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Ceramists will welcome the return of this classic guide to creating clay figures—now revised with four new projects, updated galleries, and a fresh introduction!
With plenty of how-to images, this accessible beginner’s guide teaches the art of making beautiful ceramic figures—both human and animal. Anyone who has ever rolled a “snake” out of clay or pinched a piecrust can easily complete the 12 skill-building projects here. Master teacher Susan Halls explores four basic techniques: pinching, slab building, coiling, and dowel work. Learn how to pinch a pot with a deep bowl shape, and use this technique to construct a plump pig. With the slab building method, you can make an enchanting bird-relief tile or turn a favorite family photo into a delightful diorama. The book also offers invaluable advice on setting up a studio or home workspace, using slips, and choosing a glaze. Galleries featuring a range of ceramic work illustrate the creative possibilities of each featured technique.

SENIOR EDITOR:
Suzane J.E ortillott
PRODUCION EDOR
EDTOR
Nathalie or
Susan Hxley
ART DRECTOR
om Gaines
PHOTOGRAPER
Steve an
COVER DESGNER
Cindy LaBract
Lrry f Cngr Clgng-n-Puln D Ambr, Shay Ceramics for beginners ad bildig/ Shay Amer -- 1st ed. p cm Inc des idex ISBN 9781600592430 (p wit jacket  alk. paper) 1. Pottery craft  itle T920A44 2008 738.1'4dc22 2008011404 1098764321 FirstEditio Pulised by Lark Books A Division of Sterling Pblishig Co c 387 Park Avenue Sot, New York, NY 10016 ext© 2008, Say Amber Potography© 2008, Lark Books less oterwise specied 11lstrations © 2008, Lark Books Distribted in Canada by Sterlig Plising, co Caadia ada Group, 16 Dffri Strt oroto Otario, Canada M6K 3H6 Distribted in te Uited Kigdom y GC Distrition Services, Castle Place 166 Hig Street Lewes East Sssex England BN7 1X
This book s dedcated to my godmother Lyne Brke, for her steadfast ecouragemet, love and spport.
Distribted in Australia by Caricor Link Astralia Pty Ltd, PO Box 704 Windsor NSW 276 Astralia  writtn istructions potograps, dsigs, pattrs, ad rojcts i tis volume are iteded for te personal se of te reader ad may be reproduced for that prpose oly. Ay oter se esecially commercial use is forbidden under law witout written permissio of te copyright holder. Every effort has been made to esre tat all the informatio in this book is accrat Howvr, d to diffring conditios, tools, and individal skills th pulisr canot b rsposibl for any ijuris losss ad otr damags tat may result from the use of the iformation i tis book. f you ave questios or commets about tis ook please cotact Lark Books 67 Broadway Aseville, NC 28801 828-23-0467 afactured in Cina All rigts rsrvd SBN 13: 978160092430 or iformatio abot custom editions special sales, and premium and cororate prcases, please cotact te Ster ing Secial Sales Departmet at 80080489 or peialale@terlingpubom
INTRODUCTION
6
CHOOSING AND USING CLAY
8
GETTING TO KNOW THE STUDIO
14
•TECHNIQUE: PINCHING
26
Project:Tea Bowl
27
Project: Wafe Vase
29
Galery
32
•TECHNIQUE: FORMNG COILS
34
Projec: Espesso Cup Set
36
Project: Coiled Boe
39
Galery
42
TECHNIQUE: MAKING SLABS
46
Project: Fooed Bow
49
Project: Wall Pocket
52
Gallery
56
TECHNIQUE: SAB BUIDING
58
Project: Geometrc Vessel
60
Projec: Carved Lanten
63
Galery
67
ECHNIQUE: MAKING AND USING SAMPS
68
Project: Appliq Tile
72
Projec: Bid Scptue
75
Project: Nestg Box
79
Galery
83
•INSPIRATION
86
ECHNIQUE: SURACE DECORAION
89
Projec: Sqae Plate
100
Galery
103
GAZING
106
•FIRING
115
TEMPLATES
119
RECPES
122
GLOSSARY
124
CONTRIBUTING ARTISTS
126
ABOUT THE AUTHOR
127
ACKNOWEDGMENTS
127
INDEX
128
 I love the feel of cay between my fngers Its smooth and mostan elementa materal I lke ts receptvty, the way t responds to the slghtest pressure, retanng marks and textures. hat is why I work wth clay, and why Im passonate about sharing what I know
I TEACH HAND BUILDING CASSES, AND THIS BOOK S SET UP JUST IKE A WORKSHOP
w
isrucios nd sepbysep process poos  ofer  sple, normive nd ispied look  e unl imied possibiies of forng cy by nd . Hand Building is e rs le in e ew Cemics o e gi ers seies; I wroe  for ose wo w o ern o e s ipl e ye beiu c ermic objecs
    O D U C   O 
U lie weel owig, e dbild ig
you cee d sice e work of oers c serve s
eods i  is book equ ire l ile prcce s enjoy
insprio ec secio is ccopied by  glery
e feel of cly in you d s d be wili g o er
of d-b il wok by coneporry ceri ss
s you go ecuse e bsic iormio ecniques,
Oce you ve n  dersd ng of e
nd projecs i is bo ok re orged fro e
ecniq es d ve developed soe skil ls in ec,
sim ples o e mos i voved, I e courge you o
you're posed o ceive explorio. e  sic
work fro fro o bck rer   mpin g rou d
im pulse s lwys exised logsid e e need or
Tecques deonsred i ec secion buid on
cio l vessels You c use  nd-bu fors o
e sil s d nowledge yo lered bou i
express n zin g rry o ides I in clud e  secon
previous secios
explining ow  brig bsic design elees
You'll ler ow o coose nd se cy, work
pern, spe,  d exrefro poos, seces,
w e nd ools sed by cemiss, d g in
d oer sources direcly ino e form d s rce
knowledge o  d ng e eqip e You'll so
of my own wok
fid inorion o seing  p  sfe d eicie 
Te creiv e jouey does' e d er e
workspce en i's i e o ge ou  bic of cly
oig o  piece; i coniues wi e decisios
nd ry e simples eciqu e picig  Seps nd
you mke wile decorng glg d firing  Te
poos w k yo rog e gene r process e
Surfce ecoro seco gives n overview of
I sow yo ow o cree wo beuil fors usig
some eods for creig visl eres on  piece 
s is sil. Oe s  e bowl icded becuse i
You m ig i nscibe e cy dw lines o i ne r cly
doesn' requie  i g  perec spe  diio nl
on e sce; pols e cy o  ric dee p gle m
Jp ese e bow so ld ve p erfecos e
or dd coor d d ep w ges  povde recipes
oer, e Wer Vse, es e  eod i  n e iey
o glzes nd oer iqd embe lise s, d yo'll
diferen di econ s owing ow lile cly wfers c 
discover scnig wys o ppy  coig s ic
be combined o ke  dmic piece
or s pe s me o glossy, s m il yered or
ore ndbildi g ecniq es olow coin g, drpin g sbs nd b dig w sf  sbs, wi un projecs reed o ec. Te coi l secion or expl e
nspe s you like Fin lly, I  cl de n oveview of e firing process Wi y smple d bsic pproc o d
feures  se o espresso cups wi sprl nd les,
bui ldi ng yo c qu ckly cosrc bo seul
nd i e slb bildng secion, I ec yo o e
objecs nd scul prl orms,  en coose o ny
 Crved nern oer secio sows ow o
decorve meods o me e peces uni qe  Te
smp cly d r s  pin io n ppliqu yo
rewrdi ng wonderful wold of cly s ever bee
cn c o y fo  ncl din g ies  d sclpurl
more ccessble o esy o de rsd  Pl ge your
piec es. You l so ler o mke you own smps,
ngers no   u k o cly, d ge redy o dscover
c ld ng one or mrking yor me o every piece
your ow ceve vsio
  U  Ths chapter contans a rough overvew of what clay s and the diferent types of cay that are avalabe to sut your needs. Before you get your hands n the clay, you s hou d und erstand some of the bascs about the matera you wll be workng wth
ad noraic maerals so heye caled secondary cays wich are jus fine or had bui ld  Kaolin is he os comon ye of a  rer (primary) clay a cera iss ca fin d I's difcul o work wh because 's dense ad nonpastc (less liable) . Neverheless yo'l l d aoli ixed i o an ufacured clay ariclary orcelai , becase i has a low shrn kae rae a d i's wie Tere are her, more lasic clays han AN UNERSTANING OF BASC CAY COMPOSITION
w l hel  you coose
he bes clay fo he fo ha you're
im oray, how o e clay o work
aoli called ba cays, b cera iss
for yo
mix he  i no oher yes o clay since
Cay is bas cally a ki d of ulve
ey s in  a o
makin  an d deermie he way ha he
ied oc Ceraiss who know wha o
Yo e ed some exe ece
iece wi be ebe lished ad finished
look for may jus d i ou of he bank
wh clay beore you o o your own
Ahouh  e cerami c rocess ivolves
of a rive or seam near he r sudio
reasre hun, becase workin wih
ceica comods a d chaes,
(Secific locaons are ofen cosely
clay ha you di u  ivoves ue a bi
yo do' eed a sciece d eree o
a rded secres Thei oves are
o exere i  Yo r bes corse of
und esand ow clay wos or o re
usualy conaaed wih oanic
acion is o rchase cay i you're
C H O O   
A N 
U   N
CLAY
comforable w all of e rocesses tha are a of ceai  a ceramic  iece a nufacrers creae clay tha's forlated wi secific ua lities or and bid i a d robaby icde elul  foration i the ackai  For examle manacturers sually ndicae the clay's firing range (he oi  low to hih eeatres o ea a ece  a secalty ove caled a kiln nil the clay aticles comress o a e a for ha won' dissolve or easily brea k. Te ackai  ay also indcate wat oher iediens are i the clay called additive. hese affect e co lo (see
ae  0 extue (see ae 10 a d Your rst ste is choosing a suitable clay because each tye has a unique coor consistency and ring range
firin rane
 CAY BODIES
It always conain s some ao t
his clay because soeware cotais
Whe yo sho yo do' l ook or a
o iron oxide w ic accous or
metas ad minerals hat will aer is
im ary or secodary clay Instead
its siature red color Bt don' be
color rom i ht  ray to dark brown
choose earthenware stoeware
s ised f you find wie eahe
wen fied.
o ocela in In a class setn yor
wae cl ay ry i t i y o wan  o sh ow
nstrucor may have al hree yes
of a biht translu ce glaze (a liuid
soeware is durable Yet ocelain's
availa ble or yo o try because yo' l
hat when a ie d to a red clay ece
wte ransl cen aearace ives
ave access to te exerise and
a d rered uses to he s rface ad
i a deli cae istine sesi bil iy Its
eumen o hel you scceed.
becomes ard ad  assike
sooth a d creamy cosistecy eels
O yor ow t's best to wok wih earthenware until you're established 
STONEWARE,
aso a secodary clay
PORCELAIN,
a ore refied ye of
wodefl and a lows te clay o ick u
is red at a  ch h er emerate
he s i htest textual detail  owever
han earhenware. Beore buyin i
is nonlasic ualty makes i difcult o
evaenand comoly sedtye
(or ocelai n m ake sre ha the kil
work wth
of secondary clay The fin shed iece
yore us i ca et ot eno  At ts
shown at he star o every roject n
ea eeratre of 00 1 0C
• COOR
this book is ade from i. Sice he
stoneware shri s ad becomes nea ly
he i temerare can draatcally
fiin temeratre is low aound 1940F
nonorou im ervious o waer Tis
chane cay's coor For exa e soe
o 1060C tis clay is a excellent
cay is erec for mak  ucioa l
ware clay at's ray  the raw state
choice f yo're coce red about he
wae at olds food or dri k becase
may   k n the i ital r he
efec tha hre ki ns ave on the
lu ids wo' see thouh he clay
rn da  ray or eve brown aer be 
evronmen or you ockebook
wals  hee ae m ay variaios o
glaze-ired (see ae 11 5
EARTHENWARE
is the  os
C  O O   
A N 
   
CA
Glae can ad d a new coor to yo clay or ehance whas aready tere However, t e clay h at yo choose fo you piece wil aect the appearance of e laze  f youe  certai how a ae wil l look o a wh ite o a red cay apply te  laze o a sampl e of each and fire it. I  desred, you ca lessen the efec o yor clay on t he  lae by first applyi  an udergae (see pae 9 ) o a li qid waecay mixue called sip o he sface
 sandlike material can be mixed into clay for additional textue
 TEXTURE
You ca  creae vi sa texure by
Clay has ormulated fo hand b ldi 
work buout materias ito c ay,
ofe includes grog hs is basicay
sch as rce an d coee  rounds Whe
fied clay ta has bee  rod ino
red, te hea destroys these a ddiives
sad e partices
so at the s ace of the nshe d orm
You can buy ro separately and
is pited
add i t o clay altou h ths isnt an easy pocess see Clay Peparaio and Storae ad Reclai  o pae
 STAGES OF DRYNESS
13)   os beiersad may
Soe vey sall pieces ca dy
experienced cera sssip y by clay
natrally, bt l are work eeds to dy
wt ro mixed ino it
a a slower pace so t does' t crack
Gro coes  difere ses, or
Metals mineas and other ngredients affect the color of different clay bodies
warp, o sepa rate o conrol he d yi 
meshes he coarser he mesh , he
ie, pace te work uder a thi sheet
oe textre or tooth the clay will
o plasic If des ed, you can cove
ave aer he o s added. Clays
oly the a reas hat yo suspec will d ry
conainn lae amots o coase
ase Pch holes  he pastic i yo
o are  rea or ceatn ies or la e
wat the c lay o dry a a aser rate
sclpta oms. O the oer had, i
Remove he plasic we n he work is
you're makin  din erware choose cay
al os copleely dry
conainn er o, or no ro a al 
C H O O   
A N 
U   N
CLAY
Cerasts se speci al terms o
cosany oitori the piece t i i
describe he reaive amo o oi sre
reaches e desi ed sae o dryness
in clay Ay piece yo make wl o
Its iportat to be caios becase
oh for staes o dryness described
ovedoi i t wil case a pece to
here beoe yo p i i a kiln o be red
warp whe its in the kil  Also dont
MOIST OR PLSTIC CLY
s the most
remoisen a bo e-dry clay form beca se
malleabl e state Fres o of te ba
itl s dssolve
mois clay is ideal for consrctin piced or coled fors becase s sot and pliabe  Wet is ofe sed o
• BISQUE WARE
describe he ateal a ths sae
Ater yo  ake a orm a d let t reach
aloh some ceraiss eserve the
he raile boe-dry sae yo place
er o prodc hat has a considerabe
i n a kln an d fire i o ake  hard 
amo nt o water in it sc  as sl ip . Yo
his is the bique fing The piece hat yo ake ot of the il n i s called
ca se si p as a le to jo peces of clay see pae 9) or o srface
For hand building moit cay freh out of the bag i ready for haping.
bique ware Altoh some laes
decorao techniqes (see pae 90 ad
can be appied to reenware bisqe
9 o 96)
ri s sally needed to prepae emstenng ay
he c ay or lae appl ication This rst
is shape b can sti be ani plated
Ia in e at yo wat o ct a ho le
ri  emoves ay remaii  waer
I yo red o ake a lare piece wih
 a leaer-hard clay box Its possibe
ad h arml asses tha mit rin
moist cay,  cold coll apse d er ts own
to do so alhoh yo rn he r is o
he az e Aer yo apply te laze
weiht o so wth si clay However
damai te orm as yo oce yo
re he pece a second ime a a
is ore prone to cracki  H andl e and
eedle too troh he ateial Its
hihe eperare his gaze fing
maniplate a siclay form wi care
ease i yo rs remoiten te clay
pera ety ses the laze to e
to make it softer Remosenin s also
srface o he bsq e pece .
STIFF CLY
is ston eno o ho d
LETHER-HRD CLY
cracks if yo try to
bend . Its the peferred sae for cay
ecessary wheeve yo ee d o on
sed o costrc rid forms sc as
two clay shapes hat are a dieret
boxes This tecniq e, call ed s slab
staes of drye ss Yo n eed to add a
consrco see pae 58) s possble
bi of moiste to the ha rder form so
becase eathe-ad cay pieces stil
that te clay pieces are a te sae
have eo h moistre o be joined
stae when joed
BONEDRY CY
wont e any dre 
Yo c a remoisen stif or leather
n ess i's red oms a this sae are
ad c ay by spii it with wae a d
kown as greenware Place an nfied
ten plac n  der a thi plastic see.
clay om o yor ceek fo ve seconds
This is a enle process hat reqi res
I the clay fees cold there's stll ostre
a in e appl cation o water. he ast
in it. If te clay is at room tepeatre,
t n yo wat to do is we the wo
is bone dry Yo cant be nd shap e, or
dow a d wal away o i Instead
join pieces o bone-dy cay
evenly mst the clay evey 1  mnes
fter a clay piece i red for the irt tme it porou enough to accept a glaze
C  O O   
A N 
   
CA
r•·� 'tl'1

 l'I •••T' 4
'
7
5
tnar) COPH JU
 TESTING S RIN KAGE Clay s a  its  eatest volue at he wet sae. As it dries the wate tat's i i evaporates and  e sze o e pece decreases We he cay is fied, yor pece coacs even more Tis pocess is ow as shkage eret cays
akng a ay uler
shrk at differen raes, ad the ih er
Rol a sm all, /-inch (1 c) ic sab
te sh ape you cut from the oist
e fii  temperare the more e cay
see pae 47) U se a need e ool to cut
clay, so yo ca se i o detei e
will shi . Soe cay bodies such as
i o 2 x  2 ices 51 x 305 cm) and
te s hri ae of the clay The simp e
earthenwae may on ly srnk 7 percent.
carve exac measremens  o the
forua s n a 8-inc-squae (203
Oer clays, incldi n pocelain, shri k
cay, us n a rler as a uide  et te
cm) pi ece as an exampl e follows.
as mch as 1 8 pecen
cay dry unil i's bone dry ad t en re
Yo ee d to know a cl ay's
i at he exac tepeaure tha yo p an
srnkae ae whe the finished piece
o fire he form yo're o i to  ae
 st be a specic sie Man actes
rom he same clay. Apply paia to te
sa lly provid e the shrin kae ates
srface (see pae 1 10) so that you can
or heir cays fied to a specic
read the mars. Fre he rle a second
epeate If you ixed  ro or oher
ime, a ai to the sae te perature
additives into he cay sed o ake a
yo plan o se or the for
orm or yo plan o re a clay piece o
his n sed piece is smaller ta
Sutat th nt f th n ay u m h nth f  na u 
  =       m=  m Dv th u y t nt  t na u  /  = .  m   m= .
Mutpy th ut y :
Atach te clay ruler o a scap o
.   = 
a dfeen epeatue yo eed to
wood that's cu o he same sze usin
detei e the shi ae rate yorse
epoxy l ue Wie the type o clay and
 his example, e clay's srin kae
Yo co nd c t is test wih a clay  er
he ri  temperaure o e wood
rate is 9 perce.
 POROSITY AND VITRIFICATIO N When clay is red al moistre s reoved and he partcles are compressed This process trs he clay ito a cerami c edi u  Clay that has one throuh a hi er firin  is srone han t e rests of a ypical lowe-epe atre rst ri  or bisqe ware A poros clay ca  stll expad a d contrac, whch cod cau se he laze o crack and m ake t un sae or ood. If yo're m akin  a decoraive or scu ped pece sch as te Bi rd Scl ptre on pae 75 yo don' have o woy about clay's porous atre Viticaio is the p ont at which he clay paticles have reached hei r ih es rae of compresso n his occrs duri n the final r   he hard vired clay is den se an d i pervous o waer Water will eak through porou clay (right while clay red to vitrifcation will hold water (left  difference in ize i clearly vible in thi bonedry clay piece (top and it fred twin
C H O O   
A N 
U   N
CLAY
• CAY PREPARATON Ceass wedge clay o loose  t up, make se ta is we mixed, a nd o remove ai b bbles at cold make a for explode when fired. xperenced ceraiss aso use wedi to introduce  ro ad ote add itives o teir clay bodes e wedin ehod described he e is jst oe of sevea tha ceraiss use Sof, mois cay s e aser o wede ta n sti clay. If yor clay s stcky le it dry ou a bit Place 8 pouds .6 k) of clay o a onsi ck surace tats a h p leve Postion yor body wit one foot poined straih aead a d te  ong a it hant been fred any clay can be crumbled moitened with water and then reued to make an entirely new form
other slihtly behnd,  o ac as a brace. Fom he clay into a ba l. ress your body weih i no e ball wih one o
 STORAGE AND RECAIMING
your pal s Wiho releasi t e clay,
Reclaimed cay as a i, pa sic
o le he clay dai n l is ost
crade an d l f te fot with e ote
consistency ta leds isef beautil y
Wede i (as descrbed a top iht)
han d Ps the front down io te
to pinched o coiled techiques. Clay
Sore yo clay where i can be
clay's cente. R epea is process.
shoul d be absolutely bone d ry before
kep as moist as possible away fo
t's eclaime d his process creates
exreme eat and drec si When
of the ai bbb les ave bee reoved
ds so ts a ood dea o wear a as
iy seaed i pasc bas the clay
To check for a r bubbe s c ro
o respiraor.
so ud keep suficietly moist for abo
te ce ne o te c lay ass wh a w re
sx monhs . It's a ood idea to on or
tool The exposed s aces sould be
peces and elimi nate any lps lace
he  oisture conte ad spay he c ay
fla and com pleely smoo
te clay n a are bu cket and ll i wit
wi water as e eded
Fi rs break up e clay ito sall
wate nil he cay s sbmeed I'l
Clay li ke we o ceese i mproves
qicky absorb waer ad tur o mus 
wi a eif its stoed properly
A thi s poin experenced ceram ists
Ceramists acally encorae mold
ay add o see pae  0). his ca
rowh o cay becase i ipoves
be tricy becase a unbalanced rato
he plasicty Soe cerami sts ix
of ro ca cause cracki ad oher
oraic ate or yo rt no th eir c ay
stcural probems
o prooe ts old  owt In Japa
Onc e te waer appears o be
Yo're finised wedi when a l
cay is soeies du u p, p epared,
compleely absorbed, p lace te bcke
ad en b uried aai fo ue
psid e down over an od piece o abric
eeations o nearh ad en use
Wedge reclaimed clay and clay crap you plan to reue
  Kw   You can enjoy hand buldngand protect your healthto a greater degree if your studio s set up approprately and you have the right tools and equ pment Read on to learn more about setting up you r work space, the tems that you really need , and thn gs that you can add to a wsh lst.
• YOUR WORK A REA os comitis hav cramic studios wh yo can ak classs or rn sac and shar qi t and toos at a co  al stud io. hs a grat ways o g acquai nd wit a stdio w l di scovring yo r crativ dirctio  I yo dcid to s asd a rsonal sac o ad bui lding in yo hom considr covring a ga rag or fi ishd basmn o  yo k clay ds t ad oh cotamna s away from r imary livig qarts A 1 2 x 1 foot 6 x 4 m) ara can accomodat a workab shvs a sab olr (s ag 20) ad a mdu s kil  o avoid d st tat can wrak A HA O RA N
o bil d a ic ar your hands
havoc wh clay and glazs  walls
a c u k of clay, a d a workabl xqs i war ca rg
ciing  an d floo nd to b smooth and
wth l il o vhss avin g so ools an d a w
asy to w  down T floo so uld b
ics of quit will robaby mak ay rocss or
asy to sw Aso loo for ac css to
saisying . Its also imorta to sabs  good habits o
run ng watr and good lg tg Th
k your sd o sa
wotabl sol d b sturdy ough to wstand sig can wigh and movt
     N
O
O
    O
 SAFETY PROCEDURES A clay sdo ca be a sae an d
DISPOSE OF WASTE PROPERLY.
Use a
ejoyable envionmen  if yo ollow
bcke o collec residue ro gl azes
a ew recauions whe seig i  
oxide coloant and oher haru
Read e se rocedures beore yo
ceical s O ce yo ave a coule
sar had bu ilding .
of cus of his resde e  dry
l
You do wan
coleely Make a ceramc bowl 
o inha e clay dus. Silica oe of clays
he reside i  and fire i o cone
mai igediens can cause a ug
6 see age  1 7 o lean more abo
dsease called sl icosis For cleane air
yometc coes)  Ae firi ng  you ca
insal a roessioa veilaion syse
dsose of he bowl ad s coens
I his i s a oion choose a sudio
saely knowing ha e aerals wil l
sace wih w idows or doors a you
o leach ino he grod
ca oen o le fres air crcae Yo can avoid your doc ors office
l
I you work wih
ore a one ye of clay body clean
by develoin g ha bs ha kee down
you eqm en and ools aer you use
he dus in your sudio Clean your
hem Als o sore mois ed and whie
worksaion a he ed of eac sessio
cay searaely
Wie dow yor ables ad equim en
UNDERSTAND THE EQUIPMENT
Even
wi a clean d am songe Swee he
houg h os kil s have saey eares
floor wh a sweeing cooud 
hey ca cause a fire or even a
l
exoso An oeaig man a is ardly
read he label on e acagig for
excng ead g bu do ae he ime
ay derglaze glaze luser o oher
o go hrogh i. Also neve eave he
maerial ha you lan o use I he
emses while he kln is firin g Eve
inormao s siy ask your ceai c
a new kin ca ancio. f youe
sl er fo deails.
aku or it fiing (see age 18 mae
WEAR PROTECTIVE CLOTHING AND GEAR
sre all combutible (such as eaves or
o avoid rackig d s hrough yo
sawdus) are coeey exingshed
home desgae a ar of soes for
before eaving he eises
he sudio  P ick a closed-oe syle o
MONITOR YOUR VISITORS
Prega
oec yor oes ake hese soes
women shold c osu w hei
off as you exi yor sdio  Also wear
docors beoe worig i a clay sdio
saey gl asses o roec yo  eyes fro
if yore execig ha meas you oo
hea ad radiaion as yo oio e
Sevise childre durig a l ceraic
ogress o he firings whil e oo g o
acviies.
a kis eehole
SEGREGATE YOUR ACIVITIES
o no ea
di  or soke n he sdio Always wash your hads horog ly oce yore ished working.
It a good idea to abel container epecially any that hod a medium containi ng hazard ou chemical
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 YOR BASC TOO KIT You can t a a quic g anc i n any craic s upply caalog o r wbsi to con tha hr ar ay marias  tools, a d p ics o quip for an d b i di g To hp you sort ou wat yo d,  rs a ls o sppl s tha yol s to ca vy projct n ths boo hy ar' od a th bgi n g of ac proct bt yo d o hav thm o ha d
•A banding whl, whic s basica ly a lazy Ssa  on a pdsal, is vy pora for scl ptral work. Yo plac your clay o  and  dvlop all sds of t fo by rni g th whl
• Buckts and sall contanrs wth lids can hod sli ps, glas, and othr atrals. Noncorosv bckts, plasic i parcular a idal
•Chaos cloths and sal natural or synthtic spongs work wl or smoothing an d soni g. Spogs a also good fo clanin g yor tools a d work spac p o han dy whn yo'r workig wih moist clay so ha yo c an wi p off ay xcss ha's
•A ta rulr, pncl, str stick and tap asur  av a wd ag o u ss s th tap  as r to chc th wid l gt ad dpth o curvd su racs
stcking o yo r hand s. 's to smoo a surac whn hr's clay o you r hand s bcaus clay tnds o sick to cay
T rlr ad pnci l wll hlp you cut sraig h dgs for tmplats s pag 11 9) ad s abs s pag 4) .
A fxbl straightdg givs yo a g id to olow whn cuttig a sraigh in  alog a c rvd srac. Yo ca a o fro a o g strip of cad stoc or a a ila foldr
     N
O
O
    O
� Slp appato ae bles r bl bs a ld liqui d and ave a aered  r alyg fi ne li es f sli,  dergaze, and eve g laze Exerie n a es ile, able,  aer n l ye cmfrable
-·
;. I
sing a si alicar, ad always es e flw bee alyi g i  a ece.
• Rubb glov f ay ye wil rec yur an ds. Aways wear em we  wrking w dagers dry and liqu id ceicals
•Spay bottl ca  e yu ee clay s  s  l a ble wi waer and
Plat t el  yu ee clay mis
sri i n e w in rgess r e
ad crl e dryig ime f a clay
iece as dryig Inermiely sz
ece  Te bags  aced ve dry-clean ed
a andle r e aedage wi waer  ens e i dres a e sae rae as e
.
es  e iec e
•A w too is sed  c a s ice r cun k f a bck (als kw as a brick) r la rge secin  clay Y can make yr w wie l by ying a wd dwel r lage wase  eac end f a 1-ic leng (0 cm) f 8-gage wire l d a dwel r wase in eac and and sim y  l i ug e c ay
 Wa boad are fla, ble w srfaces Is a gd idea  ave
•A pato is esseial n any sd
several, n a variey f szes.
Fr yur gd eal, y us wea i
 ma ke yur wn, see age
wen wig a nd any dry ceram c
2 Bas serve e sa e ci
cemcal, i clud ng clay dus, even i
as ware bards, and eyll ee a
yr sd as a ve lain sysem   
bjec s w le yu wrk n i eye
yre  a g bdge, a basic ds
sal e and ade m wd, aser, 
ask will sufice If y nd yrself
asic Wrk  a wae bard r ba wile
sending urs a a ie in e sd,
ceag a y f e rjecs in  s bk
ves i yr eal Buy a resrar!
Cse ne as su able fr e size  e iece a y're a g
ces wrk grea because ey're arge eug  cver s scu lural w 
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 OTER ESSENTALS At e beg ni ng f eac rject, tere are ts  additinal s yll e ed t clec  ae e eared iece. Wie yu lean wic tec ques and s seak  y, rcase te fllwing y as needed  Yu ca n fe rvise wit cm seld
£Canvas cloths ae e ll fr sf slab
bjecs. F examle, an ld  wrks
cstrucn  Kee a least fur cavas
grea r scig a c ay surace
cls in yr studi s at y can dedicate n e se r use wi dark clay an d an e r ligt cay. Ts reves crsscnai nain f e clays.
£A tring tool is dagged alg te ed ge f a cay slab  create a 45 agle Wen y ct sc a a gle n  e adjace edges  w searate slabs, tey ca be ined wi a atactive sea (see age 59) See age 4 t lean w t mae
£ Bal stylus tools are erec fr
yr wn miteg tl
dawig i e cay suace. Te ti makes a wider lie ta te i f a need e   Cl lect several sies s
£Loop tools are great r trimm g
y ca creae a rage f lie tyes
 caving away cay, as i e sg af
in y r clay
srface decrai ecique (see age 93). Wen yu b id yur  cllectin, clude several wit ls f vaius sies
£ Nd tools are used t ct trg clay T stat, yu  y eed  e. is ecil-like i ee  s grea r cting narrw ag es a d crved ln es Y ay n need ne i y ly wa t nc r cil rms see ages 6 an d 34
£ Mta ho akrs are availab le i difeent d ia eters. Tey ma ke e fectly
£ Rubbr-tppd toos al ave s
rud les i e clay r fuctinal as
exibl e tis Wit ese, y can ma ke
wel as decrativ e rses I  a  inc,
beauil ganic drawings r add
yu can make a le wit a needle l
srface deail   ist cl ay
     N
 0
  0         0
TScong toos ceae he hy
TA ollng pn akes  pssible r y
surace eeded  jin pieces  clay
 hand l a clay slab Fnd he lges
see p age 5 9  cve a  arge a rea
ne pssi ble s ha y ca ake a
qu icy, p r he lng surface f a
wide sl ab Clay sic ks  ar ble s is
seraed meal rb Whe scig sal l
bes  se a wden rling p.
areas, a wi e brush r a kice rk will d he rick
 Rbs ae sed  shape a d sm clay wals eal ribs case gog (see page 0  rise  he cays s race s eye bes sed  cl ay a cans l e   grg Wde rbs
T Paintbushs ae used  apply
are s ad srng,  pvide e ms
slp u derglaze and glaze. Clec an
esisance we aleri g he shape f
assrme ha incld es he hi es
a wall  hey leave suble naura exe
li ne brus  uch wder es F a
n he clay R ubbe r ribs cme i vais
smhe, mre eficien applcain
degrees f fle xbi iy S rbber rib s
chse s, aral b sles ha hld a
cr  curved aeas. A igid rbber
l f iq d. se a spge r fam brsh
b has eg h sregh  shape a wal
 apply a wax resis (see page 109 .
whi e edering a sh surface
19
2
G E  N G
 0
  0      U D  0
•A sca easres g rediens r cerai c recipes Cse ne a easues n gas, pds, ad klgras
 An lctrc xr or bndr cmes
 andy  mxig slips, wases, ad glaes If yu ge a pwer dill ixer aacen, selec n e as sae  plasic caners
TA sab rolr a es fla sees f clay, cal led s abs,  a specific , eve ckess  Tese pieces are sed i n a ype  sapin g cal ed slab csrcin u can m ake slabs by ad, bu a slab rller is
• Woodn odling tools alw y 
easie ad faser, an d e esuls ae  pressive Yu can see a slab
ree aeas ad aceve greae deail.
ller  acin, and lean w i wrks, n page 48
eye elpl reacig i areas yu can' access w yr figers Mea deal ls als wrk wel 
� A woodn paddl gey ales e sap e  a rm wen yu ap i again s e suface Wi i, y can el mae bups i a wall, sqare up a edge, r elp use a seam. Cse a paddle w s, ruded edges a ca' guge e clay
     N
0
 0        0
From frot to back a white plater poro mold a orage biqe red mold ad a clear platic oporo mold
ockwie from far left a rectaglar hm p mod a pre mold with decorative rface a bowlhaped mp mold ad a a tiqe cookie mold ed a a prig mod with a moldig made from it
ds
Yu can ma e te same sa pe ve an d ver aga , r ceate n ly e  a specific sape wi a md  Tis secti describes types  lds as caegized by sape and e maeria tey're ade . Sme ceraic spply sres sel ds, and yu ca ake yur wn sig s ple seld sapes (see te Fted Bwl  page 9 Ceram ss can eve create ei r wn mds by casg sapes wit paster.  yu se a u se d bec, wac ut  undercus ese are angles n a mld tat trap clay, akng i  pssble fr e md  elease c ay.
HUM MOLDS
alw y  sape a
BISQUEFIED MOLDS
are ligtweg,
fr by plac ig c ay ver te exeri
ps, ad ca be used as b slu p
(r cvex sde Sice te uside 
ad  p lds As te ame i pies,
yr cay fr is expsed wil e it's n
tey're jus clay tat as been ardened
te l d, y can add aacmens like
by ng  e bisqe stage OOUS MOLDS are
andles r ee ESS MOLDS
are en used i le
te easi est type
t use Teyre usua lly made  wd,
prdctin, r fr peces at are a r
plaser, r un glaed clay Y sm ply
tw-die s nal  Yu press clay   e
place clay  te ml d Te ps
cncave srface Sprig ds are a ype
s race absrbs misre m  e clay,
 press mld 
wc al ws it t set qu icer ta it
SUM MOLDS
alw y t w
isde pieces wie eye n e d
wld n a nprus surface NONOOUS MOLDS
are made 
because clay s placed  e  ne,
material suc as glass, mea r gazed
cncave srface M st su p ad  m p
cay. We clay sticks  tese sufaces,
md s ae sed t sape st slabs
firs cver te  ld wi a see 
(see page 6)
plasc  preve te cay frm aderig
21
22
G E  N G
 0
  0      U D  0
sd idealy reside i s w rm  searae qarers aen an i, ives in a venilain syse  eve dangeus fues. GAS <>
ce i ay dere
ses ey're caable  ring a ig eerares, u  ce 1 3 These fel-buig kls ru  everyig fm naural gas  rae  biuels U li e eir elecric cnear, gas kil ns ae ab le  efrm a redution fin a cess ha redces e am u  
:(< c > 0>�  : Kiln range from prim itive to eectric
xyge in e kiln's ashere  aec e cl r  se cays a d gl azes . ue  s large size ad e a n  el reqi ed, he gas kin is bably me suiabe r he advaced ceramic ais wh wishes   creae he secial eecs ha can be ach eved by gas firing . May cm y sudis er casses a gve he beginner sme
 KILNS
exeiece wih his rcess.
ls are essenial r cmeing e
a d ffers a cle an an d efficie firi ng
cerami c rcess hey're classed
slun S aes and sies vary S aller
hamber ( eir) a burs a eas a
accrdi g  er ye f fuel elecrc,
esabu e size f a icrwave
crd f wd  a sigle firing A firing
gas, wd;  design , suc as ne f e
ae erec fr ri ng sm al  ieces r
can ake 0  30 hurs and req ies
ay Jaaese-syle and-buil kils
gae ess. Ki ls are als availab e i n
cnsan irng. e anagama 
r even by rcess, as f e qui ckfire
del s he size   a refrige ar,   eve
cave ki , is a exreely large ye 
ehd caled ak
bgger Since larger ki s ake a wile
wd-eled ki l ha smeies akes
 ll wih wrk, sa wih a sm all- 
weeks  re.
ELECTRIC l<LNS
er a wide ri ng
woo l<>
yica ly css  a large
range O ce rgramed, ey can
ed u sie n e ha way, yu can
racically fire  eselvesbu never
exerimen  and re yur wrk e
leave ne naended !
requey, a nd y l devel yr ski 
p: If yo wa o y a
ad syle much mre quicy
i  also cose pcasg
Begnn es sa ly sar wi an elecric k l, w hich i s used  fire clay 
Sice el ecric kil s ae rable,
se lves posts a st Its so
he bsqe sage and als  fire glae
ey'e as a g rea sli r he
that yo ca ft oe pi eces
caigs  mauriy A sae in ceram ic
me sdi Remeber ha clays ad
is e a potec te fo
sudis, an elecic ye is relavely
gaes em i eially xic gasses
gl ae pobes.
ecnica  rchase ad eae,
whe rng, g , s yr kil
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 MAKIN G AND USI NG TE MPATES Several  e rjecs i s k are ade wi fla clay sa es a are c frm slas  All y eed  make a emla e fr a rjec are sees f cadsc (r sme ai a flders a a k ie g e  can ae ad access  a cie r. Sme emlaes are si le saes a y can draw wi e dim ensis rvded n e rec insrucis  wic cas e yu d eed a cier. Pcy e seleced e aes wc sar n age 1  9 Sll a e cie enlarge r redce a l  e e sae a n  creae fullsize s aes
You c an make tempate out of any tiff paper uch a manila folder
a wen c fr clay ad asseled creae a m  e desired size a ke sre a e emlaes aen s large a e nised cay iece des fi i yr kil
lace e emlaes n a cay sla
and disrg e desired sae s e
as lage enug  accmdae
aien Mae several inciss raer
e and en c em  usi ng a
an cg a ll e way rg n  e
e   cardsck N w cu e
needl e l Te resse  cing
ass. Sar  e uside crne ad
cardsc  e emae saes sig
creaes ressace eially srecig
c ward e cene
Cu  e cies a d race
e ma nife. u ly need n e emae fr eac sae Te a els a d rjec sucis el y e nu e  f cay saes y need  c wi eac e lae  yu wan  e a le  reuse  e emlaes fis aly selac r sray ain  ma e e waer resisa
e template to cut hape with a condent hand pread your finger to tabilze the tempate when cutting around it. If you mut move your hand to a new pot on a large templ ate dont lift your fngertip off the urface ntead walk your hand to the new poition by bringing your thumb into the ngertip and then hift the fnger without moving the thumb
23
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G E  N G
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 MAKING STUDIO TOOS Yu ca  buy every im ra  ha yu eed fr and bil dig  Neveeless, yu ca save ey by easily ak ig s e yusel he lwng ag es exlai w  ake a wae bard, ieing l, and shms fr a slab rller. hese will cm e i ha ndy wen yue cnsrucig he rjecs i h s bk T a ke yr w sa s and wi re cue see ages 68, 69, a d 1 esecively
terng 
Tis is a usef  l i yu wa  wk wih sif slabs  make square  recang lar frs sc as e Nesing Bx (see age 9 and emeic Vessel (see age 60. Wen y in sdes f slabs, yu wa heir edges  mee a a 45 age . awing a  ering  alg an edge easi ly creaes his angle f yu have a saw, sale gun, liers, ad wie cers, y can ake a ieing l wh a 5-ch ( 1   cm le gh f 6-gaug e wie an d scra f wd has 5 x  x / nches (1  7 x 6.4 x  .9 c   Remve a crner f he wd blck wih w 1-in ch ( 5 c cs ake sre he cs a re sraghad e redic lar  he wd edges ha ey mee  rm a 90° angle
a
Secure he wre  he wd wh se saes. a ke sure ha yu cu f e excess we s ha here a ren ay exsed  gh edges

Shms
Si s ae scras  wd, c   secc wds, sed  sace slab l ers a fixed wd aa u can ceae yur wn se f shi s s ig a saw, dril l, a nd /-ch (1 cm d ril  bi  Sar by cllecig wd i eces i a variey f cesses (Wd shs e give away sall scras Cu he scras dwn  widhs ragg r   4 inches (5  1 0. cm wide and 5 inches (1  7 c ng Wi e he hicness n each e, and dil a he i ne end. Srig e shims gehe  a leg f wie r re.
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rall Ware Bards
May maerias, sc as wood or lasic, are sed for ware oards,  drywal is on e o e os oul ar suraces s easy o  d a oe mroveme a d ardware sores and a sandad 4 x 8-foo 1  x 4 m) shee or secio, is nexens ve If yo only eed oe o  wo ware oards, ask a sore emoyee aou damage d sees, wic are sod a a fracio of e cos of a l l see. Si ly cu of e damage d areas and salvage e es Cig drywall is very easy wi a mea rle r ad a knife You jus lace  e rule r o e dywal l an d en draw e n ie alog e edge o e rer wo o ree imes o score e su face  Yo do  ave o ess ad  Now ace e drywal Tip: Avo i y
o a a e wi e scored
y cti g away fom
ark a e a es edge
yo oy.
Ta w q ick orce along e scored  ne o make
a clean reak og e l aser as insde e drywal  Colee e reak y cig roug  e aer coang on e u derside We a ll si des are c, cover e exosed edges w duc ae.

Most Efcient Way of Getting Wareboards from One Sheet of Drywal
 Tip: C ywal  fa away om
ay  pac w yo wo o cl ay Cl ay wo at coami at wi pl a (o v p a t!) w l
 (2.4 m) Key
  ( ) a wa oa    {.   ) wo ac o wa oa D  ( ) qa wo o yg ac
x
poay plo  g  ig.
25
ecnqe: Pinching What coud be simpler than pushng and pull ing on a chunk of cay? Despte the hu mbl e nature of ths age old process caled pinching, you can make some amazng forms wth t Ceramsts often use the same method for pnchng a pot, as descrbed here, to create a sculptural form
Sa y li g a ha dfl  clay i a al  ad he  n ser he u m  y dmina n hand h afway i 
I
{Se e cl ay aside 
dry a i if is  sicy ae he al whil e is cupped i  yur her hand , a e sae ime p chig he cl ay eween yu fingers and um .  wa  enlage e cee penig whle h nin g e clay  fr he walls Pinch g arn d he al pe in g sfs sme f he clay pward, as wel as hn s he sides  creae a wal  Thi he  f he rm y pici ng   u  e desred widh ee e wal is  all  Sp hi n g whe e m and wals a re e sae i ckess u ca eshape e wal s i hey disr dri g s prcess. N w pinc he clay wal  make e peni g wide r. A e sae ie, pich i upwad  give e wall e heig h

The ype  clay and amn  grg  i afecs e wall seng. u d wan i s hn ha  clapses Make s e a he wal  is sh a d a even widh  A sa ll p des we wih a /-ich-ck  c wall  If a sp is  hi , place a wad f clay n i whil e he enire rm is sill is Srke he edges f he pach wh yur g es r hum   use i  he wa  Leave he im a l ile icke nil s f e m s  ished . his prevens  fr earing  cracking I desired, sh e rm wih a miseed cha is clh
Proect: Tea Bowl eres a project that you can approach fearlessy because the fnshed form doesnt hae to be perfect. n fact, asymmetry s part of ths pieces charm. When t comes to the tradton of tea bowls, mperfectons are encouraged-and een cel ebrated n the trad tons of the Japanese culture

Inser yu   int a range size bal l f clay Tis a t wil
yiel d a tea bwl ats 3 inces ( 6
al  aow tea ow,
cm) all ad as a rim diameer 
se a l-ege
4/ inces (1 1 c Begi rtaig
wooe oe g ool
ad pncig t sape te wall  Firs
o sape a soo
cus  pei g te wal y pic ing
e eo
e cay evely wit yr fin gers ad m  Cnie pincig ui te wal is  inc (1 .3 c t c and 2  ces (6.4 c a . Keep e t 1 ic (5 c tick
RELATED TECHNIQUES
Glaze Prepration
Ded We
Frig



Tp I yo a e a
8
 R O C 
 EA
 O 
2
Tu e piece pside dwn. Pic ut e clay a the t  f a  ng hat
has a dia meter  2/ iches 57 c ) a e sre that its cetered Ts ri ng fs te ase,  r t, f he ea w Make e ft as even as pssl e lace te wl n a flat s race t assess te tt f he  If necessa ry, res ap e e  s ta is flat ad rests eve ly n he ale Turn the w righ side p se yu fingeips and thu   pich te clay wal i  a u pwad tn srechg  he clay ward the pal f yr ha d t create a wide, sha w wl Sp whe e wall s  iches (6 cm tall 
3
Sth e wals a d r  wih yr ads ad a dampened camis clt
Hld the wl  esure i sits cfray n yur hads lace he wl n a and ig wee l a d give it a 60 r t nspect e shape  F e-ne the shape, f eeded Add surface decrai, glae, a nd re as desred Te s ed wl swn n page 27 was caed wit a lw-re, paque whte glae.
 vintage ceramic decal (an image made from chin a paint t hat tranferred onto a glaze red urface and fi red agai n i an eay way to add delicate detai to a piece
Proect: Wafer Vase This simple vessel allows you to become fluent with pn ch ng by shapng wafers that are su bsequently layered to make a form Youll also be fnessing your fusing technique Use a slow, methodica approach so that you can carefully study the pece as you deveop ts shape to the final form
 Tls
 e   Neee l

ke  eple for  bse fro cdsock The fi nis e vse ws bil
o  6 x 3-inch (1 5 x 8.9 cm ovl 
RELATED TECHNIQUES
Makig n Usg Tempates
Underglze Appico
Patin

9

R O C A
2
A  
Pin c  wd of cly bo e sze of  che rry beween you idex ger d hum b wile rog i wh your
oher hn d. Co i e uni l you hve  we- shped piece h 's /  ch 1 cm)  hic w h e e dge per ed o / i ch (6 m ) ic Me eno g wers o fi he bse Aso me soe for he wl l. Pce  l o e wfers on  we bord ude r  hin plsic shee. S piz hem wi wer o eep hem mois, if needed. You c me oe wfers s you piece develops
3
Remove he plsic d pce severl wes on
 wre bord so h e edges slig hly ovelp  d rdie ou. Conue  he overpped wfers e sli ghly rger h he bse. Wle he c y s sill  ois fse smoo) he overpped edges o e pi eces ogehe wh your ngerips M e i s slb  eve widh.
4
Smooh h e sl b's srfce wi he so rubber rib
Reese lif) he sl b ro he we bord wihou disong he spe  nd en replce i lce he emple on op o e sb. Sedy  wi your hn d. ove he ip o he ee de ool hogh e cly followig e edge o e emple nil he bse s c fo e slb
P  OJ C
5
A 
A
Plce  row o wes ro nd h e er meer o he bse overli g e edges s yo osiio
hem . Fro he inerio smooh he edges ogehe s you lce ech wfer Coni ue ddi ng ows of wfers i e sme mnner Alwys over he wfers' edges e se mou  o cee  eve er Mke sue he edges e overled r enog o mke  wll h's hick eog o reven he orm from cosi ng . So when he wl is he desired heig
6
Slid e e so rubber ri b ove e inerio o he vse o sm ooh he
lrge res o his whi e ressing yor oher h d on he oside o he wl o mch e osiion o he rib o  e i nerior. Pc hin  res o e wll Pinc ou es  e oo ick Idel ly he w  shold be / o / n ch hic  (6 m m o 1 cm ) he nis ed i ece show on ge 29 ws i ed wi h mu ile col ors of derglze see ge 91  while  e greenwre sge. O ce he iece ws bise fired  in see ge 10 ws lied sig  mell ic blc low-re ge
A patina emphaize the overlapping edge of the wafer
P 
Thomas Keigan D Sun I
00
    X i es (  .  Pied nd slb-bilt erthenwre sis glzes e letri red Phoo b o Gham
Janis Mas Wundeich oai  o a uppy,
06
      i es (  3  . m rthewre; slips ud erglze glze multi-fired i eletri kil Photo thoy hotogaph
Alice Ballad Mnoi od

9     8 ihes .9  3  3  d-u i I white ertenwre terr sigi llt eletri fred Phoo b as
  N C  
Penney Bidwell Moh Daugh,
HongLing Wee
00
Dam Son
Eh 8 x  x  inh (. x .  x  . m) i d low-fir ly; li  i mu li-fird Photo
byoh oath
E X x  x  in  (4 x . x . m) Pid orlin o lord li lr lz lri frd Phoo
Jl Alen Viraeee,
2007
 x   x  in (1 8 x  x  m) i d d lb il rwr; lowfr l lri frd wir ddd Pht

t
 , 005
by ast
G AL  Y
33
Technique: Forming Cols Ropelke strips of clay, called cols, can be wrapped to create fa t or d m ensio nal forms, or used to renforce part of a clay pece Left exposed on a form, cols create an organc, textured surace that expresses the prmtve beauty of the hand but form Use larger cols for the th cker wal s that bg forms need. For an average form, am for a 3/nch dameter (1 cm) col
A andpreed coil can forever old te mark yor fnger leave on it even after te coil i rolled into a ape
• AND PRESSING A COI is mehod involves sqeeig te cly into  log, pered spe I hnd bild g is ew o you yo'l l pobbly fid tis esie tn rol ng  coil see pge 3 Str with  h dfl of cly
he spi g  Squee ze ou d pll he

Seee it in your d uil it's  rog
c y wth your oher h d
cylider
Now ote your hd so
hds up n d dow he entire legth in
th you'e hoding the cly verticlly
orde o keep the g rowig c oi  n even
I tis posiio g rviy wil help wth
widt h oghou
D
Side you
 C    QU  
0  M   G
C 0  L
• ROLLING A COIL Tis echu e sl ly reuires  l e pcice bu once p erfeced you l be ble o do  wih yo eyes closed. on se s mehod sip ly becuse
A handroled coi, hown here after it wrapped to make a bae for a form i moother and more even than one that hand preed
s ese Coose i becse e smooh col is os suble for he form yore ing Seee  h ndl o cly io 
s bes o se he p  s o yor
hick cyli de Pce e cy der o 
nds becse hey hve  bi o re
we bord, nd posion he pl m o
pdding whic lows yo o exer
you nd o op of he ceer of e
eve press e for  smooher coi l . Yo
cylider
w o press  rd eogh o oce he

Sr roli g wih yor nd
in e c ee; s he co l grows loge
cylid er ino  log er spe whou
use boh hd s. S hf he ouwrd
evig fig erprins n he cly.
long he coil s engh s yo rol bc
f e coil does become ueven
d forh o srech d in he cly
pply more pressre o e  icke re
ino  co.
s you ol i. If he col becomes  p

on use yor nuckles 
hey mke he coi u even.
 no  roder shp e

• WORKNG WIT COS Is os i ely h youl l need oe hn oe coi o m ke  for.  his cse you need o per he ed s o ech coil so h hey cn be overlpped when  ew leng s dded durng he d bui ldi g  Wen overppg ends o sr  ew coil , per e col en ds o   ch log 13 c ) Cols do ve o be he se lengh. I fc s bes o se  vrey of e nghs o  e  fo becse he plce whee new cois e dded s hold be djcen o oe nohe r or in e p vericy. f you mke  bc of cois keep em os ude r  hin plsic shee, o  we bord,  youe redy o se ech oe Is os mp or h e coils  re ois whe eyre ppl ied o n ee ging or so h eyre wel fsed o one oher   no he orm will l pr s  dries 
f a coil become too ong to handle cut it (or pinch and pul it apart to create two ength that you can eaily manage
35
Project: Espresso Cup Set Ths set s a great way to develop a sense of proporton between the cup and ts handle and to practce creatng dentca forms You don t see the co s that were used to buld each pece because the sdes and ends of each coil were bl ended 
• Tls
Ro-ege woo oe ig tool eele tool scorig oo

M ke  bch o coils  ech o e wh  di me er o / i ch (6  ) Tper boh ends o ech coil  nd eep l o e
mois nder  h plsic shee o  wre bord nl yo'e redy o use em  R oll  9-inch-long 2 29 cm) col ino  spi h hs  di eer o 2 i ches ( c) . This s he se o he rs cup .
 Tp: e ai g several
o ietica os, easre te  aeter of e irst ase a ae al te res e sae se
RELATED TECHNIQUES
Roig  Co
org with Cols
Gzng



  0 J  C 
2

    0
C U   
Stroe he sce o the sl wth your hb  i nge ri s St r i  e ce n er   wor  ou  Yo sh ou  ' t be
ble o see he sere coils when i she bl enig the srce Relese   he bse rom the we bor withot isortig the she, n  rn it ove I the se m ne r use n smooh the ote sie o the si  I yo inveety istorte te s wek e she
3
lce one e  o  co   he oe ege o  o o the bse, n s ooth te ere en o he bse. Press te res
o he coil genly roun he er meter o te bse Conti ne he coil o to o he st lyer A m ore colsone   time oveli g n  sng he ere es Oce  cole o l yers re n lce sooth he isi e wll u sing yor inex i ger, whil e bcig e  jce exterior with yo oer hn 
4
Conue ig coils   sig the ul he veic wll is 3 i nches (6 c l l. Sroke he
nsie n outsie o the wl wih  ronege wooe oeig too se vericl soes n genle ressre to se he coils n ke  soot srce
37
38
 R0 C
5
E  R   0
C U   ET
Sooh the pper ege or l ip o the cup with your moist ges. Te lip mus be soot so tht it wil be coobe
gi nst yor lips  I your cly coins grog b e crel ot to overwork he srce becse s wll ke te li p roughe r. Se this cup sie  er  hi p sc seet sprizin g i wit wte (i ecessry to keep it oist ke the remi ing cup s
6
ke  coi l / x 4 iches (6 m m x 1 0 2 cm . per one e n e  sll spir  he ohe en
o the coi Mese 1  inces (3.8 cm rom the sprl  u se te neele ool o cut o e en t  45 ge . Shpe he coil no n S crve. his is the e
7
Le he secio s  ry to the si sge  S core oe o the cps n he hnl e where they'l
be tche se the slip t ili g ppl ctor to pply slip o l o he score suces Press te h e o he cp Wpe o y excess sli p n  smoo the plce whee e hnl e meets he cup Coplete he remnig cups. he  she pieces sown i the ph oo o pge 36 hve  crey sei ope gze t higl ighs te sbtle texurl et il Te nis ng ouches re  ow-i e isec-moi ecls (imge s me o cin pits   tserre oo  re gle surce  e g n
The del icate s pir al han dle s ackno wledge the origin of these little foms.
Project: Coied Botte Ths bottle s fun to buld because you gadually add cols Centerng each new col on top o the previous one wl create a straght wall, but shftng the new coil n or out changes the drection that the wal s growng. To nsh the pece these cols are roughly bended to create a crude yet eegant exterior • Tls
Scog ool  a-e a o-ege woo moel g oo soft bbe ib metal serate i b

Roll ot  btc o cois ech oe wth  di eer o  ich (  cm  Te r boh eds o every coil , n d
ee l o e ois ude  in sc seet ntil yore edy o se he ke ot one co d w i od isel to ke  sir Continue dding coils uil the si s dimeer is 4 nches (10 2 cm hs cicle is he bse Stroke he sce wi yor tu mb nd nge ris, strig in the cee d wokg o Li he bse o the wre bord wiout disorig te she, d tn it over n he s e  e r, se d smoo the emin g side o the sil.
RELATED TECHNIQUES
Workig wt Cois
Ron a Col
Glaz



4
 R 0  C
2
C 0   
 0 
ress ad fse a coil on op o he bases peree. Coninu e addn  coilsoe a a ieo op of he
s, ovelappi  he apered e ds he pace w here ew coils a re added sh oldn  li e up verically Ths way you avod cean weak spos ayeri  coi s verically in his maner fors he wal o he bole Add eouh cols o make he wall 3 iches 6 c) i h.
3
Fse oeher he coils o he isi de o he wal by sroki  in a downward oio wih yo r ind ex e r Youre ap ply
in pressure o he wal , so brace he oside a he same posio wi yo oer had. Conue addn ad fusi coils ul he wall s 8 iches (20.3 c) all , wich is hi h enouh for you o sar shapi  he sho lde r (e op, b elow he  eck
4
lace he  ex coil on op of he prevous one, b shi  i i oward he ceer o arrow he
wal for e sa of he shou der Conu e addi  cols ha sh if iward As he open i narrows, se e coils more reey, whle yo sll have access o he inerior o he p iece. When  he opein  has a 2 inch 64 cm) di ameer, le he piece dry un il his secion  s a he s sae 
Tp: Us a cyl   at as
6 ics (152 cm) l og to ma  botls c Slc a appop  at iam t at yo comp t th boy i stp 4   cas th opi g  s 't acl y 2% chs (6.4 cm) acoss.
 0 C 
5
C 0   
Wid co ls ino a cylider as  nches (1 0.2 c a ad as a damee o 2 inches
(6 c  Fuse e nsid e wih he ond-eded woode od ei  oo. e he neck d ry o he si  sae Score he boo of he neck and he op of e bole whee you' l be aachin e m
6
Apply s ip o bo scoed suraces wih a slip app licao, ad press
e neck o he bole. Remove he excess slip , and use e ins ide wi he wooden  odel n ool Use your nes o fse ad sm ooh he exeror seam where he  ec jois he apered bole openi, while bracin he ierio wih e finers o your opposie had 
7
To acceae h e exure and reinforce he adesio o e coils,
u yor fi ners vecaly ove he exeior surace F ire ad finish your boe as desire d
When electng a glaze, conde one that hghght the textue o the col ed wall uch a th green emopaque gaze.
 0  L 
41
 
enny Mendes ird
6
 8 x 4 x 4 ih 4. x  x  ) Coil d, in d rr o; rr ii ll l z; lri rd Pt TmM
Debra Fitts hr Womn rain
6
34 x 4 x 4 i (8.4 x  x 1 ) Hd-il rr o lyri lip oxid udr lz  lz; lri ir d li-frd PtDd Gua
Edwads Harpe Heav Handed
206
  x   x  i (4 x 4 x 8 ) r oldd oild rd rr od obj; lri ird Pt St M
C O  L   G A L    Y
Cao Gentithes
Juan Ganados
Nos Be, 206
Spig 0
 x 1  x  ins (3. x 3. x .8 ) Hd-i lt rli i x; i ls, slbs, stis d silksr t  lsis ltri frd ulti-fir d
 x 3X x  ihs 3 x 93 x  8 m) Slb ndi lt rhwr gl  ltri frd
t y mAye
t y


Tmp
Las Westby
Ul, 05 4 x 1 8 x  8 i n h s (      x 4   x 4    ) nd- ilt, ild  d rssd rtwr gl zd lri frd Pt yast
43
44
C 0  E  G A  R
James isdae onk S (Kinti)
Lisa Cague

In te N ature o ings,
 x  x  i ( x  x  ) Coi I-b i I rnwr lri frd o ;  li-frd  lz d ud rlz foud o t yC Zaeky

0
1 Y x OY x 8 in ( x  x  ) Coil-ui l rod uf; lri frd  1 °F (9C) li lz 1° F (°C) ht yHwe
2004
 x 8 x  i  (1 9 x   9 x  ) Coi lui l; l l i wx o  t  m
Mils
C O  L   G A L    Y
Wesley L Smith Arahnoid, 
8 x   x  i (. x . x  m) Sl- n oi l-i l wi owr; lri fir on 4 lz lur ml i m hir h ya 
Athu Gonzalez h Horizon is Siing sid You 
 x  x   i  (  x 9 x  m) Coil -bil  rmi or ir ro rl o  ri' foo wi lz oxy ol lf h yJh n Whe
Holy Wale
Ul  9 x 9 x 9 in  (.9 x . x . m) Pi rhwr oil i l fr o 4 h y Tm M
an Wech n, 7
8 x 9 x  i   x 9 x . m) Li Cl wi rhnwr l oil  i  i  fir wir Mo i or w rwl lz lri fir; nui wx; l in  nil  h yee Mann
45
ecnqe: Making Slabs Clay is remarkable: sturdy after fr ng  yet flexbl e eno ugh to be draped lke fabrc when wet You can take advantage of these characterstcs by bui d ng strong functona or decoratve forms from fexbe sheets of cay called soft slabs To make the most ecent use of your t me and energy, use at east a thrd of a brck of cay to make a slab Ths secton descrbes two basc methods for creatng a slab: tossing (also ca lled throwng ) and rolng
 TOSSING ossin s he smples, os low-ech ehod o for a sab All you eed ae sron as and a fla, osick wok suace suc as a drywal ware board (explaed o pae 25 ossed slabs ae bes sied o e ki d of orai c fors yo e from um p and sl p olds becase he clay paicles are repeaedly curved dui  he oss  Oanic fos are ore forivn of slih shifs in shape d i dryin a d firn  oher words, don oss a slab i yore pla n  o buid a a-plane for sch as a ile or box Sar wh a s ice as no o re han a hd of a brick C a 8pond (3.6 k  slice o clay from a bick wih your wire-cu oo old  he ch k in bo a ds an d exed your ars ni l hey'e sra  ou a sho der level over a n osck wok srace ( ake su e a his su rface
Tip: A ti rd o a 25-pond
(1 1 . g) brick of cay yieds a 14 x 22 c (56 x 559 cm ) sa  tat's 3/ inc  (1 cm ) ic   chu nk of clay can be tossed reeatedy to form a slab as thick or as thin as you like
  C H N  Q   
M A   N G
 LA  
s lar e han h e size a yo wa o
 ROLLING
ake he slab ) hrow he clay dow
s ehod  s ideal whe  you wa o ae a slab ha's a p ecise widh (b
oo he surace wih a semi ccul a
o enh), wih an eve hickess hohou . Usi  a slab rolle  s he os
sweep o yor am s so ha  his he
efice n way o ol cl ay b  s  he ony ehod  f you do ave a slab rol er
wok surace wih eno foce o
yo ca hand rol Bo ehods ae descibed here
sech and  i soewha. You ca conrol he sab's enh a d widh by ri  he piec e as you repea e ossi oon f you nee d a slab ha has specific di esions and an even hickess hrouho, eep i nd ha e edes of a ossed sab ca be hi n er. You m i  wan o make e slab larer ha eired ad e c  o e needed m easrees. Ofe yo'  need a slab ha has a specic hcess Som e ceramiss check e widh of a ossed slab wih a eedl e oo  Si mpy ise r e ool no e clay place a  mbna  on he oo where i  ees he clay srface and he pu  o he oo wih he
he with of a ha-ole slab ca't excee the legth of the olig p i.
hub sll in posiio H old e eedl e ool aais a e o check he dsace rom he ip o your hubail.
and llng
Al you need or had rol li  are wo
o es on he Ru he roi  pn
lah srps (o arrow peces of wood
across he op o he cay Co u e o
ha are he exac sae h ckess) ad
do his so ha he clay ins a bi more
a roll in p in dowel od or piece of PVC
wih eac pass. Every ew passes
pipe  e widh of he sips deeine s
release he clay from he work s urface
he hicness o he fial sab
by picki i up wi you han ds and
Place a slice of clay o h e ware
en reurnin i o he su ace Once
board or oher n onsic work s urface
you ca ove he rol e across he
osion a ah o n each side o he cay.
lahs wiho meen ay ressace
The las eed o be fa enouh ap ar o
fo e clay e slab is e desied
ive he clay room o spread b close
ickess
eno oeher o he rolli pi ends
47
48
 E C H N  Q U 

M A    G  A 
sng a Slab er
Soe sl ab ol ers cant be se to create a sl ab tha's a precise th ckness  Yo solve ths probe usin a shm, which has a si mil ar uncon o the wood stips (or lahs employed or hand rolli n (see
Cener a slice of clay, very nea he rol er bars, on ta canvas see

Dap e a secon d shee o canvas over he cay wit the lead in ede close o the rollers.
pae 2 or insrc ions to make a se of shis The sh i sets the roller bars e proper distance a pa o a e he
Remove he op ayer o canvas.

slab the des ied thckness Lets say
Refer o he next section to learn ow
yo wan o ae a slab hats / inch
o shft e clay onto a ware boar d .
(1 cm hic. lace a shi m of ths width between he roller bars and t hen raise
• MOVING A SAB
or ower te roll es unil the s hi ts snuly beween the
Se ec a wae board a's arer an t he
a
sab and place it next o the slab. G rasp
Run o ne pie ce o canvas hro
the l eadin ede of the canvas a nd 
e ole r bars uni a lite o i shows on
on it to p l the slab onto the ware board
e opposite side
Keep the slab as flat as possbe while transern   onto he ware board This is im poran becase cay has memory If yo cve it du rn the  ove it may rever
urn th e roers roay hande cocwse at the sae e pushn he cay un te roller bars rab i

bac to the crved shape durin e dryn or firin process
Continue crankin te handle un te cay slab has ee red fro he other sde Expect te widh to increase only by a couple of inces (abo t 5 cm.
se a lare rib o smooh the clays surace

Lay anoe ware board
tas he same size as te rs one on top of the sab old bo ware boards toeher, and flp hem over. Remove te top ware board a nd ca nvas o reveal a perecly at slab
Project: Footed Bowl It wont take long for you to develop a fee for shaping an attractve, wellbaanced bowl In the meantme, count on the smple process explaned here to create a thing of beauty The secret to success s usng a bowl you already own-or a slu mp mold -to shape your soft clay slab

Loo o a ice bowl wi an aeal in  sae if you don ave an aoiae sl  old .
Te bowl does ave o ave a smoo i nerior b kee in mi nd a ay exure will rase oo e cay Avoid sin a bow wi a ronouced li Pace e bowl (or e sl od o  a wae board  your cosen bow is  lass, meal laed clay or oe nonorous aeial, cover i wi a    asc see. Pace a ae mease fla nside e orm M easue e le and wid fro ede o ede.
_ Tls
S ruber r b cmpass eedl e tl, meta serated  b canvas clt
RELATED TECHNIQUES
os
Remosteg Cly
ovg a Sab



5
 R 0 C
2
F0 0  E D
 0 
Roll a s ab / nch (1 cm) thick tas wder and one r ha te bowl eas reent . Te sab eed s to be esi o a canvas shee.  se
he needl e oo o cu he slab to e shape of the mold, si  the sep  measureme pus   nches (1 02 c  or a overhan Cadle he cavas ad s lab wi yo r foears ay te slab  cavas side p  over te cente of he old so at  drapes io the nerior ull off he canvas Si de te soft rbber rb a on th e exposed clay srface o press i aai nst the mold , sooth o ay wrin kles ad hen rern he slab o an eve hicness
� Tip: A 3/c th ck (1 cm )
sa b is g ood fo a ow a has a 8-ich diamee 0 cm) ad is 5 ches  7 cm) deep
3
atch ay parts o he s ab tha m ay have hined (see pae 26 Rest e needle tool
on he ri of the old at a 90° anle old e clay aainst he s ide of the mold, and slde he eedle tool ward unil i  pierces hroh the clay Gld e the eedle tool around he peimeter o e bowl, alo te ri   tl a  te excess clay has bee trmme d off Save e sca p pieces o clay und e a thi plastic sheet for use i n step 5
4
Le he sab dry in te mol d t il is leather hard .  ace a ware board on op
o e mod Hod the ware board a d e mold oether and fli p hem pside dow. he clay orm wil release oo the ware boad so tha you ca emove he mo d Se e copass o alf he desired da meter o he bowls oot Ce ner he co pass o the botom o he bowl an d l htly sketch a crcle Measre he crcles circmferece wi the measrin ape
 0 J C
5
 00 D
 0 
Com ne he  os clay scraps i to a /-ich-hick ( 1 c) sla tha  ca e c t to a widh propotonae to the owl's
sie ad he sam e le gth as he ci rcle's circu ferece he widh of he strp (which wil create the heigh of the foot) needs to ala ce the sie ad shap e of he owl xp erime wih he d ensi os lace he stip o he oto o the owl shapi g t to the scoed cice. aiai nig this sha pe place the srip o the ware o ad You may ee d o join mo re ha one sr ip to compl ee he c rcerence of the scoed crce
6
Score oe legthwse edge o the oot and on the drawn circle on the oto o he ow using  he
etal serrated ri R a lne o slip along he scored clay wih a slip a ppl icaor a d press the p ieces ogether. Wpe of ay excess sip . Rol two hi coil s Apply oe to the i sde seam, where the foot eets the oto of the owl ad aother to the ouside seam . Bed he coils to reiforce the sea.
7
Tr the owl ri ght side  p The im i s a i trinsic par o the unction o a ow. It shod e sooth ad nviig, no
coarse or shapedged. Sl de a damp chamos coh aoud the r i o efine the edge Pace the owl o he ading whee or lazy Susa  an d give i a 360° tr to assess the owl's alance a d compostion Make ay adjustets, remoisteing he piece if eeded ecorate and e he piece as desired The finish ed owl shown o p age 9 was painted wh a generous appl icaio of whie sp whle leather hard. he r and oo wee decorated an d o ce isqu ed he owl was coated with a golde  aspaet gae and the efired
The ri m was loose y br ush ed wth back underglae prior to glaing
51
Poect: Wall Pocket A hump mod can hep you form a clay slab to a specfc shape. hs process is much smpler than you mght expect because a softclay slab s so fexbe he only chalenge s dealing wth areas where portons of the sab oerap The soluton s presented n the steps for ths project l
Needle oo scorg ool rigd rbber rib odedged wood modeg ool hole make meta seraed b

Measure h e widh o
Tp: You also
he ump mold om
eed a oval slum p
edge o edge and calc lae
mod or suiabe
hal ha lengh  Add 2
aeative) o make
inches ( c) o oh he
s bow
widh ad legh Roll ou a -inch-ick (6  ) sla ha's wice is sie se e needl e ool o c he sla i n half Oe half s o e fo (or face) of he pocke and he re an g pece s or he ack or he ie e ng se asde e ack piec e S pr  wih waer i f necessary a d cover i wh a hin pasc shee o keep i mos ui  you re ready o work o .
he woode old used for the  sh ed wall pocket show hee easures 9 x 21 x 2 ches (229 x 533 x 51 c)
� RELATED TECHNIQUES
ods
ovig  Slb
S Applqu


7
I
I
'I' 
  0  C A L
2
 0C  
levae he o ld w cddles (wo soup a s ae si ale) o
give yo aess o e ude rside rape e lay shape o e poke's ae over he mold Use your hads o p s e lay fla agais he sdes of he od . Make a leghwse u wih he eedle ool a oupe o ines rom he end of e mold o e e nd o he ay
3
od one e d of e  side o he ay over e ohe r Pess he edg es of he
ovelapped ay flsh agais e mold. Cu rou g o h layers o e l ay a he oo of e o d G enly reah ude e u edges ad pll ou he exra laye o ay ha's loses o e o d on o sides o e  edge
4
Rough up oh sides o he  edge wh a sorg oo . se he sl ip ap pliaor o appy sip o oe edg e. Press
he  edges ogeer and e wpe o e exess sl p. Pess a /india eer (9 5 m )  oi o h e ousde o  he sea and en sroe i o smooh ad led (se) i i o e srae
53
54
 R 0   C 
5

A    0C  
Ct of te excess cay around e edges of te mold Measu re
ro e otto of te for u p o e desired posiio for te wall pocket's ri  M ae wo arks wi a eed e oo, ao 2 inces   c) apart or e i  Align oe log side o a flexile sraigtedge wit e arks ad across e om. Use s edge as your guide to cu e ri wit e needle oo.
. Tip:  f desied apply samp appiqu see page 1) o
ohe decoatio o your wal I pocke ow The m od hold s the fom fr mly ad eeps i om gettig disoted.
6
Reove te pl astc see o e eai ng sla ad place i nex o te
cay sape ats sill on e m od  Le o secios dry to te le ater-ard stage, a d te reove te clay ace om e old Cener e face on te flat sla U sing a eedle too ace te faces peri eer wereve clay mees cay. Pace a sraigtedge a te r m, a d daw acoss te fla sla rom edge to e dge
  0   C 
7

A L
 0C  
if of e fae ad u hrog h e sla b alo g he drawn lie s Se aside he exess slab  der a hi plasi shee.
Keep he bak o h e wae board so a  says a. Soe e bak and he ae where he sapes will ee Add slip o he sored aea on he boo, and press he wo shapes ogeher. Renore hs seam o boh he insd e ad oside wh a ol bendig he ouside oil wih a igid rubbe rb and si g he roudedged wooden ool o sooh he oil plaed a ong he insid e of he seam .
T You ca atach a mois clay col to a sf
or leather-ad p ece despie he difee sages o dryess as og as he area to e rei oced s smal ad te co is tooughly fused to te orm
8
One he sea i s sed and sog, areflly li he pee rom he ware boad lae  faedow on a sof surae so ha you a aess
he bak who disoring he orm. se a ho le  aker or needle ool o u a /inhdamee (95  ) ol e i  he eer of e bak,  / ines (3.8 ) fo e op  his o e aommodaes a srew or hag g h e is hed pee. Plae he pee aeup o e ware boad o e lp he bak dry fla.
9
C o  a reangle of lay o e deph of he fae's ope ing a he eer. e his bridge dry o he le aherhad sag e. aper o e of he
long edges. Tis brdge sp pors he ae whi le i dries Ma e sre he ay brdge  s a he same level o dryness  mu s dy a he same rae as he wal poke so ey wi  shr ik ogeher. Rem ove he bridge one e piee  s boe dry Cosider how you' re going o use he wall poke If i will be used o hold a flowe aragemen he ineror shold be glaed so i a ho d waer
tamp applqu can add beatful dento n to the m wthout dtactn attenton from the overal fom hooe a den that approprate for the e of the form
55
S-B 
Fan Wech do D am,

1  x  x  i (8. x 1 . x 89 ) Sl in ,  il wi rhwr  Clgu ' Cly ulprl y i g- wir  nil l fu  u rg lz Mn in l ri fir; i  il -fr Pot yStee Mann
Sandi Peantoi Sue Tirre sian idr
4
 x 1x  i (. x . x 4 ) Sl-u i I rhwr; lri fir,  4 lip  rr ig il l glz rg lz lr oto t
Sa
&
 S
6
 x  x  i (  x  .8 x . m) Slb-i l rli  i glz lri fr oto t
  A  U  L  G A L    Y
Liz Zlot Summeeld am and Sugar St 007
3 x  x  i e (  x   x .4 ) Hd-i It erewre te rr i i I lt lze der  lze lter e letri fred oto yatt
Sandi Pieantozzi anist St, 006
Lrt  x  x 4 i ( . x  . x  . ) Sl-bilt  rli ; ti lz; lr i fird oto yatt 
Aaon Cavet Ray Ston 00
4 x  x  inhe ( . x  . x . ) Sl-ontruted ertenwre lze eel ; ele tri fred oto yatt
57
Tecque: Slab Building Sla constructon is al aout jon ng the shapes to make oxes and other rigd, predomnantly geometrc, orms A common way of workng wth so slas is drapng the m over a form unt the clay is frm. The constructon of stff sla forms, on the other hand, egn s with flat shapes that are cut from clay, dred slghty, and then assemled lke peces of wood
C ou shapes ro he sabs usig te plates ad a eede tool
a Careully pull away ay scap pieces of
the sab Ony e sapes remai o  he wae board Sadwch th e sha pes bewee two d rywall ware boads unil the clay reaces he stif stage he wae boards preve he shapes fo warpi g w hle hey dy
 C H N Q     A 
      G
dges a wil b e joined o  ake a 9Q° angle s eed o be c a a 5 angl e Tis is easy wi a m iering ool Jus sar e ool a one end of an edge and d rag i alog e leg of e edge.
 Te
wire wl cu a perec agl e Save e rema ns fro e m iered edgesw e agl es and e ngs inacd er a i  plasic see o keep em a eir c rre sage of dryess. Yo will se em laer o reinforce e seams
Si ad eaer-ard clay pieces can be used ogeer w your g ers ad  b  as you do wi o s clay I sead yo seam e pieces by scori g e clay
 and
applyng a s lip o esseially glue e pie ces ogeer I you ave rouble scor ng ao g e edge of a sape side i o e e dge o e ware boad for beer accessibi y. Any sapes o beig u sed soul d be sored nde r a i  pasic see o eai e  oisure cone
Apply slip o e scored surfaces w a pa inbrus or sl ip app lcao.

To aac wo prepa red sa pes bri ng e boom edge of a wal l owad e oms base sape a a 45 an gle  s a good dea o e e base res on a ban di g weel o ay Susa du ring assem bly is les yo r e wor wiou ocig e for mo e a ecessary (Ha ndl ig s apes as lile as possibl e ens res ey say sraig ) Now raise e wal o is final verica posiio. A ll verica secios sould be joed o e base i is way oci ng firs e base ad e a  adoi ng wa  on wipe of e excess slip i nsde e joined co rer.
Beore addi ng e as wa reiforce eac joi ed edge or seam wi e  ieed scraps yo se asde earl er Press e scrap o e erior of e corner Te 90° agl e o e  eed scrap fis perecly io e seam Sroe e aaced scrap w your figerp or e bber ib ool o smoo e seam

59
Poect: G eom etric Vessel Sti slab constructon s simar to working wth flexble peces of wood. Both are rgd, but the clay can stll be manpulated, f needed . You ' l begn to und erstand th s characteristic of stff slabs when you handle and jon the shapes for ths vessel At the same tme ths proect shows you how to construct an elegant form
• 
Metal u ler eede too mieig tool wood-adl e scorg ool rgd rubber rb, padde
1 RELATED TECHNIQUES
g Slbs

oing  Sb
Geomeric Vessel temes

9
Make he Wl ad Base emplaes from card sock
  0   C 
2

G  0 M    C    
61
Ro  a sl ab / nch ( 6  ) hick ha easues 28 x 1 8 inches ( 1.1 x 5.  cm). Posiio  on a
ware boad C o fo Walls and a Base from e ois sab using he eedle ool Sandwich he sapes beween wo ware boad s an d le  hem d ry o a sif sage ry no o bed he sapes i you ha ndl e e 
3
 ier all fo sides o e Base as wel as he sid es and boo edges
Tp: Hadle ese
of he Wall s a 5° angle s. eave he
sti sa sapes as
op edges of he Wall s sq are Save he
tle as possible to
reans rom he  ieed edges fo
esure at tey stay
se i a laer sep S core he ered
stragh
ang les wih a scorg ool.
4
lace he Base on a smal ware board ad en pl ace boh o a bad ng wheel o azy Susa i availabl e se he slip app icaor o apply a small
aoun  o s p o he scored edges o he Base  U sg oo much sl ip could creae excessive o isure and weake he srucre of he p ece Apply sip o he scored edges of oe o e Wals ol dn g his Wall a a 5° angle bin g is boo edge oward he Base o mee one of s miered edges
5
f e Wall i no s fina l verica posion. Apply sl ip o e ieed edges of an oher Wall shape a nd place i agais
he Base a an edge adjace o he one wih he aaced Wall Tip e new Wal l  p a lowing h e veical edge o ouc he adoing Wa . Al Wall secios shold be joined o he Base hi s way. Wipe a ny excess slip o he exero  of he for bu le sip ooe o o e inside o e seams
62
 R 0   C 
6

G E0 M E   C
   E
Before atachng he las Wall  p sh he ee lengh o a itered scap io one o te coes o he
developi ng or he 90 agl e o he  iteed scrap fis perecty into he sea Reinforce the ohe corner he same way Aac he ack Wal with sli p and also refoce he emai ng cores with e  ieed scraps
7
urn ig t e srcure as you go, padde the Wal s o  ae ay ecessary adjstmens o he shape.
Srke he otside of the sea wil e bacig te in side with you a d Paddlin g allows yo o adjst he sape o a for reiforce seas, ad squae p the edges
8
Sooh the surfaces wih yo ng ers and a rigi d ruer ri Softe the rim wit a oist chaois clot  he fiise d
vessel sown on page 60 was panted wih wie sl ip . he design was applied wit a sp trailin g applicator and then ed
Afer i was bisq ue fired he e ni re form was dpped in a green ransparen glae and hen ed again
Poect: Carved Lantern A lantern creates a beautifu ambence for both ndoor and outdoor settngs You can enhance the eect created by the candlelght placed nside the form by cuttng shapes out of the walls du rng the b u ding process The instructons for ths lantern nclude gudance to make a ftted, removable ld.
 Tls: Needle too, mieg tool mea seated rib igd ubbe  b, padde oop ool, ubbetipped tool

Make he Base Wall  and Roo tepaes fro ardstok
enla gng or red g e o a sie suiabl e or yor desred iece.
RELATED TECHNIQUES
Remoiste Cl
k Sbs
Crve Lter tetes


9
64
 R 0  C
2
CA  E
A  E  
Roll a s ab / inch (6 mm) thick and large e og o accom odae he sie of e e plates Tis
sla will be tinn er so ta he egativ e sapes will be easer to cu lace he tempaes o te slab, ad se the needle ool o cu ou he s apes Yo eed three Wall s, one ase, and ree Roo shapes 
p You may eed more ta oe sl ab
f you subsaal y  cease the s e o he templaes to make a lage l ater.
3
Sandwic the sections between wo ware boards ul hey dry o he lea her-had stage. Mite al l
the edges o he ase with 5° angles  er he sde and bottom edges o te Wal s as well (leave the top edges sqae)  M iter the sides o he Roof shapes (leave the oom edges sq ae) Save e reans from the iteed edges for use in a ater sep
4
Score a he miered edges wih a serraed rib . Cove e Roof shapes wih a thn plasic shee ad set
he aside  Pa ce te ase o a bat or sall ware board, ad set he both on a and ig wheel . se the slip applicaor o apply slip o al he scored edges o he ase ad Wal ls . Aac wo Walls to the ase a d to each oth e as descried i seps 3 a nd 4 of the G eoetic Vessel poec (see p age 60)
  0  C
5
C AR   LA    N
eore atachig the fin al Wal  enorce a l o he seas wih he tered scaps saved i step 2.
Sqare u p he agles of te joied Walls y appig the wt he padde whil e usng yor and o race he opposite sde o he orm. Sooth te surface even more wt your figers or the rigd rer ri if needed While sll o the a or ware oard cover the p iece wih a ti n pasic sheet o keep i mos ad set i aside.
6
Apply sl p to te scored edges of the Roof sha pes Leave one sh ape a on a wae oard a d aac a Roo sap e
o eac side rei norci g te seas with e tered scaps as you do he asse y. Oc e he wo sectios are attached appy he rean ig secio ad reiforce tis as seam. Place the Roof on he wae oard a d adjust the agles wih a paddle  if needed. S oo the surace and edges with e rigid rer r if eeded
7
ake the p astc off he assemled ase ad Walls  a d place he assem ed roo o op of the for Give te for
a 360° tr to make su e te roof is on sraight Use he need e tool o a k ins de eac cor ner of he oof where he roo mees he ops o he Wa s. The  ark is for a flan ge wh ch s a sma  aachment ha stail zes te roos postion o e Wal s
8
Remove e roof and eas ure up   inches (38 c) fo e mark oward he pointed top. a k tis ew postion i  all  ree corners
Yore goi g o place the finished flage s aove hs a . Roll a coi  iches ( 10  cm) lo g with a /-inch (3 mm ) dia meter and form i ito a spial. Pic he spial ito a riagle ake two more ra gu ar flages so yo have oe or eac core Le he dy o he stiff stage .
65
66
 R 0 C
9
CA  E 
A T E  
Use te serrated ri to score oe flat side o each age and t he areas in side the oo where heyll e attached Add
a sma l a o t of slip to e scoed areas o he ages ress he flages o the oo lace he roo ack o te o makig se te flan ges hol d i t evenly on top o he Wal s If ecessay st te position o oe o all of te flanges
10
vely remoisten oh the roo ad t e la ter whe hey fi perectly togete r. N ow wa n il t hey reac the sti-sla
sage in aout an ou dependig o n he rela tive hi diy n yor sudio O nce te clay is reoiseed se he eedle too to draw a desg n or he negaive spaces on he exeior of te Walls. si g he loop an d eede ools and starig at he corers c o he shapes . M ake severa sroes alo g each desig l ine u  you have c compleely trough he c ay Wall
11
et he p iece d y o he eahe r-hard stage ater you ct out al  of the shapes. Wh the ld si in p ace clea p ad smooh
he exteror c edges wth a ru eipped tool. Remove he lid oce he pece is ne aly oe dry and c lean he n side of the late eoe sqe fiing. Glaze the isde o he lanern were e cadle wll st I ay cade wax spils ill e easier to remove from a gazed surace As with any lidd ed orm re he lanern with te li d in plac e so at the secios sh rik ogeher his will ns re a perfect fit 
Tp: Brin g an outdoor lanen
ins de whe tem peatues ae below freezing. Amosphec moi sure a's trapped i n a porous cl ay body wi   expand as the p ece feezes and may cack e clay
A stoeike matte gaze aets the iptae eig of the ishe ater
S-B 
Chis Theiss Dummy,
06
Sla- ilt earteware sg raio, vitreos sli ; eleri ired  y a
TaeHoon l
07
34 x  8 x  inches (8.4 x 4. x 1 .8 m) Hand-buil t stoeware and porela i; gl aze gas fred
arsi t
Pht by
MyungJin l

 8 x  x  ihes 4. x 8 x  .8 m) Had-uilt orelai  derglaze lear glaze  yTyua
Tecqe: Making a nd
Using Stamps Stamps alow anyone -of any skill level to deveop the most creative surface designs Stampng s ncredby easy because most cay ready accepts the m presson of any texture Whatever your aesthetic, you re bound to fnd or create a stamp with texture or a m ot that wlll su it the form you want to make
HIS SEION EXPAINS sitable
qualties
fo a od-object sta ow o make several tyes of stas ad describes the sta aliq  rocess.
IF YOU'RE EELING ADVENTUROUS,
go on a reasre hu n or objects tha can
be sed as sa s. Yo can f id textue in natre as sbtle as ree bak or as distnc as a l eaf or seashel . ook or oeal stams  ewely mechanic al arts or eve a caved archecra deai l. Oce yo star looig youll see exte on objects you've ever noticed beore Recessed o carved areas i he fin shed sa wil l a e rased areas i the clay srace If a obec has a oos srace sch as  nsed wood un glazed clay or aser yo ca im ress it directly ino cay. If a object has a srace tha's meal lastc glass glaed cay or ohe nonorous ateial e clay igh sc o hat ateria  You can sil u se hese objects i yo bush a igh  dustng o  corstarch which acts as a resis ed   on he sta 's srface (Cornstach resdue bus out duri g he fi ng rocess) Whaever yo decide to us e ust  ake sure tha he srace does't have any ndecs (see age 1 
 C    Q U  
• BISQUE STAMPS Maki ng sa ps s a g ea way o  ize he scraps o clay a ea in wen you cu a shape ro a s la  as a leas / ch (1 cm) h ick Fo a one-o-a-kid samp, sm ply draw a reeand desgn d ecly oo he scrap se a ee dle ool fo cisi ng he l nes i he c ay. Anohe opon is o anser an exsing drawing o copyrig-ee m age . F s, lay i over he c ay. hen use a a l sylus o ace ove he design ines, applying enough pressre o leave pressios n he clay eers in a desig need o e drawn acwards n he cay. his is easie f yo make a paper paern ha ca e pa ced o op of he clay and he raced Sar y usin g a lack ma rker o wre as you norall y wold o a piece of paper. Place he paper, wrog side  p, on he cay o see he ackward eers ha yo inc se i  e clay To fiish he sap, you ll n eed a eedl e ool, carving ools, a scoig ool ad sl ip  aw e imag e ino he clay wih a all syls,
and hen acceae he racng y cung o is o clay
w he loop and oher carvng oos
Coose ools ha ake wider
ad dee pe  nes an yo wan fo he finis hed pie ce, o copesae or he sr kage ha appens as he cay samp dries a d s red Vary he deph or widh of your cavi g o make n eresig de sigs or exues C anoher sla scrap ha's slig y lage an he eched pi ece. e o dy  l hey'e eaher hard Score he ack of e eched shape an d one side o he plai scrap Appy s p ono he scored srface o he samp,
ad press he ogeher. The plai n acke sla
gves he sap addiio al sreg Ae isque r g, a ha edos wok wil pay o wih dozens of de nical samped im pressons.
M A   G
A  
U   N G
A M P 
69
7
 EC H N Q U 
 A   G
A N 
   N G
 A  
COP MARK A samp can h elp you leave a uiqu e ad peran e ark l ike a paers sigaure on evey pece a yo  ae is pesoal d enicaio is cal ed a chop mark. You ic se n ias o a sma l sybol ino a wad o clay ha was rolle d o a sh or hick coil wih a d aeer ha's wide eogh o accoodae he mark C e clay wad o 3 n ces (6 cm) log so i's comforable o od. Make one ed s oo and eve o accep your mark. Make his a rk a bi larger an des red o al low fo shri nage d rig drying .
 he caving ool leaves a crub ly reside
o bur wai ul e p ece is boe dry before bushi g i of B isque fire e sap and i'l be ready o se.
 HOT-GLUE STAMP Oce a rai o ho g e has d ied on a wood sface yo can use e p iece o leave beauil  mpressios in clay Al you need is a o-g e g and o e o more gl e sicks a scrap of wood wi one fla srface soe sa ndpaper a d a permae fel a er. Wipe of ay dus o e wood scap  scuf e fla s rface wi he sadpa pe ad he d raw your design on e srface w e marker. race over e dawig wih a rail o gl e fo e ho-ge gun 
Be
very caref he ho glu e and e gu  ip are exremely o. ( Keep a sall bowl of waer earby so ha you ca douse a finger f o gle ands o ) Acieve addii ona ineresig exure wi edrl-l e srigs ha ae lef whe yo release he rigger and draw e glue g  away rom he sap. he ho gue dries as soon as  has cooled of A i s poin yo're ready o samp wih i
  C H   Q  
lways score the area where you wll aly the stam aliqu
STAMP APPQU Yo can a pply a sap to a oist clay slab cu t he sta ped ma ge rom the sab ad en a pply his shape o your orm. Tis s call ed a stap appiq or his p ocess gaher yor sap  nee dle ool ad serraed rb or wie scorig tools and soe slip I's bes to make e appl qu wth t in slab scraps; / inc (3 ) is sitable O nce youve ade al l te samp im pressions c aond the stamps to creae ieresting shapes  Bevel the edges wi a neede ool o give he a apered look
 yo'e cocered
about disorig te im pressed desgn harden it by lighly eaig te srface wih a hea gu or ai  dryer This wi l prese ve he deai of he stamped desig. Now arange he appl iq p ieces o he orm. Use a met al ib to save dow he appl iq s i hey'e too thick
Wen you're happy
wi the coposiio g hly mar heir pacemen on he orm wth a neede ool
Make sue hat all t e peces are he same level o
dryess Reosten i necessary (see page  1 ) I e appl iqu a nd orm ae at he leat er-hard stage score he maced suaces and appl y a sall a on t o slip o he scored area o the samp a ppiqu  If youre wokg with arge appl iq pieces press fo te c ente ot to rem ove any a r pockets I excess si p ooes ot  re ove  wi a poi ed edge o a rubber-ipped ool. Press down all o he edges to hide them ad give he appliq a more reed oo.

M A   N G
A  D
U    G
 A M P 
71
Poect: Ap pl  q u  T   e A smple, flat tle s a perfect surface for expermenting with stamps. The most challengng part of ths process s keepng the tle flat. Use a clay body that contans a large amount of grog A clay of this consstency goes a ong way toward e  m natng warpng  Tls
Need e too, at-ed oop too, id ue , ie sco too mea seaed ri poi eded ue-tip ped too

Make a sam  o he srface decoraon o is iece. Cu a 5 x 8ich (2 7 x 203
c) emlae fro card soc Roll a sa / nc ick (1 cm) ad large enoug or he uer of es you wan o make Wle he sa s ois ad s l o e ware oad se he elae ad needle ool o cu one or oe ie saes o e sla Se  asde he scras de  a i asc see o ee he ois.
 Tip: A c e is ess i key to arp
di dyi ad r
RELATED TECHNIQUES
g  Usng Teltes
ig Sbs
St Au 


7
  0 C
A P L  Q U    L
� Tip f you il es eed o be a
seciic ii sed si ze, use a clay ue (see age 12) to caculate te sr i age rae of yor cl ay body
2
Meas e 2 inces (  cm) down ro e o edge Wi e  ile's boom edge closes o you sar ressing
dow io e c lay wi e aed loo  ool Wen yo're alway roug e de of e ile us e oo forwad oward e oosie edge of e ile. Slowy ease e ool ou of e ile a e sae  me  ll ing o e excess clay
� Tip: Always work wit  e til e a
o e wae boad ut   it's eae ad, to evet  fro warig.
3
Swe e large rubber rib a cross e recess o eove any rased areas of dislaced cay o ake
e bac of e ile a Wie e cay is s l m os soo e ouer edges wi your fingers o a so rib ool Use a second wae board o i e le rg  side  Ree e on edges Cove e le w a in lasic see ad se  aside for e ie beig
4
Toss e s ab scra s  l  eyre / in c (3 ) ick Sa e srace and en cu
o some saes o ae sam a iq s a you' ll aly o e srace o e l e. ake e asic of e ile and arrange e aiq ieces on i Ligy mak er laceme o e ie wi e eedle oo
73
74
R O C
5
A P  QU    
If ecessary, r emoiste the tile o sta p applq s so ha al l o the pieces are a he
same stage o dryess (eiher stif or eaher had se a wi re scoring tool to scoe the bac o he appli qus ad the front o he ile at the pl aces ey'll be atched. Brs a sall aoun of slip o he back of each appli q, a d pace i on he ile I f yo re wokng wth large appliq s, se yor ges to pess rom he ce er ou o remove ay ai r pockes ae care ot to damage t he i prit on te s ace
6
 excess slp oozes o, reove t wih a pointedged rub beipped ool . Wi your
fingerips, press down o hide the cu edges ad give he appl iq  a efied ap pearance. Leave he tile flat o he ware boad un i it's bone dy
 semiopque, lowre cobt blue glze ooks especi y good on  red cly body becuse the glze poos in th e recessed res nd thns on the rised res highigh tng the textured design on the stmp ppliqu
Poec: Brd Sculpture The trck for creang successfu scupted peces that wont collapse durng form ng or fri ng s u sng newspaper armatures. These act as temporary supports when scu lptng  They rema n encased   the clay whle you work, and burn ou aer durng the frng process
Tools
Newspaper mas g ape, eedl e l metal se rated ib st ubb etipped t
RELATED TECHNIQUES
g  Usng Teltes
ig Sbs
St Al 


7
76
 R 0 C
     C  P  

a e or uy one or more stamps or he wngs ad  a eathers. Make te Body ad Base templates rom cardstock, elagng or reducing the
to a size su iale or your desired piec e Roll a sla to a hic ness of / nch (6 m) and a legth ad widh ha will accomodae he epaes u one Body and one Ba se from the cay sla. Sore he cay shapes and scraps und e a th plasic sheet uti you'e ready to use the
2
rumpl e a sh ee of ewspaper repeatedly to relax the fies Smooh ou he sheet, ad ol
 ino a narow oval wi tapered ends. Make te diaeter o ore than al the ody's wd ad thee-ua res of e Bo dy's leg t Tape he e dges o prevet te shape rom u nol in g This is e armaue.
� Tip: Make armat es om so
ewspape so ha he cr m ped ete wo goge he clay ha's appl ed
3
lace he arature on he B ody c loser o the fat ed te  id's eck) Wap he
Body around the aat ue o ake a cone shape. Mark were he peces ovelap. pen the Body, a d score the machg su aces with e serrated r  Apply slip to the scoed areas, a d press the together Stoe he edges unil they're fused otnue joiing the edges u i te cl ay otally ecases he newspaper. I necessary, stoke he ends ui oh are poed The thickes part o he shape i s closer to one end et the Body dry to he stifclay stage 
  O   C 
   D  C U  P  U  
 ip Pl ace drying sc pted sapes on
a soft sace, s c a s a se e of foa, o pevent te oi st cay o sagg ng and insead conor ing o te sape o te a sace t's esting on
4
orm the Base  o a cyli der wih ovelapped edges. Score te mached edges, and appy
slip on the sc ored areas. Sroke te edges to fse e ogeher. et his piece dry to sislab sage.
5
Place te Body o he Base  ig ty ak te area on e b d's undersid e wee it wil be atached o
e Base, using the eedle oo Reove the Body, and score the top of he Ba se ad t e Body area just nside e marks Appy sip o e Base, ad fse he wo pieces togeher. Roll a coi  log e oug h o wrap arond e op of the Bas e and make te diam eter / ic (6 m hick Wle he Base s still ois, d rag your index figer verticaly togh the col Add aoter coil aroud e botto of the Base o add sabiliy ad decorave continiy
6
Rol a ball o clay the sie of a golf bal  Pinc i  ino a ond bowl o sa e ead.
Leave he boto  nc ( 1 3 cm ti ck P inch ou te beak wi the excess clay a he boom of the bowl Elongae te ope ing to creae a neck, ad widen t eog o si p over te shor, apered end of the Body. Pac e te ead on the Body I necessary c and t aper he openi g of the ead to ensu re a snug fi over te Body
77
78
 R 0 C
7
     C  P  
Aga place he he ad o he ody. Lg hly mar he aea where they overap, using he e edle ool Remove e
head a d scoe bo o te maced areas Apply sli p on the insid e of te neck Place the head over the ody ad gently se he m ogeher. se a so rub be-ipped tool to carve he eyes ad ote deails se the e edle too to piece a sall ho le i a n iconspicos p ace o release trapped air inside e ody and e ad. Air must be able to escape duri g ing or te orm will explode
8
oss the clay slab scaps o / i ch (3    ick ad samp hem wh su table otis or ail eaters  u o eather
shapes ro e stamp design s Experi et wh diferent sizes o nd one tha appeals to you . u he edges a a severe agl e usng he eede tool. his underct gves e edges a thin e ore rened appearance . Score ad s ip he eaes and te ody a e postions the peces wil be joined Apply he eahers, c rvg hem o he ody S ice hese th  ap pedages ca be easily broken of oly exend he 2 or 3 inces (5 1 or 6 c pas he ody
9
Stamp m ore of he  sab scaps for the wg s. u wo eefor wings fro the saped scaps Fi is hese sap
appli qus wth underct edges, a d apply em o he birds ody i he sae way ta you ataced te tai feathers.
he ni she bi was ecorate with uneglazes while in the greenwae state A patina solution an ecoative glazes were appie for the fnal fring
Poec: Nestng Box Ths box project s both sculptura and functonal Its a ldded form wth a brd handle on top. Ths pece s made wth leatherhard slabs that are scored and joned wth s pped seams. The b rd s sculpted wth the pnchng technque Stamp applqus are the fnshng touch
Toos
Needle tool ieing ool errated i ool poined re-ipped ool paddle

Make or by two rectang lar samps oe shou ld be arrow and the oer sho d be wide (see step )
You also need a cic ar edallio sap ae he Base, Frot and Back Wall, Side Wall, ad  oof te plates rom cardsock, rst ea rgig o redu cg em o a sze suitable or you des ired pece . oll a slab / inch (6 m  t ick ta's a ap poprae lengt an d widt for the tempates youve made Place he sab o a large ware boad
RELATED TECHNIQUES
icg oms
Sb Builig
Nesng ox emples



8
 R 0 C
2
N E  N G
 0 X
lace te tempates on e mos slab a d cu o e sapes, sg  e neede ool You need o e Base
sape and wo o a  e est areflly eove te excess clay aoud e sa pes ad soe tese scraps n der a i pasic seet o keep em  ois o se i sep 7 Pace aoer ware board on op of te sa pes, ad e em dry ut  ey're eaer ard Use e mierig tool o ct all of e edges o te Base, Frot and Back Walls, a d Roof sapes to a 5 angle Also cut s age on a  b oe upper edge o bo of e Side Walls . Stoe te miered scraps nder a  plastic see.
3
Place a sall ware boad on a badg weel  ad pu e cay Base o op of it. Scoe all o te edges o te sa pes
usi ng te serated r ib ool Atac e boto of a Fro and Back Wall to e Base edge to edge, st applying a sa ll a on t of sli p on bo o e acig , scoed edges. Wipe o te excess sli p only o te ousde of te seams  I t e sae a nne r, atac t e Side Walls to te B ase and firs Wall  ress a miered stip into eac core to reinforce e seam s Yo don' need to score and slip is scap
4
Atac te ea in g Fro ad B ac Wall to te developing orm, agai n scorig e edges ad
usig slip i eac seam . Reinforce e nteior o tose remai ng seas wit ore o e scraps Turn e bad ng weel o i spec e ete srucure. rm e top edges i ey ae even ad evel . Score, apply slip , ad te  place te Roo secons o te top edges o e Wals
P R 0 C
5
   N G
 0 X
Tap te pad dle aro d the for if the shape  eeds o be adjusted Air rapped insid e the box wll
spport te for while youre sn g he paddle o . Paddling s a great way to reinforce seams because the orce compesses he cay parcles together Tr the piece o the bandg wheel o nspec all the angles. oie to make adjustets as eeded
6
Decide w here you want to cu th e op o e form o ake a li d sing the eedle too sketc a l ne aod te for
Whe you draw ths lie  in clu de a ey (a i q e shape o indi cae he l ds correct orietatio o t e box. Te ln e is te gude for cting the lid Score he ine sevea ties g adually cuing co pleely throug h he clay. If the clay is too ard o cut reoise it see page 1 1  areful y remove he ld  ad rei nforce  Tp:  ees of a form ha sho uld t
e seas o te roo us g scaps ha yo se asde ear ier
ogether when dry mus be ept togehe as hey dry ad shr in  o esu re a sug it
7
lace the lid back on te box. se the slab scaps set aside   step 2 to make ong samp app iu s for all
of he edges. reae these strips in a ageabe sectios matching e ir edges so ha yo have a seaess desi g wen you place the en d o end o te box M ae a medal lon a pp qu  Score he edges of the box and he bac of he stap appl is, a nd appy si p o e scored surface of he appl q pieces. Press te pieces to he box gely shapig em aroud the angles Sitate the medali on o he cener o the l d
Tip: Use stamps ha ae   propotio o
he overal si ze of the box; deoatos shou d aenuae he fom wihou dom nain g i
se  wider design for the border round the Bse to gve the piece  sense of solid struc ture nd visu l weight
81
82
 R 0  C
8
N E  NG
 0X
Sa pe a slab scap no a wad of clay te size o a sal l pl u 
ich i into a iverted, elogated, ad soewha aeed tran gle  Rond off oe end o orm he head o a bid A hat rouded ed, pinch a sal coe o or h e beak  his s he star o the ird tha's posiioed on top o he ox as a handle
9
Pnch the o pposie end to orm he ail eahers and t he pinc the botto of he iverted
rian gl e o om a si  or he B ase of the bird orm  ake t ssanial e og  to create a fai am ont o suface aea o atachng he rd  andl e o the box. se e poined bertipedged ool o add eyes, eaher makings, ad othe details.
10
When the andle is leaher had, place t on he lid se he eed le ool to ligty ma k te area o he roo were
he ad le wll be atached Score and s ip boh aeas, ad press he togeer. Re foce this sed area wih a sma l rolled c oi, and bled i smooth The fiished ox show o p age 79 was isque fi red, the he en ie piece was staied and given a patina wih an oxde wash he i  was fied a secod ie.
Naatve awn wee ncbed nt the featue f when t wa leathe ha. When the pece wa bne y the dawn wee pante wth undeaze
S 
ynn ishe un,

  x   x   ihes . x  x .9 m Sl- ilt stewre e 9-  xidtin iressed urdk leves P yat 
Jennifer A. Everett Tl,
26
 x  x  inhes (  x  x   Extrded stewre gs fired i redtin e  O stped d erti Poobyat
Baaa 
2
9 x  x 1 i es 9 x 1 .8 x .  Sl-i lt wite stewre; llw d les pressed rlled dts bisque e ; glze e   redti Phty m Baw
84
 A     G A    R Y
Jnathan N iclw Vaeie N iclw sinaion
2
8 x 8 x % i es (.3 x .3 x   m Sl-roll ed l ow-re wie ly eletri fre d oe 4; reli e sul ture smed elements, oil it, tr nd vris Pty arist
Rache Beg
Ul
24
X x 4X x 3 ihes ( 4x 1  .4 x . m Weel -row nd nd- iI stonewre sod fred one  O imressed desi gs Pty tt
l<isten l
Fanl James Fshe Mik Pih
5
OX x 3X x  ines (. x 8 x . m Sl-ui l poreli  ru ired t y tt

Eh 8 x  x  X ine s (.3 x  . x 3.8 m Hd-bilt sl ostrtio mid-rge oreli: stmed rved d sli  deortion mul ile g lzes eletri red t  tt
 A     G A L    Y
Maggie Mae Beyele Ca'd'oro,
00
 x  x  inches (  x   x 8 c Slabroll ed wite stoeware electric fired coe  laser oe r iage traser coe 4 matte gree/roe glae d erglae staed text hoto MagotGt
Lana Wison eramic Book ith Moveable Pages
2003
8 x   x  ices (. x .4 x  c Wite stoeware ad-u il sla; staped dry glaze  ixtures wit wo glaze fr ings el ectric fred hoto att
Kathyn innety Oval apo,
1
 x 9 ices 1  x 9 c Sla costructio wi raised-lie relief wie sli  over erra cotta; coe 4 Poto y Tom Ro
85
Inspiration Dscoverng a techniqe and then expressng t n clay s the start of an excitng jorney n ceramcs. Yet, after absorbng the bascs, yo may fnd that you want want more    more textre, more color, more than jst a basic form Heres what to do when you reach that pont IT'S EASY TO TO ROMANTCZE C REATIVIT REATIVITY Y AN D IN SPI RATION RATION.
You d yourself gazing at an a mazi g pece  a sow ad thin k 'Were did that idea come from from  Ad you do't ave o go ar to d a ceam is wo sayss of a orm say orm or sace decoation ' I js cae o me. Som e people have a kac or or ceaing ceaing inn ov ovat atve v e had-bui lt oms, oms, extre, and paerly efecs efe cs Te resls can be m agical . B he pocess is' Aristseter Aristseter cosci osly o insictively insictively  lear to use sp iraon o tap into hei  creaivity creaivity. You can do the sa e
EXPLORE PLORE TECN IQ IQUES UES  EX Teess a vey old sayig Tee sayig tha l uc is when prepaaio ees oppouity The sae ca be sad for creaivy ce yo've leaed a technqu e you ca creae opportnies tat wil  h elp you tap no yor creativty creativty so that you you ca develop wok has qu e and erestig. Pick a favor favoree item, a s flowe flowerr or or exaple, ad consider ways ways hat you you ca  us e a techiq e o i nerpre nerpre this flower flower  youe youe havig oble gei g stared, stared, a e a is o al he ecn iqes ta yo enoy. enoy. ow cosder how each oe ca be appled o hat tem For a suower, yo ig  pic petal shapes tha can be attached attached to a slab bi l orm orm  r yo could plu ck a peal, peal, press i into a clay ay surface, ad accentuae the su ble texre texre wth a patina (see page 110
lay ile s have a goo aea o exploing suace suace applicaions. ee heye se o play wih glaes an colos ha ame ame an enhance vinage bi ecals.
     R A   O 
ont woy about the quaity of you dawing You You don t hae to to focus o n ceating a beautifu image
• START A SKETCBOOK Whe yo see a itere iteresting sting iag e cut t ou ad tape i into a noebook Bette Bette yet, yet, ty sketchi sketchi g  Yor Yor goa i s to gai an uders udersading ading o he shape o he subject, subject,  ss coor or variato s  colors, an d e su rface texte texte Ths kowledge eads to it elli get de cisons abou ypes o clay clay, co strcio techiu es, a d suace decorao decorao or a piece based on that subjec. Yo ca see his p o ocess cess of sdying sdying a orm a d hen nerpreig t   a cerami c for for  n the sketchbook and clay box box Note how the waercoors waercoors i te ske skechbook chbook capure he goat's eck extensio extensio the shape o the ead a d te postion o he eyes. ey es. a aying ying at ateton eton o hese deails and havng he s ketc ketches hes to reeece led o the whimscal creare o op of he box This T his pece is pa of a series ta iclu des the Nestin g Box projec o page 79 As you work o te projects in his book cosder how yo yo ca  ake hem yor yor ow.
     R A   O N
 FREE ASSOCATE Tae a bi  of of ie o look arou d your evronmen evr onmen a d h k a bou yor lie Wha ae your passios ? Are yo drawn o color or exe? For some people, deniying heir avorie exres colors, and p assios is d iicul. Yo Yo ay fid you answers  a afenoon or ove a o  o r wo Yo ay even e ed o wok wih clay or or que some ie l  oe d ay ay you dscover a  a red o hee as been eergig all alog Develop Dev elop ng a piece a expresses a cocep you care abo  isn' aways easy b many have fod success w ree associaon. Tr Try p ig your concep or idea o paper ad en concep o down down ohe ideas wods, and mages a a coe o nd Some ideas
 sees of selfpotats  clay evtably ed to moe pched peces that expess love fo the famly pets hese hese foms wee wee pated wth deglae ad s p whle  the gee geewae wae state  pata solto  was appled at the bse stage ad the they wee fed aga
raslae ino a coor red is fequely associaed associa ed wi ag e e, fo exampl exampl e Soe shapes are uiversa sybols,
 LOOK BACK
such as a dove o peace. er sha pes
Aoher way way o expore a e me is o ake a ook a your pas works Yo ay fid
ay have symbolsm only o you bu,
yorsef yors ef eurning eurning agai and agai o he sae sape o glaze ow a yo're yo're
oce ceaed ceaed in clay, clay, he ean ig wil 
aware awa re o is red, yo ca conin e o dev develop elop i i, push g he app icaio ad
become a pparen o ohers Do' sop
aerials  a df dferen eren di rec recio io wi each ew fo. You You  os sccessfl sccessfl piece
yousel ro ro wing dow a crazy idea
col d be very dferen from he ear lie r ones To someoe o sde his process,
hass forn ha forn g, bec ause i mig lead you somewhee ineresig veual ve ual ly ly, an im age wl eerge nce you
who sees only e oe you like he os, yo've creaed magic Yo can mull ove overr deas, b u insp raio eally akes of of when you ae acion. I  ohe words, words, sop sop ki g, grab a hu k o clay, clay, and go play
ave a agibl e form i m ind, yo ca sar worig w your clay
Idetfy commoaltes  past woks sch as a love fo yellow gae ad bds ad the se the sbject coo mateals texte o theme as coted spato
Tecnqe: Surface Decoraton Ths secto troduces you to materals that ca be appled to greeware. Later i ths same chapter, you ca lear how to use these materals for seve welkow techques: sgrafto, lay, slp brushwork, slp tralg, steclig, burshig, ad patg wth udergaze (see pages 90 to 99). AT ALMOST EEY STAGE I N CAY WOK
you ave te
oppouity o ena ce a for  Yove probably heard abou addi ng g laze o a fo wen it reaches he greeware greeware stage see see page  1 )  Yet Yet th ere a re oher aerals aerals an d eciques that you can appy beoreo beo reo in place of ofglazing glazing  Is easy o become capivated by ay o te maerials and ecqes at are itrodced ee If this a ppens, i won't won't be ard or you o rack dow dow e ntire books abo surface decoratio, decoratio, wich ca gu ide yor frther frther exploation
Exan your reeroire wih o o o boom boom burn ishing senciling sgrafo uner glae aining i nlay nlay sli rail ing an sli brushwork brushwork 
9
 EC H N  Q U 
 U R FA C E
D  C 0 R A  0 
 MATERALS Sp, egobe, terra sigilaa, and dergaze, which are all expaied in this secton, a e kid o like a ceramist's pain box Whe sed with o e or ore classic su race reatmet tecni es, they can gve you piece a  ni e ook and feel Befoe you sart sing any of ese mateials, t's a good dea o deveop a basc undestandi g of hem, so you can choose he oe ta can bes ehance your piece
lp a nd ngob cps bgin with a whit bas to whch colorants such as natura oxids or anuacturd Mason stai ns a addd
SLIPS AND ENGOBES
ae, essent iay,
thi ne d down clay Yo se oe o r the
o bisue (b ake care appy ing t to
a smooer, more even ish se a
he ragie stage o greewae
ticker si p to sow codent brush
Both slips and engobes ca be
srokes
other to colo a piece, add texre, or act
sed for sgrafito, il ay, sl ip rail ng,
as a gro d o a decoratve technu e.
stencilig, ad extre brshwok,
to a mae  sh, s mi lar to bare bisue
Egobes, wich contai ess clay han
echiue s hat are explai ed on
ware. I yo waed a shi y ish, fi rst
slip, can be app lied to clay a any
pages 90 to 9 Sli ps ad e gobes are
fie te apped s ip o egobe, he
stages o dryess, cld ng b sue
a so used n a fnctonal way So e
apply a emperatrecopatibe c ea
wae n soe cases. Slps, o the other
ransparen glazes ook raer uky o
gaze ater takin g he pece ot o te
and, a e sually appli ed to a leathe
a dark clay body A wie backgroud
kil, and e e piece yet agan
ard s race.
o slip, applied rst, al lows he vibra
Be aware tha appyng a
Sinc e various clays shri k and re at dferen raes, te sli p or engobe shou d be chemical y copaible wih he cay sed o m ake the for
radiioal slp s and en gobes re
colors o a asparet g aze to show
nonco patible s lip o engobe ofe
re o he ware
yields d isastros esults  you p a
The ethod yo se to apply the
low-fire sl p on a  igh-fire cl ay body,
aerialwih a b rsh, or exaple
you'l l end u p wth a sopy mess
wil  be apparent afer  ig . Vay he
Alteratively, ri g a hi gfire slip on a
applied to eaer-ard ware, some work
cosistecy of the sl ip o engobe o
low-fire clay body wil l proba bly case
we a ay sage of dryess, fo mois
weak he look A tin e sli p yields
te slip o crack o.
Wie mos sip omlaios are
  C H N  Q  
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erra sigillata the iddle layer in thi s jar is a si ade of ine cay articles. he to and botto layers are discarded
TERRA S IGI LATA
is a type of slip that
conains o nly he es paricles o clay. Most ofe used o achieve a deep sai fiish by bising (see page 98), i ca
it's soees appie d o top o a
also be appled ad fied o a sof waxy
opaue base glaze majolica decoration
surface.
is a good exa ple o his reame.
Tera sigillaa is made by
o brshing  on (see pages 11 1 ad
Uderglaze ca be sed o any ype o
combi i g clay ad wae, then add g
1  3)  o rean is atural usros sheen
clay, and any und egazes ca be fired
a defloccant o hel p he er paricles
terra sgi llata shou ld be fired a a ow
to viualy ay emperaure
separate fro he heavie ones he
temperaure (usually not h iger than
i xure ress fo at e ast 4 ho rs
cone 04 see page  1 to ear ore
to pai t You ca  se i o draw a
so a i separates no hree parts
abo pyoetrc coes) Afte fir g,
brd or ay othe r mo Yo c an ix
Te op i s excess wae, the boom
you ca add g azes on op of it
u derglazes of varios colors to create
his vesaile medi is simla
conains he heavier clay particles
new colors, s c as comb in g yellow
and the middle laye conas the
and bl e to make gee (Becase
fie partces, or terra sigi llata. Te
commercal  deglaze om as are so
waed wae is rereved u sing a
inexpesive ad reliable, os ceraic
sipho n The tera sigil laa is sipon ed
artsts choose to purchase the ather
of as well  nc e the tera sigil laa
tan  ixing heir ow) Ul ike glaze,
s coleced the boto laye can be
te colo of fired ndergl aze closey
dscaded (see te recipe on page 123).
resembles te coo i will be afte the
As wi oher slips, tera sigil laa
pece s ed
ca be a de i an array of colors Tradio ally, is colos mim ic te c lay
Ahough deglaze, sps, egobes, and era siglata do't eire
-
body i came from, so yo can have shades of black, red, or whte S ma 
ga zing, a coating o clear or raspare UNDERGLAZE
is a  xtre of fie
gaze ca accentuae he loo ad feel
amou ns of coorants ca be added to
clay paricles and co orans formulated
of the srace a s well as make he
a whie base o create sbtle vaiatons
to use on clay a ay sage of dryness
for safe fo food. A cear glaze ad ds
Tera sig lata i s applie d to bone-dry
or on b squered ware Atho gh t's
shine a nd deep ens he colors of both
clay by eiher dipp ng he orm i to t
usually appled n de a clea glaze,
te underglaze ad clay
91
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• METHODS e maerias hat yo eared a o o pages 90 to 92 ca e used i a tremendo s nu e of ways Some of the mos well know ae explaine d e re sg rafo, i lay, slip shwor, sl ip tralig, seclig, rnishig, and derglaze paing Wi le he i srucios ha follow just scrach te surace o wat's possie , you'l  lear  eno ugh o get stared n s uace decoratng . Yo can experime  wt tese technie s usng he sare plate project on page  00 ce you kow the ascs, you ca co tiue o develop you skll s n echi ues that you d ost appeal i g. You ay even ed up app yig severa tecni es o a s gle for, or a complex, on eo-akind piece. onsider su rprisg a viewe wih su face deail on te ack or oom of a p ece Decoate te ack firs so yo anuacurers poduce derglazes n many fors ud , pencil, chal, and d ry palete sim ila r to te paee for waercolor paits. Each medi  poses special challeges nderglaze ca e shed, spatered, sponged, daw, or ailed (sueezed i a hi ine oto a for Yo can use t   hi coas li ke waercoors, or apply i in thick layes for opaue coverage  l ike slip, nde rglaze does't reain any as fro he applicaio ethod, or ehance surace textre n lid form, he cosistency of d erglaze esemles heavy cream . It coas e surface without erfeng wi a ny o the clay's textral deail 
wo' mar he ron.
  C H N  Q   
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D  C O R A   O 
Sgrat
Eci ng a s rface is a g ea way o creae old  g rapic d esign s Yo a ren' carving d irecly o e clay wi s ecnqu e; i nsead, yo work ino a coaig a yo've applied o a leaer ard p iece Te coaing, wic is le o dry efore yo sa workg o e surace, ca e a slp e ngoe or dergae (see pages 90, 9 , ad 92). Ay ype o cay s s iale fo sgraffio, u e ecque is mos efecive wi ig-conras colos suc as wie slip o red cay or lack slip on we clay. Sar e process y dpp ig a wde painrs io a slip, e ngoe, or d ergae oose a maerial a's compaile wi e clay sed o ae e for Te mos comm oly used aeial s sp , so e res o ese nsrucios will use  is maeial o descrie e process Evenly disrie e liq id on e surface o e wae
D Vsie rus
mas are accepale, alo g yo don' wan e s ip so ick a e srface as dened rdges Use an ud ergae, rae an slip,  yo do'
wa ay sace exure a al l. ) e e s p dry B s o a secod laye o si p o esre opaqe coverage Se e form aside il i's dy o e oc Ligly skec your des gn on e pae, sng a so-lead penc. A need le ool scraces e s race, so do' se i u less yo' re coden or wa a spoaeos desig arve io e surace aong  e applied desig lnes, sig e al sys and a varey of e ea loop ools
 Your go al s o scrape of e
sp  o expose e s ace o e clay nde ea Use ools o diee wids o add ineres o yor i nes Keep i  d a e arks yo ake will sr ink as e clay dres. o exape, a eedle ool makes a lie so n i ay almos dsappear A a  sys, o e oe ad, as a wide ip a's more appoprae or lie work
eal loop ools are perec or carvig o larger sapes e sip is oo dry if i cips. I you make a  sake, yo' ll ave o sponge of e s i p and sa r over We you 'e saisfied wi yor wok,  isqe fire e piece  ow you ca apply a cear gae, i des red, ad p oceed o e secod rg.
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Inlay
Heres a opporunity to urn a desig ito a orm When t eaches he leaer-ard sage yo' l carve ito he clay surface a d then l t e areas wi a contrastingcoor sli p o engobe . Sc aping away he excess sip o e su race eveas he ilai d paern. Firs sketch yor desgn o the for with a soft-lead penci l or a need e tool. his allows yo to pay arond wi design an d coposiio before sartig carvig  For carving choose e ball sy s ools or meal loop tools o carve i a design / ch (3  deep

ext, fill he  cised  ies by brsin g a ayer o sp o a corasting coor i no he carved areas

Sp cotais
qie a b t of waer so it as a ige  shrinage rate ha the pece yore woring on Yo d o wan to l e ca ved area with one hick pass of sli p because the slip wil s hri k ad possbly crack whi le drying . I sead, apply severa hin er layers and let eac oe dry to the touc before addi g the next. c e he slp level s eve wih he srface let  dry to te l eate-ard sage Scrape o the excess slip wit a ro ded rib .
 Wen
scrapi ng of the excess clay, choose a r ib bes sited or e clay body. I he cay has a o  of grog or exampe  se a sf  rbber rb. etal ri bs will brn g grog o srface ceatng a very og h texure ud esira be for food ware This wil ucover he iai d desig.
 C H N  Q  
S exture
Srface texture i eay to create wih lip i ud coitecy ake it  deal to ma nip ate o a lea er-ard orm Your pi ece wl l have rich ux rio br troke if you pan on the lip w t a tf b h B t ta' no he o ly way to add exte Yo ca a o po lip oto a orm ad e pu h it around wih your fig er o make a oly ud lati ng u face. The folowig i ntruction eare ge rpaied conce tic quare and a b uh-app ied pira  You ca , however, create any deired moti, ad here ae may way that you can ceate textue wit p  Thn  p c oain a lo of oiure hat could  ake he wok lu mp, even thogh it' leaher had Yo r be be when coverng a age area i to u e a hcker lip ta conta  e water. A good rul e o hb  o e  lp th e coitecy o cae batte. To ake cocentric quare, yo will have te mo control by od ig the plate in o e an d. Bruh he p ece wih a /nch thick (3   layer o li p. Tr the plate lowy ad m oohly w le  ing yo nger to pread he lip ove e u rface

If
wokng o a plate or bowl, al o pread he i p around he ri  o ceate lp exre o bo ide  o a for, let the l ip dy horoug hly before i ppi ng the p ece over To make a p al extue place the piece o he ba di g wheel ad bru o  a layer o li p T  e wheel wih a teady oton a d, aring a he ri drag a paintbh
 o you r finge r oward he ce ter
When te l ip i bone d ry b ie fire you work and he apply gaze i deied.
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S rails
es d aw wih si p add wonderl densio to a orm's suace. Sip traiig s a deal techiq e o a loose, gesual desig. Fo hs ec qe, yo se a slip appl icaor o apply he  nes to a le ather ard piece S lip appl icaors come in a varety of shapes ad sizes so hat yo ca do an aray of lie work. S oe o the fancier odels ca be q ite costly Stat wth a basic one hat as a si ge
as this ay goge te clay ad clog e
applicaor ip.
appl icaor ove te ip over he plae
Udergaze ca aso be sed n pace of slip Snce derglaze has a thiner cosstency, use a very narow tipped app icato o corol e flow The drawn n es can be erased,
as you gently sqeeze out the sl p and daw your desgn .

Make yor strokes i  a n o ward otion. You ca expei ent wih n e thickess by aering the speed and
so is techniqe equires a cofide
flow o te lin e A q cker stoke ta
an d. o repa a mistake, let the piece
ets less sp produces a thnner lie 
dy ad ten sad o te erro.
A sower sroke prodces a t cke ne 
Place the piece on a band ig
ry alerig te li e ti ckess to vary
weel. Exed your a so is
you desig  Whe yo're fi shed wih
comfortable and free o ove across
the appl icaor, us h the tip wit water
the su race. S pport the foearm wih
and run a   wire thogh i to cea
you opposite ad, i desied.
ot the hole
E
Hold
he tip of the slip appicao over te pece, ess a   nch ( 16 m m fro the surace Don' le t touch he piece,
Wen te work is leaer ard, bsqe fie it and the app y glaze, if desired
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Stencs
Want to repeat the sae image several ties o a for, or to block slp or d ergaze fo pars o the s urace
 
 ?
wtou panstakng hand d rawng ·
Te sencils a re us he i gs or yo. A stecil ca be a leaf, a scrap o lace, o eve a shape c ot of copy paper o vel m. Placed o  e srace of a eather-hard piece, a secl acs as a as at sh ields parts of he srface wen you apply slip o nderglaze. Alos ay flat shape s si abe as a stenci, but cosider sapes at create bold desigs, wich efectively se n egative space. The best fond objecs wot absorb sl ip o  nde rglaze and ca be peeled off te srace wtou crubl ing or shreddin g A stecil does't have to be so id. I fac, oles will add more iterest o as  straigh lin es, a l you have to do is appl y a low-tack masking ta pe. To create yo  ow des ig , draw i o copy paper and ten c it ot wh scissors or a ma kife
 Vellm s a
ideal aerial becase is a durable, pasic-like pape  that doesn absorb
water. A mat kn fe, paricua rly i i has a swivel ead, can ct no coers ad r precise, deicate lies. Use yor figer o hold the sencil on he su rface o a eath erha rd piece whil e panin g he srface wt a brush dipped in a ui d sip or udergaze in a color ta cotrass wit th e clay om

D ec you r strokes away fro the
edges o te secil o pevent te ed  fro leachng udeneah Apply two thin coats Don' wory i e sp or udegaze covers he stenci Whe he edum is dry, careuly lif o he secil to reveal he desig  When he wok is leather-hard, b isque re i ad hen apply gaze, i desied.
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Burnshed Surfaces
u rni shig c ompresses pacles of clay so a he s face is smooh, s iny, and doest eadily asorb moiste Alhogh t is s a aor-itesive
copletely  xed efore yo begi ,
pocess, the rch, d eep gleam of a
a d stir e reqe y eween
fi ished piece s well worth e eo
appl ications rus a hick, eve layer o
osde r uis hin g as a alterave o
he era sig llaa, i one di recto only,
g azing a pece.
over he s rface o a pece .
Pr tve artists is hed wae tat was used o ood ad liqid s Tese days, urnshig is recomended for
[ When
he era sigl laa is d y o the toch, ts ready to be r ishe d. Decide  yol  use a sooth
surfaces tha will b e i d rec cotac
stone, the back o a spoon, a piece of
wt ood or liud.
hi plastic, or jst your bae g er o
Prepare a atch o erra sig ilaa
polsh he surface. Ex perme wth
(see page 91 ) whe leig a cay piece
diferet toos o see wh ch oe woks
become oe dry It eeds o be at his
est for yo Staring wherever desired,
stage so tha he clay absors a hick
rub yor too of choce over he surace
ayer o terra sgillaa Ru a so rib ove
 Apply odeae pressue
the s urace we is stf f  ecessary,
Whe yove wored ove the
to ae i sooth. (A smooh srface
enire su face oe or moe t es, you
s i poant, so you may o wa to
can consider the rishi g finished
b rish a p iece ade rom cay hat has
r, or more dep, you ca add several
a o o grog in i [see page 1  ])
layers of terra sgi llaa, bu rnis hing
Particles o erra si gi lata are so fine
ewee each coa o achieve the
that tey qu icly fal l o he botto of a
sootes sace Fre he i shed
conainer M ae se the paricles ae
pece
 C H N  Q  
Fed undeg lae has a at atte n ish  ou ay leave it bae o cove it with a cl ea o tansaent gl ae Not only does the clea coating add oe suface sheen it signcantly deeens o saaes undegae colos and even bae clay itself
ndergaze l icatin
U derglazes chage te colo of te cl ay srace You ca app y oe eve layer o color over your et ie pece, or sh o seveal to ceate a arrative pai g . Experime  wth may colors a d varios ruses o gve your piece depth a d persoal ity ae sre that te products you selec ave a fii g temperatre hats copale wi the clay piece. Whe s g ude gaze for paitely efects, srive or ayers o color o create die s o. Experi me wi he cosistecy of the der glaze Waer i dow o achieve a trasucet watercolor efec, or appl y  t staigh rom he ja r or a h icker, opaq ue a ppeara ce . Two to t ee coats may e ecessary for compl ee opaque coverage. Star your decoaio o a piece y drawig yor desig oto the surace,  sig a sof-ead pecil ait the l arger shape s wth a overal l color.
m
ow add other colors o top, for detai a d desio
 Additioal detais ca  e daw o with
udergaze crayos or pecils. Alogh uderglaze ca e appl ed o greeware or s qe ware, he cayos ad pecls are easer to use o isque ware Fiish te pece y fig o a suia e epeatre fo he cl ay.
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1
Project: Square Pate The open surface of a pate s a terrc canvas for expermenting wth the decoratve techniques explaned on pages 89 to 90 In fact, to prepare or your surface decoraton exporations, you could make several identica forms caled multpes It s easy to m ake them by us ng a tempate and production methods, as explaned here
Toos
Neede tl scg tl y l er
RELATED TECHNIQUES
g  Usng Tepltes
Mkig lbs
lb  udg



P R 0 J  C 
1
ake a 6-nch-squae (12 c
 Q U AR 
 LA 
 Tip: ilitaa ojects so
template wih a 3-inch-squae
(6 cm hole in he cene. Ro a slab / inch (6 m thick and arge enogh
e sstatial eog h or sage t e ligh eog o o comfotay
o the u mber o paes that you wa o make
2
Mae he desired n be of sqa res rom he slab by cig aroun d he pei meter o he
empae with the n eedle tool  Yo ee d one square or each plate Still sig the needle ool, lightly skech he epae's isid e squae o each sq are clay shape Ths ma ks he posio fo the plaes foo Store he shapes u nde a thi n plasic sh ee o keep he m os ui youe ready to wok o each one.
3
o or th e foot (base for he plate o stad o  ct a  x 8-ch
srip (1 3 x 203 c  for each p ae. ut boh o .
he end s o each oot a opposite miered an gles wih the e edle too Move the plate shape to a sall wae board, wrog side p, and se a scorig ool o score a -inch-wide (6 mm lin e alog he draw in e Sand he oo so the side o be aached is facig p Score ths aea, an d appl y a sall aont o slip on it ad alog the scored line on  he back o th e pl ae 
 Tip Yo ca a iterest o e
foo y sig sampe  mpressios or cttig o t shapes.
11
12
 R 0   C 

  U A R 
P A E
4
Tin k abou he way yol  ma ke  ltiple plaes Yo m ght wat to scoe all of te feet and face shapes a he sam e tie the
slip and join everythg a oce and so o This and the emaing steps explai  te process or one plate adap tem as desi ed Place togete he spped edge of a oo ad a ace Pace a l e of smal coils of moist clay alog  e enire seam al ong he outsde o he oo. Fuse ths coil nti l t disappears Reinforce he teior o te seam i the sae way
5
Run a pony rolle r alog te edges of the undersde o he plae. his will tape r ad sofen he edges. It ay dspace
some of the cay, creatig a o ganic edge or he ri  Run yo ge aong the edge o he i  to smooth he edge i needed
6
Set aside he plae to dry to he sif stage ad ten urn i right side u p.  necessary smooth e ri of e plae wth your
fige rs o a dap cao is cloth Place the plate on a bat o small ware board and he se boh o a badn g whee or lazy Ssa  Pess down o the ceter of e pl ae wth boh o yo th bs . As you press down ge ntly pll up two opposte sdes of the rim with your nges so ha eyre slightly curved Roate te pi ece ad repea hi s process. over the p late wih a tin plasic shee o keep it moist ntil yoe ready to experie t wth one of the surface decoration mehods Apply su face decoaio o the plae ad  re it as desired he set o fi ised plates sown on page 100 was adorned with he srface decoraton echn ques explain ed o pages 89 o 99 an d nis hed wth varios gl aze appic ations 
Tip Pl ates ad er fa bets ted 
warp s ae ly pae te p lae  a wae Mke l of the eges the sme height n ensure the center is even
bad t dry, ad try   missape i
S  
Barry W. Gregg Lana Wilson Alta with rawr,
200
14 x   x 4 ies (3. x . x   .4 m) n-u i I w ie stoewre stme wor s, texture r glze e leri ire
Fo fo h  Ro,
0
4 x  x  ines ( x  x  m) H-ilt stoewre erglze  glze eleri ire ht bWalkeMntgme
Phoo byars
Nancy Sevin Still Lie with Rd Bowl
04
 x 48 x  i es  x  1 . x  m) -u i I err ott u erg lze, sli  s sreene  erg lze text, erglze pei l; el eri ire Phoo bySv S/n
14
  R A CE  R EA M   G A  ER Y
Patrik Coughin rn dis,
006
    3 ies (1   1    ) Slb i It erded resslded erthewre si lksree rser lwfire g les terr sig il lt eletri  fired Phoo by as
Paul Frehe Szm! V o,
00
     ies (.  1 .    d-u ilt pihed white ertewre lser del glzes under glzes eletri fired hoo bySe Ma
Jessia Kreutter on s,
6
    4 ies (1 .  .    ) rthewre; lw-ire liti  g lze sli  eril glze el etri fred st-fred ssely hoo bya
Cynthia Lee Zinni ,
007
  3 ies (    ) Cly lster sl; dergl es gle wer died i sl i nd g le fired hoo bS Man
  R A C   R  A M   
Lynne Ble
Ul
0
 x 1 x   inc (3.3 x 3.3 x 3. cm) cm) Hd-  i It onr ct c I td fc im  rd l li  lcric fird t y yWa Wake keMntgme Mntgme
G AL  RY
Meody Ellis ricl,
006
8 x  Y x 9 inc (.3 x  x . cm) Pinch d o loed ter cred tr ii llt llt d rglz rglz/li /li  lze lze blck cor oxd  l ctric fired; po t t- -ird ird ml t yat y att
Nancy l
06
  x  x  ice (3 x 8 x 1  cm) l coiled toere cly;  y; oxide, udergl ze, terr igillt, glze uderglze pecil; muli-fred Pt yR aty
15
Glazing Behnd the smp le appl ca catons tons aor aorded ded by azn azn le some amazn c hem str stryy and fascnatn fascnatn pro processe cessess . Heres the eneral nformation you need to know before you take the next step wth your handbult form: why laes work, what mht o wron, and how to execute some favorte lazn technques
�:    

I·
BARE FIRE D CLAY CLAY HAS A RCH, BEAUTIF  SRFACE on
its ow,

. 
- '•
'
 .
Atou gh there are soe glazes tha can be used
bu glazi g may add just the finis ing oc oc yor work work
on greenware, os are applied to bsqe wae You can
needs Afe Afe yo've hadbuil  a piece a nd pehaps
buy these raw raw n gedients o weig and i you ow
decoated he sface sface ad bsqe fi ed i, yo yo e ready
glaze see Recpes o page 122), or purchase prepared
to appy a iq id ta, po fi ing yield s a glassl ike
producs The aterals tha make the magc, and the
surace at pema ently uses o clay
bascs o some technques, technques, ae descrbed i ts secio secio
G L A Z  N G
• MATERALS Te  al ties o glazesr glazesraspa aspa ency ency, d egree of shi e, color color, ad exureare exureare he esl o he comple x iteracio of gl aze in gedents o each ohe, the clay body, body,
e atura coorats ro top copper carboate cobat carboate ad red iro oide cage te ised appearace o cay
and firi ng condiios s ch as as te il n's eperatre and atmosphee he fel-to oxygen oxyg en raio The The deciso ns yo yo  ake when seleci g a glaze  vo vove ve is chei cal composition , coorans, appeaac e, and exure exure All ese erms are explained hee
A gaes require tree basic copoets copoets or or stabity: siica  u ad auia 
hemcas
sodum. Mafactrers have also
Glazes ca be ormulated rom a vrtual vrtual ly
developed dev eloped omul as for fts glass
edess combiation o in gredies.
dervatives, dervativ es, which are desi gned to  et
olorants, opacifes and texurizers are
a specific emperaues emperaues ad a so ower
added or other aities
siica's meltig point. Flxes and rs
Silica is the primary maeial  a gaze As a gass fore, 's resposi resposi ble for usig e glaze o he clay surace. surace.
iflece e look, eel, and drablity o a glaze Alm ina is a stabil izer Wihot t,
rants
xides and carbo ates color a glaze
Two co o ypes o glas s ormers
he gaze wod melt and run o the
They ay also a lte the texre, texre, t e
sed or glazes are flint ad si ca.
srace o he clay. clay. Ball c lay (see page
opaciy, or boh o hese cha raceristcs
Si cas ig eing po (3200F (3200F
8) ad kaoli see page 8) are wo wo
i a glaze.
1 760 760° ° e eds o be lower lowered ed with
common sabilizig aeials because because
addiives now as fluxes hese
hey coa coa s ig icat amou s of of
change, e ring emperatre and
subsaces are ond i the fo of
alm ina A na also increases he
atosphere ay afect afect the c olor of te
feldspar, lim , magesi m, and feldspar
opaciy and had ess of a glaze 
glaze. oppe, fo exampl exampl e, trs green
I addition to he natral natral color
17
18
G A  N G
i a common oxidaion fng (when oxygen is allowed inside the kiln), bt can r red wen processed in a reducion atmosphee (when he iside of the il is depived o oxygen ) eramic sai s are aoher type of colorat. ke ris and fl xes, anuacurers forlate ceaic stais
TRNSP RENT GL ZES
are simila r to
OPQUE GLZES
ae so satrated
o poduce specific, cosi set esuls
cear or cooed glass because li g
wh coorans and opacers hat
They're ava lab e  a wide specrum
passes rog th em so tha you
they competey cover te srace
of colors that may be xed l ke pant
can see the clay surface derneah.
ndereath. pacfiers ca chage te
o creae eve oe colors eamc
Tanspa rent glazes work beautiu ly
oo ad eel o a glaze t ey whiten te
stais ae aso sed o coor u derglaze,
over a bare cl ay body, o r they may be
glaze an d decrease the transparency
slip, and tera sigillaa
applied over sip or derglaze Wen
Tin ad titan m a re he addiives mos
a colored tra spaen gaze is appi ed
ofte sed o creae opaciy n a gaze
earance
over a texted surace, the glaze pools
As yo pla a d b ild your piece, start
i recessed areas, us h ighlighting he
extue
ki g abo weter  will be gazed,
srace underneath
Glazes can range om satiy smooh
and what type of gaze will enh ace
to crawly and crsy. A satin , s em
e fo or s rface decoratio. 
gloss, o glossy glaze s appropriae
addiion to colo and exre (see pages
fo ood ware his wide rang e of
7 and  0) you'll choose transpa rent
textral varaio c an ranscend ere
semiopaqe or opaque. All three types
f ctioa iyglaze exte can play a
of opacty ae explaied here. he same
prone role in diectg he mood
white cay was used for each exap e
of a piece A brigh, gossy glaze may convey a feeng o cheerf whisy, wi le a d ry gaze su ace ay cary dar ua nces of eg lec or decay SEMIOPQUE GLZES
ave a higher
cocenraio of col oas or opaciers (or boh) a ransparen glazes Semiopaque glazes perfor beaifuy over a texted su race The color a d opaciy is more concetrated n he recessed areas, whle the ased areas ae oe aspae allowing he srface underneath to show rog  This additional rchness and depth accenuates the texured s face
Matte rough or crater-like glaze is best suited for sculptural work
G L A Z  N G
 APPCATIONS Glazig appl caio can be as sple
aze rearatn
as a qu ck du nk or as itricae as
Ae yor bsq e ware has been
uti-layered paiting. No maer how
pepared you're ready to pick the g laze.
knowledgeable yo becoe wih e
e glazig pocess always ivolves
art of gazin g, t ee wil always be a
some sspese, bu yo can control
eeme n o supise whe you ope
te reslts by cosidei g two acors
te kil
te firing teperatre ad cio of the piece
Ware rearatn
GLZ ND CLY N D TO HV
Snce glazi ng can be qu ie a producon
COMPTIBL FIRING RNG
yo ay find it more eic e to do
forget this gu del ine bush a ow-fire
ay peces at once Before andl g
gaze on a pec e ade rom a cay that
the ware was yor h and s o reove
matures at a hig h e peature ad
any dirt or oil resde that could transer
ten place the piece i  a ki ln ha yo
to the ware. You may wat to put o
fie to a h gh emperaure When you
disposable gloves o protect you hads
e's say you
Yo c a p event gl aze from
open he k iln ate te fi ng he ow
coleci g in wanted areas by
fie glaze wil have e ted o the po
applyig a lqud wax resst All yo
and oto everythi g aroud t  he
eed is a oam brs  wich yo dip
other hand f a hig-fire glaze is fired
sponge reqetly til all sigs o ds
i he esis avai lable rom a cera ic
a a ow temperare e piece i's o
are emoved. Even te cleanes studios
sppy stoe and e careuly appy
wil  be coveed with a b bbly crusy
have soe dust paricles in e ai
i o cop leely dry bsqe ware.
surace his resl m ay be faasic
Whe these sele on te ware tey
Apply a i n layer on e botto, whe re
o a scul ptral om but it woud be a
can act as a esist, causing cawig an d
i'l l touch a kil  she lf Apply the wax
caastrophe o a uncioal p iece
adherence poblems see page  14)
only where yo wan i because oly a
Le e wae dry o at east an hou .
kn firing will eove i
fro any poetialy toxic gazes Next se a dam p spoge to gently wpe dow e ware
a
Rse he
Any oisure lef in te clay may
f
I yo' re usin g a g aze hat teds o
TH FUNCT ION OF  P C DT RM IN  TH GL Z
You have he lbery of
adorn ig a scl pure wt any gaze
pevet a sfficient a mo t o gaze
run a pply the wax up onto te si de o
ta speaks the voice of your piece
ro coaing e su rface
he pot about / inch (13 cm rom he
Functional wae however requies
boom Iedaely rinse your brus
more caefl houg h  hoose a glaze
rs ino a u d hat stcks to aytn g
whe yo're sh ed Do' use i for
ta will be pleas g o touc. A satiy
it touches. So f yo re a piece wih
ay othe purpose If the wax des o
fii s s soft enough or a an dle and
gaze o t he boom (wete  on
yor bush, mel t o i boil ng waer
sil provides enou g action to esure
D rig firin g g aze ges so ot 
prpose or i adverenly, e piece
e he wax dry copet ey t 'l
a good grip A bowl coated wth a
wll likely sick to he ki n self
ake about a our before glazig I
gossy ns h may ofer iresistibe
peranenly
ay glaze slops on e waxed areas, it' 
appea to he hand o is ser
jst si on te su race ti l yo wpe it of wih a damp spo nge
nce you deci de o t e type of gaze to se, ead the label to see i it
19
11
G A  N G
cotai s any dang eros  gedients  oxic g azes always eed to be hadled with cae and shold oy be appied o nonf ctioal work Always chec o a e sure the glaze is ood safe befoe appl ying it o a pi ece tha will coe i  contact wh food or dri k Wea gloves and a respraor whe applyi ng oxic glaze o a for. Whe yove chosen a a ppopriae glaze, sir t ntil its smooth ad l u p ree A dril wih a m ixer attache t is ide a for a large a ou  of glaze thas kep in a bu ce Sa ler cotai es o glaze ca be sirred with a hand held ixe or even a recycled chopstick

Pour the glaze hroug h a sieve to el ii ae ay excessive l mps Mos gazes shoul d have the cosisecy o bteri k I he glaze s oo hic, gradua ly add a bi o wae til i reaches the proper cosistecy If he glaze s oo hi, a ow i o settle copl eely and hen ca reuy scoop some waer o the op. Glazes have a ite shelf lie os will last a leas a year, bu some undergo chemica changes faster f you sspec any alteations, estfire a sample pror to si g it on an impota piece.
atina
lay, like wood, can be staied to ehance its atural beay A patina s si ply a wash of colo thats applied o bisqued clay to enrich its bare su rface. It oos ic e on sooth clay but peorms bes on exure, where i real y hghl ghts he deail. To apply a patia soon, yo ll  eed a pain brush a d a sponge A patina souion ca be easily mixed by volume {ollow the recpe on page 1 23). Pait the solo over the desred aea.
 ry ot
o dip he brush past the fere the meal bad tha conects he bristles o he handle If the pige collects hee, its very dfcul t to reove an d ca n leach ot to coa nate othe ed ms you migh  dp the bsh in et the paia dr y fo at least an h o before you wipe of excess soon rom he raised areas.
B
se a
damp spoge has reqently i sed i  a bucket of waer Always wipe wih a cl ea a rea of the spoge
Patina stands alone beautifuly but a cear or transparent gae can be applied afteward
G L A Z  N G
ipping is the most popla way of applying glae to tilit arian ware an small objects
ied Ware
For he q ickest, easies coveage, di pping is the best etod For ost glazes, one dip  s s ally eno g to give a suficiet and even coa. Yo ca se ogs when d ppi ng Before startng, experime to find he mos comotable , ye secre, way o ho d onto he ware)

a e sre your glaze is thoroug hly mixed becase
some gl azes sele qicky Aso check e consi secy requely betwee dps. Submerge he pece fo hree secods, genly swshig t aroud i n te glaze o ae sre t gets io any ooks ad cranies.

Reove the piece rom he glaze a d caeflly sha e
of any excess.
l
 your piece has an teior space, p or ot any
capred g aze  Alow he g laze to dy or a ew second s before setng i down  your gers or tongs et small arks  he g aze, dot a sal l ao nt o glaze o hat spo

nce the glaze is
completely dry, ispect yor wok se a damp spoge to remove any glaze hat igh case he piece to stick to te k i or aothe secion of the same pi ece du ring fir ng (for examp e, a orm ta's fied wi ts lid n place)
111
112
G  A   N G
Poung is a goo aernaive for ware has oo lage o ip in a gl ae buc ke.
 red  aze
se hi s mehod or a smooh, even coa o a sig le g laze, or o apply addiion al glazes to sections o a pie ce Fnd a shaow coainer  arge eough to hold the ware and catch glaze ruof lace you work in the cotai er wih yo a nds o togs S coop a cup o glaze rom he glaze bucke ad pour i evey over he pece.

Don let he piece si i  he coll ected glaze as he wae wi l absorb a uneven aoun of glaze. Soetes even coats of glaze ae itentioa. oweve, too muc glaze ca be uite pobemaic especially if i setles toward he botto of the piece During rg  hick glaze can run oto te ki shel Whe yo're finished pori g, hold he piece just side te glaze bce ad shake of ay excess glaze beore setting the piece dow to dry If you wat to aso coa he  teior o the piec e, por
 t and roate the ware til t he etire n sid e is coaed  Wat i e nough gaze o coat the et re sace
o moe ta hree secods ad the pour he reani g glaze bac ito he glaze bce B e carel ot to le oo c g laze colec in e boom of yo piece . f yor pece s lage eno gh at i aes more ha ree secods to coat the nsid e, wipe a we spoge aod t e boto o e p iece before you stat Ths prevents te boto fro absor bg as  ch glaze, so youl  have ore ie to swil the glaze arou d te om's wall 
G L A Z  N G
he easiest way to place glae in specifc areas is to brush it on.
Brushed aze
B rsn g can be a oe ceaiv e approac to glaze decoratio S pontaeou s oveent of a brs stroke ca give caracer o a bank s urface
 Yo can eve ayer
brus sroes on top o a dferen, yet copaibe, base coa glaze Don' make te gl aze too tick If yo' re glazig a large area, use a wide bs ta will cover muc o e aea i  a few stokes. og i brses ca d ace ac oss te su race of a pie ce, o make a g esua expesson Apply wo o tee eve coats, leting te work d y ate eac layer is added. e ao nt of glaze app ed can vay depending on te in dividal glaze ormula and e desired eects. I yo're u ncerta about ow muc to apply, est te glaze rs.   a est piece , a pply two coats i on e area  ree coats to aote secio ten our coas o e reainig seco. e drecios o os co ercial glazes recome d wo o for coas. I s ma l areas yo can bypass tis tie  cosig pocess by loatng e gaze Satrate e bs ad a pply it o e s rface to ceate a aage abe pool of glaze
�
Reload te brus frequenty o oat and coa one
perec, eve app lcaio 
hoose a long plump fuffy brush that can hold a lot of glae.
113
114
G A  N G
 TROUBLESOOTING he rests o a g aze fiing can leave you eeli g elaed .   or bafed. Eve wih poper knowledge and preparaio, proble s ca occur. e res a list of possible causes and sol ios o coo glaze deecs
rawng
razing
n hlng
Durig fi ing, he g laze ca p l away
During the firng a d coolng process
iy oles o pis i te glaze s rface
fro he clay body. Yo ll see a neve
both clay and gl aze expad an d
is a deec kown as pinholing hese
surface o poos or beads, known as
conract. Whe  he glaze doest i o
ip eecios ae su ally a esul o
crawling Some gl azes are folaed
est properl y wi  he clay body, yo
applyi g too much gaze o firng oo
to ceae his ineresing texure for
get crazing Alhog ths is techcally
as. I  ote words, yo heaed he ki l
sclpta orms, b his wouldt be
conside ed a defec, some glazes a re
oo ckly o te volatile gases i side
desirab e for food ware As di scussed
acuay ormulated o craze or crackle
o escape I th s stuaio te glaze
n Ware repaation, g laze st be
Its a lovey aged look b und esrable
doest ave eogh time o atre n
appl ied to a clean srface. I  heres
fo ood wae be cause hose ti ny
he uure, ry coatg he wae with a
ds or oil on te clay, prope ad eso
cracks ca be a aven or bactera o
hi e  layer o gaze ad en re the
cano occur. hs is oe of e causes
avoid crazi g, choose a g aze tha has
wor at a sl ower ate
of cawli g he proble ca a so occu
a compatble i g rage wh he clay
wen the glaze is too hic.
body. Also, preven he hera  sh oc that cases craz g by ever opei ng the kil  when the teperatre sde exceeds 200°. Bstering Blisering causes bub bes a d craters in he gaze s rface Is ofe a
sg o a hc glaze that hasnt ared or has been unerfire no heated to a igh eog temperare). Blistering can aso be caused by a glaze tha has been overire To preve his deect, use a thin e glaze applicaio and ae sre the kiln is rig properly P poit any probes by sng pyroetrc coes see page 1 1) o help m onito the accracy o a kil ns atospher c rg tep eaure
115
Firng Whether yoe been workng with clay for years or jst a few days ts lkely that yo get a thrll openng a kln and seeng your newly fred work. Een eteran ceramsts admt that theres an element of srprse in ths argely scentfc p rocess
IN O RDR FOR CAY TO BCOM A CRAMC MATRIA i
firin g urs a oe-dy cay form (greenwae o
m s e fire d You pl ace yor cay for ino a k ln
isq e ware i's ofe cal ed  isqe-rig . You
wih oer fors and he a hem o wha a non
ae hese isqed ies ou o e kin  pehaps
cerais would conside r very high e peaures
add srace decoaion and nishg coaigs ike
over a exeded period of me. Tis ie in he
glaze and en load he ino he kiln a gai This
ki  ca ed ig cases he clay o undego a
secod firng (ofe called glae-firi g perma nenly
molecuar change called q uaz i nverso whic
axes he coaigs o he sfaces o he peces
uns he cay o a cerami c aeial .
Soeimes ee's a hidor even o rerigs
In a shell en firing s ao makng a pece
o acheve e look you wa.
of clay harde and sroger   here's  ch
he way ha you ap poach  ig is o a g rea
more o he process ecase rig c a aso
exen deermi ed y he ype of iln you'e sin g
hel p yo permae y use gaze o a orm's
(o gain a u ndersand ig of e ypes o kis  see
srface o a an earier sage i he process
page 22 Mos eginerand soe pofessioa
prepare a for o accep a glae o oer surace
ceramiss se an elecic kiln or his easo e
reame. Fii g is ' a onesep process.
process descied here focses on an eecric
Depedig o your piece ad e desed fiish
il  fir g. A he ed of hs caper soe oer
a orm ca nd ergo wo or oe firings  A ini ia
common firing m ehods are explained
116
F    N G
ad glazes ust be fied o ger a
Wae tat's coaed wi a raw
e speci c tepe raures tey've bee
 nred) glaze re res extra care wen
orlaed o.
te pieces are oaded fo a glaze-ri g
I yo've looked s ide a kl n
See page 1 09 for gidance o  applying
yo're probably wondeig ow o
gaze to a wae Tat page aso expa s
load e wae because te camber is
ow to coat te botom of a pece
bascaly jus a open a ea Dependig
wi a i i d wax resst. is resist
on e sape and rig sage, some
pevents a piec e fro stcki ngofe
pieces can be stacked on op o oe
permane tlyto a kn sel
a ote. Te rest of te work can be
red glaze is fragile, so adle
accommodated by isertng kn selves
te pieces caefuly Ay paces yo
a are el d i place wi poss ad
dsrb e glaze even wit a ouc
stilts ese kl accessories are ix
wil be visible o e piece ae rig 
 PREPARATION AND OADING
ad atc, so you ca cofigu re em
a e sre tat t e pieces ae spaced
F s you eed to buil d enoug  orms
o best si yo ee ds. Inse rt selves
a leas  ic ( 1. 3 c away rom e
to ll e kl . I's a realy bad idea
as yo pack e k, staggering tem
il walls, posts, and ote work G aze
to ru a iln wi ony oe piece in it
or suciet air cclation.
sicks o ayti ng it oces d ng e
becase 's a wase o eectricity o
age tiles or pl aers tat ave
fe A fl ki a so protects yo ware
a sgnifican boom suface need to
fro ea soc, wic causes
ove freely as tey sr ik d uri g a
surface cacks wen e ware cools too
bisue r ig . You can el p te move
i cky. D urng a cool-dow pase of
aoud by spreadin g grog on te se
te pocess, wares n te iln gradually
we reve yo wan o place s c a
elease e  ea ey absobed we
piece Gog's sadlike partces elp
te i l was gei g oter, tu s
e wae sit aog te se  wiot
eglaing te temperare.
resisance.
lay orms a ae under going
Wi greenware, it's iportan o
a firs firing s be boedry see
a ow sufcien a iow between e
page 15) we tey're placed i e
pieces ey can ouc, bu so ldn' be
kil If oe isn't dry eog, i coud
packed oo igty. Crowding iterferes
expode we n eaed Yo do' wat
wi eve ea distribi o Star by
tis to ap pen becase e detrtus of a
placi g l arger peces at te botom of
poblem piece ca damage te kil ad
e k ln. Wae ca be placed o n top
te oter ware.
o oe anoer, bu oo c weigt
All d ieet types of clay ca be
fiing process
staced o a lower pece can case it o
fied togeter o an iitial bisuefirng
break Inver and stac plates ad b owls
Wen g aze-fiing , owever, te clay
rim-o-ri
Phoo
byDavid Gamble
    NG
 ADDING A CONE Leave roo i you r ki n o a pymetric coe his s a pyramid-shaped piece
o ceramic maerial (soemes a pyroerc bar is sed istead tha yo se o o io te condiio side a kil tats firig Each cone (or bar is desiged to mo nitor a precise temperae ove a speci c len gth of tie . When it eaces the maturig rage (optial conditions, the ip
beds, sowly ove about 20 mines. Inoaion thas sa lly c luded wit the box of cones yo p rchase gives you a ge ea i dea whe its me to start
Ec K. Phoo couyof SuK
oitorig yor kil Th e coe tha you p in te il s seleced according to te rig
• TE FIRI NG SC EDUE
temperare o he ype of clay ad
Yo don jus fill a ki n wih forms, flick
gaze you have sed . ook a the
a swich and wal  away.   order or he
kin dli g Afte oadig the ware, yo
package hat yor clay came in h e
clay mateial o becoe cera icor
leave he k s id slig hly ajar and he at
aufacrers abel wl sualy ell
for a glaze o fuse propely o a bsq e
it at the lowes possibe setig for or
you te stable cone as i dcaed by
fired sracehe eperare of e
o sx hos. hs dies the greeware
a umber Low-fire earhewae, fo
kil  s be raised sowly, hed a a
stl oe
example, gee rally res at coe 04
peak temperature, a d  e lowered
oe 022 is for he owest emperate
n a coroled ashon Tis procedure,
o rise faser d rng a g laze-in g, as
of 1 1 2F (600. one 1 3 is or
kow as e rig scedule, d epeds
copared o a bisqefirin g, an d hee
the h ghest teperature o 2F
on the clay body and he ype of kiln
isnt an nial indli ng . You sustai the
(1346
The ere rng cold be a n overight
peak temperatre fo a specic lengh
process, or tae several days, dep edi ng
o ie, whic s called givig the kiln a
and time-setting devices should nclde
on the size of the i l . Is most
soa, to alow glaze to flly aure
a coe n every fir ng I fact, soe
mpo rant at yo follow the specific
I ay type o kn rig, yo
kils a re eqip ped with a k ln sitte
nformatio in he kil aufacues
always want to mon ior he pocess
w ch shs of he ri g when a cone
anal.
Never le ave a i ln u atede d Even he
Even ki lns hat ave epeatue
bends he desired aont.
A compuerized electric ki n wil l
A bsqueig begs wth a iital
Te teperaure is s aly se
ost odern copterzed kils ca
adjst ad hold inerio teperatres
alncio This a lfncio can esult
as progaed Wih a au al kil 
i the kin overheatig, ruing he ware
oweve you co ld be adusi g the
iside, e ki tself, and eve causing
teperature six or more ies over
a re
ervals o oe, fou, or more hours
117
118
F    N G
 OTER TYPES OF FRN G Pit rig is a simple, prii tive ethod. D g a hole i he ground thats large eog h or the waes ad combsibles l ike stcks, eaves, ad someies d g. Ware goig  o the pi  is oten pai ned with terra sig il aa see page 1  and fis bisqed a a vey low empe raure to keep the clay open poous. Te pieces are hen estled n the pt among e combstbles Whe the pi is ig ited, the carbon o te br ig ater as
A it for  rig ca easiy be dug i your ow yard. hoose a oe site where you ca safely cotai the fire ad check ocal ordiaces before diggig o r burig
pass ove the clay sraces, ceati ng adom, oganic patters. A fie wih
o bisque-red pieces Redcio is
flames is't he goal  Instead, you want
a ge eal te sed o id cae the
the pt to smoder o several hous,
uel-o-oxygen raio i nsde he c osed
ad he cool dow enoug h to safely
atosphere o he kiln .) he gas-fueled
nea th he wares.
rak ki i s ypically a sal oe, and
Artists who wood re ake g rea
heats to aroud cone 0 i n abot 4
pide i his log, laborous pocess
i tes, whic is very ick n ce the
Te wood-red ki ln is typicaly a large,
glaze has maured, the il is opeed.
and-bu it cha be tha brns a leas a
The he glazed ware is etreved ad
cord of wood  a sg le firg  Te firing
se in a chambe r sc as a pit or etal
ca ae 20 o 30 ours ad eu ires
can ull o combustibles li ke sawdus
consat moiorig The buring wood
or newspaper. Tis p ocess in dces
trs to as and is all owed to res on
hermal shock, casi g intenioa
the wares, ofe prodc ig r ch, earthy
cacs n t he s ace o soe types
flashes of color o te su rface Sch
o glazes nce ignied, the chaber
flashes ae te hal marks o he wood
is sealed, hus al lowig cabo o
fiing process
peetrae the bare clay ad urn it blac 
Rak s a ancient apanese firg
arbo also interacs wih glazes tha
pocess that uses a l ow-fire edcio
cotai copper ad creaes beauifl
ethod o add n que suace eects
ases o metali c colo.
119
Templates GEOMETRC VESSEL, PAGE 60 Enlag 25%
CARVED LANTERN PAGE 63 Enag 285%
p
f Base
 cut 1 fom cardstoc
 ct 1 fro cardstock
 cut 3 fom clay
 ct 1 fro clay op
Base
 cu 1 ro cadsock p
 cu 1 ro clay
Tp
Wall
Wal
 cut 1 rom cardsoc
 ct 1 fo cadstock
 cut 4 rom clay
 ct 3 fo cl ay
Sid
Sid
Sid
Sid
oom oom
12
 E M P A  E 
BRD SCUPTURE, PAGE 75 Elag 2%
Bdy Nk
� ct 1 fo cardsoc � ct 1 fo clay

Base
� cu  rom cardsock � cu  rom cay
Botto
ai
  M  LA 
p
NESTING BOX, PAGE 79 Enag 2%
p
f
c  ro cardsock c 2 ro cay nt an Back Wal
 cu 1 rom cadstock cut 2 rom c ay Botom
p
Botom
Se Wall
cu  rom cardsock cu 2 rom c ay
Base
cu 1 rom cardstock cu 1 rom cay
Boom
2
Recipes ere are a few recipes to whet your appette for mxn your own slip, base, and more. Before makn a selection, note the type of ware that t's ntended for and always consder the ware's frn temperature. Wi e exception o te Patin a Was and Terra Sigil aa, e nu mbers in te ing edents are percenages of te total wic en abes ceamists to mx any vole de sied oreover te glazes can be altered by adding recoended percentages of colorants to ceate an excing palete Te n gredients o al bu one o ese recipes (e tera sigil lata) are easu red by weg. o mix p a recipe yo' l n eed a scale, two buckets a ixe ubber gloves, and a ask or respirator M easure te dry ing redens into a bcket and mix n en oug  waer o acieve e consstency specied in te in strctions Pour e liqu id og  a seve tas resing on te second bcke.  f necessay p s e glaze rog te sieve wi a rbber r b. S ieve one m ore time. e e conens rest o 4 ours beore application to a for
R  C    
• WHITE SLIP, CONE 41 A to t-d  Feldspar Kaolin (EPK) Flint Bentonite PyrophylI ite Total
25. 5 5 . 5. .
• TERRA SIGILLATA, CONE 84 A to o  -d  2 g  ml 25 g
Ball clay or red art clay Water Sodium silicate
Mix e ingredien s wel in  lrge, cl e glss conin e, nd le he conens sele for 24 ho rs Te m ixe wil sele ino ree disnc lyers Sipon of e op lye o we nd
Sieve nd mix he in gedens o
dscd i he mi dde lyer is he err sigil l; siph on i no 
he consisency of spli pe sop
lidded conner iscd e boom lye
• PATNA WAS A to  qu w.  This recipe   by
• JACKIE'S BASE, CONE 4 A to qu w.
. Oxide o r stain Kaolin (EPK) Frit 32
Gerstley Borate Flint
  
part
Kaoin (EPK)
part
Nepheline syenite
par
Lithium Total
3. 2. 5. 5.0
 .
l : Add 2% cobl crbone : Add 3 % copper cbone nd 2% ed ron oxide  l: Add 4% ed ron oxde ix he i ngediens, ddi ng en ough wer
Mix e i ngrede ns o he consisency
o chieve e consisency o berik,
o skim  i k
nd hen sieve
• GLAZE BASE, CONE 1 A to q u w. Flint Kaolin (EPK) Feldspar Whiting Total
25. 5. . 2. .
• CLEAR GLOSS GLAZE, CONE o&-04 A to qu  w. Gerstley borate Flint Kaolin (EPK) Total
65. 25.  . .
l  Add 2% cob crbone l : Add 2 % cob crbone
  Add 3% cop pe crbone
: Add 3% copper cbone
l l Add 4% red ron oxide
l l Add 3 % r ed ion oxi de Mix e ingrediens, dding enough we o cheve e c onsi sency o bei k, n d hen sieve
Mix e in grediens, d din g enou gh wer o chieve he conssency o bueri lk,  nd hen sieve.
Glossary of Ceramic Terms Alumna. A stabiliig ngredient sed in
Cone A elogated pyramid of ceraic
Glaze. A liqui d  ixture cotai ing a
glaes at ave a ig h melin g poi
aerial omulaed to bend ad melt at
glass former hat s appied o te
a specific emperaure n a kln ri g
srface o a clay body. Oce  red, it
Armatue A ramewor pon whic a
clay scupure is bult. Banding wheel A mobie turntable ta
enables he a ts to reely tr wor witot andling i. Bat. A sall ware board o w ic work
is ade transported ad d ied. Bsque ware. Cera ic maeral hat as
undergoe a low iniia firing process to prepare t for gazing. Bunishing A nisng process
Deca An mage ade from chia
paits hat i s aserred oto a ed glazed s rface ad fired bewee cone 0  and cone 01
clay body to exrize and to decrease
Eahenware. A coo clay body ta
ares a a low te perature rage Engobe A ype o sli p use d to decorate
he sface of a ceramic for
ha turs clay into a ceraic materia 
srkage ad wapage Hand buildng Consrctin g wor i
clay by pcing , coi g, or shapg ad joiin g slabs , wthou the se o a poer's weel. Kn A devce sed o fire ceraics.
It i s also used o fse glae a d oher
Kn wash. A mi xe of refracory
decoative ateria ls to te clay srface
mateias coaed on il  fr ure o
process gives the aeral stregth a d
Fit. Te aderece relationship a glae
permanece
as to a gven cl ay body
Chop mark An i prit i clay made
Foccuant. An addtive sed o hel p
by a samp wth a personal si gatue
preve igredi es o setli ng  
or mark
a gaze
Cay A type o pulverized rock combi ed
Fux. ateral ats used to lowe te
wit varous organic aerials Wen
elg poi o a gae ad to elp i
fired clay podces a ceramic medi
use to  e cl ay body
Coddle. Raises wo for access o te
Foot The base o a ceac sculpre
underside.
or uilitaia object to give ift or sabiliy
rolled pieces of clay
Gog Sad like pa ticles of red clay
he vscosy of a liu d edu 
dry clay to a pois ed shi e
Coing A andbild ig ecnie si g
Geenwae. An u ed clay fo.
graded  vaous sizes t is added o a
Fing. The essenial eatig process
a stae o ceic a coveson his
permaet coatg.
Defloccuant. A add tve used o lower
invoving ru bbng leaher-hard o boe
Ceamc Cay tha as bee fired to
uses to he ceramic s uface, creaing a
o the orm Ft A type of ux maufacred o
el at specific epeatues.
proec it fo mel tig g laze Mod. An object use d to give cay
srcte o denit ion  ca be in he orm o a slup   p sprig o r press mold . Oxide. atural maeial sed o color
clay glaze ad oher decoraive medims. Patna. Coloed was s ed o sain a
bare ceramic suace. Pnchng A had-buildg mehod of
sueez ng clay bewee fing ers and hu mb to orm a scl ptre or po
G L0  Y
0  C  M  C   M 
Plasy he stae o damp c lay with
Slab roe A mechancal device sed
Vsosy Te resistence o ow in a
a cosisency pliable eo gh o be
to for s abs of clay
liqid
Slp A liquid orm o clay coaed on a
Vraon Te process whe a
clay su rface for decorative eects
glaze or clay body s ed to a dense,
formed  der presse witho crackg o breakig Porelan A whe rascent high
fie clay body capabe o reachng he
Spr A ow-elie decoraio aen
nonabsorben sage.
fro a sal mold. Its appled o he
Ware board A obile, poos
surface of a o w ile bot pi eces are
fla srace sed as a base wen
stll ost.
constructg ad transportig wor.
San A an acured coorant sed o
Warpn  ntended bending of a
tint nderglaze, slip ad glaze ans
form caused by rapidly dryi g o firng
Pyomeer A devce sed o easure
come i a wide variey of colors ad a e
a pece
te interi or emperatre of a kn 
ore eliabe tha natural oxides
Refraory maeas Conten used 
Soneware A dese, hig fire clay body
clays, kl fture and ki l  slaio
thats suitable for food ware
g hest vtreous stae. Porosy e sae of clay fired o a
ow temperare; pores remai ope n eogh for waer o seep troug.
that resists hig  eat and eltg  Rm he li p or top edge o a for Safo A decorative tech ique
te finest cay partcles, w ic prodces
workabiiy
a sati shee
sli p o evea a contrasing clay coo
exposig a ce ramic for o extree
derneah
teperature chages can est i
temperare Seve A wire esh tesi l o stai
iqi d decoraive medis Sla Te most coo glae
ng redie tat acts as a gl ass omer Slabbn A handbuidng metod using
shees of clay in vaios hicknesses o form a tie scul pure o pot
Wedn Kneadn g clay o x i
toroughly, emove air, and iprove
Thermal shok A pocess o quickly
as it dres ad s red to a give
bisqe ware o bloc glaze absorpio
Tera sllaa A decorave coating o
ade by scratching though a laye o
Shnkae The rae cay shrinks
Wax ess A coang has appl ied to
cracking or bea kig of te surace treatmen Undeu egaive space c ito
a om to creae a overhag, to be avoided when making stamps or olds Undelaze A decoraive medium
appl ied to greenware or bsq e wae sed alone or d er a glae
125
Contbutng Atsts len, ll Porland, Oregon Page 33
sher, rank ames Milord, ichiga Page 84
Km, yung-n orrace, Calioa Page 67
hess, hrs o Venon Washi gon age 67
Balard, lce Greenville, So Carolina Page 3
sher, ynn Bellaire Michigan Page 83
Km, ae-n og Beac, Caliorna Page 67
rre, Sue ivigson, Monana age 56
Berg, ache Taconic Conecicu Page 8
rehe, aul shevile Nor Carolina Page 0
Knutsn, Barbara Woodsoc Vero n Page 83
sdale, ames sn  Texas age 4
Beyeler, agge ae Sana e New Mexco Page 85
rtts, ebra oswel Georgia Page 
Kubae, ancy erodon, Norh Caroa Page 105
Waker, ly andolp Vermon age 5
Bdwel , enney enver, Colorado Page 3
entthes, arl Seagrove, Norh Caoa Page 3
ee, yntha Barnardsville orh Caoia Page 104
Wee, ngng N ew Yo , N ew Yor  age 33
Burke, ynne Harwell Georgia Page 05
nzalez, rthur laeda C alforia Page 5
endes, enny Cheseland Ohio Page 4
Wech, ran shevlle, Norh Carolia ages 45 56
ave, arn radelhia asas Page 57
ranads, uan Lbb oc, exas Page 3
cklw, nathan Evergree, Cooado Page 8
Westby, ars Baore Marylad age 43
lague, sa Baesvile, orh Caoia Page 
regg, Barry W. eca Georgia Page 03
cklw, Vaere Evergree Coorado Page 8
Wlsn, ana el Mar, Caifornia ages 85 103
ughln, atrck Gaiesvile, Florda Page 04
arer, dwards shevile, Nor Carolina Page 
erantzz, Sand Phiadelh a, ensylvana Pages 56, 5
Wunderlch, ans ars Coubus, Ohio age 3
ls, eldy Edwadsvie Ilinois Page 05
amesn, Kerry ondon, Uied Kingdo Page 4
Sev n, an cy Bereley, Ca iforia Page 103
verett,  enn fer  Gorha, Mane Page 83
Kerrgan, hmas ucso iona Page 3
Smth, Wesey  Knoxvill e, en essee Page 45
nnerty, Kathryn Peasa Hill Orego Page 85
Keer, Krsten Baldwinville Massachses Page 84
Summerfeld, z t Baersville, orh Caoina Page 57
About the Author W  E N SAY AMBER FR ST TOUCHE CLAY
e wa rpred and
deli ghed. Si ce ha day mre ha 17 yea ag wrking wh clay and eachi g i yeie have becme he gea pain f he  fe Say i a ceac a wh wk excuively wih ad-bu il m S he hld a degree in ceram ic f Rin gli ng Sc  Ar and De g c pleed a hee year reid ecy a Odyey Cener  he Ceram ic A, and received a chlahip  Waerhed Cee fr he Ceraic Ar Say wned and peaed he Cll ecive an d SudiGal lery where he ag clae ad craed ceamic exibiin. She ve n Ahevie rh Caria
ht byCag Ch
A a acive ari ad eacer, h er w i dip ayed i  ga lerie a d pera ne clecin a na ly.  ee re  Shay' wr vii h er webie a shayambecom
ACKNOWLEDGMENTS I WOULD LKE TO TAK TE FOLLOWIG PEOPLE FOR TEIR ASSSTAE  MAl<G TS BOO< POSSBLE:
• My m her, Eane Rech w ha give e ellar guid ace ad  haed er grammaica experie • Davd Bolt fr h ngn g paage ad many year  believng in me  • Ma Beson fr peni g a y dr f pprniy n y career; • My be fried  Tom Metcal wh re ded me  augh during e ge  ie • C r a g C h i l d s , f he uppr, aiance ad paience ha we abve ad beyd he cal  dy; a d • My faher Jesse Reich wh gifed me wih e abi liy  eac.
SPEIAL TAl< S TO TE TEAM TAT ELPED MAl
Th Gai e Thy  aey, Sua Hxley, Seve Man Kaheen cCaery, ahalie ru eh Swee, S ua nne T rill  Marg Wall  Fran Wech Cri rya, ef Haln, Jacke Kerr S ha n Ykeey