Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
Ceramic
Workshop
Handbook
Pottery Tools and Studio Reference
1 www.ceramicartsdaily.org
2008
Workshop Handbook
Publisher:
Charles Spahr
Editors:
Bill Jones, Pottery Making Illustrated
Sherman Hall, Ceramics Monthly
Assistant Editors:
Brandy Agnew, Jessica Knapp
Production Editor:
Cynthia Conklin
Editorial Assistant:
Holly Goring
Advertising Manager:
Mona Thiel
Marketing Manager:
Steve Hecker
Online Editor:
Jennifer Poellot Harnetty
www.ceramicartsdaily.org
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Welcome Contents
Often, in addition to heaps of inspiration and new-found 6 Perfect Plaster by Vince Pitelka
motivation, what we take away from workshops are the little Whether you want to slip cast, press mold or just make a
drying bat, mixing plaster correctly will make the difference
tips or techniques we never considered. Sometimes just one between success and—well something less than success.
small improvement or one new idea we take away can be
enough to justify the entire experience. We have handouts 8 Clay Tools: Forming
Ingenious gadgets and techniques to make studio life easier
from instructor’s we keep around our studio sometimes for and maybe a little more interesting.
years, and we refer to them often.
14 Dividing Web by Sylvia Shirley
There is only so much a presenter can fit into a workshop, A popular time saver, this handy tool is indispensable for
and there is only so much information our brains can process sectioning the surface of a pot.
and retain in a short period of time. Since most workshops 16 Colorant Chart by Robin Hopper
span anywhere from a few hours to a few weeks, the extended Unless you use no color whatsoever in your work, you’ll
want to keep this one handy on glaze testing day.
experimentation and exploration usually happens afterward,
in your own studio. It’s our hope that this publication serves 22 Clay Tools: Decoration
not only as a reminder of your intensive workshop experi- Simple items you can make that will let you spend less time
preparing and more time decorating your work.
ence, but also as a spark to ignite interest in other avenues
of exploration. 26 Kiln Firing Chart
What happens in a kiln, and when does it happen, and why
The tools and reference material offered here are acces- do you care? Look no further for the answers.
sible enough to be applicable to all kinds of work, regardless
of your current skill level or experience, and they’re refined 28 Using Cones by Tim Frederich
If you’re going to bother to spend the energy and hours
enough so that they may promote experimentation or discus- making your work, you should spend the energy to learn
sion at your current workshop. how to fire it properly.
cover images:
2008 top: Participants at the Metchosin
International Summer School of Art
Ceramic in Victoria, British Columbia, Canada.
Workshop middle (left to right): Processing
Handbook native clay for handbuilding at Mesa
Pottery Tools and Studio Reference
Verde National Park in Colorado;
a participant at Hummingbird in
Jacksonville, Oregon; Steven Hill
demonstrates slip application at
Springfield Museum of Art in Spring-
field, Ohio; Brian Taylor throwing at
Haystack Mountain School of Crafts
in Deer Isle, Maine.
Brought to you by the publishers of bottom: Ted Saupe details a piece at
Santa Fe Clay in New Mexico.
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Perfect Plaster by Vince Pitelka
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Clay Tools: Forming
Squeeze and Score After the clay is removed, the shavings underneath dry out and are
With a little squeeze, this tool ready for the next batch. I use a clean canvas for each clay type, espe-
automatically supplies water to cially the white ones, to avoid contamination of color or texture. A note
the clay you are scoring to make indicating clay type is taped to each bucket, then moved with the clay
attachments. To make it, you will as it dries so I always know what clay I’m working with.
need an empty glue bottle and a I hose off the canvas outside over a bush or under a thirsty tree.
piece of coat hanger or heavy wire That keeps our plumbing free of clay. The wood shavings go on the
that is 1 inch longer than the height compost pile.
of the bottle and slightly larger in —Heather Bartmann, Fort Collins, Colorado
diameter than the hole in the cap.
Sharpen one end of the wire with a Don’t Sweat the Drying
file or grinder and insert it through I am a part-time teacher and ceramics artist, and part-time home-
the hole in the cap. You will need maker (or as I like to think, “domestic goddess”).
to cut off the stopper inside the Sometimes when I have the time to work and need to trim, but
cap first. Bend the blunt end of the my pots aren’t dry enough, I will set them on the sweater shelf of my
wire at a 90° angle so it rests against
the bottom of the bottle (this will
provide stability when scoring). Fill
the bottle with water and squeeze.
Drops of water will run down to the
tip of the wire wetting the clay that
you are scoring. If water does not
squeeze out, just move the wire left
and right to make the hole bigger
and try again.
—Paveen Chunhaswasdikul,
Gadsden, Alabama
Quick-Change Artist
For throwing mugs and small bowls, I use a quick-change bat
system. To make one, you need one square plastic bat that attaches
to your wheel head with bat pins, PVC molding from the hardware
store, PVC cement, and some commercial 6-inch-square terra-
cotta tiles. Cut the PVC molding into two 5-inch lengths and two
4¼-inch lengths. Place one of the terra-cotta tiles in the center of
the plastic bat and dry-fit the PVC molding around it, leaving two
corners open to make it easy to remove the tiles. Glue down the
molding with the cement and let it dry. Remove the tile from the
assembly while it dries or you won’t get it out later. Once it’s dry,
mount the plastic bat on your bat pins, insert a terra-cotta tile and
throw your pot. You can quickly remove the tile and insert a fresh
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Clay Tools: Forming
Sponge Brush
For making a sponge-
on-a-stick, I use one of
those 3-inch-diameter center section of sponge
round yellow sponges. I
cut off about 1 inch on
opposite edges and glue
an old paint brush into
the center of the remaining
sponge using Superglue.
This gives the sponge long,
sharp edges that reach all
the way into the corner of
a pot. The two pieces that
are cut away are excellent
for fettling excess glaze
from the bottoms of pots
and smoothing rims. Since
they are triangular at their
ends, they can easily get
into tight corners.
one for your next pot. A terra-cotta tile costs about 30 cents, so it
—Eugene Prial, Westfield, leftover sections
makes a really cheap bat.
New Jersey
—Sylvia Shirley, Pittsburg, Kansas
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Clay Tools: Forming
Serious Play
A tool that has become an indispensable part of my studio, and
that of several friends, is a simple, economical childs toy. My wife was
watching me work in my studio while I was handbuilding a small piece,
attempting to roll out a small coil to caulk a clay joint. She mentioned
that I should use my daughter’s Play-Doh Fun Factory to form the coil.
How simple.
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Dividing Web by Sylvia Shirley
This handy guide makes it easy to divide the surface of any round pot into as many as
twelve equal sections. Whether your decorating, darting, paddling or attaching handles
and spouts, you’ll want to keep a few of these around the studio.
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Dividing Web
The Pointer
The pointer helps
you transfer marks
from the dividing
web to the pot. Make
sure the bottom of
the pointer is square
and the front side is
perpendicular.
Using the
Dividing Web
Center a pot on the
wheel. Draw circles
on the pot using a
red felt-tip pen. Align
the pointer with the
selected line and posi-
tion the Popsicle sticks
to to pot. Tighten the
wing nuts. Make a
tic mark at the end
of the Popsicle stick
using the red felt pen.
Move the pointer to
the next position and
repeat.
Ideas to Get
Started
Accurately marking
off divisions on your
form opens up a world
of potential design
work. Once the desired
number of marks are
made, decorate as
desired, using sgrafitto,
trailed slip, brushed
oxides, etc.
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Colorant Chart
COLORANT CONE ATMOS. % COMMENTS
Dark Red
Copper Vary Red. 0.5%-5% Best in glazes containing less than 10% clay content,
and a high alkaline content. Needs good reduction.
In low temperatures it can be reduced during cool-
by Robin Hopper ing. Good reds as low as Cone 018.
Iron Vary Both 5%-10% Good in many glaze bases at all temperatures. Can
be improved with the addition of 2%-5% tin oxide.
sired colors (note that the color bars are for guidance only Iron Vary Both 1%-5% Use in tin or titanium opacified glazes.
and not representative of the actual colors—Ed.). Colors Rutile Vary Both 5%-15% Many glaze types, particularly alkaline. More suc-
cessful in oxidation.
are listed with the minerals needed to obtain them, ap-
Copper 8-10 Both 1%-3% Use in high alumina or magnesia glazes. Addition of
proximate temperatures, atmosphere, saturation percent- up to 5% rutile sometimes helps.
age needed, and comments on enhancing/inhibiting Orange-Yellow
factors. Because of the widely variable nature of ceramic Iron Vary Both 2%-5% With tin or titanium opacified glazes.
color, there are many generalities here. Where the word Rutile Vary Ox. 1%-10% Best with alkaline glazes.
“vary” occurs in the column under Cone, it signifies that Yellow Ocher
the intended results could be expected most of the time Iron Vary Both 1%-10% Use in high barium, strontium or zinc glazes.
at various points up to Cone 10. Iron + Tin Vary Ox. 1%-5% Various mixtures (up to 3.5% iron and 1.5% tin) in
many glaze bases.
Iron + Rutile Vary Both 1%-5% Various mixtures (up to 2.5% iron and 2.5% rutile)
Red to Orange in many glaze bases.
For the hot side of the spectrum—red, orange, and Vanadium- Vary Ox. 5%-10%Various mixtures in many Zirconium Stain
Zirconian Stains
yellow—there are many commercial body and glaze glaze bases.
Minerals that give reds, oranges and yellows are cop- Praseodymium Stains Vary Both 1%-10% Good in most glazes. Best in oxidation.
per, iron, nickel, chromium, uranium, cadmium-selenium, Pale/Cream Yellow
rutile, antimony, vanadium, and praseodymium. Varia- Iron + Tin Vary Both 2%-5% Various mixtures (up to 3.5% iron and 1.5% tin)
in high barium, strontium or zinc glazes. Titanium
tions in glaze makeup, temperature and atmosphere opacification helps.
profoundly affect this particular color range. The only Vanadium Vary Both 2%-5% Use in tin-opacified glazes.
materials which produce red at high temperature are Rutile + Tin Vary Ox. 2%-5% Various mixtures (up to 2.5% iron and 2% tin) in
copper, iron and nickel—usually muted. Reds in the variety of glaze bases. Titanium opacification helps.
scarlet to vermilion range can only be achieved at low
temperatures. Note: Colors bars are for visual reference only, and do not represent actual colors.
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Colorant Chart
Note: Colors bars are for visual reference only, and do not represent actual colors.
11 www.ceramicartsdaily.org
COLORANT CONE ATMOS. % COMMENTS
Indigo
Colorant Chart Nickel Vary Ox. 8%-15% Use in high barium/zinc glazes. Also likely to crystal-
lize.
Cobalt + Manganese Vary Both 5%-10% Various mixtures in most glazes.
Indigo to Purple Cobalt + Black Stain Vary Both 5%-8% Various mixtures in most glazes.
The indigo-to-purple part of the color wheel is small Violet
but significant. The colorants that produce this range Cobalt Vary Both 5%-10% In high magnesium glazes.
are nickel, cobalt, manganese, umber, iron, chromium, Nickel Vary Ox. 1%-10% In some saturated-barium glazes.
rutile ilmenite, copper, iron chromate, and black stains. Manganese Vary Both 5%-10% In high alkaline glazes.
In short, one could say that the colorants needed include
Copper Vary Ox. 8%-10% In some saturated-barium glazes.
just about the whole group that are used for all the
Purple
other colors in the spectrum. The only ones I haven’t
Copper 6-10 Both 8%-10% In high barium and barium/zinc glazes.
talked about previously in this articles series are umber,
Copper 8-10 Red. 1%-5% In copper red glazes opacified with titanium.
ilmenite, iron chromate and black stains.
Nickel Vary Ox. 5%-10% In some high barium glazes.
Black stains Formulated from a variable mixture of
Cobalt Vary Both 5%-10% In high magnesium glazes.
other colorants, black stains are usually rather expen-
Manganese 04-10 Ox. 5%-10% In high alkaline and barium glazes.
sive due to their being saturations of colorant materials.
Iron 8-10 Red. 8%-10% In high calcium glazes; likely to crystallize.
Various companies produce black stains usually from a
combination of iron, cobalt, chromium, manganese, iron Copper + Cobalt Vary Red. 2%-8% Various mixtures in many glazes.
chromate and sometimes nickel mixed with fillers and Chrome + Tin + Cobalt Vary Ox. 2%-8% Various mixtures in many glazes.
fluxes such as clay, feldspar and silica. I use the following Mauve or Lilac
Kaolin (any). . . . . . . . . . . . . . . . . . . . . 8 Copper 6-10 Ox. 0.2%-3% In high magnesium or high alumina glazes.
Flint. . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Copper 8-10 Red. 5%-10% In copper red glazes opacified w/min. 5% titanium.
100 % Chromium Vary Ox. 1%-2% In calcium glazes opacified with 5%-10% tin.
This mixture is best ball-milled for a minimum of four Iron Vary Ox. 1%-5% In calcium glazes opacified with tin.
hours to limit its tendency toward cobalt specking, and Rutile Vary Both 5%-10% In high calcium and some ash glazes.
to make sure that the colorants are thoroughly mixed. Nickel 018-010 Ox. 1%-3% In high barium glazes with some zinc.
Because any black stain is a very concentrated mixture, Manganese Vary Both 1%-5% In alkaline glazes opacified with tin or titanium. Also
in high alumina glazes.
only small amounts are normally needed to cause a
Brown
strong effect. In a clear glaze, a maximum of 5% should
Iron Vary Both 3%-10% In most glazes.
produce an intense black. In opaque glazes, more stain
Manganese Vary Both 2%-10% In most glazes.
than that may be needed. Black stains and white opaci-
fiers mixed together will produce a range of opaque Nickel Vary Both 2%-5% In high boron, calcium and lead glazes.
grays. Stains, like other ceramic materials, are subject to Chromium Vary Both 2%-5% In high zinc glazes.
the three variables of glaze makeup, temperature and Umber Vary Both 2%-10% In most glazes.
atmosphere. Ilmenite Vary Both 2%-10% In most glazes. High calcium may yield bluish tint.
Outside the color wheel one finds tones of brown, Rutile Vary Both 5%-10% In most glazes; golden brown.
gray and black. These moderate other colors. A color Gray
wheel could, I suppose, include the range of opacifiers Iron Vary Red. 2%-4% In many glaze bases; gray brown.
since they also have a strong role in affecting color. Iron Chromate Vary Both 2%-5% In most glaze bases without zinc or tin.
The toning influence of brown, gray and black is just Nickel Vary Both 2%-5% In most glaze bases; gray brown.
as much opacifying in result as are the white opacifiers Copper 8-10 Both 3%-10% In high magnesium glazes. Warm gray in reduction;
such as tin, titanium and zirconium compounds such as cold gray in oxidation.
Zircopax, Opax, Superpax, and Ultrox. Slight additional Cobalt + Nickel Vary Both 1%-5% Blue gray in most glazes.
increments of any of these colors will render most glazes, Cobalt + Manganese Vary Both 1%-5% Blue gray to purple gray in most glazes.
colored or not, progressively darker as they are added. Black Stain Vary Both 1%-5% Shades of gray in most opacified glazes.
Black
Excerpted from Glazes: Materials, Recipes and Techniques. For the
Iron Vary Both 8%-12% In high calcium glazes—the temmoku range.
full text and complete explanation of these colorant charts, refer to
Robin Hopper’s book, The Ceramic Spectrum: A Simplified Approach Copper Vary Both 8%-10% In a wide range of glazes.
to Glaze and Color Development, Krause Publications, 2001. Cobalt Vary Both 8%-10% Blue black in most glazes except those high in zinc
and magnesium.
Note: Colors bars are for visual reference only, and do not represent actual colors. Black Stain Vary Both 3%-10% In most zinc-free, nonopacified glazes.
12 www.ceramicartsdaily.org
Clay Tools: Decoration
Pinning Parallel Lines This process has several advantages over wax. It is cleaner, safer
I became frustrated by not being able to draw parallel lines in curves and cheaper than waxing. It is reversible; if you screw up your glaze
or arcs on my work when it is leather hard. If I tried to draw the lines job, you simply let the piece dry out and in a few hours you can try
separately, it would never work, and even if I held two tools at once, again. It works better for heavy iron glazes. It is easier to wipe the
one would always wander. I found that a clothespin actually performs glaze off of saturated bisque than wax.
this task wonderfully. —Anthony Merino, San Marcos, Texas
I sharpen the ends you use as a handle (if you were actually using it
as a clothespin) and use these points to draw the lines. They are held at
Spray Masking
a consistent distance
I spray a lot of my glazes and stains, and I do a lot of masking. The
apart, and are infinitely
best thing I have found to keep this spray off a particular part of a
adjustable between
pot is open-cell foam. I use pieces that are slightly thicker than those
open and closed. To
that come in Or-ton cone boxes (although those work pretty well).
adjust the space be-
I hold the foam with my left hand and can get a straight or curved
tween the points, I
line. Also, the foam catches drips when I’m spraying up close. It can
put various small cy-
then be rinsed out and reused.
lindrical objects in the
—Diana Pittis, Daniels, West Virginia
groove of the “mouth”
of the pin (pen caps,
pencils, dowels). The Mini Blunger
larger the object in the I am pretty lazy
mouth, the closer the about blunging, and
lines become. This tool because of an arthritic
has become a staple in condition, stirring lit-
our studio. tle batches of cement-
—Ken Magee, hard slip becomes
Talahassee, Florida. quite wearisome very
quickly. I recently
found a wonderful
Fixing Finger Fatigue device to help me
I recently attended a
do this: an immer-
wonderful clay workshop
sion blender—one
focused on the sgraffito
of those handy-dandy
process of decoration.
drink mixers that has
Because this involves
a wee, tiny little blade very handy,
very controlled carving, very fast,
and generates a tre- very sharp!
at the end of the day ev-
mendous amount of
eryone was complaining
agitation while turn-
about finger strain and
ing fruit into puréed
calluses, especially as the
smoothies. It only
clay surfaces gradually
costs about $10. It’s easy to clean
dried, making it more
and thoroughly works over the most
difficult to carve.
gloppy, dried-out glazes and slips.
I have made a comfortable device that will ease finger fatigue and
Just add some water to the dried
calluses: I slip a 1H-inch plastic straw over a tool, with H inch of
slip or glaze and whiz away!
the blade sticking out. I then slip a pencil grip over the straw. The
The device draws quite a suction on the bottom of a container, so
straw supports the grip beyond the handle, so your fingers are closer
be advised that a sturdy container is necessary. And the tiny blades
to the working tip.
are very sharp, so be careful!
—Ellen Kong, Durham, North Carolina
To clean the device, simply place the stirring mechanism into a
container of clean water and whiz away! Any residual glaze or slip
can be wiped off with a damp sponge. What used to take me twenty
Turning Water into Wax minutes now takes about three minutes. Happy blunging!
Try using water instead of wax as a resist when glazing. Simply —Lisa Reiser, Greenwich, New Jersey
set out a tray with about G to H inch of water in it. Set your piece
in the water for at least two minutes. Glaze sticks to bisque primar-
Mini Tongs
ily because the water in the glaze gets absorbed into the piece. If the
bisque ware is already saturated with water, the glaze will not stick. When space is limited, a pair of staple removers make great
It can simply be wiped off with a wet sponge. miniature glaze-dipping tongs. They fit inside the palms of your
13 www.ceramicartsdaily.org
Clay Tools: Decoration
hands, so they can be more easily maneuvered in a glaze bucket than pipe), which pro-
regular-sized dipping tongs. Don’t forget to round off the sharp teeth vide a rigid back-
with a file so they won’t scratch your bisqueware. ing when applying
—Paveen Chunhaswasdikul, Gadsden, Alabama a texture to the
slabs. A piece of
newspaper placed
between the form
and the clay will
prevent sticking
when removing the
support. Stamps
also can be made
by throwing a cy-
lindrical or conical
form. The center spout is pulled up first, then the outer wall is then raised
to form the working surface of the stamp, which will be carved when leather
hard. Make sure that the outer
surface is perpendicular to the
wheel head. An extruder can
also produce tubular shapes
for rolling stamps. Just cap
the ends with slabs, leaving
Points have
been filed to
small holes in the center to
avoid scratching allow dowels to be used as
bisqueware handles. Interesting surfaces
can be obtained by cutting
the cylinders into sections
Pencil Pushing and reassembling the parts
When making beads, I use a pencil to push the hole in on one end into different positions.
until the point of the pencil comes just barely through the bead (1). I After bisque firing, simply
then remove the pencil and push it in through the small hole made by roll the stamps over the surface
the tip on the opposite end of the bead (2). This makes a nice, clean, of the clay with the palm of
finished hole. To glaze the bisque-fired bead, I simply insert the pencil the hand while varying the
pressure to correspond to the
width of the stamp. The roll-
2 ing stamp is ideal for quickly
decorating a platter rim. The stamp, held rigidly in a fixed position,
quickly prints out the repeated pattern as the wheel spins. Lifting at the
right moment can be tricky, but a little practice is all you need.
—William Shinn, Santa Maria, CA
3
1
glaze
into the hole again and dip it into the glaze (3). Since the angle of the
hole is the same as the pencil, friction keeps it from falling into the glaze.
You can also use small dowels or chopsticks for smaller beads instead of
a pencil; just sharpen them in your pencil sharpener.
—Kathy Sandberg, Plymouth, Michigan
Rolling Stamps
The simplest method of creating rolling stamps is to wrap a clay
slab around a tubular shape (a cardboard tube, wooden dowel or plastic
14 www.ceramicartsdaily.org
Kiln Firing Chart
Firing converts ceramic work from weak greenware into a strong, durable permanent form. As the temperature in a
kiln rises, many changes take place at different temperatures and understanding what happens during the firing can
help you avoid problems with a variety of clay and glaze faults related to firing.
573˚C: Quartz inversion occurs where the quartz crystals change from an
Dull red glow alpha (a) structure to a beta (b) structure. The inversion is reversed on cool-
500 932 ing. This conversion creates stressses in the clay so temperature changes
must be slow to avoid cracking the work.
Black
400 752 Between 480–700ºC chemical water (“water smoke”) is driven off.
300 572
200 392 Upon cooling, cristobalite, a crystalline form of silica found in all clay bod-
ies, shrinks suddenly at 220ºC. Fast cooling at this temperature causes
ware to crack.
100 212
Water boils and converts to steam at 100ºC. Trapped water causes clay to
explode so keep the kiln below 100ºC until all water has evaporated.
15 www.ceramicartsdaily.org
Using Cones by Tim Frederich
A piece of wood, cut slightly shorter than the interior diameter of a pot’s shoulder,
acts as a handle for carrying and loading the large pot into a kiln.
wood into the pot vertically and, once inside, turn it horizontally and
lift the pot into the kiln. To remove the wood, I simply return it to the
vertical position and lift out. In a top-loading kiln like mine, the inside
of the pot is still accessible, so any unwanted marks left by the wood can
be touched up before closing the kiln.
—Rick Erickson, Green Bay, Virginia
Consistent Wadding
When wadding a stack of plates for wood firing, use a template
and pencil eraser to neatly facilitate glaze removal and stacking. Make
a triangular template
to mark a consistent
triangular template based on footring configuration for the
wads on the foot.
After a plate is glazed,
use this template and
a pencil to transfer
transferred marks with glaze removed
the markings to the
top of the plate. Re-
move a ½-inch area of
the dry glaze at each
wad mark with the
pencil eraser. Knock the kiln and then out of the chimney, not affecting the other parts
down the edge of the of the kiln. We call this area our “soda zone.” We gained effective
glaze around these distribution of soda in the zone with excellent traditional firing
areas with a damp results in the rest of the chamber.
sponge and proceed The placement of the soda-bearing wood must be done with
to wadding. caution as direct contact between the paste and a pot leaves a per-
Although I have manent scar. Soda does make a mess of the kiln floor and shelves,
stacked as many as six so we lay a bed of oyster shells in and around the zone floor, which
Wads should be placed directly above one small plates together, seems to help in clean up.
another to prevent warping.
three or four works —Mark Bollwinkel, Los Altos, California
17 www.ceramicartsdaily.org
Choosing a Clay
M ost potters use commercially prepared clays, and
ceramic suppliers have met their needs by offer-
ing a vast, though sometimes bewildering, selection of
The body color (as well as the glazes) changes based
on the type of firing atmosphere you have—reduction
(from fuel firing) or oxidation. Reduction firing deepens
clays to choose from. If you’re using the clay someone or darkens an otherwise neutral-colored clay body. Some
else just handed you, maybe it’s not the right one for clay companies have duplicated this effect by adding
the work you’re doing. Every clay body is formulated more colorants to their formulas making it possible to
for a specific use, and finding the right one for your achieve “reduction” colors from an electric kiln. Since
needs takes a bit of research and experimentation. the iron and other colorants in a body color affect glaze
There are several decisions to make when finding a color, you’ll need to test your glazes with each body.
clay body or bodies that meet your skill level, tech-
niques and aesthetic. Texture
Texture can range from smooth to rough. Smooth
Supplier bodies contain very small particles of clay, which tend to
Now why would you choose a supplier first? They shrink more. These are best suited for small, fine and/
work with amateurs, professionals, students, teachers, or detailed work. Adding grog (ground-up fired clay) or
sculptors, tile makers, etc., and have solved a wide vari- sand gives the body “tooth,” and the larger the particle
ety of problems. There are three types of suppliers: those size, the less water the piece will need (hence less shrink-
that manufacture their own clays, those that sell clay age). Manufacturers offer a range of bodies that incor-
from other manufacturers and those that do both. And, porate finer particles of grog and sand to get a texture
if you have problems a supplier can’t answer, either you between smooth and rough.
or the supplier can contact the manufacturer.
Buy Wisely
Application Buying prepared clay requires a little judgment. First,
Clay bodies are formulated for different applications. try to find a supplier that is nearby because shipping
Throwing tableware requires a clay body that is plas- costs can add up and sometimes equal or exceed the
tic (malleable) and smooth, while constructing a large cost of the clay body itself. Next, test a sample before
sculpture may require “toothier” (coarse-grained) clay. In purchasing a large quantity. If you’re buying several
many cases, a clay body may be used for several applica- types of clay bodies, suppliers will typically allow you to
tions, but some are highly specialized—raku or oven- combine the weights for a better discount. Finally, buy
ware, for example. Make a list of the things you want to only enough clay to last you a year maximum. Clay loses
do, and you may end up with several bodies to achieve moisture in storage and becomes stiffer, possibly even
the best results. unworkable. You can ask your supplier how long they
have stored the clay. A good supplier will only stock
Firing Range what they can sell within a reasonable amount of time.
Clays are formulated to fire at specific temperatures
within three general ranges: low (Cone 06–2), mid (Cone
3–7) and high (Cone 8–10). Within a range, the higher
Buyer Beware
All commercially prepared clay bodies are made from
you fire, the greater the shrinkage and the lower the
naturally occurring elements scooped from the earth for
absorbency of the fired clay. Low-fire clay bodies (earth-
industrial users. Studio potters do not purchase enough
enware) are easy to work with and fire, and there is a
materials to be a major user, so we have to make do
wide range of colorful glazes available. These clay bodies
with a small portion of what the industry uses (brick
are also used for raku and pit firing. Mid-range clays are
and tile manufacurers, china companies, steel indus-
more durable and include stoneware and some porcelain
try, paper mills, pharmaceuticals, etc.). Mother Nature
bodies, but color is more limited. This situation improves
did not use any quality control when she created clay
each year as glaze companies improve and expand their
deposits, so seams of clay vary from one spot to another.
offerings. High-fire clays are very durable and include
And a mammoth front loader is not a delicate material-
stoneware and porcelain. Color palettes vary depending
selection tool. The good news is that the industry often
on firing atmosphere (oxidation or reduction).
requires a degree of consistency in their raw materials,
Color so that clay mines make every effort possible to provide
Color in basic studio clay bodies results mostly from them with the very best product out there for an intend-
naturally occurring iron and/or iron that has been added. ed application. To make sure your clay meets your every
Porcelain contains no iron, light buff bodies have some needs and your own quality standards, always test each
iron and earthenware bodies may have over 10% iron. batch everytime.
18 www.ceramicartsdaily.org
Primary Functions of Raw Materials
CERAMIC MATERIAL GLAZE FUNCTION CLAYBODY FUNCTION CERAMIC MATERIAL GLAZE FUNCTION CLAYBODY FUNCTION
Albany Slip Clay Glaze Core Colorant Potash Spars Glaze Core (ST, P) Melter (ST, P)
Alberta Slip (s)
Custer G-200, K200 (s)
Jasper Slip (s)
G-200 Custer, K200 (s)
Ball Clay Alumina Plasticity
Opacity K200 Custer, G-200 (s)
Boric Acid Melter (5–6, E) Melter (4–6, E) Soda Spars Glaze Core (ST, P) Melter (ST, P)
Glassmaker
Kona F-4 C–6 (s)
Boron Frits Glaze Core (5–6, E) Melter (4–6, E)
Spodumene Lithium Glaze Core Melter
Melter
(ST, P) (FL)
Colemanite (s)
Gerstley Borate (s) Talc Melter Melter
Opacifier (E, 4–6, W)
Colemanite Glaze Core (5–6, E) Melter (4–6, E)
Melter Volcanic Ash Glaze Core (ST, P)
Gerstley Borate (s) Cornwall Stone (s)
Boron Frits (s)
Whiting Melter (ST, P) Melter (ST)
Cornwall Stone Glaze Core (ST, P) Melter (P) Opacifier
(Low melter, high SiO2) Wollastonite (s)
Dolomite (s)
Dolomite Melter (ST) Melter (ST)
Opacifier Wollastonite Melter (ST, P) Melter (ST, P)
Whiting (s) Opacifier
Whiting (s)
EPK Kaolin Alumina Core (P, W)
Dolomite (s)
Opacity (ST, P)
Wood Ash Glaze Core (ST, P)
Silica (Flint) Glassmaker Glassmaker
Melter (ST, P)
Glaze-fit
Colorant
Fluorspar Melter
Zinc Melter (ST, P)
Gerstley Borate Glaze Core (4–6, E) Melter (4–6, E) Opacifier (ST, P)
Melter
Colemanite (s)
Boron Frits (s) Key: (s)=substitute option
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ALABAMA
Mecca Pottery Tools (Florence) •
South Alabama Ceramic Supply (Montgomery) • • •
ARIZONA
Marjon Ceramics Inc. (Phoenix) • • • • • • • • • • www.marjonceramics.com
Dolan Tools (Scottsdale) • www.dolantools.net
Marjon Ceramics Inc. (Tucson) • • • • • • • • • • www.marjonceramics.com
ARKANSAS
Flat Rock Clay Supplies (Fayetteville) • • • • • • • • • • www.flatrockclay.com
CALIFORNIA
Phoenix Ceramic & Fire Supply (Arcata) • • • • • • • • • • www.phoenixceramic.com
W.P. Dawson Inc. (Brea) • www.kiln-sitter.com
Creative Paperclay Co. (Camarillo) • www.paperclay.com
Ceramic Services (Chino) • • • • • • www.ceramicservices.com
Kemper Tools (Chino) • www.kempertools.com
Laguna Clay Co. (City of Industry) • • • • • • • • • • www.lagunaclay.com
Graber’s Pottery Inc. (Claremont) • www.graberspottery.com
Gordon Brush Mfg. Co. Inc. (Commerce) • www.gordonbrush.com
Snyder Imports (Comptche) • www.donsynderimports.com
The Chinese Clay Art, USA (Cupertino) • • www.chineseclayart.com
Creative Industries (El Cajon) • • • www.creativewheels.com
Mud in Mind (El Cajon) • • • • • • www.mudinmind.com
Chris Henley Tools (Encinitas) • www.hominid.net/chris.htm
Duncan Enterprises (Fresno) • • • • • www.duncanceramics.com
B & W Tile Co. Inc. (Gardena) • www.bwtile.com
Geil Kilns Co. (Huntington Beach) • • www.kilns.com
Art Decal Corp. (Long Beach) www.artdecalcorp.com (decals)
Echo Ceramics (Los Angeles) • • • • • • • www.echoceramics.com
West Coast Kiln (Lucerne Valley) • www.westcoastkiln.com
Nasco Arts & Crafts (Modesta) • • • • • • • www.enasco.com
Olsen Kiln (Mountain Center) • www.olsenkilns.com
Freeform Clay & Supply (National City) • • • • • • • • • • www.freeformclay.com
Falcon Company (Olivenhain) • •
Keith Company (Pico Rivera) • www.keithcompany.com
Aftosa (Richmond) • • • • www.aftosa.com
Jiffy Mixer Co. Inc. (Riverside) • www.jiffymixer.com
Industrial Minerals Co. (Sacramento) • • • • • • • www.clayimco.com
HyperGlaze/Richard Burkett (San Diego) www.hyperglaze.com (software for glazes)
Ceramics & Crafts Supply Co. (San Francisco) • • www.ceramicssf.com
Japan Pottery Tools (San Francisco) • www.japanpotterytools.com
A&D Weighing (San Jose) • www.andweighing.com
Lily Pond Products (Sanger) • • www.lilypond.com
Aardvark Clay & Supplies (Santa Ana) • • • • • • • • • www.aardvarkclay.com
Miles Ceramic Color (Santa Ana) •
Clay Planet (Santa Clara) • • • • • • • • • • www.clay-planet.com
California Pot Tools (Santa Paula) •
Peter Pugger Mfg., Inc. (Ukiah) • • www.peterpugger.com
Ceramic ArtSpace (Van Nuys) • • • www.ceramicartspace.com
Pure & Simple Pottery Products (Willits) • www.pureandsimplepottery.com
COLORADO
Herring Designs, LLC (Breckenridge) • • www.herringdesigns.com
20 www.ceramicartsdaily.org
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Ceramic Design Group Ltd. (Denver) • • www.jonathankaplanceramics.ocm
Killam Gas Burner Co. (Denver) • • www.killamburner.com
Mile Hi Ceramics, Inc. (Denver) • • • • • • • • • • www.milehiceramics.com
Thomas Stuart Wheels (Denver) • • • www.thomasstuart.com
Bluebird Mfg. Inc. (Ft. Collins) • • • • www.bluebird-mfg.com
Rocky Mountain WoodMasters, Ltd. (Highland Ranch)
ARC (Lakewood) • • • •
BNZ Materials Inc. (Littleton) • www.bnzmaterials.com
Glyptic Modeling Tools (Loveland) • www.glyptic.com
CONNECTICUT
Rusty Kiln Ceramic Studio (North Windham) • • • • • • • • www.rustykiln.com
R.T. Vanderbilt Co. Inc. (Norwalk) • www.rtvanderbilt.com
Duralite Inc. (Riverton) • • www.duralite.com
DELAWARE
J. & J. Ceramic Studio (Dover) • • • • •
Nabertherm, Inc. (New Castle) • www.nabertherm.com
FLORIDA
Atlantic Pottery Supply Inc. (Atlantic Beach) • • • • • • • www.atlanticpotterysupply.com
Jepson Pottery & World Pottery Institute (Geneva) • • • • www.jepsonpottery.com
Jen-Ken Kilns (Lakeland) • www.jenkenkilns.com
Summit Kilns (Land O Lakes) • • • • www.swiftweb.com/summit
C and R Products, Inc. (Ocala) • • • • • www.candrproducts.com
Bennett Pottery Supply (Ocoee) • • • • • • • www.bennettpottery.com
Calcoworld Ceramic Decals (Orlando) www.calcoworld.com (decals)
Axner Co. Inc. (tradename of Laguna Clay Co.) (Oviedo) • • • • • • • • • • www.axner.com
Highwater Clays of Florida (St. Petersburg) • • • • • • • • • www.highwaterclays.com/hwcflorida.html
St. Petersburg Clay Company Inc. (St. Petersburg) • www.stpeteclay.com
The Arts Center (St. Petersburg) • www.theartscenter.org
OTT-LITE Technology (Tampa) • • www.ott-lite.com
GEORGIA
Davens Ceramic Center (Atlanta) • • • • • • • • • www.davensceramiccenter.com
Fort Pottery Co. (Augusta) • • • • • • • www.fortpottery.com
Creative Glazes (Duluth) • • www.creativeglazes.com
Olympic Kilns (Flowery Branch) • • • www.greatkilns.com
Larkin Refractory Solutions (Lithonia) • • www.larkinrefractory.com
Kickwheel Pottery Supply Inc. (Tucker) • • • • • • • • • • www.kickwheel.com
IDAHO
The Potter’s Center (Boise) • • • • • • • • www.potterscenter.com
Wendt Pottery (Lewiston) • • • • • • • • www.wendtpottery.com
ILLINOIS
U.S. Pigment Corp. (Bloomingdale) • •
Great Lakes Clay & Supply (Carpentersville) • • • • • • • • • • www.greatclay.com
Metomic Corporation (Chicago) www.metomic.com (lamp parts)
Paasche Airbrush Co. (Chicago) • www.paascheairbrush.com
Boothe Mold Company (Dupo) www.boothemold.com (molds)
Ceramic Supply Chicago (Evanston) • • • • • • • www.ceramicsupplychicago.com
Badger Air Brush Co. (Franklin Park) • • www.badgerairbrush.com
Dick Blick Art Materials (Galesburg) • • • • • • • • www.dickblick.com
Crystal Productions (Glenview) • www.crystalproductions.com
Shimpo Ceramics (Nidec-Shimpo America Corp.) (Itasca) • • • • www.shimpoceramics.com
Midwest Ceramics (Joliet) • • • • • • • • • www.midwestcas.net
International Decal Corp. (Northbrook) • • www.timrg.com
Art Clay World, USA (Oak Lawn) • • • • • • www.artclayworld.com
Debcor Inc. (South Holland) • www.debcor-inc.sbcontract.com
INDIANA
United Art & Education (Ft. Wayne) • • • • • • • www.unitednow.com
American Art Clay Co., Inc. (Amaco/Brent) (Indianapolis) • • • • • • • • www.amaco.com
Brickyard Ceramics & Crafts (Indianapolis) • • • • • • • • • • www.brickyardceramics.com
Sugar Creek Industry, Inc. (Linden) • • • www.sugarcreekind.com
Royal and Langnickel Brush Mfg. (Merrillville) • www.royalbrush.com
21 www.ceramicartsdaily.org
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IOWA
Johnson Gas Appliance Co. (Cedar Rapids) • • www.johnsongas.com
Bartlett Instrument Co. (Ft. Madison) • www.bartinst.com
Scotlin Ceramics (McGregor) • • • • • • • •
KANSAS
Creative Paradise (Goddard) • www.handbuilding.com
Easy Ceramic Decals, LLC (Kansas City) www.easyceramicdecals.com (decals)
Bracker’s Good Earth Clays (Lawrence) • • • • • • • • • • www.brackers.com
Soldner Clay Mixers by Muddy Elbow Mfg. (Newton) • www.soldnerequipment.com
ClayStamps.com (Olathe) • www.claystamps.com
Evans Ceramic Supply (Wichita) • • • • • • • • • • www.evansceramics.com
KENTUCKY
Old Hickory Clay Co. (Hickory) • • www.oldhickoryclay.com
Kentucky Mudworks LLC (Lexington) • • • • • • www.kentuckymudworks.com
Louisville Fire Brick Works (Louisville) • www.louisvillefirebrick.com
LOUISANA
Alligator Clay Company (Baton Rouge) • • • • • • • • www.alligatorclay.com
Southern Pottery Equipment & Supplies (Baton Rouge) • • • • • • • • • www.alligatorclay.com
Blue Diamond Kilns (Metarie) • www.bluediamondkiln.com
New Orleans Clay (New Orleans) • • • • www.noclay.com
MAINE
Portland Pottery Supply South (Braintree) • • • • • • • • • www.portlandpottery.com
Amherst Potters Supply (Hadley) • • • • • • • www.amherstpotters.com
MARYLAND
Baltimore Clayworks (Baltimore) • www.baltimoreclayworks.org
Buyers Market of American Craft (Baltimore) • • www.americancraft.com
Chesapeake Ceramics Supply (Baltimore) • • • • • • • • www.ceramicsupply.com
Clayworks Supplies, Inc. (Baltimore) • • • • • • • • • www.clayworkssupplies.com
Bear Creek Pottery (Bowie) • • • • www.bcpottery.com
PotteryTools.com (Sinkburg) • www.potterytools.com
MASSACHUSETTS
Gare Inc. (Harverhill) • • • • www.gare.com
The Potters Shop and School (Needham) •
Sheffield Pottery Inc. (Sheffield) • • • • • • • • • • www.sheffield-pottery.com
Ceramics Consulting Services (Southampton) • www.fixpots.com
Boston Kiln Sales & Service (Watertown) • • • • www.bostonkiln.com
Saint-Gobain Ceramics (Worcester) • www.refractories.saint-gobain.com
MICHIGAN
Pebble Press, Inc. (Ann Arbor) • •
Evenheat Kiln Inc. (Caseville) • www.evenheat-kiln.com
Runyan Pottery Supply Inc. (Clio) • • • • • • • • • • www.runyanpotterysupply.com
Gilmour Campbell Co. (Detroit) •
West Michigan Clay (Hamilton) • • • • • • • • • www.westmichiganclay.com
Crossroads Pottery & Clay Company (Jackson) • • • • • • • • • www.crossroadspottery.net
Manitou Arts (Leland) • www.manitouarts.net
Du-All Drafting & Art (Madison Hts.) • • • www.duall.com
Har-Bon Ceramics & Decals (Presque Isle) www.harbon.com (decals)
Rovin Ceramics (Taylor) • • • • • • • • • • www.rovinceramics.com
MINNESOTA
Minnesota Clay Co. USA (Edina) • • • • • • • • • • www.minnesotaclayusa.com
Master Kiln Builders (Farmington) • • www.kilnbuilders.com
Dunghanrach Clay Co. (Melrose) • • • • •
Brown Tool Co. (Minneapolis) • www.browntool.com
Continental Clay Co. (Minneapolis) • • • • • • • • • • www.continentalclay.com
Smith-Sharpe Fire Brick Supply (Minneapolis) • • www.kilnshelf.com
Triarco Arts & Crafts LLC (Plymouth) • • • • • • • • • • www.triarcoarts.com
MISSISSIPPI
Dogwood Ceramic Supply (Gulfport) • • • • • • • • • www.dogwoodceramics.com
Whistle Press (Petal) • www.whistlepress.com
22 www.ceramicartsdaily.org
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MISSOURI
Christy Minerals Co. (High Hill) • www.christyco.com
KC Metro Ceramic & Pottery Supplies (Kansas City) • • • • • • • • www.kcmetroceramic.com
L&R Specialties Inc (Nixa) • • • • • • • • • www.claydogs.com
Krueger Pottery, Inc. (St. Louis) • • • • • • • • • • www.kruegerpottery.com
MONTANA
Archie Bray Foundation (Helena) • • • • • • • • • • www.archiebray.org
NEVADA
Cress Mfg. Co. (Carson City) • www.cressmfg.com
Aardvark Clay & Supplies (Las Vegas) • • • • • • • • • www.aardvarkclay.com
Bison Studios (Las Vegas) • www.bisonstudios.com
BigCeramicStore.com (Sparks) • • • • • • • • www.bigceramicstore.com
Nevada Dan’s (Sparks) • • • www.potterywheel.com
NEW HAMPSHIRE
W.K. Hillquist, Inc. (Hudson) • www.retaildisplays.com
Midlantic Clay (Bellmawr) • • • • • • • • • www.midlanticclay.com
NEW JERSEY
Instar Beautiful Decals (E. Brunswick) www.instardecals.com (decals)
Curran Pfeiff Corp. (Edison) • • www.curranpfeiff.com
Hobby Colorobbia (Elmowwod Park) • • • • www.hobbycolorobbia.com
Hammill & Gillespie Inc. (Livingston) • www.hamgil.com
Ceramic Supply Inc. (Lodi) • • • • • • • • • • www.eceramicsupply.com
New Brunswick Lamp Shade Co. (North Brunswick) www.nbls.com (lamp shades)
L&L Kiln Mfg. Inc. (Swedesboro) • • • www.hotkilns.com
NEW MEXICO
Coyote Clay & Color (Albuquerque) • • www.coyoteclay.com
New Mexico Clay, Inc. (Albuquerque) • • • • • • • • • • www.nmclay.com
Taos Clay (El Prado) • www.taosclay.com
Santa Fe Clay (Santa Fe) • • • • • • • • • • www.santafeclay.com
NEW YORK
Charles A. Hones Inc. (Amityville) • www.charlesahones.com
East Valley Supply (Andover) www.evsupply.com (ceramics repair epoxy)
Studio Sales Pottery Supply (Avon) • • • • • • • • • • www.studiosalespottery.com
Teka Fine Line Brushes Inc. (Brooklyn) • www.tekabrush.com
The Mudpit (Brooklyn) • • • • • • • www.mudpitnyc.com
Vent-A-Kiln Corp. (Buffalo) • www.ventakiln.com
Ceramic Arts Library (Corning) • www.ceramicartslibrary.com
PCF Studios (Honeoye) • www.pcfstudios.com
Bailey Pottery Equipment (Kingston) • • • • • • • • • • www.baileypottery.com
American Craft Council (New York) • www.craftcouncil.org
Artfixtures (New York) www.artfixtures.com (display stands)
Artsystems, Ltd. (New York) • www.artsystems.com
Eagle Zinc Company (New York) •
Rockland Colloid Corp. (Piermont) • www.rockaloid.com
Clayscapes Pottery Inc. (Syracuse) • • • • • • • www.clayscapespottery.com
Oneida Air Systems, Inc. (Syracuse) • • www.oneida-air.com
Northeast Ceramic Supply (Troy) • • • • • • • •
Alpine Kilns and Equipment LLC (Warwick) • • www.alpinekilns.com
Doo-Woo Tools LLC (Warwick) • www.doowoo.com
Kiln-Ray Services (Warwick) • • • • • www.kilnray.com
Rochester Ceramics, Inc. (Webster) • • • • • • • • • www.rochesterceramics.com
NORTH CAROLINA
Highwater Clays, Inc. (Asheville) • • • • • • • • • www.highwaterclays.com
Lark Books (Asheville) • www.larkbooks.com
Carolina Clay Connection (Charlotte) • • • • • • • • • www.carolinaclay.com
Potterystamp.com (Charlotte) • www.potterystamp.com
Claymakers (Durham) • • • • • • • • www.claymakers.com
Resco Products Inc. (Greensboro) • www.rescoproducts.com
Mudtools (Hendersonville) • www.mudtools.com
Williams Supply (Star) • • • • • • www.williamssupplync.com
23 www.ceramicartsdaily.org
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Speedball Art Products Co. (Statesville) • www.speedballart.com
Fat Cat Pottery Inc. (Wilmington) • • • • • • • • www.fatcatpottery.com
OHIO
National Artcraft Co. (Aurora) • • • • • • www.nationalartcraft.com
A & K Clay Company LLC (Bethel)
Laguna Clay Co. (Byesville)) • • • • • • • • • • www.lagunaclay.com
Olympic Enterprises Inc. (Campbell) • • • www.olympicdecals.com
Vulcan Kilns (Centerville) • • • www.vulcankiln.com
Funke Fired Arts (Cincinnati) • • • • • • • • • www.funkefiredarts.com
Maxfield Ceramics Supply Inc (Cincinnati) • • • • • • • • • • www.maxfieldceramics.com
Aegean Sponge Co. (Cleveland) • www.aegeansponge.com
Bareclay (Columbus) • www.bareclay.com
Columbus Clay (Columbus) • • • • • • • • • www.columbusclay.com
Mudmats (Columbus) • • • www.mostlymud.com
RAM Products Inc. (Columbus) • www.ramprocess.com
Cornell Studio Supply (Dayton) • • • • • • • • • •
Wise Screenprint (Dayton) www.wisescreenprint.com (decals)
Innovative Ceramic Corp. (East Liverpool) www.innovativeceramic.com (inks/decals)
Mason Color Works Inc. (East Liverpool) • www.masoncolor.com
Mayco Colors (Hilliard) • • • www.maycocolors.com
Maryland Refractories Co. (Irondale) • www.mrcgrog.com
Ohio Ceramic Supply Inc. (Kent) • • • • • • • • • • www.ohioceramic.com
Handmade Lampshades (Maumee) (lampshades)
Cedar Heights Clay Operation (Oak Hill) • www.rescoproducts.com
Krumor Inc. (Valley View) (thermocouples and RTDs)
Orton Ceramic Foundation (Westerville) • • • www.ortonceramic.com
Olympia Enterprises, Inc. (Youngstown) • • www.olympiadecals.com
OREGON
The Kiln Elements Co. (Birkenfeld) • • www.kilnelements.com
Aim Kiln Mfg. (Corvallis) • • • • • www.aimkilns.com
Georgies Ceramic & Clay Co. Inc. (Eugene) • • • • • • • • • • www.georgies.com
Georgies Ceramic & Clay Co. Inc. (Portland) • • • • • • • • • • www.georgies.com
Mudshark (Portland) • www.mudsharkstudios.org
PotteryVideos.com (Portland) • www.potteryvideos.com
Skutt Ceramic Products (Portland) • www.skutt.com
Southern Oregon Pottery Supply (Talent) • • • • • • • • • www.southernoregonpottery.com
PENNSYLVANIA
Ceramic Services Inc. (Bensalem) • • www.kilnman.com
Insulating Firebrick, Inc. (Butler) www.insulatingfirebrick.com
The Clay Place (Carnegie) • • • • • • • • • • www.clayplace.com
M&M Pottery Supply (Corry) • • • • • • • • •
Del Val Potter’s Supply Co. (Glenside) • • • • • • • www.delvalpotters.com
Penn-Mo Fire Brick Co. (Harrisburg) • • • • • • • www.penn-mo.com
Nilfisk-Advance America Inc. (Malvern) www.pa.nilfisk-advance.com (vacuums)
Shenango Advanced Ceramics (New Castle) • www.shenangoceramics.com
Camp’s Clay Accessories (Philadelphia) • www.campsclayaccessories.com
The Ceramic Shop (Philadelphia) • • • • • • • • • www.theceramicshop.com
Standard Ceramic Supply Co. (Pittsburgh) • www.standardceramic.com
Frog Pond Pottery (Pocopson) • www.masteringglazes.com
Placid Ceramics (Washington) • • • • • • • www.placidceramics.com
Petro Mold Co (Waterford) • www.petromolds.com
RHODE ISLAND
Dew Claw Studios (Pawtucket) • • • • • www.dewclawstudios.com
SOUTH CAROLINA
Clay-King.com (Spartanburg) • • • • • • • • www.clay-king.com
eArtWorld.com (Spartanburg) • • • • • • • • www.eartworld.com
Coastal Ceramics (Summerville) • • • • • • www.coastalceramic.com
SOUTH DAKOTA
Pacer Corp. (Custer) • www.pacerminerals.com
Dakota Potters Supply (Sioux Falls) • • • • • • • • • www.dakotapotters.com
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TENNESSEE
Ward Burner Systems (Dandridge) • • • • • www.wardburner.com
Arrowmont School of Arts & Crafts (Gatlinburg) • • • www.arrowmont.org
The Clay Lady (Herdersonville) • • • • • • • • • www.theclaylady.com
Kentucky-Tennessee Clay Co. (Nashville) • www.ballclay.com
Mid-South Ceramic Supply Co. (Nashville) • • • • • • • • • • www.midsouthceramics.com
H.C. Spinks Clay Co. Inc. (Paris) • www.spinksclay.com
TEXAS
Armadillo Clay & Supplies (Austin) • • • • • • • • • • www.armadilloclay.com
Trinity Ceramic Supply Inc. (Dallas) • • • • • • • • www.trinityceramic.com
American Ceramic Supply Co. (Ft. Worth) • • • • • • • • • www.AmericanCeramics.com
Texas Pottery Supply & Clay Co. (Ft. Worth) • • • • • • • • • www.texaspottery.com
PMC Connection (Garland) • • • • www.pmcconnection.com
Ceramic Store Inc. (Houston) • • • • • • • • • www.ceramicstoreinc.com
Bella Bisque, Inc. (Kyle) • • www.bellabisque.com
Display Your Art by Glassica (Liberty Hill) • www.displayyourart.com
Paragon Industries, L.P. (Mesquite) • www.paragonweb.com
Old Farmhouse Pottery (Rusk) • www.farmpots.com
Clayworld Inc. (San Antonio) • • • • • • • • • www.clayworld.com
GSM Enterprises (San Antonio) • • • • • www.gsmkilns-sales-service.com
Etc., Etc., Etc. (Wichita Falls) • • • • • • • • • •
UTAH
Capital Ceramics Inc. (Salt Lake City) • • • • • • • • www.capitalceramics.com
VIRGINIA
Spun Earth Pottery (Forest) • • • • www.spunearth.com
The Kiln Doctor Inc. (Front Royal) • • • • www.thekilndoctor.com
Tin Barn Pottery Supply at Manassas Clay (Manassas) • • • • • • • • • • www.manassasclay.com
Campbell’s Ceramic Supply Inc. (Richmond) • • • • • • • www.claysupply.com
ClayPeople (Richmond) • • • • • • • • • www.claypeople.net
WASHINGTON
North Star Equipment Inc. (Cheney) • • www.northstarequipment.com
Giffin Tec Inc. (Lummi Island) • • www.giffingrip.com
Crucible Kilns (Seattle) • www.seattlepotterysupply.com
New Century Ceramic Arts Inc. (Seattle) • • • www.paperclayart.com
Seattle Pottery Supply (Seattle) • • • • • • • • • • www.seattlepotterysupply.com
Precision Terrefirma (Spokane) • www.precision-terrafirma.com
Rings & Things Wholesale (Spokane) • www.rings-things.com
Clay Art Center (Tacoma) • • • • • • • • • • www.clayartcenter.net
Scott Creek Pottery Inc. (Tacoma) • • www.scottcreekpottery.com
Clay In Motion (Walla Walla) • • www.clayinmotion.com
WISCONSIN
MKM Pottery Tools LLC (Appleton) • www.mkmpotterytools.com
Nasco Arts & Crafts (Ft. Atkinson) • • • • • • • www.enasco.com
Sax Arts & Crafts (New Berlin) • • • • • • • • www.saxarts.com
A.R.T. Studio Clay Co. Inc. (Sturtevant) • • • • • • • • • www.artclay.com
AUSTRALIA
Venco Products (Kelmscott WA ) • • www.venco.com
CANADA
Plainsman Clay Ltd. (Medicine Hat) • • • • • • • • • • www.plainsmanclays.com
Greenbarn Potters Supply Ltd. (Surrey) • • • • • • • • • www.greenbarn.com
Bamboo Tools (Hi Tech Marketing) (Surrey) • www.bambootools.com
Ceramic Arts & Crafts Supply (Burlington) • • • • • • www.ceramicarts.com
Euclids Kilns & Elements (Oakville) • • • • www.euclids.com
Euclid’s/The Pottery Supply House Ltd. (Oakville) • • • • • • • • • • www.pshcanada.com
Tucker’s Pottery Supplies Inc. (Richmond Hill) • • • • • • • • • • www.tuckerspottery.com
Spectrum Glazes (Toronto) • www.spectrumglazes.com
Mercedes Ceramic Supplies (Woodbridge) • • • • • • • •
Digitalfire Corp. (Cornwall) • • www.digitalfire.com
Edouard Bastarache Inc. (Sorel-Tracy) • www.sorel-tracy.qc.ca/~edouardb
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