Supply Room

by Steven Branfman

Whats a Raku Glaze?

RAKU GLAZES

n my workshops, I get asked many questions but never What is a raku glaze? Why? Because everyone knows what a raku glaze is. Right? Its a glaze that is labeled raku. Wrong. Its time to expand your thinking and understand exactly what this whole raku glaze thing is about. A raku glaze is any glaze you use in the raku method. It doesnt have to be a glaze specifically designed for raku, formulated to fire at the temperature you fire your raku to, nor homemade or commercial. It can be most anything. The key to success is understanding the raku firing process and the ability to predict how a particular glaze reacts to that process. Raku as practiced in the West is a low-fire method in which we quickly heat the ware, remove the ware from the kiln when the glaze has melted, and perform some type of post-firing process to the piece. The post-firing phase is usually an immersion in an organic combustible material to affect the final outcome on the glaze and the raw clay. Deciding when the glaze has melted takes practice and is best done by observation, though many potters use pyrometers to aid in making that decision. Raku is exciting, often unpredictable to the novice and fun to do.
Brushed stoneware glaze under clear raku glaze.

The Raku Method

Glaze Application
Glazing work for raku can be done by all the methods knowndipping, pouring, brushing, spraying, splashing, dripping, spongingyou name it. Glazes also can be used alone or in combination. Keep in mind that the application of a glaze has a direct effect on the result.

Dedicated Raku Glazes

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

Low-Fire Glazes
Sprayed stoneware glaze under clear raku glaze.

Glazes used in the raku process need not be raku glazes at all. At its core, raku is a low-temperature fir-

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ing method. The fact that we remove the ware from the kiln while the pots are hot and the glaze is molten is irrelevant. Understanding this opens up a whole new world of glazes. Any glaze that is formulated to fire at the low temperature of raku can be used. First, you must decide at what temperature you are firing. Most raku is done in the Cone 01006 range. Begin by choosing glazes that both appeal to you in color and that fire in your range. You will have to experiment but I have never found a glaze that I couldnt use successfully.

inherently unsafe for use as domestic ware. The rapid firing, removal of the ware and subsequent postfiring phase all contribute to fragility, porosity, and thin, easily flaked glaze surfaces. Not all materials used in raku glazes are toxic. In fact, most are not. Confusion arises when you realize that over the centuries some of the most prized

teabowls by tea masters have been raku fired. Be safe, and think of your raku ware as decorative and not functional.
Steven Branfman is founder and director of the Potters Shop and School in Needham, MA, a workspace, school, gallery, bookstore and his studio. He is also the author of Raku: A Practical Approach (kp books).

Multilayered brushed commercial low-fire glazes.

High-Fire Glazes
We are not limited only to glazes that melt at the low temperatures. With greater understanding of the raku process, even mid-range and high-fire glazes can be used in the low-temperature range of raku. Try using your regular stoneware glazes as slips. Over the glaze, apply a clear or white raku or other lowtemperature glaze. The low-temperature glaze causes the high-fire glaze to melt giving you a new palette of colors to work with.

Other Glazes
In addition to glazes, slips, engobes, underglazes, overglazes, china paints, underglaze pencils, oxides and stains are all viable in the raku process.

Food Safety
No matter what type of glaze or decorative material you use, raku is
July/August 2006 PotteryMaking Illustrated

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Supply Room by Bill Jones

10 Steps to Perfect Plaster

hether you need a drying bat, a simple hump mold, or youre making a complex slip mold, youll need to mix plaster. Getting the plaster right requires a bit more than just dumping and mixing. Here are 10 ways to get the best results for your next plaster project. 1 Prepare your mold. A common mistake of potters is to mix plaster only to realize everythings not set up for pouring. Before casting, make sure your model is set, the mold boards or cottle are secure, and all the surfaces youre pouring onto are coated with a parting agent such as mold soap. 2 Prepare your work area. You will need a clean mixing container for the plaster, a scale for weighing the plaster, a measuring cup for the water and a rinse bucket. Note: Plaster cannot be permitted to go down the drain, because it will form a rocklike mass. Even small amounts will accumulate over time. Line a rinse bucket with a plastic garbage bag and ll it with water for rinsing your hands and tools. Allow the plaster to settle for a day, then pour off the water and discard the bag. 3 Use fresh water. The mixing water you use should be at room temperature or 70F (21C). If the water is too warm, the plaster will set too fast and vice versa. Use only clean, drinkable tap water or distilled water. Metallic salts, such as aluminum sulfate, can accelerate the setting time, and soluble salts can cause eforescence on the mold surface. 4 Use fresh plaster. Plaster is calcined, meaning chemically bound water has been driven off through heating. If the plaster has been sitting around in a damp environment, it will have lumps in it, in which case it is no longer usable. Pitch it. Use plaster that has been stored dry and is lump free. 5 Weigh out materials. Do not guess about the amounts of plaster and water youll need. Once you start the mixing process, you do not want to go back and adjust quantities. To determine the amount you need, estimate the volume in cubic inches then divide by 231 to give gallons or by 58 to give quarts. Deduct 20% to allow for the volume of plaster, then refer to the table. 6 Add plaster to water. Slowly sift the plaster onto the surface of the water. Do not dump the plaster or toss it in by handfuls. Adding the plaster shouldnt take more than 3 minutes. 7 Soak the plaster. Allow the plaster to soak for 12 minutes maximum. The soaking allows

PLASTER

Water to Plaster Mixing Chart

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

each plaster crystal to be completely surrounded by water and it removes air from the mix. Small batches require less soaking than large batches. If the soaking time is too short, it may contribute to pinholes; and if it is too long, it will contribute to fast set times, early stiffening and gritty mold surfaces. 8 Mix the plaster. Small batches of plaster can be mixed by hand. Use a constant motion with your hand and you will notice a change in consistency from watery to a thick cream. Break down lumps with your ngers as you mix. Mix only for a minute or two being very careful not to agitate the mixture so much that air bubbles are incorporated into the mix. Mixing time affects absorption rateslonger mixing times produce tighter and less-absorptive molds. 9 Pouring the plaster. After mixing, tap the bucket on a hard surface to release trapped air. Pour the plaster carefully. Wherever possible, pour plaster carefuly into the deepest area so the slurry ows evenly across the surface of the mold. Once the mold is poured, tap the table with a rubber mallet to vibrate the mold and release more air bubbles. 10 Drying plaster. When plaster sets, it heats up because of a chemical reaction. When it has cooled, it is safe to remove the cottles or formsabout 45 minutes to an hour after pouring. Molds must be dry before use. Drying molds properly promotes good strength development, uniform absorption and reduced eforescence. Dry molds evenly. Dont set them near a kiln where one side is exposed to excessive heat or the relative humidity is near zero. Place them on racks in a relatively dry location away from drafts.
Sources: United States Gypsum (USG) Company and Clay: A Studio Handbook, by Vince Pitelka, published by The American Ceramic Society, 2001.

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Supply room by Paul Andrew Wandless

HyperGlaze Basics
aking glazes and troubleshooting their problems is always a challenge. Today there are several glaze and clay calculation software programs available to help us through our many questions. Most programs work on both MAC and PC, and each has a host of options to tell us everything we ever wanted to know about what is in our ceramic recipes. Even with limited knowledge of ceramic materials, its still easy to determine at a glance the silica to alumina ratio, thermal expansion, unity and even the exact percentage of every mineral by weight in any given recipe. The programs also act as a great way to store, sort or print recipes so we can compare them with others and assist in making adjustments to tweak our own recipes to fit our specific visual, surface and cone desires. The biggest challenge to using these amazing computer software programs is not about the information we get out of them, but how to get our ceramic information into them! Once we choose a program, how do we navigate the windows and indexes and input our glaze recipe? How do you add an image of a test tile? Are there any short cuts to getting this done? These are typical questions and the process is fairly simple after you see it once. Well take you step-by-step through the process from just after youve tested a glaze through storing the information and adding a test tile image with the fired results. Once youre able to complete this first task, a whole world of information is at your fingertips within the program. Ill be using a software program created by Richard Burkett called HyperGlaze X (www.hyperglaze.com). Other glaze software programs can be found by searching the web for glaze calculation software.

Glaze-CalC Software

For the example used here, I mixed a white slip consisting of four ingredients:

White Slip
Cone 04 oxidation Custer Feldspar . . . . . . . . . . . . . . . . . . . . . . 15% EPK Kaolin . . . . . . . . . . . . . . . . . . . . . . . . . . 40 OM4 Ball Clay . . . . . . . . . . . . . . . . . . . . . . . 30 Silica . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 100%

Mix the dry ingredients, slowly add water and blend to a creamy consistency, apply to bisque tile and fire at cone 04 in an electric kiln.

Making a New Glaze Card

Once youve achieved successful results, youre ready to enter the recipe into HyperGlaze and learn more about the characteristics and properties it possesses. (Note: HyperGlaze terms are in italics.) When you open HyperGlaze, there is a tall rectangular Index window on the left that has all the different options you can use within the program. A filled out Glaze Card automatically appears from the glaze index library already stored in the program (figure 1). To make a new glaze card, go to the Edit menu and select New Card in the drop down menu. Your cursor is automatically positioned in the name box ready for you to enter the recipe name. Use the tab key to move to your next selection, which, in this

Getting Started

Before getting to the computer part, you should first make the glaze or slip. Glaze calculation software programs are meant to be tools, which provide additional information to results achieved from the good old-fashioned mixing and test firing that is done first. The software is meant to help us better understand what we do in the studio, not replace it.

1
When you open HyperGlaze, you will see the Index box at left and a Glaze Card at the right. To make a new card, go to the Edit menu and select New Card.

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case, is where the cone for firing this recipe is entered. Tab again and youll be in the Color description box. Click the word Color and a drop-down menu with standard choices to auto-fill the box will appear. I chose opaque white, but if nothing is suitable, you can simply type a color description that is more accurate or modify the menu choices (figure 2). Additional drop-down menus appear for surface descriptions. Slip or engobe was my first choice (figure 3). Then I selected oxidation and tested from the drop down menus in the next two recipe description boxes (figure 4).

als and Materials Index and those two windows will pop up on your desktop (figure 5). I selected my first material (EPK Kaolin) in the Materials Index and this action automatically fills in the Materials Card. To place this material in the Glaze Card, select Current Glaze and then click on Insert In Recipe. A small window appears asking where you want to insert the material: choose glaze and it will auto-fill into the Glaze Card. After the material is added, hit tab and enter the amount needed in grams. To close unwanted windows and cards, you can click on its name in the Index window and it will go away until needed again. The second way to enter a material is by clicking Now youre ready to enter the individual materials, on the add [+] box at the start of the line on which and there are two easy ways that this can be done. you want to enter a new ingredient. A pop-up list of Using the Index window, you can click on Matericommon materials appears and you simply click on

listing Ingredients

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8
recipe, estimated thermal expansion, unity molecular formula (UMF) and the silica to alumina ratio. Use the Comments section to include additional information such as mixing, application and firing tips specific to this glaze. This is also a good place for general information, or, if the glaze is still in a testing stage, you can keep track of all the results like a digital notebook. Below the Comments box is a Possible Health Hazards window that will reveal important safety cautions about this recipe. Another very cool feature for the UMF is the ability to change it from percentages to a color graph by simply clicking on Graph UMF. In the RO2 column, you will also see a bar next to the Si:Al ratio predicting the approximate surface type based on the calculation.

the one you want (figure 6). If the material you want isnt listed there, use the first method described using the Materials Index. Continue adding materials and amounts until your recipe is complete (figure 7). Any colorants, oxides and carbonates should be placed in the Also Add lines below the base glaze. Pop-up menus are also available to use for them as well. As in all software programs, make sure you save often while making changes.

taking a look

Once the glaze is fully entered its time to see what this program reveals. Go to the Glazes menu and click on Calculate. This will provide a host of information about your glaze at a glance (figure 8). Things to look for are: recipe percentage, batch

adding a Picture

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The final step in adding information to your recipe is adding a digital image of your successful test tile to act as a visual reference. You can either take a digital photo or scan your test tile, then import the image file to your computer. Use whatever photo editing software you have to crop, resize and save the captured image. The image file for HyperGlaze should be 300x300 pixels at 72dpi in the jpg format. Save or copy this image into your Glaze Images folder that is located in your HyperGlaze folder (figure 9 bottom). You also want to make sure that your preferences in HyperGlaze are set to find this folder. Select Preferences in the Index window, click the Glazes tab, click the Set Folder

May/June 2007

button, select the Glaze Image folder, then hit Save in the bottom right corner (figure 9 top). You will only need to do this step once to set up your glaze folder, and itll be your default setting for the future. To view the glaze image simply click on the Picture button in the Glaze Card and select the proper image for the glaze. The image will pop up in a separate window. You only have to select it once for it to be connected to the glaze card and automatically pop up in the future (figure 10).

HyperGlaze is just one of several popular glaze calculation programs available for Macs and PCs. All have the same basic functions but they differ on some of the extras. Before purchasing, visit the websites at the right and review some of the featuressome even offer free trial periods.
Paul Andrew Wandless is a studio artist, workshop presenter, educator and author. His new book is titled Image Transfer On Clay (Lark Books) and he also co-au-

thored Alternative Kilns and Firing Techniques: Raku, Saggar, Pit & Barrel. His website is www.studio3artcompany.com and he can be emailed at paul@studio3artcompany.com.

Glaze Calculation Websites

HyperGlaze: www.hyperglaze.com Matrix2000: www.matrix2000.co.nz Insight: www.digitalfire.com/insight GlazeMaster: www.glazemaster.com

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extras
Now this is just the tip of the iceberg for this program and what it has to offer. You can follow these same steps to enter a clay body recipe into the Clay index. Once a recipe is entered in the program you can compare and contrast it with other recipes already in the index library, print it out in a variety of options, e-mail it to friends, make custom glaze lists of your favorite recipes or use the QuadBlender feature for quadraxial and line blends. Also in the Index window is a wonderful resource called the Potters Friend with conversion calculators for temperature, size, weight, plaster volume and postage just to name a few. The Help feature is also very thorough, and walks you through program features, as well as common questions.
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supply room by Bill Jones

Whats a raku clay?

he raku firing process requires a porous nonvitrified clay that can withstand rapid heating to low-fire temperatures (cone 0904 or approximately 1702 1958F) and cooling without cracking or breaking from the thermal shock. By this definition, any clay that can withstand such stresses can be considered a raku clay; however, some clays will provide a greater degree of success, especially those with a high fireclay content. Its important to recognize that when deciding on a suitable raku clay, your chances for success increase with bodies specifically formulated or adjusted for the raku process.

rAku clAys

Piece by: Tim Proud / Photo by: Glen Brown

The right raku clay must be suited to the type of work you want to do.

Most clay suppliers offer a range of raku clay bodies that can usually match the qualities youre familiar with in your regular body. They will be able to guide you either through their product descriptions or in consultation, and many clay producers will even custom blend a clay from your own recipe. Most clay bodies can be used for raku by adding Plasticity: Clays with coarser grog are more suitup to 50% grog. Grog, which is crushed, fired clay, able for handbuilding, while finer grog makes a better opens the body thus making it less prone to thermal shock. Other materials you can add to increase throwing clay. Some commercial clays are suitable for both. the ability of a body to withstand thermal shock Thermal shock: The larger and thicker the pieces, include silica sand and kyanite. Silica sand can be the more suitable and shock resistant the clay has used as a substitute for grog, especially at the lower to be. Increasing the shock resistance means addraku temperatures. Because it is not as absorbent ing more nonplastic refractory material, which may as grog, you may recognize some gains in plasticdecrease plasiticity. ity. Kyanite is a refractory material that matures at Color: The color of the raku clay body influences about cone 36. One of the characteristics of kyanite the colors of your glazes. Light-colored or buff bodies is that it expands when heated, which counteracts produce lighter, more brilliant glaze colors and bring some clay shrinkage. It also creates a network of out subtle shades, while darker clay bodies have a needle-like crystals allowing you to make larger more muting affect. Raku clays made from buff stoneforms. Commercial raku clay bodies contain one or a combination of these ingredients depending on ware, kaolins and ball clays produce lighter colors, other qualities you need in a body, such as the abil- while adding earthenware clays and colorants like ity to make large work, or whether youre throwing iron oxide or burnt umber will create darker bodies. Texture: Adding grog to a clay body affects the or handbuilding. You can add any of these materitexture since the grog is already fired and does not als to an existing body simply by wedging them in, shrink. While this is not much of a factor with fine or although using a pug mill or clay mixer provides a more homogenous mix, and dry batching provides a medium grog, it is more noticeable with coarse grog. If youre looking for smooth texture, youll want a more consistent mix. body with fine grog, sand or kyanite. You can also create unusual textures by wedging in sawdust or Most raku clays can be fired as high as cone 610 paper pulp, which also opens the body and increases resistance to thermal shock. since they are formulated as stoneware clays. But As with any clay or glaze, you should test a raku clay is clay and it should be noted that when bisque body before you invest a sizeable amount of energy in firing for raku, you should not bisque fire higher forming work. Many suppliers offer samples that you than cone 04 (1958F). Between approximately can test, or you can try out different additions to your 2012F and 2192F the material becomes more dense and glasslike, thereby losing some of its ability existing body. Mark all of your samples and keep good records of your results. to withstand thermal shock.

Tips for Buying raku clay

Additions

Bisque Firing

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Supply Room by Chic lotz

pantry primer
ShoppinG liSt
fter setting up your own ceramics studio there may come a time when you begin to consider mixing your own glazes. Whether you just want to mix a few recipes or intend to embark on testing a variety of glazes, getting started is often a big challenge. Staring at a long list of raw materials, you are faced with the question: Which ingredients are the most common, and how much of each one is needed? To help you get started, I developed the Glazeroom Starter Kit, as a guideline for suggested ingredients. At the time of writing this article, the entire basic list cost $137 from my supplier. Many beginners start with a few reliable glazes, and keep costs down by purchasing just the specific ingredients in their recipes in the amounts listed

below. However, if you want to be equipped to test a variety of glazes in order to find the ones you like, then you may want to purchase most, if not all, of the listed ingredients. The amounts listed for each ingredient will give you a clue as to which ones youll probably use the most. If you are serious about mixing glazes, many ingredients are cheaper when purchased in larger quantities. For example, 2 lbs. of bentonite costs $2.72, yet 5 lbs. costs $2.74only 2 more! Larger quantities can save money as well as time spent reordering. This starter kit should last for quite a few batches of glaze. Youll also need a good quality gram scale. For safety reasons, transfer your materials into nonbreakable containers, wear gloves and a NIOSH respirator with filters and use extra care when handling toxic materials. Have fun getting started!

Glazeroom Starter Kit: Basics

Material aMt (lbs) siliCa (325 mesh) 20 Clays ePK Kaolin oM4 Ky ball Clay bentonite 15 5 5 Cost $7.48 $6.33 $2.06 $2.74 $3.77 $4.00 $3.49 $4.18 $2.55 $1.94 $1.93 $3.27 $1.61 $4.64 $5.04 $2.88 $14.59 $17.84 $21.46 ( lb) or $32.19 (1 lb) $8.94 $6.46 $9.94 $137.12
November/December 2007

FeldsPathiC Glaze Cores Kona Feldspar 10 Nepheline syenite 10 Custer Feldspar 10 G-200 Feldspar 10 Fluxes Whiting dolomite talc Wollastonite bone ash strontium Carbonate oPaCiFiers titanium dioxide zircopax tin oxide 10 5 5 5 1 2 1 1 1

soda soda potash potash

Material aMt (lbs) Cost For Mid or loW Fire or raKu Frits & borate low-fire glazes in particular use large amounts of frit. Ferro 3110 5 $9.40 soda Frit Ferro 3195 5 $9.45 boron Frit Ferro 3134 5 $8.05 boron Frit Ferro 3124 5 $7.30 boron Frit Gerstley borate 5 $4.47 ziNC oxide 2 $13.10 a flux that can also seed crystal formation with slow cooling. $9.39 $7.41 $4.45 $11.13 $2.17 $10.36 $1.45 $4.35 Free $9.10 $8.55 $10.56 crawling glazes crawling glazes high fire shinos a.k.a. Pumice from nearest fireplace

Additional Choices

ColoraNts Copper Carbonate 2 Cobalt Carbonate -1 Chromium oxide red iron oxide 5 spanish rutile* 2 total Cost oF basiCs

For sPeCial Glazes or Colors Cornwall stone 5 Petalite 5 spodumene 5 barium Carbonate*1 $1.84 lithium Carbonate 1 borax 1 Magnesium Carb 2 soda ash 1 Volcanic ash 5 Wood ash 2-5 Ferro Frit 3269 5 Ferro Frit 3278 5 Manganese dioxide*1 $1.71 Nickel oxide*

*toxic. read warnings from supplier.

Potters Council member Chic Lotz has developed a DVD titled What Makes a Glaze, available from her website at www.glazebasics.com.

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supply room by david l. gamble

a World of Color
nderglazes are one of the most popular ways to add color to clay work. Theyre easy to use at any age or skill level and they can be applied at both the green and bisque stage of work. Underglazes come in many formsliquid, powder, pencil, crayon, Underglazes are the most liquid writers, bottle versatile of products for the applicators, underglaze clay artist. Available in more pads, watercolor-type than 1000 colors, underglazes pan sets and tubes. Typicome in both dry and liquid cally, liquid underglazes form as well as pencils, craycontain gum or binders ons and chalk. to help them adhere to ware and also add some green strength. If you decide to purchase dry underglaze, you may also need a mixing medium, for example, Standard Ceramics specifies mixing one part colorant and one part mixing medium. The medium adheres well and creates a harder surface than water so there is less smearing if youre working on bisque and placing a clear glaze on top before firing. Underglaze pencils, crayons and chalks vary depending on the manufacturer. Theyre designed to be used on bisqueware because rubbing them onto a fragile greenware surface can break the greenware. Pencils produce a nice pastel or a pencil-type effect depending on how smooth the clay surface is. Many are very dry and break easily during application, and most are imported from outside the U.S. Some pencils contain waxes to help them adhere to a bisque surface, but these need a clear glaze on top to keep them from rubbing off after theyre fired. Caution: Never put underglaze pencils in an electric pencil sharpener. Test all underglazes for your Many companies offer studio conditionsclay body, underglazes by different firing, overglazes, etc. Create brand names, but they test tiles with samples and apply a clear overglaze to half all pretty much function the same way. Underthe swatch. Youll find the colors deepen in value with a glazes come as premixed clear glaze. liquids or dry, large and

Underglazes

small quantities, and in different formats, such as crayons, pencils and pens. If youre not sure what youd like to do, order 2 oz. bottles and experiment before you invest in pints or gallons. Here is a partial listing of offerings, but remember that most of the companies listed here sell their products through distributors. For more information, go to the company websites or check with your local supplier.
Company
Amaco A.R.T. Axner ChromaColour International Continental Clay Coyote Clay & Color Duncan Gare Great Lakes Kickwheel Laguna Mayco Minnesota Clay Rovin Ceramics Spectrum Speedball Standard Clay

Product
LUG Velvets Velvet One Strokes Sun Strokes Semi-moist (pan) Pencils Chalk Crayons Tubes Engobes Glazewerks Pencils Pens Underglaze Underglaze Underglaze Speckled Underglaze Underglaze

Colors
24 59 12 6 48 6 16 48 9 34 15 27 100 50 63 12 40

Cone
065 065 065 0605 065 065 065 065 056 06041 065 065 0605 6 10 0605 066

Underglaze

25

510 065 065 065 065 066 066 065 065 069 068 068 069 068 065 065 066 065

CoverCoat (opaque) 7 E-Z Stroke (translucent) 69 Underglaze 55 One strokes 21 Underglaze 24 Underglaze 12182 EM Underglaze 72 Underglaze (opaque) 70 One Strokes (transparent) 32 Underglaze 16 Underglaze Pads 8 Choxilis Pencil 10 Potters slip 10 Underglaze 12 Underglaze 70 One Stroke 40 Underglaze 24 Underglaze 23 Underglaze Painting Medium

Notes 1. Test for higher temperatures 2. Under development

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