsby Vince pitelKa

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primary function of common ceramic raW materials

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

Material Glaze Function Substitute Comment

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

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Geographic & Product LocatorQuickly locating one of 285 ceramic businesses is easy with this locator. You’ll be able to easily find suppliers nearby and all the suppliers offering various products and services. Companies are arranged by city within the states where they’re located. International listings follow the United States listings and are arranged by country, then by city. If you don’t see your local supplier, tell them to contact us to get in the next Buyers Guide.

10The only complete Buyers Guide for the studio potter


Arizona

Keraflex, US (Gilbert) •

Marjon Ceramics Inc. (Phoenix)

Dolan Tools (Scottsdale) •

Marjon Ceramics Inc. (Tucson) • • • • • • • • • • Equipment repair, kiln, wheel

Arkansas

Flat Rock Clay Supplies (Fayetteville) • • • • • • • • • • Consulting for school & art contests

California

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

Glaze Mixer (Cardiff)

All Fired Up (Chico) • • • • • • Studio space, Gallery

Kemper Tools (Chino) •

Ceramic Services (Chino Hills) • • • • • • • • •

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

Graber’s Pottery Inc. (Claremont) •

Jiffy Mixer Co. Inc. (Corona) •

Mud in Mind (El Cajon) • • • • • • •

Chris Henley Tools (Encinitas) •

Clay Factory Inc. (Escondido) •

I Love To Create, a Duncan Enterprises Company (Fresno) • • • •

B & W Tile Co. Inc. (Gardena) •

Geil Kilns Co. (Huntington Beach) • •

Art Decal Corp. (Long Beach) Decals

Echo Ceramics (Los Angeles) • • • • • • • •

Nasco Arts & Crafts (Modesta) • • • • • • •

Olsen Kiln (Mountain Center) •

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

Aftosa (Richmond) • • • • • • • Precious metal clay

ClayPeople (Richmond) • • • • • • • • •

Alpha Fired Arts (Sacramento) • • • • • • • • • •

Industrial Minerals Co. (Sacramento) • • • • • • •

HyperGlaze/Richard Burkett (San Diego) Software for glazes

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

Japan Pottery Tools (San Francisco) •

The Chinese Clay Art, USA (San Jose) • • • • China tour and cultural exchange

Rosies Workwear (San Luis Obispo) • Apparel

Lily Pond Products/Campbell Industrial Supply (Sanger) • • Slip casting equipment

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

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California

Falcon Company-Aardvark Clay & Supplies (Santa Ana) • • •

Clay Planet (Santa Clara) • • • • • • • • • •

California Pot Tools (Santa Paula) •

Peter Pugger Mfg., Inc. (Ukiah) • •

Ceramic ArtSpace (Van Nuys) • • • • • • • • • Plastercraft, Kiln use/repair

Pure & Simple Pottery Products (Willits) • Molds

Colorado

Herring Designs, LLC (Breckenridge) • •

Carbondale Clay Center (Carbondale) • • Classes

Ceramic Design Group Ltd./Plinth Gallery (Denver) • • Consulting

Killam Gas Burner Co. (Denver) • •

Mile Hi Ceramics, Inc. (Denver) • • • • • • • • • • Silver clay, china paints

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

Enduring Images (Golden) Decals

BNZ Materials Inc. (Littleton) • Insulating firebricks

Glyptic Modeling Tools (Loveland) •

Connecticut

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

R.T. Vanderbilt Co. Inc. (Norwalk) •

Duralite Inc. (Riverton) • •

Delaware

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

Nabertherm, Inc. (New Castle) •

Florida

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

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

Jen-Ken Kilns (Lakeland) •

Summit Kilns (Land O Lakes) • • • •

C and R Products, Inc. (Ocala) • • • • •

Bennett Pottery Supply (Ocoee) • • • • • • •

Axner Pottery Supply. a tradename of Laguna Clay Co. (Oviedo) • • • • • • • • • •

Florida Clay Art Co. (Sanford) • • • • • • • • •

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

Morean Art Center (St. Petersburg) • Year-round classes, workshops, exhibitions

St. Petersburg Clay Company Inc. (St. Petersburg) • Studio rental

Armory Art Center (W. Palm Beach) Exhibitions and classes

Georgia

Atlanta Clay (Atlanta) • • • • • • • • •

Davens Ceramic Center (Atlanta) • • • • • • • • •

Creative Glazes (Duluth) • •

Olympic Kilns (Flowery Branch) • • •

Larkin Refractory Solutions (Lithonia) • • Refractories

Kickwheel Pottery Supply Inc. (Tucker) • • • • • • • • • •

Hawaii

Ceramics Hawaii Ltd. (Honolulu) •

Idaho

The Potter’s Center (Boise) • • • • • • • •

Wendt Pottery (Lewiston) • • • • • • • •

Illinois

Great Lakes Clay & Supply (Carpentersville) • • • • • • • • • •

Metomic Corporation (Chicago) Lamp parts

Paasche Airbrush Co. (Chicago) •

Sapir Studios (Chicago) Display products

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

Ceramic Supply Chicago (Evanston) • • • • • • •


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OtherIllinois

Badger Air Brush Co. (Franklin Park) • •

Blick Art Materials (Galesburg) • • • • • • • • Full line of art & craft supplies

Crystal Productions (Glenview) • Prints and posters

Shimpo Ceramics (Nidec-Shimpo America Corp.) (Itasca) • • • •

International Decal Corp. (Northbrook) • • Decals

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

MJR Tumblers (Pecatonica) • •

U.S. Pigment Corp. (S. Elgin) • •

Indiana

ABR Imagery, Inc. (Bloomington)

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

American Art Clay Co., Inc. (AMACO/Brent) (Indianapolis) • • • • • • • •

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

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

Royal and Langnickel Brush Mfg. (Merrillville) •

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

Iowa

Johnson Gas Appliance Co. (Cedar Rapids) • •

Bartlett Instrument Co. (Ft. Madison) • •

Kansas

Creative Paradise (Goddard) •

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

Soldner Clay Mixers by Muddy Elbow Mfg. (Newton) •

Evans Ceramic Supply (Wichita) • • • • • • • • • •

Starlite Mold Company (Wichita) Molds

Kentucky

Old Hickory Clay Co. (Hickory) • • Slip

Groovy Tools (Lawrenceburg) •

Kentucky Mudworks LLC (Lexington) • • • • • • • • Custom wire tools & wiggle wires

Louisiana

Alligator Clay Company (Baton Rouge) • • • • • • • •

Blue Diamond Kilns (Metarie) •

Maine

Portland Pottery Supply (Portland) • • • • • • • • • • Classes, kids camp, workshops

Miracle Bat (York) • •

Maryland

Baltimore Clayworks (Baltimore) •

Buyers Market of American Craft (Baltimore) • •

Chesapeake Ceramics Supply (Baltimore) • • • • • • • •

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

PotteryTools.com (Finksburg) •

Massachusetts

Portland Pottery Supply South (Braintree) • • • • • • • • •

Amherst Potters Supply (Hadley) • • • • • • •

Gare Inc. (Harverhill) • • • • Molds

Boston Kiln Sales & Service (Medford) • • • • Repair service

The Potters Shop and School (Needham) • • • Studio workspace

Sheffield Pottery Inc. (Sheffield) • • • • • • • • • • Equipment repair

Ceramics Consulting Services (Southampton) • Ceramics consulting

Venco USA (Spencer) •

Saint-Gobain Ceramic Materials (Worcester) SiC kiln shelves

Michigan

Pebble Press, Inc. (Ann Arbor) • •

Portion Master LLC (Beaverton) •

Evenheat Kiln Inc. (Caseville) •

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Michigan

Runyan Pottery Supply Inc. (Clio) • • • • • • • • • • Glass kilns and glass supplies

FireRight/Warner Instruments (Grand Haven) • Electronic controls

West Michigan Clay (Hamilton) • • • • • • • • •

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

Manitou Arts (Leland) Wood accessories for tiles

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

Rovin Ceramics (Taylor) • • • • • • • • • •

Minnesota

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

Master Kiln Builders (Farmington) • •

Dunghanrach Clay Co. (Melrose) • • • • •

Brown Tool Co. (Minneapolis) •

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

Smith-Sharpe Fire Brick Supply (Minneapolis) • •

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

Mississippi

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

Archie Bray Foundation (Helena) • • • • • • • • • •

Missouri

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

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

Krueger Pottery Supply (St. Louis) • • • • • • • • • • Classes & workshops

Nevada

Cress Mfg. Co. (Carson City) •

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

Bison Studios (Las Vegas) •

Pottery West (Las Vegas) Classes

BigCeramicStore.com (Sparks) • • • • • • • • •

Nevada Dan’s (Sparks) • • •

New Hampshire

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

Midlantic Clay (Bellmawr) • • • • • • • • •

New Jersey

Curran Pfeiff Corp. (Edison) • •

Kissimmee River Pottery/Fullwood Measure (Frenchtown) • • Classes

Hammill & Gillespie Inc. (Livingston) •

Ceramic Supply Inc. (Lodi) • • • • • • • • • •

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

AmericanPotters.com (Rockaway) Database

L&L Kiln Mfg. Inc. (Swedesboro) • • •

Lamp Specialties (Westville) • • • • • • Lamp parts

New Mexico

Coyote Clay & Color (Albuquerque) • •

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

New Mexico Clay, Inc. (Albuquerque) • • • • • • • • • • Silver clay

Taos Clay (El Prado) •

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

New York

East Valley Supply (Andover) Ceramics epoxy

The Mudpit (Brooklyn) • • • • • • • Equipment repair, studio rental, kiln firings

Vent-A-Kiln Corp. (Buffalo) •

Ceramic Arts Library (Corning) •

Studio Sales Pottery Supply (East Avon) • • • • • • • • Classes

PCF Studios (Honeoye) • • Seminars

Bailey Pottery Equipment (Kingston) • • • • • • • • • • Pugmills/claymixers


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OtherNew York

Artfixtures (New York) • • Display stands

Rockland Colloid Corp. (Piermont) •

Alpine Kilns and Equipment LLC (Pine Island) • •

Clayscapes Pottery Inc. (Syracuse) • • • • • • •

Oneida Air Systems (Syracuse) •

Northeast Ceramic Supply (Troy) • • • • • • • •

Doo-Woo Tools LLC (Warwick) •

Kiln-Ray Services (Warwick) • • • • •

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

North Carolina

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

Carolina Clay Connection (Charlotte) • • • • • • • • •

Claymakers (Durham) • • • • • • • •

Resco Products Inc. (Greensboro) •

Mudtools (Hendersonville) •

Williams Supply (Star) • • • • • •

Speedball Art Products Co. (Statesville) • Screen printing products for tiles

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

John Brown Tools (Winston-Salem) •

Ohio

National Artcraft Co. (Aurora) • • • • • • Accessories

A & K Clay Company LLC (Bethel) •

Mudmats (Blacklick) • • • Mats

Laguna Clay Co. (Byesville) • • • • • • • • • •

Olympia Enterprises Inc. (Campbell) • • • Watermount decals

Vulcan Kilns (Centerville) • • • •

Funke Fired Arts (Cincinnati) • • • • • • • • •

Aegean Sponge Co. (Cleveland) •

Bareclay (Columbus) •

Columbus Clay (Columbus) • • • • • • • • • •

RAM Products Inc. (Columbus) •

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

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

Mason Color Works Inc. (E. Liverpool) • Stains

Mayco Colors (Hilliard) • • • Molds

Maryland Refractories Co. (Irondale) • •

Ohio Ceramic Supply Inc. (Kent) • • • • • • • • • • Slip

Klopfenstein Art Equipment (Lexington ) •

Krumor Inc. (Valley View) Thermocouples and RTDs

Orton Ceramic Foundation (Westerville) • • • Cones

Oregon

The Kiln Elements Co. (Birkenfeld) • •

Aim Kiln Mfg. (Corvallis) • • • • •

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

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

Mudshark (Portland) • Moldmaking

PotteryVideos.com (Portland) •

Skutt Ceramic Products (Portland) •

Southern Oregon Pottery Supply (Talent) • • • • • • • • • Repairs

Pennsylvania

Ceramic Services Inc. (Bensalem) • •

Insulating Firebrick, Inc. (Butler) Insulating firebricks

The Clay Place (Carnegie) • • • • • • • • • •

M&M Pottery Supply (Corry) • • • • • • • • •

Del Val Potter’s Supply Co. (Glenside) • • • • • • •

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Pennsylvania

Penn-Mo Fire Brick Co. (Harrisburg) • • • • • • •

The Ceramic Shop (Philadelphia) • • • • • • • • • Rental studio space

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

Frog Pond Pottery (Pocopson) • Glaze software

Placid Ceramics (Washington) • • • • • • •

Petro Mold Co. (Waterford) • Mold making

Rhode Island

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

South Carolina

Clay-King.com (Spartanburg) • • • • • • • • Artisan kilns

Coastal Ceramic Supply (Summerville) • • • • • •

South Dakota

Pacer Corp. (Custer) •

Dakota Potters Supply (Sioux Falls) • • • • • • • • •

Tennessee

Ward Burner Systems (Dandridge) • • • • •

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

Mid-South Ceramic Supply Co. (Nashville) • • • • • • • • • • Pottery studio, classes, workshops

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

Shakerag Workshops (Sewanee) Workshops

Texas

Armadillo Clay & Supplies (Austin) • • • • • • • • • •

Ceramic City (Canyon Lake) • • •

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

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

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

Dry Creek Pottery (Granbury) • • • Teacher workshops

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

Bella Bisque, Inc. (Kyle) • •

Display Your Art by Glassica (Liberty Hill) • Display products

Paragon Industries, L.P. (Mesquite) •

Old Farmhouse Pottery (Rusk) •

Clayworld Inc. (San Antonio) • • • • • • • • • Ex-Cel slip

Utah

Etc., Etc., Etc. (Wichita Falls) • • • • • • • • • •

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

Virginia

The Kiln Doctor Inc. (Front Royal) • • • • • • • • • • Consulting/Installation

Spun Earth Pottery (Lynchburg) • • • •

Tin Barn Pottery Supply at Manassas Clay (Manassas) • • • • • • • • • • Glaze kitchen

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

Washington

North Star Equipment Inc. (Cheney) • •

Giffin Tec Inc. (Lummi Island) • •

The Cookie Cutter Shop (Marysville)

Crucible Kilns (Seattle) • • • • • • • • • •

Paper Clay (New Century Ceramic Arts Inc.) (Seattle) • • •

Seattle Pottery Supply (Seattle) • • • • • • • • • •

Precision Terrefirma (Spokane) •

Rings & Things Wholesale (Spokane) •

Clay Art Center (Tacoma) • • • • • • • • • •

Scott Creek Pottery Inc. (Tacoma) • •

Wisconsin

MKM Pottery Tools LLC (Appleton) •

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

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Wisconsin

Sax Arts & Crafts (New Berlin) • • • • • • • •

Aves Studio (River Falls) •

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

Danser, Inc. (Parkersburg) • • Duct work

Australia

Venco Products (Kelmscott WA ) • •

Canada

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

Bamboo Tools (Surrey) •

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

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

Euclids Kilns & Elements (Oakville) • • • •

Euclid’s/The Pottery Supply House Ltd. (Oakville) • • • • • • • • • •

Cone Art Kilns Inc. (Richmond Hill) •

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

Spectrum Glazes (Toronto) •

Digitalfire Corp. (Cornwall) • •

Sial Products (Laval) • • • • • • • • •

Edouard Bastarache Inc. (Sorel-Tracy) •

Italy

La Meridiana (50052 Certaldo (Fl)) Workshops

United Kingdom

Bailey Decal Ltd. (Sotke on Trent) Decals

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Soda clay and fireby gail nicholS

For anyone interested in soda or salt firing, Soda, Clay and Fire covers the topic in great detail. The technical research and presentation surpass all existing literature on the topic, and the rich, vibrant examples of finished work are stunning and sure to inspire. With soda firing, the creative process continues until the kiln is turned off. Nichols’ book discusses the principles behind this technique and delves into clays, glazes, loading protocols, firing schedules and more. Also included are profiles of other artists working with this technique and examples of their work.Softcover | Order code CA32 | ISBN 978-1-57498-167-4 | Price $34.95

FREE shipping when you order online (US orders only)

/bookstore

866-672-6993



A & K CLAY COMPANY LLC 937-379-14953664 Bethel New Hope Rd. Fax: 937-379-1495Bethel, OH 45106Ohio Slip is a very clean and consistent 400 grain material which makes glazes that fire from cone 6 thru 12 and can be applied to a wet or dry pot, dipped, sprayed or brushed.

A.R.T. STUDIO CLAY CO. INC. 262-884-42789320 Michigan Ave. Fax: 262-884-4343Sturtevant, WI 53177-2425 Toll-free: 877-ART-CLAYCarry a rainbow of glazes from around the country and a great selection of clay, tools, wheels, kilns and equipment.

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

email: [email protected]: www.aardvarkclay.com

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

AARDVARK CLAY & SUPPLIeS 702-451-99286230 Greyhound Ln. Fax: 702-451-9928Ste. eLas Vegas, NV 89122

email: [email protected]: www.aardvarkclay.com

Full service supplier of Highwater, Standard, Laguna, AMACO, Spectrum, Mayco, Georgies, L&L, Skutt, Shimpo, Brent, Pacifica, Dolan, Kemper, Sherrill Mudtools and more. “By artists - for artists”. Advice from people who actually use what they sell!

ABR IMAGERY, INC. 812-339-91473808 W. Vernal Park Fax: 812-339-8947Bloomington, IN 47404 Toll-free: 866-342-4764America’s #1 glass blowing supply resource.

AEGEAN SPONGE CO. 216-749-19274722 Memphis Ave. Fax: 216-749-2110Cleveland, OH 44144 Toll-free: 800-276-8542Importer of natural and synthetic sponges: silk, elephant ear, sea and wool. Wholesaler of ceramic and craft supplies.

AFTOSA 510-233-03341776 Wright Ave. Fax: 510-233-3569Richmond, CA 94804 Toll-free: 800-231-0397Leading wholesaler of ceramic accessories, tools, books, display products, tile products, bisque, glaze and sublimation products, precious metal clay and glass products.

AIM KILN MFG. 541-758-8133350 S.W. Wake Robin Ave. Fax: 541-758-8051Corvallis, OR 97333-1619 Toll-free: 800-647-1624Electric and gas-fired kilns, kiln controls and kiln accessories. Custom builds and repairs.

ALL FIRED UP 530-894-5227830 Broadway Fax: 530-894-5271Chico, CA 95928A full service ceramic art center; pottery classes, a wide range of supplies, members open studio and gallery with gift shop.

ALLIGATOR CLAY COMPANY 225-932-94572721 W. Perdue Fax: 225-932-9446Baton Rouge, LA 70814 Toll-free: 888-503-2299A division of Southern Pottery Equipment & Supplies LLC, manufacture quality moist clay bodies and custom clay bodies.

ALPHA FIRED ARTS 916-484-44244675 Aldona Ln. Fax: 916-484-6172Sacramento, CA 95841Largest selection of ceramic supplies in northern California.

ALPINE KILNS AND EqUIPMENT LLC 845-987-9589 PO Box 1275 Fax: 845-926-3125982 Rte. 1 Toll-free: 888-222-9196Pine Island, NY 10969Manufacture front loading gas and electric kilns since 1943, glaze formulating, tables, work tables, spray booths, and wedging tables.

AMeRICAN ART CLAY CO., INC. (AMACO/BReNT) 6060 GUION RD. 317-244-6871Indianapolis, IN 46254-1222 Fax: 317-248-9300 Toll-free: 800-374-1600

email: [email protected] Website: www.amaco.com

Leading manufacturer and supplier of quality ceramic products and equipment since 1919. AMACO kilns, clays, glazes and underglazes, our Brent® line of potters wheels, ware carts and hand extruders, and our excel® round kilns are used worldwide by art educators.

AMeRICAN CeRAMIC SUPPLY CO. 817-535-26512442 Ludelle St. Fax: 817-536-7120Ft. Worth, TX 76105-1060 Toll-free: 866-535-2651

email: [email protected]: 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.

AMERICANPOTTERS.COM 973-945-3553165 Hoagland Ave.Rockaway, NJ 07866-3013National, searchable, database of potters, clay artists, teachers, students, workshop instructors, or anyone involved in the clay industry that wants to be accessible to everyone across the country/planet.

AMHERST POTTERS SUPPLY 413-586-450747 East St. Fax: 413-584-5535Hadley, MA 01035Specialize in custom mixed de-air clays and an assortment of our own cone 6 glazes visible on our website.

ARCHIE BRAY FOUNDATION 406-442-25212915 Country Club Ave. Fax: 406-443-0934Helena, MT 59602-9240 Toll-free: 800-443-6434U.S. distributor for Alberta and Ravenscrag slip, a base glaze material. Supplier for Bray Patch, a repair and patch material that can be used on green or bisqueware. Manufacture Ben Krupka’s woodfire clay body. Clay business proceeds support the Archie Bray Residency Program. Wholesale inquiries are welcome.

ARMADILLO CLAY & SUPPLIES 512-385-73113307 E. Fourth St. Fax: 512-385-1152Austin, TX 78702One-stop shop giving you a chance to see and touch the products. We provide a fast and easy way to purchase those products, so you can get to the fun part – creating! Sell both retail and wholesale.

ARMORY ART CENTER 561-832-17761700 Parker Ave. Fax: 561-832-0191W. Palm Beach, FL 33401Community-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.

Company DirectoryOnce you’ve located a local supplier or national resource, the Company Directory helps with all the nitty gritty. We’ve listed more than 285 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. If you need an online version you can download, check out the Free Gifts section on CeramicArtsDaily.org

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10The only complete Buyers Guide for the studio potter


www.aardvarkclay.com

www.amaco.com

www.americanceramics.com


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ARROWMONT SCHOOL OF ARTS & CRAFTS 556 Parkway 865-436-5860PO Box 567 Fax: 865 430-4101Gatlinburg, TN 37738Educational classes, workshops, galleries and a supply store.

ART CLAY WORLD, USA 708-857-88004535 Southwest Hwy. Fax: 708-636-5408Oak Lawn, IL 60453Specialize 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. 562-434-27111145 Loma Dr. Fax: 562-494-7869Long Beach, CA 90804quality single and multi-color, made to order waterslide onglaze, inglaze and glass decals for the decorator market.

ARTFIXTURES 212-472-0595211 E. 70th St. Fax: 212-472-3555New York, NY 10021Supply the Display Stand; two flat pieces interconnect to hold and enhance artwork, plates, books, photographs and fine collectibles. Stands are created specifically for quality art pieces, displaying them both aesthetically and safely.

ATLANTA CLAY 770-451-67743131 Presidential Dr. Fax: 770-451-6712Atlanta, GA 30340

ATLANTIC POTTERY SUPPLY INC. 904-249-4499400 Levy Rd. Fax: 904-339-0014Atlantic Beach, FL 32233Retail and wholesale pottery supply business.

AVES STUDIO 715-386-9097PO Box 34 4 Fax: 715-381-2121River Falls, WI 54022 Toll-free: 800-261-2837Manufacture self-hardening sculpting clays, maches and repair compounds that are safe, user friendly, nonshrinking, noncracking, and waterproof for all your sculpting and repair needs. Our 2 part clays are safe to use with potable water and perfect for ceramic repairs.

AXNER POTTERY SUPPLY (LAGUNA CLAY CO.) 490 KANE CT. 407-365-2600Oviedo, FL 32765 Fax: 407-365-5573 Toll-free: 800-843-7057

email: [email protected]: www.axner.com

Offer the best quality, pricing and service for pottery supplies, materials, equipment and books. Glass fusing and surface modification products, Steve tools and Bellar roller sold here.

B & W TILE CO. INC. 310-538-957914600 S. Western Ave. Fax: 310-528-2190Gardena, 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. 847-678-31049128 W. Belmont Ave. Fax: 847-671-4352Franklin Park, IL 60131 Toll-free: 800-222-7553Maker of quality airbrushes for over 45 years. Manufacture several types of airbrushes designed to meet a vast array of spray needs.

BAILEY DECAL LTD. 44-0-1782-524400Trent HouseDunning St.Stoke on Trent ST6 5APUnited Kingdom

BAILeY POTTeRY eqUIPMeNT 845-339-372162 Tenbroeck Ave. Fax: 845-339-5530PO Box 1577 Toll-free: 800-431-6067Kingston, NY 12402

email: [email protected]: 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 410-578-19195706 Smith Ave. Fax: 410-578-0058Baltimore, MD 21209Youth and adult classes, workshops and exhibitions.

BAMBOO TOOLS 604-782-3202PO Box 74009111-16033 108th Ave.Surrey, BC V4N 5H9 CanadaFor centuries, the most widely used pottery tools by production potters in the Orient. Bamboo is the best material for pottery tools because it is durable, lightweight, and fits the human anatomy.

BARECLAY 614-271-8225399 Thurman Ave.Columbus, OH 43206Specialize 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 upon request.

BARTLETT INSTRUMENT CO. 319-372-83661032 Ave H Fax: 319-372-5560Ft. Madison, IA 52627Design and manufacture kiln controllers used by many major kiln manufacturers. Our mission is to provide reliable, easy-to-use and economical controllers.

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

BeNNeTT POTTeRY SUPPLY 407-877-6311431 enterprise St. Fax: 407-877-3559Ocoee, FL 34761 Toll-free: 800-432-0074

email: [email protected]: www.bennettpottery.com

Complete line of Kilns – excel, L&L, Olympic, Paragon and Skutt, Potters wheels – Axner, Brent, Creative Industries, Pacifica, Thomas Stuart, and Shimpo at super discounted prices. Amaco & Brent and Laguna Glazes. Call for our wholesale catalog. Our catalog is also online at bennettpottery.com.

BIGCeRAMICSTORe.COM 775-351-2888543 Vista Blvd. Fax: 888-475-7837Sparks, NV 89434 Toll-free: 888-513-5303

email: [email protected]: 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 702-388-20851409 S. Commerce St.Las Vegas, NV 89102Manufacture functional tungsten carbide trimming/turning tools for potters. Direct sales.

BLICK ART MATeRIALS 309-343-6181695 U.S. Hwy. 150 e. Fax: 800-621-8293PO Box 1267 Toll-free: 800-828-4548Galesburg, IL 61402-1267

email: [email protected]: www.dickblick.com

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.

BLUE DIAMOND KILNS 504-835-20352009 S. Hullen Toll-free: 800-USA-KILNPO Box 172 Metarie, LA 70004Manufacture electric ceramic, glass and custom-ordered kilns.

BLUEBIRD MFG. INC. 970-484-3243PO Box 2307 Fax: 970-493-1408Ft. Collins, CO 80522-2307 Toll-free: 800-335-0741Manufacture 3 sizes of pugmills, studio to large production models. All have cast aluminum barrels and stainless steel parts. Also manufacture studio and production size clay mixers with stainless steel buckets.

BNZ MATERIALS INC. 303-978-11996901 S. Pierce St. Fax: 303-978-0308Littleton, CO 80128Manufacture BNZ-24 HK Insulating Firebrick, which is the premium brick available today for the proper lining and insulation of hobby kilns.

BOSTON KILN SALES & SERVICE 617-926-180266 Thomas St. Fax: 781-391-8942Medford, MA 02155Provide sales, custom installation and repairs to all kilns and wheels, and consulting to schools and colleges regarding technical and code issues.

BRACKeR’S GOOD eARTH CLAYS 785-841-47501831 e. 1450 Rd. Fax: 785-841-8142Lawrence, KS 66044 Toll-free: 888-822-1982

email: [email protected]: www.brackers.com

Supply ceramic and sculpture materials, equipment, tools and accessories to potters, sculptors, teachers, schools, institutions and hobbyists since 1982.

www.baileypottery.com

www.bennettpottery.com

www.bigceramicstore.com

www.brackers.com

www.dickblick.com


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

BROWN TOOL CO. 612-331-1556212 13th Ave. N.E. Fax: 612-331-1556Minneapolis, MN 55413 Toll-free: 800-980-8665Replaceable-blade trimming tools and adjustable glazing tongs.

BUYERS MARKET OF AMERICAN CRAFT 410-889-29333000 Chestnut Ave. Ste. 300 Fax: 410-889-1320Baltimore, MD 21211 Toll-free: 800-432-7238The 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 S.W. 38th St. Fax: 352-861-2507Ocala, FL 34474 Toll-free: 800-657-7020Your fired art superstore! Full distributor for color, bisque, kilns, supplies and glass.

CALIFORNIA POT TOOLS 805-525-0080792 Manor Ridge Rd. Fax: 805-525-4704Santa Paula, CA 93060-1651Manufacture tools for ceramic artists and potters; including 56 embossed patterns in a variety of shapes and sizes plus decorating ribs in 12 patterns. All used to stamp, roll or drag hundreds of unique decorations into clay. Also carry lid calipers and more. Send for free catalog.

CAMPBELL’S CERAMIC SUPPLY INC. 804-329-01094231 Carolina Ave. Fax: 804-329-1439Richmond, VA 23222 Toll-free: 800-399-0660Manufacture a complete line of pottery, clay, glaze and slip. Visit us at our headquarters in Richmond, VA, or stop by one of our 24 dealers along the East Coast.

CAPITAL CeRAMICS INC. 801-466-64712174 S. Main St. Fax: 801-466-6946Salt Lake City, UT 84115For more than 50 years 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 970-963-2529135 Main St. Fax: 970-963-4492Carbondale, CO 81623

email: [email protected]: www.carbondaleclay.org

Non-profit 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 704-376-72212132 Hawkins St. Fax: 704-376-6824Charlotte, NC 28203

email: [email protected]: www.carolinaclay.com

Full-service supplier, featuring clays by Standard, Highwater and Laguna. We carry equipment by most major manufacturers. Service-oriented with easy accessibility.

CATTLE BARN CLAY CO. 574-727-57374786 W. County Rd. 900 N.Royal Center, IN 46978Offer ceramic materials for individuals and schools at discount prices.

CERAMIC ARTS & CRAFTS SUPPLY 905-335-15153103 Mainway Dr. Fax: 905-332-4403Burlington, ON L7M 1A1CanadaWholesale ceramic supplies. Business package. Online shopping at website. Classes available.

CERAMIC ARTS LIBRARY 607-962-604279 E. Third St. Fax: 607-962-1636Corning, NY 14830-3101Specialize in out-of-print and hard-to-find books, catalogs and slide programs in the ceramic field. We also do appraisals.

CERAMIC ARTSPACE 818-782-15006020 Woodman Ave. Toll-free: 888-CERAMIXVan Nuys, CA 91401Full-service online supply store; bisque, plastercraft, glazes, tools, kiln supplies, acrylics and much more at great prices. Everything for the ceramic crafter.

CERAMIC CITY 830-964-4038186 Julius Dr. Fax: 830-964-3646Canyon Lake, TX 78133On-site kiln repair and rebuild service, parts and supplies; all Texas. Sell all kiln brands and models. Master kiln repair technician. Warranty on all work. Kiln repair and firing seminars. Refurbished kilns with warranty.

CERAMIC DESIGN GROUP LTD./PLINTH GALLERY 3520 Brighton Blvd. 303-909-5488Denver, CO 80216 Fax: 303-296-3581Design and prototype/sample maker for ceramics & pottery; master mold and model maker for slip casting, hydraulic pressing and jiggering. Clay and glaze consulting service. L&L Kilns and Shimpo distributors, Paragon and Nabertherm kilns distributor.

THE CERAMIC SHOP 215-427-96653245 Amber St.Philadelphia, PA 19134io and walk-in store. Home of the Hydro-Bat, a gypsum cement bat designed to fit all wheels.

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

CERAMIC SERVICES INC. 215-245-40401060 Park Ave. Fax: 215-638-1812Bensalem, PA 19020-4652Solutions 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.

CERAMIC STORE OF HOUSTON, LLC 713-864-64421002 W. 11 St. Fax: 713-864-6550Houston, 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 847-425-1900942 Pitner Ave. Fax: 847-332-2575Evanston, IL 60202Materials & equipment for potters, sculptors, ceramic decorators. Standard moist clays; Duncan, Mayco, AMACO, Spectrum, Opulence glazes; raw clay and glaze materials; plasters; Kemper, Dolan, Sherrill tools; L&L, Brent, North Star, Shimpo.

CERAMIC SUPPLY INC. 973-340-30057 Rt. 46 W. Fax: 973-340-0089Lodi, NJ 07644 Toll-free: 800-723-7264Materials and equipment for potters, sculptors, ceramic decorators. Standard moist clays; Duncan, Mayco, AMACO, Spectrum glazes; raw clay & glaze materials; plasters; Kemper, Dolan, Sherrill tools; Skutt, L&L, Brent, North Star, Shimpo. Free delivery.

CERAMICS & CRAFTS SUPPLY CO. 415-982-9231490 Fifth St. Fax: 415-957-1492San Francisco, CA 94107Email: [email protected]: www.ceramicssf.comMaterials and equipment for potters, ceramists and porcelain doll artisans. Mayco & Duncan glaze distributor.

CERAMICS CONSULTING SERVICES 413-527-73376 Glendale Woods Dr. Fax: 413-527-2755Southampton, MA 01073Email: [email protected]: www.fixpots.comTechnical information on clays, glazes, slip casting, raw materials, kilns, equipment, product development and ceramic toxicology. Specialize in clay body and glaze defects cause and corrections.

CERAMICS HAWAII LTD. 808-845-8100501 Kokea St., Bldg. A-6 Honolulu, HI 96817-4935

CHESAPEAKE CERAMICS SUPPLY 410-247-12704706 Benson Ave. Fax: 410-247-1708Baltimore, MD 21227-1411 Toll-free: 800-962-9655Wholesale supplier of ceramic supplies and equipment.

THe CHINeSe CLAY ART, USA 408-343-39191155 S. De Anza Blvd. Fax: 408-343-0117 Toll-free: 800-689-2529San Jose, CA 95129

email: [email protected]: www.chineseclayart.com

Web store, manufacture and wholesale company. Offer patented and newly invented clay tools, brushes, ceramic materials, prepared glazes and ceramic art books. Also offer China ceramic tours and cultural exchange programs.

CHRIS HENLEY TOOLS 760-942-0086912 Third St.Encinitas, CA 92024Handcraft 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.

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CLAY ART CeNTeR 253-922-53422636 Pioneer Way e. Fax: 253-922-5349Tacoma, WA 98404 Toll-free: 800-952-8030

email: [email protected]: www.clayartcenter.net

Northwest’s leading manufacturer of custom clay and glazes. Owned and operated by potters for over 35 years. Distributors for Skutt, Laguna, Kemper, Duncan, AMACO and most other manufacturers. Offer kiln, wheel and equipment repair.

CLAY FACTORY INC. 760-741-3242PO Box 460598 Fax: 760-741-5436Escondido, CA 92046-0598 Toll-free: 877-728-5739Carry Jacquard products, Kemper tools, Artistic wire and Makin’s clay and tools.

CLAY-KING.COM 864-579-1752125 Ben Abi Rd. Fax: 864-579-1756Spartanburg, SC 29307 Toll-free: 888-838-3625

email: [email protected]: www.clay-king.com

ONLINe DISCOUNT STORe WITH A HUGe PRODUCT INDeX, INCLUDING ARTISAN KILNS, FOR ALL LeVeLS OF CeRAMIC ARTISTS AND POTTeRS.

THE CLAY LADY 615-242-03461416 Lebanon Pike, Bldg. C Fax: 615-244-3191Nashville, TN 37210 Toll-free: 866-203-5286Your resource for teaching clay in the classroom!

THE CLAY PLACE 412-276-3260One Walnut St., Ste. 2 Fax: 412-276-3250Carnegie, PA 15106Sell ceramic equipment, supplies and books. Distributor for Amaco, Brent, Kemper, Olympic, Paragon, L&L, Shimpo, Soldner, Standard Ceramic Supply Co. and Sculpture House.

CLAY PLANeT 408-295-33521775 Russell Ave. Fax: 408-295-8717Santa Clara, CA 95054 Toll-free: 800-443-CLAY

email: [email protected]: www.clay-planet.com

Northern California’s most complete ceramic supplier. Manufacture clay and glazes, full retail store plus workshops, repair services and firing services.

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

CLAYPEOPLE 510-236-14921430 Potrero Ave. Toll-free: 888-236-1492Richmond, CA 94804-2141Ceramic supply, plaster, equipment sales and service.

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

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

CLAYWORLD INC. 210-222-13311200 E. Houston St. Fax: 210-222-1777San Antonio, TX 78205 Toll-free: 800-284-2529One-stop shop for all your pottery supplies and equipment. Discounted prices every day.

COASTAL CERAMIC SUPPLY 843-873-1211115 Varnfield Dr. Fax: 843-873-1909Summerville, SC 29483 Toll-free: 800-688-0602Full-service ceramic and pottery supplier providing products from leading manufacturers.

COLUMBUS CLAY 614-488-96001080 Chambers Rd. Fax: 614-488-9849Columbus, OH 43212Complete source of supplies for ceramic art classes and potterymaking. Clays, raw materials, kilns, potters wheels, tools, glazes and more. Call or e-mail us for a free catalog. Now carrying a full line of bisque.

CONE ART KILNS INC. 905-889-770515 W. Pearce St., Unit #7 Fax: 905-889-7707Richmond Hill, ON L4B 1H6 Toll-free: 800-304-6185CanadaManufacture quality ceramic and glass kilns with distribution in N. America and Europe. Since 1982, known for producing an energy efficient, extra-insulated kiln.

CONTINeNTAL CLAY CO. 612-331-93321101 Stinson Blvd. N.e. Fax: 612-331-8564Minneapolis, MN 55413 Toll-free: 800-432-2529

email: [email protected]: www.continentalclay.com

Premier source for pottery, handbuilding, sculpting and casting supplies. Clays, glazes, chemicals, kilns, pottery wheels, tools, books, and related equipment. 25 stock clay bodies and superior custom blending. Online store; catalog available.

THE COOKIE CUTTER SHOP 360-652-32953021 140th St. N.W. Fax: 360-652-3647Marysville, WA 98271

CORNELL STUDIO SUPPLY 937-454-03578290 N. Dixie Dr. Fax: 937-454-0397Dayton, OH 45414Complete line of supplies for pottery and sculpture. Our technician has over 30 years of experience at repairing equipment. Knowledgeable and courteous staff ready to assist customers. Catalog available. Celebrating 30 years in business.

COYOTe CLAY & COLOR 505-344-22505107 edith Blvd. N.e. Toll-free: 866-344-2250Albuquerque, NM 87107-5107

email: [email protected]: www.coyoteclay.com

Coyote Cone Six electric Glazes are unique, beautiful and reliable. Now you can get all the richness and variety of gas firing in your electric kiln. Available in pints, gallons, and three gallon buckets or packaged dry. Our high fire underglazes stay bright and true from cone six to cone ten.

CREATIVE GLAZES 770-476-73223407 Hwy. 120Duluth, GA 30096

Email: [email protected]: www.creativeglazes.com

Feature Duncan, Mayco, and Western glazes, Orton cones, kiln wash, Kemper tools, as well as other tools, paint brushes and turn tables. Most orders ship the same day when placed during the week. Open Monday–Friday, 9 am–6 pm. Walk-ins welcome.

CREATIVE HOBBIES, INC. 856-933-2540900 Creek Rd. Fax: 800-992-7675Bellmawr, NJ 08031 Toll-free: 888-THE-KILNWholesale prices to those doing ceramics and pottery as a business. Best discounts regardless of quantity and same day shipping. Freight allowances based on order size.

CReATIVe PARADISe 316-794-8621415 Industrial, Box 734 Fax: 316-794-8226Goddard, KS 67052

email: [email protected]: www.handbuilding.com

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

CRESS MFG. CO. 775-884-27774736 Convair Dr. Fax: 775-884-2991Carson City, NV 89706 Toll-free: 800-423-4584Produce 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 CO. 517-783-29423022 Francis St. Fax: 517-817-0252Jackson, MI 49203 Toll-free: 877-872-8471Ceramics/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, including over 125 custom glazes.

CRUCIBLE KILNS 206-587-057035 S. Hanford St. Fax: 888-587-0373Seattle, WA 98134-1807 Toll-free: 800-522-1975Manufacture custom and stock ceramic and glass kilns for over 25 years.

CRYSTAL PRODUCTIONS 847-657-81441812 Johns Dr. Fax: 800-657-8149Glenview, IL 60025 Toll-free: 800-255-8629Produce and distribute art resources including videos, prints, posters, and books. Committed to providing the highest quality resources. Feature top selling videos and teaching posters for ceramics classrooms and the home.

CURRAN PFEIFF CORP. 732-225-0555Liddle Ave. Fax: 732-225-5012Edison, NJ 08837Family business for 83 years. Manufacture kiln posts, heating element holders, stilt stones, glass dams and saggers. Provide historical restoration on architectural ceramics, terra cotta, and pottery for professional, hobby, artists, glassmakers, schools, architects, and distributors. Carry insulating bricks, dry clays, custom bodies, glazes and shapes.

DAKOTA POTTERS SUPPLY 605-332-19462315 W. Madison St. Fax: 605-332-2729Sioux Falls, SD 57104For over 30 years, manufacture pugged clay and distribute glazes, kilns and equipment for Paragon, Skutt, L&L Kilns, Laguna, Coloramics/Mayco, Spectrum Glazes, Vent-A-Kiln, Peter Pugger, Amaco-Brent, and North Star.

www.clayartcenter.net

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http://www.clay-planet.com

www.continentalclay.com

www.handbuilding.com

www.coyoteclay.com


DANSER, INC. 304-679-3666 US 50 East @ Murphytown Rd. Fax: 304-679-3354 Parkersburg, WV 26104Steel and sheet metal fabricator specializing in custom fiber-lined gas kilns for industrial and studio potter use. Also manufacture and install ductwork and combustion systems.

DAVENS CERAMIC CENTER 770-451-21055076 Peachtree Rd. Fax: 770-455-7012Atlanta, GA 30341 Toll-free: 800-695-4805Complete line of pottery equipment and supplies. Anything needed to make pottery. If we don’t have it, we’ll get it! Purchase orders welcome.

DEL VAL POTTER’S SUPPLY CO. 215-233-06551230 E. Mermaid Ln. Fax: 215-233-0496Glenside, PA 19038Full-service pottery supply offering dependable, friendly, helpful service to the professional and the hobby ceramist. Distributor of many manufacturers and stand behind the materials and equipment that we sell.

DEW CLAW STUDIOS 401-312-0540545 Pawtucket Ave., Ste. 106Pawtucket, RI 02860Full-service clay art center offering supplies, classes, workshops, studio memberships, firing (gas/wood/electric/raku/pit), and artist business services ranging from shooting images to mailing list management.

DIGITALFIRE CORP. 406-662-0136Box 432 Fax: 866-223-7132Cornwall, PE C0A 1H0, CanadaOur INSIGHT and 4SIGHT ceramic chemistry and database software, books and Digitalfire websites empower potters to understand, formulate, and adjust their own ceramic glaze and clay bodies.

DISPLAY YOUR ART BY GLASSICA 512-778-93983051 N. Hwy. 183 Fax: 512-778-9477Bldg. 1, Ste. 1Liberty Hill, TX 78642Manufacture and distribute a wide variety of display stands, including bowl stands, plate holders, coaster holders, and more.

DOGWOOD CERAMIC SUPPLY 228-831-484812590 Dedeaux Rd. Fax: 228-831-3111Gulfport, MS 39503One of the largest multi-line pottery and ceramic distributors in the southern U.S. Offer a great selection of kilns, clay, glazes, wheels, molds, and related supplies.

DOLAN TOOLS 480-998-7169PO Box 15161 Fax: 480-991-4509Scottsdale, AZ 85260 Toll-free: 800-624-3127

email: [email protected]: www.dolantools.net

Complete line of handcrafted pottery tools all individually made of high-quality knife steel. Custom orders available. Dealers welcome.

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

DRY CREEK POTTERY 817-326-42108400 Cleburne Hwy.Granbury, TX 76049Teacher workshops and lesson plan books relating to clay. Teachers can comp staff development days and make clay projects that can be used in the classroom from elementary through high school.

DUNGHANRACH CLAY CO. 320-256-3496536 N. Third Ave. W. Fax: 320-256-3496Melrose, MN 56352Venco Pugmills, Skutt Kilns, and Creative Industries throwing wheels at discount prices.

DURALITE INC. 860-379-311315 School St. Fax: 860-379-5879Riverton, CT 06065Family business for over 50 years. Manufacture custom quality electric heating elements for kilns and furnaces, replacement elements, switches, controls, connectors, and thermocouples; design service by qualified, experienced engineers.

EAST VALLEY SUPPLY 607-478-81784635 E. Vally Rd.Andover, NY 14808Specialize in epoxies specific for repairing ceramics.

ECHO CERAMICS 310-815-15252856 S. Robertson Blvd. Fax: 310-815-1525Los Angeles, CA 90034A great place for potters to work. Beginning, intermediate and advanced classes each month. Tools, supplies and clay available for sale. Home of the unique Echo Claypron. High fire glazes available in dry and wet form.

EDOUARD BASTARACHE INC. 450-742-21702340 Des ErablesSorel-Tracy, Pq J3R 2W3CanadaAuthor, editor, publisher and distributor of Substitutions for Raw Ceramic Materials and Toxicology: Ceramics, Glass, and Metallurgy.

ENDURING IMAGES 303-278-8868431 Violet St. Fax: 303-278-4313Golden, CO 80401 Toll:free: 800-905-3295

ETC., ETC., ETC. 940-781-25293101 Barnett Rd. Fax: 940-696-0223Wichita Falls, TX 76310Established 1983. Distributor for Laguna Clay Co. in N. Texas, easily accessible to Oklahoma or Louisiana. Delivery within 150 miles.

EUCLIDS KILNS & ELEMENTS 1120 Speers Rd. Fax: 905-849-0001Oakville, ON L6L 2X4 Toll-free: 800-296-5456CanadaBuy direct and save! Manufacture quality electric kilns for pottery and glass as well as replacement elements, bricks, and slabs for any kiln. Offers custom kiln and element design service.

EUCLID’S/THE POTTERY SUPPLY HOUSE Ltd. 1120 SPEERS RD. 905-849-5540Oakville, ON L6L 2X4 Fax: 905-849-0001Canada Toll-free: 800-465-8544Supply all your needs for making pottery: kilns, kiln furniture, wheels, clay, raw materials, pre-made glazes, and tools. Also have an assortment of glass fusing and slumping supplies.

EVANS CERAMIC SUPPLY 316-262-25511518 S. Washington Fax: 316-262-1396Wichita, KS 67211-0654For over 50 years, supply raw materials to retail studios, schools, colleges, and art centers. Hobbyists and finishware producers also find our products important for their completed projects.

EVENHEAT KILN INC. 989-856-22816949 Legion Dr. Fax: 989-856-4040Caseville, MI 48725-0399For over 50 years, manufacture high quality kilns for the private and commercial studio. Accessories: RampMaster II & Set-Pro computer controls, PC-based kiln software, pyrometers, Ventmaster, kiln shelves, and posts.

FALCON COMPANY 714-541-41571400 e. Pomona St. Fax: 714-541-2021Santa Ana, CA 92705

email: [email protected] quality, heavy-duty hand tools for ceramic and craft areas. Publish technical books for the studio potter. A division of Aardvark Clay.

FAT CAT POTTERY INC. 910-395-2529419-C Raleigh St. Fax: 910-395-4684Wilmington, NC 28412Offer classes and working studio space by the hour or month. Distributor for Skutt kilns, L&L Kilns, Standard Ceramics clays, Kemper tools, Spectrum glazes, and underglazes, Amaco glazes and pottery wheels.

FIRERIGHT/WARNER INSTRUMENTS 616-843-53421320 Fulton Ave.Grand Haven, MI 49417-1534Kiln, furnace, and test chambers electronic controls.

FLAT ROCK CLAY SUPPLIES 479-521-31812002 S. School Ave. Fax: 479-443-3772Fayetteville, AR 72701Provide a full range of supplies and equipment to schools and potters in Arkansas, eastern Oklahoma and southeast Missouri through our store and online. Service what we sell. Conduct regular classes and visiting artists work.

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

FRee FReIGHT POTTeRY SUPPLY LLC 877-344-2933PO Box 70505 Fax: 505-344-2950Albuquerque, NM 87197-0505

email: [email protected]: www.FreeFreightClay.com

Sells clay, glazes, kilns, wheels, tools, chemicals, stains. Free freight on everything all the time—even clay!

FREEFORM CLAY & SUPPLY 619-477-10041912 Cleveland Ave. Fax: 619-477-1333National City, CA 91950San Diego’s leading ceramic supplier for over 35 years. Best prices on equipment. Distributor for Laguna Clay, Duncan Glazes, Kemper Tools, Skutt Kilns, Peter Pugger, North Star, Shimpo, Giffin Tec, L&L, and Cress Kilns.

FROG POND POTTERY 610-388-1254PO Box 88 Fax: 610-388-1254Pocopson, PA 19366GlazeMaster, 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 513-871-25293130 Wasson Rd. Fax: 513-871-5576Cincinnati, OH 45209 Toll-free: 866-GET-CLAYSupply ceramic materials and equipment. Public studio facilities/rental. Classes in handbuilding and wheel throwing. Workshops. Professional and hobbyist potters, art teachers. Unified purchasing approved.

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GARE INC. 978-373-9131165 Rosemont St. Fax: 978-372-9432Harverhill, MA 01830Leader in ceramics since 1950. Over 600 bisque designs and several hundred glazes for artists, studios, and commercial accounts. Contact us for your special bisque or glaze needs.

GEIL KILNS CO. FAX: 714-847-61457201 Clay Ave. Toll-free: 800-887-4345Huntington Beach, CA 92648 Manufacture portable downdraft gas kilns, electric fired kilns, gas burners, and controls, and industrial furnaces.

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

email: [email protected]: www.georgies.com

Specialize in cone 6 electric glazes, plus offer great tips and techniques on how to use them. Visit our website for details.

GeORGIeS CeRAMIC & CLAY CO. INC. 503-283-1353756 N.e. Lombard Fax: 503-283-1387Portland, OR 97211 Toll-free: 800-999-2529

email: [email protected]: www.georgies.com

Full range of equipment, supplies and tools for the studio.

GIFFIN TEC INC. 360-758-70084135 Sunny Hill Ln. Fax: 360-758-2520Lummi Island, WA 98262Manufacturer of the Giffin Grip and Lidmasters pottery tools. Offering the utmost in customer care and satisfaction.

GLAZE MIXER 801-633-95242156 Cambridge Ave.Cardiff, CA 92007Save your glaze recipes online and we can mix them for you. Retrieve them anywhere that you have access to the Internet.

GLYPTIC MODELING TOOLS 970-663-5190418 W. 8th St. S.E., Unit B5 Fax: 970-663-5127Loveland, CO 80537 Toll-free: 800-260-4690

Email: [email protected]: www.glyptic.com

Glyptic (from the Greek to carve) modeling tools are high quality, interchangeable tools. Variety of sizes and a wide range of loop shapes for every size project from miniature to monumental. Great for modeling and cutting/trimming.

GRABER’S POTTERY INC. 951-675-54682058 North Mills Ave. #217Claremont, CA 91711The Steve Tool - “One Tool, Many Results”. Roll it on, stretch the pot - get awesome texture on pottery! Hold back runny glazes via texture; fill with contrasting slip; or go “naked” with unglazed pottery for a new tactile feel.

GReAT LAKeS CLAY & SUPPLY 847-551-1070120 S. Lincoln Ave. Fax: 847-551-1083 Toll-free: 800-258-8796Carpentersville, IL 60110

email: [email protected]: www.greatclay.com

Inventor of the Versa-Bat and Glaz-eze markers. Chicagoland’s most respected source of ceramic and pottery making supplies. Supply commercial potters, hobby/craft artists and school programs.

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

GROOVY TOOLS 502-859-50701221 Johnson Rd. Fax: 502-859-5070Lawrenceburg, KY 40342Premium quality trim tool handcrafted in Kentucky. Offer the 200 Series heavy gauge tool made from true tool steel and the 300 Series medium gauge tool made from high carbon steel.

HAMMILL & GILLESPIE INC. 973-994-3650154 S. Livingston Ave. Fax: 973-994-3847Livingston, NJ 07039-0104 Toll-free: 800-454-8846Distribute ceramic raw materials including fine English china and ball clays, Cornish stone, Yorkshire Whiting, and Spanish red iron oxide. Manufacture Gillespie Borate.

HAR-BON CERAMICS & DECALS 989-595-246324475 U.S. 23 S. Fax: 989-595-2326Presque Isle, MI 49777Ceramic decals for every purpose. Over 7500 in our online shopping cart. Many online features.

HERRING DESIGNS, LLC 970-547-4835PO Box 3099 Fax: 775-206-7526Breckenridge, CO 80424-3009 Toll-free: 888-391-1615Makers of SlabMat, a non-woven fabric for slab rolling and handbuilding.

HIGHWATER CLAYS OF FLORIDA 727-553-9344420 22nd St. S. Fax: 727-553-9346St. Petersburg, FL 33712Florida potters need look no further than our facility for all their supplies. Celebrating our 7th year. Feature 40+ clay bodies, glazes, tools, equipment, books and more. Located in St. Petersburg’s Historic Seaboard Train Station just off I-275.

HIGHWATeR CLAYS, INC. 828-252-6033600 Riverside Dr. Fax: 828-253-3853Asheville, NC 28801-2140

email: [email protected]: www.highwaterclays.com

Offer a full line of tools, kilns, glazes, equipment, raw materials and books to customers from around the globe. There’s a lot more to our clays than the ingredients. With three decades of experience, our prepared clay bodies perform batch after batch.

HYPERGLAZE/RICHARD BURKETT 619-286-18366354 Lorca Dr. Fax: 619-583-3894San Diego, CA 92115-5509Easiest-to-use glaze calculation software for ceramics artists. Powerful features. Newly revised. Now for Windows (98 or newer), Linux and Macintosh OSX.

I LOVE TO CREATE (DUNCAN ENTERPRISES) 559-291-44445673 E. Shields Ave. Fax: 559-294-2447Fresno, CA 93727-7819 Toll-free: 800-CER-AMICDuncan Ceramic Arts is the leading hobby ceramic brand, trusted as the ultimate source of fired creativity by hobbyists, educators, students, and studio owners for over 60 years. The brand is renowned for its comprehensive line of nontoxic products including color, bisque, brushes, and tools while supported by an honored educational program.

INDUSTRIAL MINERALS CO. 916-383-28117268 Frasinetti Rd. Fax: 916-383-8741Sacramento, CA 95828Provide a wide range of products and services for the mineral processing industry and ceramic art markets. Manufacture a wide range of clays. See our website for more information.

INNOVATIVE CERAMIC CORP. 330-385-6515432 Walnut St. Fax: 330-385-6510E. Liverpool, OH 43920-3130Provide creative solutions to product identification and decoration. Manufacture glass and ceramic decals, rubber stamps and DuraFire inks. Supply decal squeegees, underglaze pencils, and high temperature china markers.

INSULATING FIREBRICK, INC. 724-282-1012610 E. Butler Rd. Fax: 724-285-7673Butler, PA 16002Supply insulating firebrick, 2300˚–3000˚F, standard sizes and oversized bricks, straights and shapes. First quality ISO certified insulating firebrick. Stock brick at our Claysburg, PA warehouse ready to ship.

INTERNATIONAL DECAL CORP. 847-498-58203322 Commercial Ave. Fax: 708-498-6356Northbrook, IL 60062Manufacture custom ceramic and glass decals. Specialize in 4-color process photographic reproductions. Produce overglaze, inglaze and reactive decals as well as glass and non-fire decals for plastic, wood, and canvas prints.

J. & J. CERAMIC STUDIO 302-678-2845666-A S. DuPont Hwy. Fax: 302-678-2845Dover, DE 19901Full-service traditional studio, serving the tri-state area since 1974. 4,000 sq. ft. facility centrally located in Delaware on a major highway. Large selection of greenware from over 15,000 molds, bisque, brushes, tools, firings, classes, etc.

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

JEN-KEN KILNS 838-648-05853615 Ventura Dr. W. Fax: 863-701-9867Lakeland, FL 33811Different types of kilns including glass-fusing kilns.

JIFFY MIXER CO. INC. 951-272-08381691 California Ave. Fax: 800-666-4120Corona, CA 92881 Toll-free: 800-560-2903Mix any dry or liquid ingredients or combination quicker and more thoroughly. Three-bladed mixing head pulls all material to be mixed inside the head, reducing mixing time up to 90%. Range of sizes.

JOHN BROWN TOOLS 336-765-0604163 Wynbrook Ct.Winston-Salem, NC 27103

JOHNSON GAS APPLIANCE CO. 319-365-5267520 East Ave. N.W. Fax: 319-261-0726Cedar Rapids, IA 52406Pioneer in the development and manufacture of gas burning equipment including many types of furnaces, kilns, and burners.

KC METRO CERAMIC SUPPLIES 816-350-300315900 E. 40 Hwy. Fax: 816-350-3056Kansas City, MO 64136 Toll-free: 800-944-6653Nationwide dealer and distributor of high quality kilns, wheels, clay, glazes, tools and other ceramic and pottery supplies.

KEMPER TOOLS 909-627-619113595 12th St. Fax: 909-627-4008Chino, CA 91710 Toll-free: 800-388-5367Over 500 tools for clay. Don’t be fooled by imitations. Hand-crafts tools with over 60 years of technical design experience using durable, quality materials.

www.georgies.com

www.highwaterclays.com

www.greatclay.com


KENTUCKY MUDWORKS LLC 859-389-6817825 National Ave. Fax: 859-389-9681Lexington, KY 40502Full-service ceramic supplier serving Kentucky, Indiana, Ohio and internet. Multiple classes, workshops and all clay, tools and supplies for your studio. Year-round weekend workshops. Manufacture Dirty Girl Pottery Tools.

KERAFLEX, USPO Box 2822Gilbert, AZ 85299Keraflex Porcelain is made from ceramic raw materials and an organic binding matrix which burns out when fired to cone 10, resulting in a strong pure porcelain.

KICKWHEEL POTTERY SUPPLY INC. 770-986-90111986 Tucker Industrial Rd. Fax: 678-205-2001Tucker, GA 30084 Toll-free: 800-241-1895Manufacture over 40 premium clays plus custom. Kilns, wheels, tools, books, general supplies, and materials. Helpful and highly-trained staff to assist in all phases of pottery. See our extensive online catalog.

KILLAM GAS BURNER CO. 303-722-28711240 S. Bannock St. Fax: 303-871-8049Denver, 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. 540-636-6016202 e. Main St. Fax: 540-631-9476Front Royal, VA 22630 Toll-free: 877-KILNDOC

email: [email protected]: www.thekilndoctor.com

Retail store and equipment showroom; sales, delivery, assembly, instruction, service and repair, for all popular brands of electric kiln, pottery wheels, pug mills, mixers, slab rollers, spray booths, venting systems, and more. Your specialty store for accessories, repair parts, consulting, and service! House calls and service accounts, serving VA, WV, MD, Washington DC, De.

THE KILN ELEMENTS CO. 503-755-228971898 Northshore Dr.Birkenfeld, OR 97016Kiln 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 845-987-9589PO Box 1275 Fax: 845-926-312565 Southern Ln.Warwick, NY 10990-1275Complete repairs on gas and electric kilns, pottery wheels, and all studio equipment. Dealer for Alpine, Geil, Nabertherm, Frederickson, ConeArt, AMACO, Shimpo, and Brent.

KISSIMMEE RIVER POTTERY/FULLWOOD MEASURE ONE 8TH ST. , #11 908-996-3555Frenchtown, NJ 08825Handcraft the Fulwood Measure, the perfect tool for same-size production pottery. Also offer adult pottery classes, kids camp, and school programs. Studio offers cone 10 reduction, raku, and pit firing.

KLOPFeNSTeIN ART eqUIPMeNT 419-884-2900PO Box 9057 Fax: 419-884-2908Lexington, OH 9057 Toll-free: 866-899-1899

email: [email protected]: www.klopfensteinart.com

Manufacturer of upright treadle wheels.

KRUEGER POTTERY SUPPLY 314-963-01808153 Big Bend Blvd. Fax: 314-963-7712St. Louis, MO 63119 Toll-free: 800-358-0180Full-service supplier of materials, new/used equipment, kiln repair, and maintenance. Monthly classes, weekend and summer workshops, kids classes, and pottery workshops.

KRUMOR INC. 216-328-98027655 Hub Pkwy. Fax: 216-328-9803Valley View, OH 44125Manufacture 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. 856-294-0077505 Sharptown Rd. Fax: 856-294-0070Swedesboro, NJ 08085 Toll-free: 877-468-5456

email: [email protected]: www.hotkilns.com

Feature hard ceramic element holders to protect firebrick and elements. Complete line of kilns ranging from one-cu.ft. test kilns to 36-cu. ft. production kilns. 3-yr limited warranty on easy-Fire, Jupiter, DaVinci, and easy-Load front-loading kilns.

L&R SPeCIALTIeS INC 417-725-2606202 e. Mount Vernon Fax: 417-725-2607Nixa, MO 65714 Toll-free: 877-454-3914

email: [email protected]: 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. Provide service and materials to Midwest ceramic artists since 1969.

LAGUNA CLAY CO. 626-330-063114400 Lomitas Ave. Fax: 626-333-7694City of Industry, CA 91746 Toll-free: 800-452-4862

email: [email protected]: www.lagunaclay.com

Since 1932, manufacture and supply clay, glaze, pottery equipment, tools, and raw materials worldwide. Thousands of stock and custom, high and low-fire glazes, and clay bodies. Manufacture Pacifica potter ’s wheels, Thorley kiln furniture, Laguna kilns and Lockerbie wheels, Bellar Roller available - made in the USA.

LAGUNA CLAY CO. 740-439-435561020 Leyshon Dr. Fax: 740-439-4268Byesville, OH 43723 Toll-free: 800-762-4354

email: [email protected]: www.lagunaclay.com

LA MERIDIANA 39-0571-660084Loc. Bagnano 135 Fax: 39-0571-66008450052 Certaldo (Fl) ItalyWorkshops, seminars and residencies in Tuscany throughout the year. Tutors of international recognition. A congenial meeting ground to gain inspiration from the land of Roman culture and renaissance splendor, matched by mediterranean flair, genuine food and wines.

LAMP SPECIALTIES 856-931-1253Box 240 Fax: 800-722-7061Westville, NJ 08093 Toll-free: 800-225-5526Lamp parts, kits, music boxes, ceramics, and pottery supplies and hard to find crafters components all offered at substantial discounts based on quantity.

LARK BOOKS 828-253-046767 Broadway Fax: 828-253-7952Asheville, NC 28801-2919Publish books on many aspects of the ceramic arts; among the titles are books for the beginner, the intermediate enthusiast and the experienced ceramist. Our 500 series books present images of contemporary ceramic practice, and in the Masters series, 40 of today’s outstanding international artists.

LARKIN ReFRACTORY SOLUTIONS 678-336-7090PO Box 716 Fax: 678-336-7094Lithonia, GA 30058

email: [email protected]: www.larkinrefractory.com

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 CAMPBELL INDUSTRIAL SUPPLY 559-876-0118PO Box 939 Fax: 559-876-3305Sanger, CA 93657Professional and hobby ceramic slip casting equipment, pouring tables, slip mixing equipment ,and casting products.

M&M POTTERY SUPPLY 814-663-086611800 Rte. 426 Fax: 814-663-0866Corry, PA 16407Supply and repair business with emphasis on customer service.

MANITOU ARTS 231-386-7977PO Box 820 Fax: 231-386-7978Leland, MI 49670 Toll-free: 866-240-3434Distribute English earthenware bisque tiles, switchplate/outlet covers, and wood products in which the potter can place finished tiles, e.g., mirrors, tables, trays.

MARJON CERAMICS INC. 520-624-2872426 W. Alturas Fax: 520-624-3127Tucson, AZ 85705Serving Arizona and the surrounding area with ceramic/pottery supplies, service, and equipment. In business for 50 years. Two locations to serve you: Phoenix and Tucson.

MARJON CERAMICS INC. 602-272-65853434 W. Earll Dr. Fax: 602-272-1507Ste. 101 Toll-free: 800-903-CLAYPhoenix, AZ 85017-5284

MARYLAND REFRACTORIES CO. 330-532-9845267 Salisbury Rd. Fax: 330-532-3224Irondale, OH 43932 Toll-free: 800-228-4672High-duty grog for potters since 1957. High-quality, volume-stable grog recommended for all uses to 3200°F. Suitable for ceramic supplies and art applications. Price depends on size and quantity ordered.

MASON COLOR WORKS INC. 330-385-4400250 E. 2nd St. Fax: 330-385-4488E. Liverpool, OH 43920-5076Since 1842, manufacture high-quality, but economical, ceramic pigments. Serving the ceramic arts community for many years with colorants for body, glaze, underglaze, and engobe uses. Most stains can be fired to 2300˚F.

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www.hotkilns.com

www.thekilndoctor.com

www.claydogs.com


MASTeR KILN BUILDeRS 612-250-620827607 Grenada Ave. Fax: 612-250-6208Farmington, MN 55024Build custom kilns for schools, individual artists and institutions throughout the U.S.

MAYCO COLORS 614-876-11714077 Weaver Ct. S. Fax: 614-876-9904Hilliard, OH 43026Manufacture low and mid fire glazes, acrylics, and stains. Design and produce 04 bisque, casting molds, slump molds, and other assorted clay texturing tools. Offer brushes and decorating accessories. Provide hands-on product workshops for schools, potter ’s guilds and ceramic studios.

METOMIC CORPORATION 773-247-47162944 W. 26th St. Fax: 773-247-2563Chicago, IL 60623 Toll-free: 800-847-8342Supply components to assemble lamps and lighting fixtures for over 60 years. Supply quality parts to the pottery industry, including sockets, cords, harps, and decorative brass finials.

MIDLANTIC CLAY 856-933-0022900-D Creek Rd. Fax: 856-931-1240Bellmawr, NJ 08031Discount potters art supplies including Duncan, Mayco, Amaco and Laguna Clay products in stock for immediate shipment.

MID-SOUTH CERAMIC SUPPLY CO. 615-242-03001416 Lebanon Pike , Bldg. C Fax: 615-244-3191 Nashville, TN 37210 Toll-free: 866-203-5286Manufacture Opulence Glaze. Full-service pottery supplier with complete line of pottery equipment and supplies.

MIDWEST CERAMIC ART SUPPLY INC. 815-725-86161700 Plainfield Rd. Fax: 815-725-8871Crest Hill, IL 60403 Toll-free: 800-333-2723Full-line fired arts supplier, family-owned and operated since 1966 in the Chicago area.

MILe HI CeRAMICS, INC. 303-825-457077 Lipan St. Fax: 303-825-6278Denver, CO 80223

email: [email protected]: www.milehiceramics.com

50-year-old ceramic/pottery supply house. Duncan, Mayco, Amaco, Spectrum, and Opulence glazes; Skutt, Paragon, Aim, and Shimpo kilns; raw materials; and manufacture over 30 clay bodies.

MINNeSOTA CLAY CO. USA 952-884-91017429 Washington Ave. S Fax: 952-884-1820edina, MN 55439-2410 Toll-free: 800-252-9872

email: [email protected]: www.minnesotaclayusa.com

Nationwide dealer and distributor serving the clay community for over 50 years with high quality clay, glaze and ceramic items.

MIRACLE BAT 802-659-4886647 U.S. Rte. 1, #14York, ME 03909Strongest, most secure hold. Won’t lift or jump. quick easy on/off. Unique properties prevent cracking due to drying-patented, strong, lightweight material that won’t warp, chip or crack. Popular trimming tool fits right on top.

MJR TUMBLERS 815-499-08062510 N. Goeke Rd.Pecatonica, IL 61063Complete line of ball mills and milling supplies for making your own glazes. Industrial quality at affordable prices. All mills come with a 2 year warranty.

MKM POTTeRY TOOLS LLC 920-205-2701217 e. Pacific St. Fax: 920-830-9394Appleton, WI 54911

email: [email protected]: www.mkmpotterytools.com

Manufacture pottery tools: MKM Stamps4Clay™, MKM Throwing Tools, MKM Decorating Disks and ribs (wood, stainless steel and Coconut CocoRibs™).

MOREAN ART CENTER 727-822-7872719 Central Ave. Fax: 727-821-0516St. Petersburg, FL 33701Master 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. Contemporary art exhibitions; five galleries.

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

MUDMATS 614-403-40301551 Carlton Way Fax: 614-488-1395Blacklick, OH 43004MudMats are perfect for wedging, handbuilding, in the slab roller, and even glazing when flipped. Make studio cleaning and dust control easy. Smooth, portable, washable, and tough.

THE MUDPIT 718-218-9424228 Manhattan Ave.Brooklyn, NY 11206Full-service clay facility for wheel throwing, tile making, handbuilding, mold making, and slip casting. Classes, studio space rentals, and supplies. Check our website for full range of services.

MUDSHARK 971-645-8611416 N.E. 26th St.Portland, OR 97232Accept commissions and custom designs. Provide model and mold making as well as production services.

MUDTOOLS 828-625-1852923 Edney Inn Rd. Fax: 828-625-2467Hendersonville, NC 28792Innovative tools by Michael Sherrill for all your ceramic and sculpting needs.

NABERTHERM, INC. 302-322-366554 Read’s Way Fax: 302-322-3215New Castle, DE 19720High 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, handmade in Germany.

NASCO ARTS & CRAFTS 209-545-16004825 Stoddard Rd.PO Box 3837 Toll-free: 800-558-9595Modesta, CA 95356Comprehensive kindergarten-to-college selection of arts and crafts supplies.

NASCO ARTS & CRAFTS 920-563-2446901 Janesville Ave. Fax: 920-563-8296PO Box 901 Toll-free: 800-558-9595Ft. Atkinson, WI 53538Comprehensive kindergarten-to-college selection of arts and crafts supplies.

NATIONAL ARTCRAFT CO. 330-562-3500300 Campus Dr. Fax: 330-562-3507Aurora, OH 44202 Toll-free: 888-937-2723Provide component parts used in functional or decorative craft and hobby projects for over 50 years; clock and musical movements, lamp-making parts, display hardware, frames, etc.

NEVADA DAN’S 775-425-9494345 Cortez Ct. Fax: 775-425-6504Sparks, NV 89436-8599 Toll-free: 877-325-POTSSpecialize in pottery wheels, kilns, extruders, slab rollers, pugmills, and much more. Visit website for secure online sales.

NEW BRUNSWICK LAMP SHADE CO. 732-545-03777 Terminal Rd. Fax: 732-545-6993New Brunswick, NJ 08901Lamp shades, made to order, in a wide range of materials, sizes and shapes. Low minimums, high quality, reliable delivery, and personal service.

NeW MeXICO CLAY, INC. 505-881-23503300 Girard N.e. Fax: 505-881-6067Albuquerque, NM 87107 Toll-free: 800-781-2529

email: [email protected]: www.nmclay.com

Pottery and ceramic supplies. Duncan and Mayco paint and glaze, cone 6 glazes, kilns, wheels and clay, Kemper and Dolan tools, precious metal silver clay. School and community center POs accepted.

NORTH STAR EqUIPMENT INC. 509-235-9200PO Box 189 Fax: 509-235-9203Cheney, WA 99004 Toll-free: 800-231-7896quality U.S. manufactured slab rollers, extruders, ware carts, tile presses, and throwing bats. For over 30 years potters have trusted North Star to provide exceptionally well-made studio equipment.

NORTHEAST CERAMIC SUPPLY 518-274-2722621 River St. Fax: 518-272-5962Troy, NY 12180Wholesale/retail ceramic equipment and supply company. Dealer/distributor of Laguna Clay Co., Skutt Kilns, Duncan, Gare, Amaco, Brent, Shimpo, Kemper, and Dolan Tool Co., in upstate New York and western Massachusetts.

OHIO CERAMIC SUPPLY INC. 330-296-3815PO Box 630 Fax: 330-296-5346Kent, OH 44240 Toll-free: 800-899-4627Distribute hobby ceramic supplies worldwide. Supply products to schools, institutions, military facilities, potters, sculptors, studios, and hobbyists. GSA contract.

OLD FARMHOUSE POTTERY 903-795-3779232 County Rd. 1805Rusk, TX 75785

OLD HICKORY CLAY CO. 270-247-3042PO Box 66 Fax: 270-247-1842Hickory, KY 42051 Toll-free: 800-242-6885Family-owned and operated company established in 1918, produce high-quality ball clays for all types of ceramics, including slip casting, moist clay, modeling, and glaze formulations.

OLSEN KILN 760-349-329160520 Manzanita #205 Fax: 760-349-8009Mountain Center, CA 92561Kiln Kits—12,16, 24, 36, 50, 72 and 100 cu.ft. kilns.

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www.minnesotaclayusa.com


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OLYMPIA ENTERPRISES INC. 330-746-2726PO Box 321 Fax: 330-746-1156Campbell, OH 44405Offer the largest selection of quality imported decals, chinaware, plates, and sponges. High-quality brushes and tools made in the U.S. Order our 326-page color decal catalog. $22.00 includes shipping and handling.

OLYMPIC KILNS 770-967-40094225 Thurmon Tanner Rd. Fax: 770-967-1196PO Box 1347 Toll-free: 800-241-4400Flowery Branch, GA 30542

email: [email protected]: www.greatkilns.com

Manufacture electric and gas kilns (small 120-volt kilns to large custom car kilns) for pottery, ceramics and glass, and low-fire glaze and stilts.

ONeIDA AIR SYSTeMS, INC.1001 W. Fayette St. Fax: 315-476-5044Syracuse, NY 13204 Toll-free: 800-732-4065

email: [email protected]: www.oneida-air.com

Oneida Air Systems, Inc. located in Syracuse, NY has designed and manufactured cost effective, state-of-the art cyclonic dust collection systems since 1993. Our systems have been used to collect dust from numerous applications, been awarded several tool test awards and are made in the USA. Oneida Air dust collectors have HePA filters or optional HePA filter upgrades.

ORTON CERAMIC FOUNDATION 614-895-2663 X36PO Box 2760 Fax: 614-895-5610Westerville, OH 43086-2760Largest producer of pyrometric cones in the world. Considered the world standard due to accuracy and repeatability. Manufacture downdraft kiln-vent systems and electronic controllers for electric kilns.

PAASCHE AIRBRUSH CO. 773-867-91914311 N. Normandy Ave. Fax: 773-867-9198Chicago, IL 60634Provide largest selection of airbrush models, industrial sprayers and support equipment worldwide.

PACER CORP. 605-673-4419PO Box 912 Fax: 605-673-4459Custer, SD 57730 Toll-free: 800-568-2492Produce industrial minerals including high potash feldspar in 200, 325, and 500 mesh sizes, and chip spar for the various ceramic industries.

PAPER CLAY (NEW CENTURY CERAMIC ARTS INC.) qUEEN ANNE STATION 206-284-7805PO Box 9060Seattle, WA 98109

Email: [email protected]: www.paperclayart.com

P’Clay® and P’Slip® high performance ceramic paperclay from Rosette Gault and licensed manufacturers is available for low to high fire trusted base clays. Information, books, DVD, and support for the paperclay community, artists, muralists, designers, educators, K-12 special needs, sculptors, and manufacturers.

PARAGON INDUSTRIeS, L.P. 972-288-75572011 S. Town east Blvd. Fax: 888-222-6450Mesquite, TX 75149-1122 Toll-free: 800-876-4328

email: [email protected]: www.paragonweb.com

Manufacture Cone 10 electric kilns, including popular-sized top loaders, front loaders and small glaze test models.

PCF STUDIOS 585-229-2976PO Box 722Honeoye, NY 14471Offer step-by-step instructional books and DVDs, as well as unique sculpting aids and workshops taught by artist Philippe Faraut.

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

PENN-MO FIRE BRICK CO. 717-234-4504825 Paxton St. Fax: 717-234-1895Harrisburg, PA 17104Ceramic and refractory sales and service.

PeTeR PUGGeR MFG., INC. 707-463-13333661 Christy Ln. Fax: 707-462-5578Ukiah, CA 95482

email: [email protected]: www.peterpugger.com

Manufacture the original clay mixing pugmill. All Pugger-Mixers recycle scrap, and the Power Wedgers also deair, making wedging unnecessary. Six models available, all with simple single auger design.

PETRO MOLD CO. 12775 Donation Rd. Fax: 814-796-6635Waterford, PA 16441 Toll-free: 888-811-6653Offer 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 favorite designs.

PHOENIX CERAMIC & FIRE SUPPLY 707-822-4556824 L St. Fax: 707-822-4146Arcata, CA 95521Offer full spectrum ceramic supply store: clay, tools, glazes, equipment, raw materials, books, and magazines.

PLACID CERAMICS 724-225-6778172 S. Main St. Fax: 724-225-6779Washington, PA 15301Supplies for ceramic hobbyists, potters, porcelain artisans, school art programs, and industrial ceramic product users.

PLAINSMAN CLAY LTD. 403-527-8535702 Wood St. S.E. Fax: 403-527-7508Medicine Hat, AB T1A 1E9CanadaEmail: [email protected]: www.plainsmanclays.comManufacture a complete line of blended pottery clays ranging from low to high temperatures, mined exclusively from our own clay deposits.

PORTION MASTeR LLC 989-329-4753810 Dale RoadBeaverton, MI 48612

email: [email protected]: www.portion-master.com

Manufacture Portion Master adjustable clay cutter.

PORTLAND POTTERY SUPPLY 207-772-3273118 Washington Ave. Fax: 207-780-6451Portland, ME 04104 Toll-free: 800-539-4301Wholesale/retail pottery supplies to public and private schools, colleges, universities, art museums, art schools, and commercial and home potters. Stock a wide variety of clays, raw materials, kilns, wheels, glazes, and tools.

PORTLAND POTTERY SUPPLY SOUTH 781-848-277287 Messina Dr. Fax: 781-356-4112Braintree, MA 02184

THE POTTER’S CENTER 208-378-1112110 Ellen St. Fax: 208-378-8881Boise, ID 83714-4605 Toll-free: 800-498-1126Offer full line of pottery and ceramic supplies and equipment. The Potter’s Center Gallery features handmade works in clay by Idaho artists.

THe POTTeRS SHOP AND SCHOOL 781-449-768731 Thorpe Rd. Fax: 781-449-9098Needham, MA 02494Largest selection of books and videos in the universe, over 800 items in our catalog. Provide studio membership, firing and services for clay workers.

POTTERY WEST 702-987-30235026 N. Pioneer WayLas Vegas, NV 89149-5846Pottery school and studio located in the northwest part of Las Vegas. Workshops and classes year round. On-site housing available. Residency and credit with Alfred University optional.

POTTERYTOOLS.COM 443-536-57054459 Lewisville Rd.Finksburg, MD 21048Handcrafted tools from exotic hardwoods from managed-growth forest. Bevel hand tools, shaping tools, throwing tools, texture tools, fine craft, and sculpture. Gift certificates available. Special orders and customer orders filled in 2–4 weeks.

POTTERYVIDEOS.COM 250-247-81094922 N.E. Going Fax: 250-247-8145Portland, OR 97218 Toll-free: 800-668-8040Produce and distribute educational videos on ceramic arts. 21 titles for potters of all levels. Hosted by artists Robin Hopper, Gordon Hutchens and Graham Sheehan.

PRECISION TERREFIRMA 509-879-59642525 E. 29th Ave., #10-BSpokane, WA 99223Full-service specialty tools for ceramics.

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

www.greatkilns.com

www.paragonweb.com

http://www.portion-master.com

http://www.oneida-air.com

www.peterpugger.com


R.T. VANDERBILT CO. INC. 203-853-1400 30 Winfield St. Fax: 203-853-1452Norwalk, CT 06855-5150 Toll-free: 800-243-6064Supply quality raw materials for ceramics, including Peerless® Kaolin clay, Nytal® talc, Vansil® wollastonite and Pyrax pyrophyllite; also supply processing agents such as Darvan® dispersants, Veegum® suspension and plasticizing clays.

RAM PRODUCTS INC. 614-443-46341091 Stimmel Rd. Fax: 614-443-4813Columbus, OH 43223Manufacture forming, finishing, and glazing equipment and molds and models for studio and industrial potteries.

RESCO PRODUCTS INC. 336-299-14413514 W. Wendover Ave. Fax: 740-682-6438Greensboro, NC 27407 Toll-free: 888-283-5547Manufacture raw materials and refractory block for ceramic applications and basic clay industry. Cedar Heights Clay produces Goldart, Redart, Roseville, Salt Lick, and an assortment of mesh sizes in Bond Clay and Fireclay.

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

ROCHESTER CERAMICS, INC. 585-872-6190102 Commercial St. Fax: 585-872-6199Webster, NY 14580Sell ceramic and pottery supplies, Laguna glazes, raw materials, and Pacifica wheels. Dealer/distributor of Laguna clays and slip, kilns by L&L, Paragon, and more. Also Peter Pugger and Lehman Studio equipment, Kemper tools, Amaco products and Duncan’s complete line.

ROCKLAND COLLOID CORP. 845-359-5559PO Box 376 Fax: 845-365-6663Piermont, NY 10968Liquid light photographic emulsion for printing black-and-white photographs on ceramics and supplies for firing images onto ceramics glass.

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

ROYAL AND LANGNICKEL BRUSH MFG. 219-660-41706707 Broadway Fax: 219-660-4181Merrillville, IN 46410 Toll-free: 800-247-2211Large selection of brushes and other supplies.

RUNYAN POTTeRY SUPPLY INC. 810-687-4500820 Tacoma Court Fax: 810-687-4512Clio, MI 48420

email: [email protected]: www.runyanpotterysupply.com

Manufacture moist pottery clay and distribute complete line of ceramic equipment and supplies. Nearly everything in our 100-page discounted catalog is in stock and ready for immediate shipment or pick-up. Call and talk to real people for repair help, parts and quick shipment of your order or to request free catalog.

RUSTY KILN CERAMIC STUDIO 860-423-1550136 Boulevard Rd. Fax: 860-423-7997North Windham, CT 06256Large selection of clay, glazes, tools, brushes, kilns, wheels, pug mills, venting systems, slab rollers, extruders, as well as kiln and wheel servicing.

SAINT-GOBAIN CERAMIC MATERIALS 508-795-55771 New Bond St. Fax: 508-795-5011MS 301-432Worcester, MA 01615-0136Produce Advancer®, the original thin, lightweight, nitride-bonded silicon carbide kiln shelf. Our marketing partners are Smith-Sharpe Fire Brick Supply and Bailey Ceramic Supply.

SANTA FE CLAY 505-984-11221615 Paseo de Peralta Fax: 505-984-1706Santa Fe, NM 87501Email: [email protected]: www.santafeclay.comOccupy 10,000 sq. ft. warehouse in Santa Fe’s historic Railyard District. Facility includes a beautiful contemporary ceramics gallery, a complete retail ceramics supply business, a fully equipped teaching studio, 11 resident artists’ studios, and year-round classes and workshops.

SAPIR STUDIOS 773-794-00662924 N. Pulaski Rd. Fax: 773-794-3465Chicago, IL 60641 Toll-free: 800-788-2588Create risers, original design plate stands, and bowl holders for upright and wall-mounted display with minimal visual interference. Made of clear acrylic, single-piece construction for enhanced versatility, strength, and durability. Custom fabrication available.

SAX ARTS & CRAFTS 262-784-6880PO Box 510710 Fax: 800-328-4729New Berlin, WI 53151 Toll-free: 800-558-6696Trusted supplier of art materials and equipment to schools and art professionals for over 62 years. Full line catalog includes kilns, potter’s wheels, clay, glazes, tools, etc. as well as everything you need for painting, drawing, printmaking, art metals, and crafts, and a full range of resource materials.

SCOTT CREEK POTTERY INC. 253-926-32542636 Pioneer Way E. Fax: 253-922-5349Tacoma, WA 98404 Toll-free: 800-952-8030Original manufacturer of ceramic extruders and die sets dating back to 1971. The extruder is a valuable tool for breaking away from the limits of wheel throwing, handbuilding, and other more traditional methods of forming clay.

SEATTLE POTTERY SUPPLY 206-587-057035 S. Hanford St. Fax: 206-587-0373Seattle, WA 98134-1807 Toll-free: 800-522-1975Largest in-stock supply of kilns, clay, chemicals, books ,and sundries on the West Coast.

SHAKERAG WORKSHOPS 931-968-0210 X3165St. Andrew’s-Sewanee School290 quintard Rd.Sewanee, TN 37375Opened in June 2004. Classes offered in book arts, clay, digital arts, papermaking, felting, and watercolor. Each week 50-60 participants gather to work together in small classes with their teachers.

SHeFFIeLD POTTeRY INC. 413-229-7700U.S. Rt. 7 Fax: 413-229-0200Box 399 Toll-free: 888-774-2529Sheffield, MA 01257-0399

email: [email protected]: www.sheffield-pottery.com

Since 1946. Supply earthenware, stoneware, porcelain clay bodies, custom clay, kilns, wheels, tools, glazes, raw materials, bricks, refractories, books, DVDs, and more for potters, artists, schools and industry. expert repair of kilns and wheels. Delivery and studio setup available. educational discounts.

SHIMPO CeRAMICS (NIDeC-SHIMPO AMeRICA CORP.) 1701 Glenlake Ave. Fax: 630-924-0340Itasca, IL 60143 Toll-free: 800-237-7079

email: [email protected]: www.shimpoceramics.com

A division of Nidec-Shimpo America Corporation, worldwide leader in the manufacture and distribution of ceramic equipment, including potters wheels, electric kilns, pug mills, banding wheels, and accessories to the pottery and school markets.

SIAL PRODUCTS 450-687-40462860 Boulevard Le Corbusie Fax 450-687-4105Laval, québec H7L 3S1Canada

SKUTT CeRAMIC PRODUCTS 503-774-60006441 S.e. Johnson Creek Blvd. Fax: 503-774-7833Portland, OR 97206-9552

email: [email protected]: www.skutt.com

Manufacture the number one brand of electric kilns, vents and controllers. KilnMaster (automatic) and KilnSitter controlled kilns, envirovent Downdraft Vent system, KilnMaster wall-mounted controllers. Larger models feature spring assisted lid lifter. easy to load, program and repair.

SMITH-SHARPe FIRe BRICK SUPPLY 612-331-13452129 Broadway St. Ne Fax: 612-331-2156Minneapolis, MN 55413 Toll-free: 866-545-6743

email: [email protected]: www.kilnshelf.com

Complete source for silicon carbide kiln shelves, specializing in Advancer® (a product of Saint-Gobain Ceramics), low-mass shelves for gas, and top-loading, multisided kilns. extensive line of refractory materials for kiln construction including firebrick, mortar, castable refractory, and ceramic fiber insulation. Technical assistance always available.

SOLDNER CLAY MIXERS BY MUDDY ELBOW MfG. 310 W. 4TH ST. 316-281-9132Newton, 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.

SOUTHERN OREGON POTTERY SUPP 541-535-6700111 Talent Ave. Fax: 541-535-5929Talent, OR 97540-0158Wholesale/retail supplies and equipment serving the needs of schools, professional, and hobby potters, china painters, ceramists, mold makers, and institutions.

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www.shimpoceramics.com

www.skutt.com

www.kilnshelf.com

http://www.sheffield-pottery.com

www.runyanpotterysupply.com


SPeCTRUM GLAZeS 416-747-831094 Fenmar Dr. Fax: 416-747-8320Toronto, ON M9L 1M5, Canada Toll-free: 800-970-1970

email: [email protected]: www.spectrumglazes.com

Manufacture the largest, most diverse selection of pottery glazes available anywhere.

SPeeDBALL ART PRODUCTS CO. 704-838-14752301 Speedball Rd. Fax: 704-838-1472Statesville, NC 28677 Toll-free: 800-898-7224

email: [email protected]: www.speedballart.com

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 434-385-7687107 Ridgeview Dr. Fax: 434-385-7154Lynchburg, VA 24503-3503 Toll-free: 866-530-9731Home of PlasterBats, the make-your-own plaster bat mold kits. Also sell pottery supplies, dry glazes, chemicals, moist clay, and offer adult pottery classes.

ST. PETERSBURG CLAY COMPANY INC. 727-896-2529420 22nd St. S. Fax: 727-896-0013St. Petersburg, FL 33712One of the premier ceramic facilities in the U.S. Located in historic 1920’s train depot. Four main areas of focus are studio rental, retailing of clay supplies, gallery sales, and education.

STANDARD CeRAMIC SUPPLY CO. 412-276-6333PO Box 16240 Fax: 412-276-7124 Pittsburgh, PA 15242-0240

email: [email protected]: www.standardceramic.com

Manufacture moist clay bodies. Distribute raw materials, glazes, and tools.

STUDIO SALeS POTTeRY SUPPLY 585-226-30305557 east Avon Rd. Fax: 585-226-3122east Avon, NY 14414

email: [email protected]: www.studiosalespottery.com

Pottery supply business, teaching studio, and craft gallery. Repair and maintenance service available for electric kilns and wheels. Regular classes offered in potterymaking, raku, woodfiring, and kiln use.

SUGAR CREEK INDUSTRY, INC. 765-339-4641PO Box 354 Fax: 765-339-4649Linden, IN 47955Manufacture equipment and kilns for the fired arts. Supply mixing, pouring, and firing needs for ceramic and porcelain.

SUMMIT KILNS 813-996-2575PO Box 573 Fax: 813-996-2575Land O Lakes, FL 3463930 years experience making quality electric to gas conversions to convert your electric kiln to a gas kiln. Offer raku burners, FiberFrax, hi-temp wire, and controllers. New and used electric kilns and wheels. Kiln and potters wheel repair in central florida.

TAOS CLAY 505-758-98841208 Paseo del Pueblo NorteEl Prado, NM 87529Fully-equipped ceramic studio offering memberships, classes, workshops, schools, and after school programs.

TEXAS POTTERY SUPPLY & CLAY CO. 817-626-2529365 Sansom Blvd. Fax: 817-626-6226Ft. Worth, TX 76179 Toll-free: 800-639-5456Full-service ceramic supply warehouse. Carry a complete line of clay, equipment, tools and, supplies for any ceramic need.

TIN BARN POTTERY SUPPLY AT MANASSAS CLAY 9122 Center St. 703-330-1173 Manassas, VA 20110 Fax: 703-330-1040The source for ceramic/pottery supplies in Northern Virginia and the metropolitan Washington d.C. area.

TRIARCO ARTS & CRAFTS LLC 763-559-55902600 Fembrook Ln., Ste. 100 Fax: 763-559-2215Plymouth, MN 55447 Toll-free: 800-328-3360Large selection of arts and crafts supplies featuring AMACO, Duncan, Skutt, and L&L Kilns.

TRINITY CeRAMIC SUPPLY INC. 214-631-05409016 Diplomacy Row Fax: 214-637-6463Dallas, TX 75247-5304

email: [email protected]: www.trinityceramic.com

Ceramics material supplier. Distribute Brent/Amaco, Creative Industries, Shimpo, Thomas Stuart, North Star equipment, Spectrum Glazes, Kemper, Laguna Clays, Armadillo Clays, Pemco Stains, Cerdec Ceramic Stains. Manufacture Trinity brand moist clays.

TRINITY ENTERPRISES INTERNATIONAL 1211 CR 621 East 863-699-4082 Lake Placid, FL 33852 Fax: 863-699-4083quality open stock and custom designed decals/transfers, for both vitrifiable and cold application. Art library. Design concepts and reproduction services. Open stock decal catalog.

TUCKeR’S POTTeRY SUPPLIeS INC. 905-889-770515 W. Pearce St. , Unit #7 Fax: 905-889-7707Richmond Hill, ON L4B 1H6 Toll-free: 800-304-6185Canada

email: [email protected]: www.tuckerspottery.com

Retail/wholesale, manufacture, distribute clay, glazes, tools, kilns, pottery wheels, slab rollers, extruders, and kiln elements. Repair service. Thirty four years of experience. Mail order available.

U.S. PIGMENT CORP. 815 Schneider Dr. Fax: 630-339-2644S. Elgin, IL 60177 Toll-free: 800-472-9500Supply raw materials, stains, glazes, chemicals, rare earth elements, specializing in cobalt, tin, nickel, chrome, and copper.

UNITED ART & EDUCATION PO Box 9219 Fax: 800-858-3247Ft. Wayne, IN 46899 Toll-free: 800-322-3247Online source for nearly 10,000 art and craft materials, art resources and project ideas.

VENCO PRODUCTS 61-8-9399-526529 Owen Rd. Fax: 61-8-9497-1335Kelmscott WA , 06111, AustraliaManufacture high quality equipment including electric potters wheels, pugmills and a hand-operated clay extruder.

VENCO USA 508-662-57069 Sycamore Ave.Spencer, MA 01562

VENT-A-KILN CORP. 716-876-202351 Botsford Pl. Fax: 716-876-4383Buffalo, NY 14216Wide variety of kiln and fume vent exhaust systems.

VULCAN KILNS 937-433-18337623 Clyo Rd. Fax: 937-433-1833Centerville, OH 45459Manufacture electric hobby kilns. Sell kilns and kiln accessories, including kiln vents and controllers. Kiln repair, all brands. Wholesale bisque tile.

WARD BURNER SYSTEMS 865-397-2914PO Box 1086 Fax: 865-397-1253Dandridge, TN 37725Provide equipment for kilns and furnaces, including venturi burners, power burners and a line of raku kilns.

WENDT POTTERY 208-746-37242729 Clearwater Ave. Fax: 208-746-6968Lewiston, ID 83501 Toll-free: 800-554-3724Produce Helmer Kaolin, a replacement for Avery Kaolin in wood-fire bodies. Mixed cone 10 Helmer body now available - call for details.

WeST MICHIGAN CLAY 269-751-5839PO Box 427 Fax: 269-751-5831Hamilton, MI 49419

email: [email protected]: www.westmichiganclay.com

Serve the needs of potters, schools, and hobbyists; consulting services; equipment repair and products from Standard, Laguna, L&L, evenheat, Kemper, Dolan, Shimpo, Skutt Wheels and Sterling Books.

WILLIAMS SUPPLY 910-428-9205132 Allen Rd.Star, NC 27356-7800Supply ceramic materials and equipment.

www.spectrumglazes.com

www.speedballart.com

www.trinityceramic.com

www.standardceramic.com

www.westmichiganclay.com

www.tuckerspottery.com

www.studiosalespottery.com

10 Ceramic Supplies · that looks like it came out of the woods or off a rock formation. ... into...

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