14 Best New Ceramic History Books and Artist Monographs

There are so many great new books on pottery and ceramics history! Here’s a round up of 14 top books from 2021 and 2022.

You might also enjoy our list of New Pottery and Ceramic Technique books.

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Ceramic, Art and Civilisation by Paul Greenhalgh

A major new history by Paul Greenhalgh, this textbook-sized book traces the evolution of ceramic art along with culture and civilization, looking at every aspect of the medium from ancient art to contemporary ceramic art. Even if you have read other histories of ceramics, this fresh take deserves a spot on your bookshelf.

Hardcover, 512 pages, published March 2021 by Bloomsbury Visual Arts, $50.

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Shapes From Out of Nowhere: Ceramics From the Robert A. Ellison Jr. Collection by Adrienne Spinozzi, Glenn Adamson, and Robert A. Ellison

This catalog documents Ellison’s collection and donation of 150 works of non-representational ceramic art to New York City’s Metropolitan Museum. It’s an interesting collection, inspired by George Ohr’s vessels and including lots of information on contemporary makers such as Kathy Butterly, Betty Woodman, and more. Along with essays by Glenn Adamson and others, it’s full of images.

Hardcover, 272 pages, published February 2021 by August Editions, listed at $69.95 but usually available for less.

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Contemporary Black American Ceramic Artists by donald a clark and Chotsani Elaine Dean

This survey combines interviews and info on 38 contemporary Black ceramists, along with historical information and over 300 images. An important book that will fill in many gaps in ceramic scholarship, this book will be published in October of 2022.

Hardcover, 256 pages, published October 2022 by Schiffer Craft, $60.

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Listening to Clay: Conversations With Contemporary Japanese Ceramic Artists by Alice North, Halsey North, and Louise Cort

This volume shares interviews with 18 Japanese ceramic artists who have been working for decades; the subjects range in age from 62 to 92. Sharing their stories, processes, and ideas about clay, this is an excellent introduction to Japanese ceramic art in the Post World War II period to present times.

Hardcover, 352 pages, published February 2022 by The Monacelli Press, $65

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Grounded in Clay: The Spirit of Pueblo Pottery by the Pueblo Pottery Collective, Elysia Poon, and Rick Kinsel

This survey of more than 100 pieces of historical Pueblo Pottery was selected by Pueblo potters, artists, and community leaders. This group of 60 was then invited to comment on the pieces in prose, poetry, or any form, resulting in this amazing book that examines the rich history of ceramics in Pueblo communities.

Hardcover, 288 pages, published September 2022 by Merrell Publishers, $70.

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Commeraw’s Stoneware: The Life and Work of the First African-American Pottery Owner by A. Brandt Zipp

This book presents the life and story of Thomas Commeraw, a New York City potter who was also an abolitionist, craftsman, and near the end of his life, a founder of a new Africa republic. Written by A. Brandt Zipp, a partner with the auction house Crocker Farm, this is the first major survey of Commeraw’s life and work.

Hardcover, 311 pages, published September 2022 by Crocker Farm, $95.

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Gifts from the Fire: American Ceramics, 1880-1950: From the Collection of Martin Eidelberg by Alice Cooney Frelinghuysen and Martin Eidelberg

Another entry from the Met, this book covers more than 180 ceramic works donated to the Met by Eidelberg from a 70 year period that ranges from the Arts & Crafts period through Modernism to abstract work from the mid-20th century. Lusciously illustrated along with essays, this is an excellent overview of Eidelberg’s collection and work from that era.

Hardcover, 256 pages, published November 2021 by The Metropolitan Museum of Art, $65

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Morten Løbner Espersen: Triumph and Catastrophe by by Morten Løbner Espersen, Jan de Bruijn, and Glenn Adamson

Colorful and variegated glaze surfaces are built on a variety of vessel forms in Espersen’s work, and many are included in this first monograph surveying the artist’s multi-decades long investigation of the ceramic vessel.

Hardcover, 160 pages, published June 2022 by Nai010 Publishers, $45

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Jamaican Ceramics: A Historical and Contemporary Survey by Norma Rodney Harrack

Spanning from pre-history to the present day, this survey covers all aspects of ceramics in Jamaica including European influences and African Jamaican work. The book is by Norma Rodney Harrack, a ceramic artist and professor in Kingston, Jamaica.

Paperback, 212 pages, published April 2022 by The University of the West Indies Press, $50.

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Unearthed: Twentieth-Century Ceramic Art from Portugal by Pedro Moura Carvalho

Portugal is known for azulejos, or blue and white tiles, but this new survey shows all the other developments in ceramics by Portuguese artists. With a deep focus on the the 1950s and 1960s, this is the first book to examine the complete history of ceramics in Portugal in the 20th Century.

Hardcover, 312 pages, published January 2022 by Arnoldsche Verlagsanstalt, $70

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Griot Potters of the Folona: The History of an African Ceramic Tradition by Barbara E. Frank

A story of resilience and cultural heritage, this book traces more than 700 years of pottery history in Mali through a focus on the Folona women potters of Southeastern Mali. Using a comparative analysis of styles and techniques, Frank traces the history and evolution of this style of pottery.

Paperback, 526 pages, published February 2022 by Indiana University Press, $40

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Mutable: Ceramic and Clay Art in India Since 1947 by Sindhura DM, Kristine Michael, and Annapurna Garimella

The first major survey of ceramic art in India, this book grew out of a 2017 exhibition and includes information on potters, industrial ceramics, and ceramic art and sculpture. The book also examines clay within the post-independence craft revival. Throughout, the mutability of clay and its varied contexts are a main focus of the book.

Paperback, 204 pages, published June 2021 by Mapin Publishing, $45.

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Pewabic Pottery: The American Arts and Crafts Movement Expressed in Clay by Thomas W. Brunk

The most extensive study to date on the famed Michigan pottery, Pewabic Pottery examines the entrepreneurs who founded the company, the unique glazes, and the pottery’s contribution to the Arts & Crafts Movement. Written by the expert on Pewabic Pottery, this book is must for anyone who is interested in the exquisite forms and glazes produced at Pewabic.

Hardcover, 496 pages, published May 2021 by Michigan State University Press, $56

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Alice Mackler by Matthew Higgs, Kelly Taxter, and Joanne Greenbaum

The first monograph on this New York artist who was born in 1931, this book covers Mackler’s work in painting, collage and especially ceramic sculpture. Still pushing the medium forward and creating new work, the book also includes writings by Mackler and an interview with painter Joanne Greenbaum. It’s a lovely book that celebrates the exuberance and beauty of Mackler’s work.

Hardcover, 184 pages, published February 2021 by George R. Miller and Company, $45

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You might also enjoy:
14 Best New Ceramic Technique Books 2022
Ceramic Textbooks and Guidebooks
A Potter’s Workbook by Clary Illian

Any recent ceramic histories or monographs that you have enjoyed?

Let us know in the comments.

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The 14 Best New Pottery and Ceramics Technique Books of 2022

There’s a lot of info out there on how to grow and improve in ceramics and pottery, but sometimes the best resource for learning new techniques is a well put-together book.

Here’s a round up of some of the best books published in 2021 and 2022 (and a few favorites from 2020 as well).

Boy in a China Shop by Keith Brymer Jones will be published in fall 2022. (shop at Amazon)

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Creative Pottery: Innovative Techniques and Experimental Designs in Thrown and Handbuilt Ceramics by Deb Schwartzkopf

Whether you are a handbuilder or work on the wheel, this book is a guide to taking your ceramics to the next level. Add complexity to your projects with simple changes, learn how to make bisque molds, or choose from other projects in this self guided book from potter Deb Schwartzkopf, founder of Rat City and Rain City studios in Seattle.

Hardcover, 192 pages, published June 2020 by Quarry Books, $30

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Mastering Sculpture: The Figure in Clay: A Guide to Capturing the Human Form for Ceramic Artists by Christina Córdova

This richly illustrated guidebook will take you through the steps needed to sculpt a figure in clay starting with sketches, various techniques to build a hollow form that can make it through a firing, and then patterns and instructions to make larger forms. Written by acclaimed sculptor Christina Córdova.

Hardcover, 192 pages, published June 2022 by Quarry Books, $35

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Carve Your Clay: Techniques to Bring the Ceramic Surface to Life by Hilda Carr

This popular book covers a variety of carving techniques including scraffito, etching, inlay, wire cutting, and more with more than 20 inspiring projects. With step-by-step instructions, this is a great technique book from the London-based studio potter, Hilda Carr.

Hardcover, 144 pages, published August 2020 by Quarry Books, $27

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Pottery for Beginners: Projects for Beautiful Ceramic Bowls, Mugs, Vases, and More by Kara Leigh Ford

Aimed at beginners, this book covers handbuilding and wheel throwing, as well as how to set up a workspace. Filled with projects, tips, and ideas, this book is the perfect guide for anyone who wants to get started with clay.

Paperback, 192 pages, published October 2021 by Page Street Publishing, $23

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Boy in a China Shop: Life, Clay and Everything by Keith Brymer Jones

Fans of The Great Pottery Throwdown and potters will love this book by Brymer Jones, judge on the popular BBC series. In a series of chapters inspired by significant objects (usually pots), Brymer shares stories and insights from his life and work.

Hardcover, 352 pages, published October 2022 by Hodder & Stoughton, $29

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Contemporary Raku by Stephen Murfitt

This new publication is a complete guide to raku firings and techniques, as well as sources of inspiration. It’s got information on tools and equipment, health and safety measures, and more. The book is by Stephen Murfitt, a British studio potter who also wrote The Glaze Book, from 2002.

Paperback, 176 pages, published September 2022 by The Crowood Press, $43

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The Beginner's Guide to Hand Building: Functional and Sculptural Projects for the Home Potter by Sunshine Cobb

For those who might just have access to a table at home, this is the book for you. Written by Sunshine Cobb (who also wrote 2018’s Mastering Hand Building) this book is focused on projects that can be made just about anywhere, whether it’s a kitchen table or studio. With a focus on skill building, this book covers projects ranging from a scoop to a citrus juicer to small animals and sculptures.

Hardcover, 176 pages, published by Quarry Books, October 2022, $25.

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Wild Clay: Creating Ceramics and Clazes from Natural and Found Resources by Matt Levy, Takuro Shibata, and Hitomi Shibata

Finding your own clay—especially for use as a glaze material or to augment a commercial clay body—is increasingly popular and this book is a guide to finding, testing, and using wild clay.

Hardcover, 176 pages, published October 2022 by Herbert Press, $40

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Amazing Glaze: Recipes and Combinations: 200+ Surefire Finishes for Low-Fire, Mid-Range, and High-Fire Pottery by Gabriel Kline

A follow-up / companion to Kline’s 2018 book Amazing Glaze, this volume delves into more glaze recipes, combinations, and modifiers with recipes and images for all firing temperatures and styles. A great addition to your glaze library, and based on Kline’s decades of experience as a potter and instructor.

Hardcover, 176 pages, published August 2021 by Quarry Books, $30

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The Ceramics Bible Revised Edition by Louisa Taylor

First published in 2011, this revised edition of The Ceramics Bible includes new techniques, images, artist profiles, and more. This book has become a studio standard and the revised edition only makes it better. Written by Louisa Taylor, a British studio potter.

Hardcover, 176 pages, published by Chronicle Books, January 2022, $45

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Ceramics Masterclass: Creative Techniques of 100 Great Artists by Louisa Taylor

Also by Louisa Taylor, author of The Ceramics Bible, this 2020 book explores 100 works of ceramic art and discusses techniques, methods, and concepts behind the works. Presented as a two-page spread per artwork, this is a great book for experienced makers who enjoy a deeper look at ceramics.

Hardcover or Flexbound, 288 pages, published August 2020 by Frances Lincoln, $30

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Pinch Your Pottery: The Art & Craft of Making Pinch Pots by Jacqui Atkin

A seemingly simple clay technique, pinching can be used to make just about any form. Starting with basics, this book has 35 project ideas for taking pinched clay to the next level. Written by Jacqui Atkin, a British potter who has written numerous books on ceramic techniques.

Hardcover, 176 pages, published June 2021 by Quarry Books, $25

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Kintsugi: The Poetic Mend by Bonnie Kemske

This is not exactly a technique book, but instead is history and meditation on the Japanese technique of repairing broken vessels and highlighting the repairs with gold. The book explains kintsugi, gives current and historical examples, and examines how the technique developed. Full of images and illustrations, this is a beautiful examination of kintsugi.

Hardcover, 176 pages, published April 2021 by Herbert Press, $38

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The Beginner's Guide to Wheel Throwing: A Complete Course for the Potter's Wheel by Julia Claire Weber

An introductory guide for those looking to start on the potter’s wheel, The Beginner’s Guide to Wheel Throwing covers bowls, cups, clay bodies, tools, and everything else needed to get started on the pottery wheel. Focused on skill building while introducing tips and tricks, the book also has a gallery of examples by contemporary potters. Written by Julia Claire Weber, a potter based in Asheville, North Carolina.

Hardcover, 144 pages, published December 2021 by Quarry Press, $27

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Are there any recently published ceramic technique books that you use? Let us know in the comments.

How to Test Specific Gravity in a Ceramic Glaze and Why It's Important

A hydrometer is one of measuring the specific gravity of a glaze. For ceramic glazes, use a hydrometer that measures between 1.00 and 2.00.

Testing the specific gravity of a ceramic glaze allows you to accurately measure the ratio of dry materials to water in a glaze, or basically how “thick” a glaze is. It also allows you to maintain a glaze over time, and remix more that will be exactly the same.

Keep in mind that there is not one specific gravity for glazes, instead, each glaze will vary slightly based on the materials in the glaze and the desired application. But in general, glazes range from 1.40 to 1.60.

There are also a few methods of measuring the specific gravity of a glaze. In this post, there will be three options covered:

• using a hydrometer

• measuring in a graduated cylinder

• measuring in a cup

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Table of Contents

1. What is Specific Gravity?

2. Measuring Specific Gravity with a Hydrometer

3. Measuring Specific Gravity with a Graduated Cylinder

4. Measuring Specific Gravity with a Small Cup

5. Equipment Needed for Measuring Specific Gravity

6. Summary

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What is Specific Gravity in a Glaze?

Specific gravity measures the ratio of dry materials to water in a glaze.

As an example, if you had 150 grams of dry materials mixed with 100 grams of water, your glaze would have a specific gravity of 1.50 (150 / 100 = 1.50)

Water alone has a specific gravity of 1.00 — this will be important in our calculations.

Measuring Specific Gravity with a Hydrometer

Hydrometers are fragile glass tubes with a metal weight and scale.

A hydrometer is a glass tube with a leaded weight that is designed to float and measure specific gravity. They are quick and easy to use, provided that your glaze bucket is deep enough, but they are fragile—extremely fragile. Despite this, they are my favorite way to measure specific gravity. I’ve been using the same hydrometer for years, I just make sure to not drop it and carefully wrap it in paper towels and put it in its box when not in use.

When choosing a hydrometer, make sure to pick a “heavy liquid” or “heavier than water” hydrometer, as there are a variety of hydrometers for different applications. (Shop hydrometers at Amazon)

How to Use a Hydrometer

For glazes, you will need a “heavy liquid” hydrometer that measures between 1.00 and 2.00.

After mixing a glaze, simply place your hydrometer carefully into the glaze bucket and allow it to settle, and then take a reading.

A hydrometer measuring a glaze at 1.50. In this instance, the glaze was placed in a graduated cylinder to create a tall enough column for the hydrometer to floate.

Alternately, if your glaze bucket is not tall enough, pour glaze into a graduated cylinder or smaller bucket, and then take a measurement (as pictured).

After taking your reading, adjust your glaze as needed. In general, I like to add water slowly until I reach my desired specific gravity. You may also need to wait a day and then measure again, to make sure your glaze is just how you want it.

As you use your glaze, note the results you are getting out of the kiln and adjust your glaze if needed. Taking notes really helps!

For every glaze I mix, I note the specific gravity when initially mixed. Then, if it seems to be getting thick or changing in some way (water does evaporate over time!) you can measure and adjust.

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Measuring Specific Gravity with a Graduated Cylinder

If you don’t have a hydrometer, you can measure a glaze with just a graduated cylinder. Use a cylinder that can measure at least 100 milliliters and a scale. You will need a scale that is accurate to 1 gram or even better, 0.1 grams.

For this method, place your graduated cylinder or cup on a scale and zero out the scale.

Then, fill your cylinder to 100 mL and note the weight. As our calculation is (glaze weight / water alone = specific gravity) the calculation is very simple. If the glaze weighs 145, you have a specific gravity of 1.45. If it weighs 150, your s.g. is 1.50, etc.

As before, adjust your glaze as necessary after measuring, and remeasure.

Measuring Specific Gravity with a Small Cup

If you have a scale but no graduated cylinder, you can still measure specific gravity with a small cup.

The best way to do this is to put the cup on your scale, zero the scale, then fill the cup completely full with water. Note the weight of the water and write this down. Even better: write it on the cup so that you have an easy reference.

Then, empty the cup and refill it completely full with glaze and weigh. You will have to do a quick calculation to determine your specific gravity. If the glaze in the cup weighs 375 grams and the water alone in the cup weighed 250 grams, your glaze has a specific gravity of 1.50 (375 g / 250 g = 1.50).

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Shop the Equipment Needed for Measuring Specific Gravity

This heavy liquid hydrometer is available at Amazon for $12.

Hydrometer

To measure the specific gravity of a ceramic glaze, you will need a “heavy liquid” hydrometer, or one that measures between 1.00 and 2.00. These are available at ceramic suppliers, or at Amazon.

Graduated Cylinder

Plastic 250 ml graduated cylinder.

A graduated cylinder is handy for glaze measuring, or for creating a taller column to use a hydrometer.

In my studio, I use a plastic 250 mL graduated cylinder. This is big enough that I can float my hydrometer, or use it to measure 100 mL of glaze.

Scale

In my studio, I like to use the Oxo 11 lb kitchen scale. It’s durable, accurate to 1 gram, can weigh up to 11 lbs, is easy to clean, and costs around $55. It’s a great scale at a relatively modest price.

If you want something more accurate, a check out the MyWeigh iBalance 5500. It is accurate to 0.1 grams, can weigh up to 5500 grams (approx. 12 lbs), and costs about $250.

For a complete overview of scales for ceramic studios, click here.

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Summary

This post has covered three different methods of testing specific gravity in ceramic glazes, and the equipment needed to measure specific gravity. Measuring specific gravity is important for keeping glazes consistent, so that you will get repeatable results from your firings.

How do you measure specific gravity? Let us know in the comments.

The Best Boomboxes with Bluetooth and FM/AM for Your Studio or Workspace

Portable bluetooth speakers are great, but sometimes it’s nice to have a small system that can play the radio, stream via Bluetooth, and maybe even do more, such as play tapes, CDs, or MP3s from a USB stick.

This post will cover the best options for small units that can do it all with these criteria:

• Priced under $100

• Bluetooth capability

• Digital AM/FM tuner

• Corded AC plug

Note that for under 100 bucks you are not getting audiophile quality. These units sound ok, maybe even above average, but the main goal was to find a small workshop / garage / studio boombox for playing the radio and streaming tunes from a device via Bluetooth.

Top Pick: Sony Portable Boombox with Bluetooth and Digital Tuner

The Sony Bluetooth boombox has good sound and a digital FM/AM tuner with up to 30 presets.

This little Sony unit has everything: Bluetooth, digital AM/FM tuner, USB playback, along with features such as a CD player and “mega” bass. It also has a dedicated button for each mode (Bluetooth / FM / USB / etc) along with plenty of other buttons, making it very easy to use and operate. This is the boombox I use in my own studio.

It has great FM reception, pulling in every low-power station in my area along with all the big stations, easy Bluetooth pairing, and decent sound. As other reviewers have noted, it doesn’t get super loud and the “mega” bass leaves a bit to be desired. You may find Bluetooth speakers with better sound (such as JBL speakers) but I wanted a radio and Bluetooth and this delivered on that. It’s a great addition to my studio and it sounds way better and louder than streaming music through my phone speakers, plus I can tune into the radio stations I enjoy. This unit seems to be the market leader for small, plug-in Bluetooth boomboxes priced at $100 or less.

Sony Portable Bluetooth Boombox: $95-$99
Power: AC cord or 6 C batteries

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Table of Contents

• Top Pick: Sony Bluetooth Boombox with Digital FM/AM Tuner

• Budget Pick: Megatek Bluetooth Boombox with Digital FM/AM Tuner

• Alternate Pick: KLIM B4 Bluetooth Bombox

• Throwback Pick: Ion Audio Street Rocker 1980s Style Bluetooth Boombox

• Other options

• Summary

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BUDGET PICK: Megatek Bluetooth Boombox with Digital FM/AM Tuner

The Megatek portable bluetooth boombox in black.

Coming in at about half the price of the Sony Boombox, the Megatek Boombox has many of the same features at a budget price, including bluetooth connectivity, digital AM/FM tuner with 30 presets, MP3 playback via USB, an auxiliary-in port and it’s available in black or red. It’s a decent option but some reviewers mention the sound isn’t quite as good as the Sony.

Other drawbacks are that there aren’t as many dedicated buttons, so you’ll be pressing the mode button to switch between functions. But at $45, it’s a price that can’t be beat.

Megatek Bluetooth Boombox: $45
Power: AC cord in or 4 C batteries

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ALTERNATE PICK: KLIM B4 Boombox with Bluetooth, FM, and Internal Battery

The KLIM B4 Boombox features a clean design along with a remote.

KLIM makes a variety of Bluetooth boomboxes but the most interesting option is the B4 model which has all the same features as the Sony but with an internal rechargeable battery and a remote. It also has more powerful 3 watt speakers as opposed to the 2 watt on the Sony. It’s a great package with clean design that is listed at $70 but can often be found on sale for less, and is available in white or black.

KLIM B4 Boombox: $70
Power: AC cord or with internal rechargeable battery with 6 hour run time.

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THROWBACK PICK: Ion Audio Street Rocker 1980s Style Bluetooth Boombox

The Ion Audio Street Rocker 1980s Style Boombox features a cassette deck, bluetooth, and lots of old-school charm.

If you are looking for an old-school boombox with new features, Ion Audio has you covered. This unit features a cassette deck, bluetooth, AM/FM tuner (not a digital tuner though). The boombox has a variety of switches and dials that give that old-school feeling.

In theory I love manually scrolling through radio stations but at this point, the lack of a digital tuner is a real drawback for me (I know, I know…I’m complaining about a throwback style). But that aside, this is a cool option that would look great in any workspace.

Ion Audio Street Rocker 1980s Style Boombox: $95
Power: AC cord or 6 D batteries

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OTHER OPTIONS

There are quite a number of Bluetooth-enabled boomboxes in the under-$100 category. Most seem to be around the $50-$60 range and are similar to the Megatek option listed above. In general, they don’t have quite the functionality / ease of use as the Sony because they have fewer buttons.

Insignia Portable CD Boombox with Bluetooth

The Insignia boombox has Bluetooth, CD, and a cassette deck.

Insignia, the house brand of Best Buy, has a $60 boombox option that has Bluetooth, digital tuner, CD player and a cassette deck. If you still use CDs and cassettes, this is the boombox for you.

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KLIM B3 Boombox

The KLIM B3 Boombox has bluetooth, a CD player, and light-up speakers.

If you want more flare, the KLIM B3 Boombox has speakers that light up along with Bluetooth, digital tuner, CD, and USB playback. It also comes with rechargeable batteries, although it’s not a built-in battery. It’s a fun little unit that retails for around $60.

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AUDIOFILE UPGRADE

If you are willing to spend more than $100, you can get a nice workshop system that will have great sound for around $500 and up by pairing a receiver with quality bookshelf speakers such as the ELAC Debut 2.0 B5 pair of speakers. There are plenty of affordable receivers that will work with these speakers, which are known for their combination of great sound and relatively low price.

If you’re the type of person who wants great sound but at a price that still makes sense for a studio / workshop / garage, this is the set up for you. One drawback of receivers is they often don’t have great AM/FM tuners—plan to install the long antenna cord but even then, it may not have great reception.

The Sony STRDH190 stereo home receiver with bluetooth is an entry level priced receiver that is great for a studio or workshop.

There are lots of receivers out there but one of the best cheap receivers at the moment is the Sony STRDH190. It’s listed at $200 but can often be found on sale for less.

The ELAC Debut 2.0 B5 speakers are great bookshelf speakers with 5” bass drivers and 1” tweeters.

For entry level speakers, you can’t go wrong with the ELAC Debut series. Try the 5 inch 5.0 speakers or if you want more power, the slightly larger 6.0 speakers. These are corded speakers and they sound great. Expect to pay $285 to $315 for the pair.

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Summary

This post has covered a variety of options for a small boombox that can stream via Bluetooth and play the radio. Focusing on the units for $100 or less, these are simple devices to add some audio to your studio or workshop at a budget price. The top pick is the Sony Bluetooth Boombox for it’s ease of use and functionality, but there are other options. If you are an audiophile, check out the upgrade ideas which will deliver great sound but at a price that still works for a workshop.

What is your favorite device that can stream via Bluetooth and play the radio? Let us know in the comments.

Ugetsu, the Greatest Film Starring a Potter Ever Made?

Ugetsu may be the greatest film that also stars a potter, and it’s now available for free (with ads every 10 minutes or so) on YouTube or it can be rented at a variety of sites.

Made in 1953, it’s a ghost story about a 16th-century Japanese potter who leaves his kiln and village during a turbulent period of war. Directed by Kenji Mizoguchi, this magical story alternates between reality and a dream world and brings up questions of family, attachments, and how to live one’s life.

The film includes wonderful shots of the potter throwing pots with his wife, glazing, loading and firing a wood kiln, and selling his wares. Having a potter in a main role is of interest, although in the story the character could have been any sort of profession, such as a farmer or small-town craftsman.

In a 2012 essay for Studio Potter, Sarah Archer points out that in Western movies and television, potters are often played for laughs (i.e. Ghost) but in Ugestu, “Ceramics occupies a role in this film that another sort of old-fashioned profession like farming could credibly occupy in an American movie. Ceramics is not played for laughs or meant to indicate that the character is artsy or flaky or experiencing a midlife crisis; he’s just a rural, pre-industrial man who makes and sells pots.”

Potter or not, Ugetsu is a beautiful, thoughtful film that’s worth a watch.

Watch Ugetsu (with ads) on Youtube:

You may also like:

Plato on the Roll of Potters

Lucie Rie Monography by Tony Birks

Gift Guide for Potters

John Reader on Potatoes in Moche Ceramic Art

Potato is a 2008 history of the “propitious esculent” by John Reader that covers the entire history of the plant, which originated in the Andean highlands of South America and was eventually exported and cultivated worldwide. On pages 51 and 52, Reeder addresses potatoes as a subject matter in Moche ceramic art. The Moche culture flourished along the coast of present-day Northern Peru from around 200 BC to 700 AD, and is known for its amazing array of ceramic vessels.

A Moche stirrup vessel with four potatoes from the Museo Larco in Lima, Peru.

“There was art too — paintings, sculpture, carvings, tapestries and wonderful ceramics. A diverse series of ceramic styles evolved, each with a wide range of examples, but the most interesting from the point of view of this narrative is the pottery of the Moche, who ruled the coastal and immediate inland regions of northern Peru from the beginning of the Christian era until about AD 600. The Moche took the potter’s art to an exceptionally high standard, producing vessels whose purpose must have been more decorative, or ceremonial, than utilitarian. Every aspect of Moche life is depicted in finely worked clay: men in the fields, people chasing deer with spears and clubs, hunters aiming blowguns at brilliantly feathered birds, fisherman putting to sea in small canoes, craftsmen at work, soldiers in battle, and scenes of human sacrifice — all beautifully painted and burnished. There are also scenes of people being carried in sedan chairs, seated on thrones, receiving tribute and engaging in sexual activities both commonplace and remarkable — all shown in exquisite detail.

Potatoes feature prominently among the Moche ceramics. Of course, the tuber’s globular form is easily reproduced, and there are plenty of what might be called conventional potato pots, in that they are shaped like a potato, but there are also some oddities that combine the potato and the human form in a disturbing manner. The simplest just make a head or face of the potato, or use naturally occurring shapes to represent a human form — like the tubers that occasionally turn up with knobby heads or limbs attached — but others are more sinister. On one, several heads erupt through the skin; on another, a man carrying a corpse emerges from the deeply incised eyes; a ‘potato’ head has its nose and lips cut off; potato eyes are depicted as mutilations…

We can never know whether any particular significance should be attached to the combination of human and potato forms in Moche pottery, but surely must agree with an authority on most things relating to the potato, the Cambridge scientist Redcliffe N. Salaman, who concluded that the pots illustrate ‘the overwhelming important to certain sections of the population of the potato as a food . . . to the people both of the coast and the sierra’ — especially in times of famine or war. For, as we know, the potato could not be cultivated on the hot and arid coastal desert. Imports from the highlands were the only source, and for coastal people who had become dependent on the potato, a disrupted supply could spell disaster.”

Potato: A History of the Propitious Esculent
by John Reader
2009, Yale University Press, 315 pages

Review: Western Digital My Passport SSD External Hard Drive

An external hard drive is a must have these days for backing up your hard drive and storing large files. This is especially true for artist and creatives, who probably have higher than average storage needs for photos and videos. (You are documenting and archiving images of your work, right?)

The good news is that an external hard drive doesn’t have to be a huge expense and when handled carefully, they are durable and will last for years.

In a 1 to 1 comparison, the SSD drive at left is much smaller than the HDD drive at right. Both drives have 1 TB capacity.

This review is not a comprehensive look at external hard drives, but I wanted to share my years of experience using Western Digital external hard drives with no issues. More than a decade ago, I used other brands (cough cough LaCie cough cough) only to have one hard drive overheat and fail. At that point I moved on to Western Digital and am now on my third external hard drive from WD. I have not had any problems with any of the WD external hard drives I’ve owned and they are all still working.

My most recent upgrade was to a 1 terabyte Western Digital My Passport SSD or solid state drive (shop at Amazon). It’s essential like a huge thumb drive that you plug in to your computer or laptop, and it runs off the power from this connection. While I’m usually in no great rush, file transfers are much faster with the SSD drive. I’d say at least 50% faster to almost double the speed of my older WD MY Passport Ultra HDD. (This older drive has been going strong for 6 years now and is also pictured here in this post.) The WD My Passport SSD has one USB-C port and it comes with two cables, a USB-C to USB-C (perfect for Mac laptops) or a USB-C to USB-A.

With no moving parts, smaller size, and faster speeds, I’d recommend an SSD drive to anyone looking for an external hard drive. The only drawback is they are more expensive. For comparison sake, at the time of this writing the WD My Passport SSD 1 TB external drive was around $130 while a comparable WD Elements HDD 1 TB drive was around $50.

More Info on External Drives

External hard drive are available in all sorts of configurations and storage sizes, including powered models that will back up wirelessly, and smaller plug in models. For space considerations, I’ve switched to the smaller plug in models. The are powered via the USB plug, and have worked great for regular back ups and file storage, including with drive partitions.

SSD vs HDD

A HDD or hard disk drive has a spinning platter where information is stored. You will feel slight movement when the drive is active and hear a humming sound. These hard drives have a long history and are more economical. There is some concern that the drive can be damaged, especially if dropped when in use. (Often the comparison is to moving a record player while it is in use). Because it has moving parts, there is also more of a concern with heat. My one experience with an external hard drive failing was a HDD drive that overheated in summer heat.

An SSD or solid state drive uses flash memory, similar to what you find on a thumb drive. There are no moving parts so the drives are smaller, lighter, and hopefully less likely to be damaged. This is the same memory storage you find in smartphones, hence the small size. You will pay more, but an SSD drive is much faster and lighter.

Storage Needs for Artists

As an artist, it’s important to document all your work with high quality images, and store those files along with having a backup. One option is an online backup, or you can back up the files to an external hard drive. Or both! Yes, there is an expense involved but you need your files.

When storing files, it’s good to make a robust file management system. A simple method is by year and month, or by type of work.

Summary

Backup storage of your important files is vital, and an external hard drive is an easy, affordable solution. An HDD drive is economical and effective. An SSD is faster, lighter, and the best option in my opinion. Whatever you use, just make sure to back up your important files!

What back up system or external hard drive do you use? Let us know in the comments.

Posts that Might Interest You:

Heavy Duty Shipping Scales review

The Best Scales for Ceramic Studios

How to Screen a Glaze with a Brush Head

The Best Chunky Colored Pencils for Drawing and Sketching

Chunky colored pencils are some of my favorite drawing tools. They can be used for detail work or for covering large areas quickly. They’re also great for kids or anyone who likes a thicker pencil.

My go-to favorite used to be Prismacolor Art Stix, but since being discontinued a few years ago, I’ve had to find replacements. This post covers all the thick, chunky, and oversized colored pencils I could find.

Top Pick: Cretacolor Megacolors

The Cretacolor Megacolors set of 12.

Cretacolor Megacolors are oversized colored pencils with a quality wood pencil surrounding a 6.4mm core of buttery smooth color. These pencils can make intense blocks of color, and are easy to sharpen. The back end is finished and sealed. All in all, a great pencil!

Available in sets of 12, 24, and 36 or individually, these are my top pick for big colored pencils. Prices range from $18-20 for a set of 12 to $53-55 for a set of 36 or about $2.50 per individual pencil. Cretacolor also makes a set of 12 metallic colors in the same thick pencil style. (Shop metallic pencils at Blick.)

Cretacolor Megacolors test pages

Cretacolor Megacolors on white paper.

Cretacolor Megacolors on black paper.

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Table of Contents

• Top Pick: Cretacolor Megacolors

• Runner Up: Koh-I-Noor Woodless Pencils

• Lyra Color Giants

• Stabilo Woody

• Caran D’ache Fluo

• Prismacolor Art Stix (discontinued)

• Summary

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Runner Up: Koh-I-Noor Woodless Colour Pencils

The Koh-I-Noor Woodless Colour Pencils set of 24.

The 24-color set comes in two stacking trays that slide into the original cardboard packaging.

The Koh-I-Noor Woodless Pencils are made of colored lead sealed in a plastic finish. These pencils are smooth, easy to sharpen, and fun to use. They are the closest to the Prismacolor Art Stix, but with the sealed sides, they can’t be used horizontally to make wider marks.

While great to use, one drawback is these are prone to breaking. A few were broken in shipping and more broke from pressing too hard. But even when broken, the pieces can be sharpened and used. Just be gentle with this.

Koh-I-Noor Woodless Colour Pencils are available in sets of 12 for around $10 or 24 for $15, or they can be purchased individually for $1.25.

Koh-I-Noor Woodless Colored Pencil test pages

Koh-I-Noor woodless colored pencils on white paper.

Koh-I-Noor woodless colored pencils on black paper.

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Lyra Color Giants

The Lyra Color Giants set of 12.

Lyra Color Giants are large wooden pencils with a 6.25mm core with an unfinished end. They are similar to the Cretacolor Megacolors, but I found the lead to be stiffer and harder to use. You may prefer this hardness for detail work, but it was a drawback for me.

Overall, the Lyra Color Giants felt like school grade pencils and just weren’t as smooth as the Cretacolors.

The pencil are available in packs of 6 ($9), 12 ($18) or 18 ($34) and also a variety of special packs such as metallic colors, skin tones, or triangular versions.

Lyra Color Giant test pages

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Stabilo Woody Pencils

Stabilo Woody set of 10 colors and sharpener.

Stabilo Woody 3-in-1 pencils are an interesting entry. Soft, waxy, and definitely chunky, these are designed for kids but some professional artists love them for their smooth quality and flexibility: in addition to being similar to colored pencils and wax crayons, they are also water soluble. The Woodys are definitely and interesting drawing tool for artists of all ages

Stabilo Woodys are so large that they come with their own sharpener. Available in sets of 6 ($19), 10 ($22) or 18 ($41) and also 6 pastel colors or individually for around $3 each.

Stabilo Woody test pages

Stabilo Woody test on white paper.

Stabilo Woody test on black paper.

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Caran D’Ache Fluo

Caran D’ache Fluos are a series of 4 colored pencils with 4.5mm cores that are available in fluorescent pink, green, orange, and yellow. They are a fun addition to your colored pencil kit, but not a full-color set.

The Caran D’Ache Fluos are available for $4 each.

Caran D’Ache Fluo test pages

Caran D’Ache Fluo on white paper.

Caran D’Ache Fluo on black paper.

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Discontinued Favorite: Prismacolor Art Stix

Prismacolor Art Stix were blocks of solid colored pencil. Similar in shape to pastels but not powdery like a pastel, they could be used to draw or rubbed sideways to cover large areas of paper. The lead and colors were the same as regular Prismacolors. Originally made in 48 colors, the Art Stix were discontinued in 2020 or 2021. Hopefully Prismacolor will bring them back! Definitely pick some up if you see them for sale anywhere.

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Conclusion

This post has covered a variety of thick, large, and chunky colored pencils. The top pick is Cretacolor Megacolors for their intense, smooth colors are overall quality but there are a variety of options that may be perfect for your studio.

What is your favorite colored pencil? Let us know in the comments.

You might be interested:

Colored Pencil Buyer’s Guide

Best Mixed Media Drawing Pads

Best Black Paper Drawing Pads

Gift Guide for Painters

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Lucie Rie Monograph by Tony Birks

Lucie Rie by Tony Birks is the definitive monograph on the Austrian-British potter. The book contains numerous color and black and white images of Rie’s work, along with a complete biography and history of her work. It also includes a chapter on Rie’s technique and ways of working. First published in 1987, the book has been reprinted numerous times. Currently it appears to only be available used in hardcover or paperback.

The cover page of Lucie Rie by Tony Birks

Born and raised in Austria, Rie later moved to Great Britain in the 1930s. In London, she set up a studio and became acquainted with British potters such as Bernard Leach. Later, Hans Coper began working in Rie’s studio, and eventually the two collaborated on production ware before Coper set off on his own. Throughout, Rie maintained a focus on the wheel thrown vessel that was informed by her early influences such as the Wiener Werkstätte and other forms of modern art. Her pieces, however, maintained a handmade touch, exquisite glazing, and lots of fine line and scraffitto work.

In a section on technique, Birks details the various methods of making and firing the Rie employed, which included single-firing her pots in an electric kiln to cone 8, along with very fine scraffitto work done with a needle tool while pieces were bone dry.

Overall, this book is a must-have for any potters or fan of ceramics, as it gives a deep insight into Lucie Rie, one of the most prominent potters of the 20th Century.

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Images from the book

A spread with three bowls illustrating Rie’s superb glaze technique.

The table of contents

The image at the upper left is Rie with Hans Coper. At right is Rie with Bernard Leach.

The revelatory chapter on techniques Rie used to make her vessels.

You might also enjoy:

Roger Herman Ceramics monograph

Centering by M.C. Richards

A Potter’s Workbook by Clary Illian

All Inspiration posts

What are your thoughts on Lucie Rie by Tony Birks? Let us know in the comments

Review: MyWeigh HD-300 Shipping Scale and other Heavy-Duty Scales

A shipping scale is great for, well, shipping! But it’s also useful if you weigh heavy materials such as plaster or make large batches of clay or glaze. There are quite a few smaller shipping scales but if you want something with a large, sturdy platform and a detached display, it’s generally $100 or more. These large platforms not only allow you to accurately weigh large boxes, but also big buckets of any sort of material or liquid.

The MyWeigh HD-300 has a heavy duty metal platform and detached digital display.

In my studio, I recently got the MyWeigh HD-300 Heavy Duty Shipping Scale. It has a sturdy, well-built platform, detached digital display, and four adjustable legs.

This scale can weigh up to 300 pounds (136 kilos) and is accurate to 0.1 pounds or 0.05 kilos. For me, this is accurate enough for shipping and weighing plaster. It can also run on batteries or plug in, and if desired, you can sync it with shipping software. It also has an incredible 30 year warranty. Based on this personal use, experience with other scales, and combing through online reviews, it’s my top pick for a heavy duty shipping scale.

All in all, this is a great deal at around $115.

Keep reading for more pics and info about this machine and other shipping scales.

For recommendations on a smaller glaze mixing scale, click here.

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Table of Contents

1. MyWeigh HD-300 Shipping Scale

2. Rubbermaid Commercial Food / Receiving Scale

3. Accutek Heavy Duty Shipping Scale

4. Accutek Ship Pro

5. Summary

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More info on the MyWeigh HD-300

A view of the bottom metal platform on the MyWeigh HD-300.

The MyWeigh scales all seem to hit the balance of affordable price point along with well built quality, and the HD-300 is no different. It has a combination of a metal base, adjustable feet, metal platform, and detached digital display that is accurate to 0.1 pounds. It’s not suitable for weighing small batches of glaze, but it might work for large batches of glaze along with weighing out clay, plaster, and boxes.

The scale can accommodate up to 300 pounds. A HD-150 model that goes up to 150 pounds is also listed online but I couldn’t find it available, so I went with the HD-300.

More pics of the MyWeigh HD-300

The MyWeigh HD-300 has a detached digital display.

The MyWeigh HD-300 with a large box on it. The digital display is plugged in to an outlet in this pic, but it can also run on batteries.

The display lights up in a backlit green when in use.

Unboxing: the MyWeigh HD-300 comes securely packaged and ready to use.

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Other Heavy Duty Shipping Scales

The MyWeigh HD-300 is one of a few quality options for a heavy duty shipping scale. Before switching to the MyWeigh, I had long used he Rubbermaid Commerical heavy duty food / receiving scale, but it continues to get more expensive, now around $181, and it is only accurate to 0.5 pound. I’ve also been in studios where they have used the less expensive Accutek scales and while they are not as heavy duty, they get the job done, especially if used carefully.

The following reviews cover other options that meet the criteria of a shipping scale with a detached display so that you can weigh large boxes. For smaller scales, check out this review of scales for glaze mixing.

Rubbermaid Commercial Heavy Duty Food and Receiving Scale

The Rubbermaid Commercial Heavy Duty Food and Receiving Scale features a metal platform and detached digital display.

The Rubbermaid Commercial Heavy Duty Scale used to be my go-to recommendation for a heavy duty scale. I’ve used these in a variety of studios, usually for mixing plaster, but at $181 it’s very expensive for what you get. Essentially, it’s a similar scale to the much cheaper MyWeigh but it’s less accurate, only measuring to 0.5 lbs. This is really not very accurate! Older models of this scale used to be more accurate.

But with this scale, you do get a metal platform and base, detached digital scale with a 9 foot cord, and ability to use via 9 volt battery or plug in. If you have one, it’s an ok scale, but if you are buying new, go with the cheaper and more accurate MyWeigh.

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Accutek Heavy Duty Shipping Scale

The Accutek Heavy Duty Shipping Scale can weigh up to 440 pounds with a 0.05 pound accuracy.

The Accutek Heavy Duty Shipping Scale is a great value (under $40 at the time of this writing) and features a metal platform, detached display, and is accurate to 0.05 pounds or 50 grams. That’s pretty incredible! Friends have used these for measuring clay and glaze materials to good results, although it’s only accurate enough for large batches of glaze. As opposed to the MyWeigh or Rubbermaid heavy duty scales, it doesn’t have adjustable feet but otherwise, it’s a solid effort from Accutek. (Accutek also makes a small scale that is our budget pick for weighing clay)

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Accutek Ship Pro

Accutek also makes the ultra budget Accutek Ship Pro, which can weigh up to 110 lbs at an accuracy of 0.1 pounds. Not bad for a unit listed at $24! It’s an all plastic construction, but does have a remote display so that you can easily read the weigh of a wider box or bowl of material.

I’ve had good luck with the $20 Accutek 50lb all in one scale, so I don’t want to discount this particular model just for being cheap, but I went with the more expensive MyWeigh HD-300 for the metal construction and super long warranty. This Accutek may serve your needs, but as with all super budget electronics, results may vary. More than any other scales mentioned in this post, this model has a mix of negative reviews on various consumer sites.

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Summary

This post has covered a variety of shipping scales with detached displays so that you can easily read the weight on wider objects like shipping boxes. When considering all the factors, the best quality for the prices is the MyWeigh HD-300 Heavy Duty Shipping Scale. It has metal construction, a detached digital display, and can weigh up to 300 lbs. The Rubbermaid Scale is more expensive and less accurate, while the cheaper Accutek models will get the job done but they are not as robustly built. If you want a long-lasting, hardworking studio tool, go with the MyWeigh HD-300.

What scales do you use for shipping and other heavy-duty uses? Let us know in the comments.

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How to Make Ceramic Brushing Medium and Brushable Glazes

Brushable glazes are easy to use and are especially great for sculptural pieces, detail work, or if you are in a studio that mixes small amounts of glaze that aren’t used for pouring or dipping.

Any ceramic glaze can be made into a brushing glaze with a few simple ingredients, such as CMC gum, Veegum, or Macaloid.

Here are a few easy recipes.

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CMC gum on the left, Veegum on the right.

Super Simple Brushing Medium Recipe

Add 1% CMC gum by weight to a glaze.

In practice, this would mean that for 1000 grams of dry glaze, add an additional 10 grams of CMC gum.

Super Simple Brushing Medium Recipe #2

Also easy, this is what I use and love.

Add 0.2% CMC and 0.8% of Veegum or Macaloid. This is still equal to 1% of the total glaze.

Following the example above, for 1000 grams of dry glaze, add 2 grams of CMC and 8 grams of Veegum or Macaloid.

These recipes can be used for any glaze at any temperature.

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Why Use a Brushing Medium?

Brushing medium slows the drying time of your glaze, allowing you to brush on a glaze more easily. It also can help keep a glaze in suspension and creates a “harder” glaze that is less likely to be knocked off while handling or loading your piece before the glaze firing.

If you have been buying pints of glaze or using underglaze, you are already using glazes with gum additives to make them more brushable. Using one of the recipes above, you can turn glazes you mix into brushing glazes. (Keep in mind that they are not as suitable for dipping or pouring if you add this.)

Recipe 1 vs. Recipe 2

Recipe #1 is simple and easy to remember. It’s also what you are making if you add CMC gum solution to your glaze. (Click here to read more on CMC gum solution.)

Recipe #2 is not as turbocharged and gummy, so it gives you more leeway if you make an error mixing your brushing medium or want a less viscous glaze. I have been using this recipe for more than a decade, and it makes for a very successful, brushable glaze. But either recipe will be fine.

How to Mix

Gums such as CMC or Veegum, and clay such as Macaloid (or Bentonite) will clump up if added directly to water. To successfully mix these, add the materials to your glaze batch while still dry and thoroughly mix. Then add the glaze batch to water. You will still need to mix and possibly let the glaze sit overnight to fully hydrate.

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Where to Buy

CMC, Veegum, Macaloid, etc are available dry from your local ceramic supplier. You can also buy pre-made gum solution or check out our recipe. Some suppliers also sell dry brushing medium. It’s probably something basically the same as CMC + Macaloid, but they don’t share their recipes.

Personally, I like to know each ingredient in a glaze I’m mixing so I think it’s best to mix your own brushing medium, and at one or two ingredients, it’s very easy.

You might also enjoy:

How to Mix CMC Gum Solution

How to Mix a Ceramic Glaze From Scratch

Best Glaze Mixing Tools and Accessories

Dust Masks for Glaze Mixing

Do you add brushing medium to your glaze? What’s your recipe? Let us know in the comments.

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Testing Tenmoku Glaze in Cone 6 Oxidation Firings

Tenmoku is a beautiful black / brown glaze that is characterized by a high percentage of red iron oxide and is typically fired in reduction to cone 10. I wanted to see if similar results could be achieved in a cone 6 electric oxidation firing, so I scoured glazy.org for recipes and tested a few. The most successful result in my kiln was the glaze Base Vinod T, developed by Clara Giorello.

This glaze, when applied thickly, has the deep black characteristics of a high-fire tenmoku, and some of the more translucent brown highlights. It’s not exactly a tenmoku, but it’s a nice glaze. The recipe developer also posted the base glaze along (sort of a milky clear) along with tests with other oxides.

Here’s the recipe, and more images are below.

Base Vinod T cone 6 tenmoku

Ingredient	Percentage	1000g batch
Potash Feldspar (Custer Feldspar used in this test)	26	260g
Frit 3134	26	260g
Kaolin (EPK used in this test)	18	180g
Silica	22	220g
Whiting	6	60g
Talc	5	50g
Add:
Red Iron Oxide	10	100g

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Test Tile Images

These test tiles were all fired on Laguna Frost mid range porcelain, to best bring out the tenmoku characteristics. I’m sure the glaze will also work well on white or red stoneware, but the lighter brown highlights will be less likely to show up on darker stoneware.

Base Vinod T glaze with a thick application.

Base Vinod T glaze with a thin application.

Four of the glazes tested: Base Vinod T in thick and thin applications, Vinod T glaze plus red iron oxide, Song Dynasty Tenmoku 0.18 and 0.23 glazes, and Pierre’s tenmoku.

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Conclusion

Tenmoku-like results can be achieved in a cone 6 oxidation firing. It’s not exactly a traditional tenmoku, but it’s definitely in the ball park! In my kiln, the glaze Base Vinod T gave the best results (see recipe at glazy.org). Testing is always recommended in your kiln before committing to a larger batch.

Do you fire tenmoku glazes in cone 6 oxidation? If so, let us know about your recipes and results in the comments.

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The Best Full-Size Slab Rollers for Ceramic Studios

The Bailey DRD / II gear reduction slab roller pictured here with the shorter 51” table.

Slab rollers are great for slab-built pottery, tiles, and sculptures. While you might be able to get by with a rolling pin, if you use slabs regularly, a slab roller should be an integral part of your studio And while full-size slab rollers can take up a chunk of space, having the ability to easily make slabs is worth it.

This post covers all the full-size slab rollers on the market from five manufacturers: Bailey, Nidec Shimpo, North Star, Brent, and the Hi Roller. For a guide to smaller portable or table top slab rollers, click here.

Top Pick: Bailey DRD / II Gear Reduction models

The 24 inch wide Bailey DRD / II slab roller pictured here with the 69” table. Note the two wheels for ease of moving the table.

The Bailey DRD / II slab rollers with the gear reduction feature are the best slab rollers on the market. These slab rollers are a joy to use, can quickly take up to 2 inches of clay down to an even slab, and are extremely durable and long lasting, suitable for a professional, academic, or personal studio.

The machine features steel rollers, a large 34” wagon wheel handle for easy turning, and one adjustment knob that raises and lowers the top roller. The slab roller can be adjusted from an ultra-thin 1/16” up to 1 1/2” .

This machine feature a reverse-thread handle adapter to prevent damage to the machine, but be careful—what this means in practice is that you can unscrew the wagon wheel handle and it will fall off. (Make sure students are trained on this machine.) On the shorter 51” table, the 34” handle is quite large but it is easy to use and turn, even with large amounts of clay.

The only other (small) drawback is that if one is not careful, canvas can be pulled under the feed table and ends up wrapping around the bottom roller. But once one is accustomed to the roller, it becomes second nature to avoid this.

Bailey makes a few different rollers, but the DRD / II gear reduction models are what you want. The cost about $100 extra for the gear reduction but they are simply the best slab roller on the market.

The Bailey DRD / II gear reduction models are available in a 24” width as a machine only ($1,380), with a 51” table ($1,780), or a 69” table ($1,999). The 30” models have the same option and generally cost about $200 more.

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Budget Pick: Nidec Shimpo SR-3050 Slab Roller

The Nidec-Shimpo Slab Roller

The Nidec-Shimpo SR-3050 slab roller is a studio workhorse that will turn out great slabs. It features a double roller that sits in the middle of a 30 x 50 inch table with a wagon-wheel handle. Slab thicknesses can range from an ultra-thin 0.1” up to 3 inches, and the top roller is adjusted by moving the two handles.

Adjusting the two rollers can be a bit annoying and the table is somewhat small, but all things considered, this is a great roller that is listed around $1,100 and often can be found for around $900. The short feed area can be fixed by adding a wing or placing the machine next to another table.

The Bailey DRD II and the Shimpo slab roller are just two of many full-sized slab rollers on the market. Keep reading for a complete guide, or click here to read about small and portable table top rollers.

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Table of Contents

1. Top Pick: Bailey DRD / II Gear Reduction Roller

2. Budget Pick: Shimpo Slab Roller

3. How to Shop For a Slab Roller

4. North Star Slab Rollers

5. The Hi Roller Vertical Slab Roller

6. All Bailey Slab Rollers

7. Brent Slab Rollers

8. Slab Accessories

9. Summary

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How To Shop For A Slab Roller

It can be confusing to shop for a slab roller, as Bailey and North Star in particular make a variety of slab rollers that can be ordered with a variety of table sizes and features. Here’s a guide of how to shop and pick out rollers.

1. Start With Roller Width

Full size table top rollers range from 24 to 40 inches wide. In practice, your widest slab will probably be about 2 inches less than that. Even a 22 inch wide slab can be quite large! But if you are doing large tile projects, the 30 or 40 inch models will be needed. For an individual studio, a 24 inch roller might be quite large—maybe a table top roller is what you need.

2. Table Size

The important considerations here are the size of the table where you feed in the clay, the size of the “output” area, and the total size of the table. In addition to width, the table size will determine how long of a slab you can make. Once again, I’d suggest that a 22” wide slab by say 24” long is quite large! But if you have a larger table, you have more working area.

Shimpo, Brent, and the Hi Roller machines come in one size. But Bailey and North Star let you choose the table size. With Bailey it’s a 51” or 69” long table, and North Star options are 48” or 72” inches, and North Star also sells prop-up “wings” that extend the table. With Bailey and North Star, you can also buy the machine only and build your own table.

With any roller, measure the complete table and make sure it is suitable for your studio.

3. Rollers

Most high-quality rollers have a double roller. This will give your slab pressure from both sides, and results in a more even slab. Brent Rollers just have a roller on one side, which along with the heaviness of the table is why we don’t recommend Brent rollers.

4. Handle / Crank Mechanism

Most of these large rollers come with a wagon wheel handle, but some have a crank. A wagon wheel makes it easy to turn, but does take up more room. Consider the Bailey rollers with the short table: a 34” wide wagon wheel handle is paired with a 51” table. It’s a bit crowded. Smaller table top rollers generally have a crank rather than a wagon wheel.

5. Gear Reduction / Safety Mechanisms

Any slab roller should be treated with respect and they can be damaged if they are turned the wrong way or too much clay is forced through the rollers. Bailey makes a gear-reduction model that is even easier to turn, and also has a reverse-threaded wagon wheel so that you can’t turn the gears the “wrong” way and damage the machine.

6. Durability

All of the machines reviewed here are well built and will be long lasting if not abused. In my experience, the Bailey, Shimpo, and North Star machines hold up best under intense use in academic or community studios. The Hi Roller is fussy but can make nice albeit small slabs. The Brent rollers are extremely heavy and basically bomb proof welded steel, but if the shims get wet they can warp and the wires can snap if used improperly. So many academic studios have Brent rollers but the other four manufacturers make machines that are simpler, lighter, and easier to maintain.

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North Star Slab Rollers

The North Star 30 inch wide Super Roller with table.

North Star makes two styles of slab rollers: the “standard” line has crank-driven 2 1/2” double rollers available in 18”, 24”, and 30” width as machine only, table-top portarollers, or in 48” long tables. (Our top pick for a portable roller is the 18” Portaroller from the North Star standard series.) The two larger rollers in the standard line can also be ordered with wagon wheel handles.

The “super” series features wagon-wheel driven 4” wide double rollers with a gear reduction in 24”, 30”, or 36” width in 72” long tables. If you are a production shop or a busy academic studio, the Super series is what you want, whereas the standard line is great for individual studios.

North Star also makes a variety of accessories, such as fold-out wings to extend the length of tables, and extra shelves for the roller table.

These are great rollers. The only drawback compared to the Bailey DRD / II models is that North Star has two height adjustment knobs, rather than one that moves the entire top roller. North Star mentions that this makes “tapered slabs” possible, but truth be told, that’s a concept I’ve only heard mentioned in their marketing copy.

North Star Standard rollers range from around $1100 to $1200 for a roller and table.
Super series rollers start at around $1500 for the 24” roller and table, and go up to $2355 for the 36” roller and table. All the models are available for less as machine only, if you want to build your own table.

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The Hi Roller Vertical Slab Roller

The Hi Roller Vertical Slab roller is a space-saving machine that is easy to crank.

The Hi Roller is an interesting entry for the full size slab roller because it can be wall mounted or stand on its own, taking up very little space while providing great (if somewhat small) slabs. The rollers can be adjusted easily with a dial, clay is placed near the rollers, and a small crank easily moves the clay down between two pieces of canvas. Then, the clay is cranked back up, often sticking just enough to the canvas until you remove it.

This all sounds great, but in practice, this is a fussy machine. Sometimes the clay drops below the rollers and won’t come back up, and it’s hard to make large slabs. So there is some trade off but if floor space is a premium in your studio, this is the roller for you.

The Hi Roller is generally available for around $1,450-$1,500.

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Bailey Slab Rollers

Bailey makes a somewhat confusing array of slab rollers so hopefully this outline of their product line will help.

The Bailey 40” DB Drive Board roller with electric motor.

The DRD / II slab roller from Bailey is the top pick for a slab roller (see top of post) and is available in a 24” or 30” model in either direct drive or gear reduction models. It’s worth the extra $100 for the gear reduction—why not make it easier to crank out slabs? The DRD / II models have 2 1/2 inch diameter rollers.

The original DRD model is still in production, and is available in 30” or 40” width. The DRD features 4” diameter rollers, designed for professional studios or heavy use by academic studios. These are amazing, big rollers. They are also available with electric motors.

Finally, Bailey also makes the DB or Drive Board rollers in 30” or 40” widths. These machines have a single roller on top and a drive board that travels with the slab, allowing for more even compression and protecting the slab from bunching or bogging down in the machine. These are best for tile and architectural tile work.

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Brent Slab Rollers

The Brent SR-30 Slab Roller

Brent makes three slab rollers with a wagon wheel (the SR-14, SR-20, and SR-30) and one model (the SRC) with a crank handle. All are rather overbuilt with heavy steel bases, and single wheels that move over the top of the slabs, and have wires underneath the roller table covered in sticky grease. The slab thickness is adjusted by adding or removing canvas-covered shims.

These slab rollers are quite common but I would avoid them whether new or used. Here’s why:

> Adding or taking out shims is a pain. Also, this process generally results in a lot of dust being created.

> Single roller, only pressure from the top rather than a double roller.

> Heavy. So heavy. You’ll need a forklift or about 6 people to move these. They are unnecessarily heavy.

> Hard to maintain. Have fun repairing the guide/crank wire when it snaps! (Misuse by students can easily break this wire)

> Warped shims: I once used a Brent roller that had water damage and all the shims were warped, resulting in uneven slabs.

And finally, expensive. All that metal costs money. These rollers ranged from $2,000 up to $3,700. Sure, if properly maintained and used you will get fine slabs, especially if you never change the slab thickness. But any other machine will be better.

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Slab Accessories

A few things that will make working with slabs easier:

Slab Mats

Slab mats are available in a variety of sizes and are great for rolling slabs or handbuilding.

Slab Mats are a plastic fabric with one side smooth and the “working” side has a bit of a fuzz. They are less flexible than canvas, but are also great for putting through rollers, moving slabs around, or just as a working surface to protect your table tops. Most normal clay uses (fettling knives, craft knives, needle tools, etc) won’t cut through these. Small sizes can also be used as small bats for handbuilding, or get a larger piece to run through your roller.

Canvas

Unprimed, raw canvas is a great working surface that can be laundered.

For slabs, unprimed canvas is also great for rolling and moving around the studio. With a canvas blanket, you can cut to your desired shape and either hem or leave the edges unhemmed. Canvas can be washed over and over again by hand or in the washing machine. Frequent washing will help keep the dust down, and does soften the material over time. #12 / 12 oz canvas is a great place to start, or go slightly thicker with #10 / 15oz canvas.

Rolling Pin

A solid maple rolling pin is a useful studio tool that is easy to clean.

A solid maple rolling pin is a must-have for any ceramic studio, even if you have a slab roller. For small things, it’s usually easier to roll by hand. Pair this with a few wooden slats or yard sticks, and you’ve got an adjustable slab rolling system.

A solid rolling pin is better than a rolling pin with bearings or moving parts, because there is nothing to break and it is easy to clean the entire rolling pin with water. Rolling pins come in a variety of sizes but a 24” wide rolling pin is still easy to maneuver but large enough to make really big slabs. At around $30, this is an affordable studio tool that will last forever.

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Summary

This post has covered every large or full-size slab roller on the market, including models from Bailey, North Star, Nidec-Shimpo, Hi Roller, and Brent.

The top pick is the DRD/II gear reduction slab roller from Bailey, but there are lots of options for a wide variety of budgets. All of these rollers, if properly used, will make great slabs but there are some superior options (Bailey, Shimpo, North Star) based on price, weight, and quality of features.

What slab roller do you use in your studio? Let us know in the comments.

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Philip Rawson on the Meaning of Ceramic Vessels

Philip Rawson’s 1971 book Ceramics is an overview of the medium in which the author aimed to “supply a basis for aesthetic judgement and appreciation both of the work the potter makes himself, and of work from the great ceramic traditions of the past.” Starting with an introductory chapter, the book then proceeds into a chapter on techniques followed by the main part of the book called “Symbolism of Form,” which covers a variety of shapes, uses, colors, forms and other considerations from the field of ceramics.

In the first chapter, a short section called “The Existential Base” talks directly about the meaning of ceramics and ceramic vessels in particular, and how each pot is a reflection of it maker and their skills and culture.

Here’s an excerpt from pages 6-8 of the 1984 edition:

The first page of text along with an image of a vase by Lucie Rie.

Thus one of the prime reasons why ceramics is such an interesting art is that it fills the gap which now yawns between art and life as most people understand their relationship. To explain the meaning of ceramics can be, in a sense, to explore the historical roots of art as such. For whereas other arts, painting and sculpture in particular, have come for centuries now to resemble cut flowers, separated from the living plant which produced them, in the case of ceramics we are everywhere brought face to face with the root. This appears to the primal interweaving of matter, human action, and symbol that each pot represents.

Inert clay, from the earth, is made into something which is directly and intimately related to active craft, to the processes of human survival, and to social and spiritual factors in the life of man, all at once. None of the elements is lost; all are reflected in some sort of balance in each successful work. This then becomes what one may call a ‘transformation image’, something undeniably material, wearing the evidence of its material nature in its visible and tangible forms and attributes, which at the same time contains so much projected into it from man’s daily life and experience at all levels that it can seem to him almost like a projection of his own bodily identity. It thus becomes an external testimony to his existence. By taking an existential back-step, so to speak, we are enabled to witness in humanity’s pots a virtually unlimited variety of concrete realizations which uncover and authenticate his life and action in his world of meaning.

The book has a variety of black and white reproductions of modern and historical ceramic work.

And from a few paragraphs later:

…it is certainly clear that pots, even the simplest, can only be ‘mere facts’ to those of us who classify them academically. To their makers and users they have always been a kind of two-way revelation, first of man to himself as a creative and independently working agent, and second of the world to man as a medium, imbued with ‘reality,’ which his is able to transform. A pot thus ‘contains’ both the reality of materials and process, and the inner realities of man’s sense of identity in the relation to his own world of meaning.

—This excerpt was found on pages 6-8 of the 1984 edition.

Rawson’s morphology of pottery chart shows a variety of shapes.

Ceramics by Philip Rawson

Originally published 1971, but available in a variety of editions.

Shop the book:

Amazon | Abebooks | Bookshop.org

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How to Rip Sandpaper

Sandpaper ripped into eight pieces.

Sandpaper is a great studio tool but you usually don’t need to use a whole sheet at once. This tutorial will cover how to easily rip sandpaper into eight even pieces that are useful for small jobs such as sanding pottery ware, cleaning up rough wood, or any job. It’s a simple technique that results in even, rectangular pieces.

If you are doing any studio task that create dusts, wear a good dust mask or respirator. (Read our guide here) Or if you can, sand wet so that no dust is created.

For a guide to sandpaper and abrasives, click here.

This tutorial uses 3M Pro Grade Sandpaper. It’s plastic backed, making it longer-lasting and suitable for wet sanding. It’s the best for ceramics and just about any other art studio use. Look for the “no-slip grip” sandpaper.

For sandpaper grits, I like to stock 60 and/or 80, 120, 200, and 400 grit.

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How to Rip Sandpaper Into Smaller Pieces

Here’s how to rip a sheet of sandpaper into eight even pieces.

Step 1

Starting with a full sheet of sandpaper, fold it in half vertically (the long side) and crease.

Full sheet of sandpaper

Fold in half

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Step 2

Rip along the crease

Then, rip the sheet in half along the crease. You may rip a bit unevenly at first, but with practice you will get an even rip.

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Step 3

Then on the long side of the smaller pieces you have just made: fold, crease, and rip.

Fold, crease, and rip again

Square pieces might be useful, but we’ll keep going.

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Step 4

Continue to fold pieces in half, crease, and rip. I find that ripping a sheet into eight sheet results in a useful size.

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Step 5

Sandpaper ripped into eight pieces.

When you are at eight rectangular pieces, you are set. Now, find a small cup or box to store them in.

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Summary

What sandpaper do you use in your studio? How do you rip and store it? Let us know in the comments.

You might enjoy:

Complete Guide to Sanding and Abrasives for Ceramics and Pottery

Best Wet Polishers

Best HEPA Vacuum for ceramics and woodshops

How to Make an Interchangeable Grinding Disc for Your Pottery Wheel

Shopping links:

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How To Reclaim and Recycle Clay in a Small Studio

Recycling and reclaiming clay is a constant job in any ceramic studio. If you work in a large or shared studio, it’s probably best to get a pugmill or mixer. But if you are working alone or in a small studio, you can easily stay on top of your reclaim following this method. It’s especially important if you create a lot of trimmings from wheelthrowing.

Here’s how to do it.

Step 1

Dried clay scraps ready to be reclaimed. This clay is in our favorite Red Gorilla Tub.

Gather all your dried scrap in a bucket. For this method, all the clay must be completely dry. This is is easy if it is thin trimmings, but you may need to break up larger chunks and give them time to dry. When working with dry clay, take care to avoid breathing clay dust—a respirator is best.

In the picture here, it’s about 6 lbs of dried scrap, which will turn in to about 10 lbs of workable clay.

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Step 2

Adding water to dry clay scraps.

Add water. Add enough water to reach about 80 percent of the height of your scrap. Don’t worry if you add too little or too much.

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Step 3

The dried-out clay scraps will quickly slake down in the water.

Let the clay slake down in the water. If you have just thin trimming scraps, this could be a matter of minutes up to about a half hour. If you have bigger chunks, it could take a few hours for everything to completely hydrate.

During this stage, you can add more water if needed.

Slaked-down clay. It will feel like a very thick slip.

After the clay has completely hydrated, it’s ready for the next step. It should look like this, or it may have fully submerged under the water.

If you stick your hand into the clay, you shouldn’t feel any hard lumps or chunks.

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Step 4

Clay spread out to dry.

Spread the clay on an absorbent surface such as a plaster wedging table or plaster bat. Keep the clay about an inch or two thick. You can add finger holes to increase the surface area touched by air, but the main source of drying will be the absorbent plaster.

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Step 5

The clay has dried on one side and can be peeled up and flipped.

After drying for a few hours, the clay will still be quite wet. But if you can peel it up and find a drier “skin” on the bottom, it’s ready to be flipped. This will help equalize the drying time.

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Step 6

Depending on the conditions in your studio and the ambient humidity, they clay may dry quickly. If you are out of time for the day, just cover it with plastic to slow the drying.

For this demo, the clay was covered after being flipped once, but you could choose to cover the clay at any point and walk away. Or your studio might be dry enough that it can all be done during your workday.

The clay after sitting under plastic overnight. It is ready to be wedged.

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Step 7

Clay that can be peel off the plaster surface is ready to wedge.

The final step is wedging the clay. If you can peel up the clay and it is somewhat dry, it’s ready to wedge.

The clay is easiest to wedge when it is soft, but not so soft that it’s sticky.

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Step 8

The wedged clay, ready to be made into something new.

The clay can be used right away. Or even better, bag and store the clay for a few days and then wedge again. This way you can be sure that all the clay is completely mixed.

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What reclaim technique works for you? Let us know in the comments.

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Best Pottery and Ceramic T-Shirts

A pottery t-shirt can be a fun way to show your love for ceramics and also makes a great gift for potters and artists. And these days, there’s a lot of custom t-shirts available at print-on-demand websites where the shirt designer also gets a small cut of the sale price. It’s a great way to support a fellow artist or designer, and to get a fun shirt.

If you’ve never ordered from a print-on-demand site, it’s easy. Simply choose your size and style, and sometimes you are able to also choose what color of shirt to print on. Some sites will have the design available on a wide variety of other products too. After placing your order, your item will be printed and shipped within a few days. There a lots of sites like this, including Society6, RedBubble, Threadless, and more.

Here are a few of our favorite shirts.

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DGoode on Threadless

Ceramics Joe t-shirt, inspired by the GI Joe logo, by Dgoode and available on Threadless.

This Reese’s Pieces inspired shirt by DGoode is available on Threadless.

Pottery Wheels T-shirt inspired by Hot Wheels by Dgoode on Threadless

Artist and designed Delvin Goode has more than 20 ceramics, pottery, and art studio-inspired t-shirts listed on Threadless at the D. Goode Artist Shop. Many of the shirts are remixes of other brand logos, such as the three pictured above. All the shirts are super fun.

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Not your typical “kiln it” joke with this one, which has a great design and killer kiln room style. By SandboxShirts and available at etsy.

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Evolution of Pottery T-Shirt

Pottery is the natural end result of pottery, right? This shirt is by the designer Maroon Boy and available on Society6.

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Retro 70s-Style Pottery T-Shirt

This bold design from Maroon Boy on Society6 says it all.

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AmacoBrent has a bunch of designs in their Redbubble shop, including this classic Brent logo, a multicolor 50th Anniversary of Brent design, and more. Check it out at Redbubble.

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Pottery Things T-Shirt

Kilns, throwing, ribs, tools… the Pottery Things T-shirt by Teequeque has it all. It’s available on Redbubble.

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Pottery Cat T-Shirt

The Pottery Cat T-shirt by Carol Epp is one of a few pottery designs listed in their Threadless store.

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Totally Kiln It

Kiln jokes never get old and you know what, you are totally kiln it! Shop this shirt by EstelleStarsShop at Society6.

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Seth Rogen Ghost Pottery Scene

Get the full Seth Rogen pottery experience with this shirt, combining pottery’s newest all star and the classic pottery scene from Ghost, except that Rogen is both Demi Moore and Patrick Swayze! Shop this design by kylemacmac at redbubble.

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Ceramic Shirts

Rocking Pot shirt, a drawing of the classic Peter Voulkos sculpture.

“POTTERY” in a classic college font.

Flaming Potter shirt, just like the Thrasher Magazine logo.

Ceramic Shirts has more than 25 pottery and ceramic-inspired shirts on Threadless including a basic Pottery shirt in a college font, a shirt featuring the Peter Voulkos sculpture Rocking Pot, and even a flaming Potter design like the Thrasher Magazine logo. Lots of fun stuff at Threadless.

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This block letter KILN design has a retro vibe but feels just right. Available at Redbubble.

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This skeleton potter will never stop! Designed by Funny Clay Potterer and available at Amazon Merch on Demand.

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Nidec, the parent company of Shimpo, keeps trying to drop the Shimpo name from its products. Never! A shimpo wheel will always be a Shimpo. But Nidec does have a cool log.

Do you have a favorite pottery t-shirt? We are always looking for more fun designs. Let us know in the comments.

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How to Mix and Use CMC Gum Solution for Pottery and Ceramic Glazes

CMC gum solution can really help your glazes and it’s easy to mix a quart or more with just a few dollars worth of CMC powder and water.

CMC (or carboxymethylcellulose) is a food-safe, organic material that is used as an additive to glazes and underglaze. It can do a variety of things for your glazes:

• Slow down drying time, making a glaze more “brushable.”

• Make a glaze stick better when it dries—just be sure to wait in between coats.

• Help glaze stick when reglazing, if you are refiring a piece.

• Help keep glaze materials in suspension and make the glaze more even for painting or spraying

• Prevent glazes from cracking when drying, resulting in a more even glaze application.

• Gum solution can be painted on top of glazes, to prevent them from peeling off a piece.

Amaco Gum Solution is one commercial option, or mix your own! (shop this at Amazon)

In short, think of CMC gum solution as a sort of glue-like liquid that can be added to all sorts of glazes and underglazes, and generally helps you achieve desirable glaze results.

Commercial vs Mixing Your Own

CMC gum solutions are available from a variety of ceramic suppliers, such as AMACO Gum Solution. (shop at Amazon) But at a cost of $15-$20 a pint, you can make your own for much cheaper with powdered CMC gum and water. This also allows you to control exactly how much CMC you want to add to your glazes. But if you don’t need a lot of gum solution, it can be easy to just order a pint of already prepared gum solution.

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Mixing CMC Gum

CMC gum, just after being stirred into hot water. The material tends to clumps together.

CMC gum tends to bind and clump when added to water. This tutorial will show you how to easily mix a gum solution, which can then be added to your glazes as needed.

CMC can also be added to dry glaze mixes. Just combine and mix all the ingredients first, then add to water. Note: It is almost impossible to add dry CMC to an already mixed glaze.

If CMC is clumping in your glazes after mixing, you have two options: mix more or wait and let the material fully hydrate. This difficulty with mixing is why it’s best to use pre-mixed gum solution.

Why Mix Your Own

Not only is there a significant cost savings, but knowing the materials and exact recipe will allow you to modify glazes as needed in your studio. For example, if this gum solution is too thick, water it down. Or test and find the right amount of CMC or of gum solution to add to your glazes.

How Much CMC to Add

For this tutorial, we are recommending creating a gum solution with 67 grams of CMC per 1000 grams (1 liter) of water, or around 64 to 65 grams per 32 ounces (1 quart) of water. You can choose to make a lower concentration or water down your gum solution after mixing. This ratio was built on research posted here and is intended to mimic commercially available gum solutions. Some potters mix a gum solution at around 30 grams per quart / liter of water, so adjust as needed for your studio.

When adding this solution to your glazes, there is no hard and fast rule. You could start by replacing 5 percent of the water in your glaze with the gum solution, and then testing to see if it gives you the results needed. If not, add 5% more and test, and so on, until you reach the desired consistency and properties.

Some glaze recipes have CMC listed as an ingredient. If it’s listed, definitely add it dry and then adjust as needed if the glaze doesn’t suit your needs. Or calculate how much water will add the CMC needed. For example, if you mix 65 grams to 32 ounces of water, a half cup (4 ounces) of gum solution will contain 8.1 grams of CMC.

Drawbacks of CMC Gum Solutions

CMC is an organic material, so it can cause rotting or mold formation over time, but this is usually not a large concern with this material.

If added to a glaze, and the glaze then completely dries out, the CMC may act like a glue and turn the material into a sort of “brick” that will never rehydrate.

Other Gums and Brushing Mediums

This tutorial is specifically about CMC gum solution. There are other materials that have similar properties but are not the same, such as Veegum or Macaloid.

If you want to make your own brushing medium, mix 2 parts CMC to 8 parts Macaloid or Veegum by weight. Add 1% of this to a glaze by weight, and adjust higher if needed.

For a how-to on mixing CMC gum solution, keep reading below.

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How To Mix CMC Gum Solution

All you need to make a CMC Gum solution is CMC powder, a scale, boiling water, a container, and something to mix.

Equipment and Materials needed:

1. Scale (For more on scales, check out our guide here)

2. CMC powder (Available at ceramic suppliers or shop at Amazon)

3. Hot / boiling water

4. Container

5. Stirring tool (use a spoon or try the small Jiffy Laboratory Mixer)

Step 1

Step 1: CMC powder is weighed and added to water.

Weigh the dry CMC powder and add to the boiling water. In the picture here, the full amount of CMC was added to approximately 3 cups of water, then the final cup of water was poured on top.

In this example, 65 grams was mixed in 32 ounces of water.

Other ratios are 67 grams per liter, or 260 grams per gallon. Adjust as needed for your studio.

Step 2

Step 2: Mix the CMC. It will clump at first.

Mix CMC with water.

The CMC will initially clump up. The hot water helps it mix, but after stirring by hand or with a drill, it will eventually mix together.

After the initial mixing, you can also cover the container and let the CMC hydrate overnight, and do a final mix as needed the next day.

After mixing a few minutes, the clumps will get smaller.

The clumps keep getting smaller with more mixing. You can also do an initial mix and then let the CMC hydrate over night.

Step 3

Step 3: The CMC is fully mixed with the water and the gum solution is ready.

Mix and adjust, then label your container.

Within a few minutes of mixing, your gum solution should have a syrup or glue-like consistency. If the clumps are gone, you are ready to use the gum solution as an additive to glazes.

The final result: CMC gum solution ready for use in the studio.

Do you use gum solution in your studio? What do you do with it? Let us know in the comments.

Shop the Material and Equipment in This Post

CMC powder is available at most ceramic suppliers. Or shop it at Amazon

Jiffy LM Laboratory Mixer: shop at Amazon

Oxo 11 pound scale: shop at Amazon | shop at Bed Bath & Beyond

Chef’s Choice Stainless Steel water kettle: shop at Amazon

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Other Articles That May Interest You

How To Mix A Ceramic Glaze From Scratch

Best Glaze Mixing Tools and Accessories

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How To Screen A Glaze with a Brush Head

If you are mixing ceramic and pottery glazes from scratch, it’s always best to screen your glaze. This helps remove any lumps, granular material, and helps disperse materials that like to clump together.

The Dr. Brush Brill Brush comes with 3 brush heads and an extender.

There are specific tools for screening glaze, such as a manual Talisman Rotary Sieve. The Talisman Sieve is great, but it can be bulky and expensive ($200 or more). If you already own a power drill, another option is to get one or two bucket sieves along with a drill brush head.

But it can be a chore to push all the glaze through with a spatula or brush. That’s where a drill brush attachment can really speed things up.

A drill brush is a simple tool that will fit in just about any electric drill, and with a bit holder / extender, you have plenty of room to use with a bucket sieve.

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The three brush heads and extender in the Dr. Brush package.

Dr. Brush Drill Brush Attachment

For this post, I tested a Dr. Brush Drill Brush attachment with an extender, which is available for $10 and also is called the Holikme 4Pack Drill Brush. The brush heads themselves are great—semi-stiff bristles in three sizes: flat small, flat large, and a rounded brush head.

The head of the extender broke immediately upon first use. If ordering the Dr. Brush, you should plan to also get another bit extender.

As good as the brush heads were, unfortunately the extender on this set broke immediately upon first use. I happened to have another bit holder so I popped that on and I was good to go.

Once I had the brush head attached to my drill, it was a speedy process to quickly move the glaze through the screen. I’m not sure why I spent so many years with a spatula, when a drill brush is so much faster.

After use, the drill brush was quick to clean up with water.

In the video below, you can see how fast the drill brush can help process a whole sieve-full of glaze. There’s a how to and more info below as well.

How to Use a Drill Brush Head

Equipment needed:

• Bucket Sieve (80 mesh recommended for glazes, 40 mesh can work as a prescreen. Available at specialty ceramic supply stores)

• 5 gallon Buckets

• Drill (read our review of corded or cordless drills)

• Brush Head

• Optional: A bit holder / extender

Step 1

Mix your glaze. It’s best to mix all the dry ingredients first before adding to water. Some glaze ingredients (such as bentonite) like to clump together.

Step 2

Stir and mix glaze. A drill head can help

Step 3

Pour glaze into your bucket with the sieve. Put brush head on your drill and run gently against the screen.

Step 4

Repeat until all the glaze is sieved.

For more info:

Read our complete guide to mixing a ceramic glaze from scratch

Check out our guide to glaze mixing accessories

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Speedball Underglaze Cone 6 Test Tiles

Speedball Underglazes are a great option for adding color to your ceramics. They are generally priced more economically than AMACO and other brands of underglazes, but the colors are still vibrant and varied.

For this post, the Speedball Underglaze 12 Color Sampler Set in 2 oz bottles was tested on different clay bodies and fired to cone 6. In general, this was a great set of colors that will definitely be used in my studio, but the lower price does come with a tradeoff in quality control. Some of the colors were a bit pasty / chunkier and didn’t brush as well, but this problem can be fixed by adding water and mixing the underglaze to a more brushable consistency. Despite the issue of some bottles being too thick / pasty, the colors in this set are great and I would have no problem recommending Speedball Underglazes for any studio or as a gift.

The 12 color sampler set is available in 2 oz bottles for around $45 ($3.75 per bottle), or there is also a “school pack” of different colors in 16 oz jars for around $140 ($12 per jar)

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Unboxing

Here’s a few images of the 2 oz sampler set. It’s a great way to try out these underglazes, or to give as a gift.

Speedball Underglaze 2 oz sampler pack

The bottles are packed tightly in a box

Speedball recently redesigned the bottles

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Test Tiles

The 12 colors in the Speedball Underglaze Sampler pack were tested on three different clay bodies: a Laguna mid range white stoneware, Standard 112 Brown with speckles, and Standard 308 Brooklyn red. The underglazes were applied with one, two, and three brush strokes in the greenware stage and bisque fired. Then, the right half of the tile was dipped in glossy clear, and fired to cone 6.

Note that some colors are a bit pasty / chunky. This can be corrected by adding water, but the sets were tested as they arrived without alteration. All underglazes can be thinned and color mixed, so it’s always best to test in your kiln as well.

In general, these were bright, interesting colors and despite the chunky quality of some of the underglazes, I would recommend this set and buy again.

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Flame Red

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Carmine

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Mandarin Orange

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Peach

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Soft Pink

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Amethyst

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Blue Frost

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Royal Purple

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Saffron

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Leaf Green

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Avocado

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Teal

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Notes

• Most underglazes are designed for low fire underneath a clear glazes, but often the colors hold up fine at mid range or high fire temperatures.

• Underglazes are pigmented with ceramic stains, allowing you to color mix them like paint.

• Underglazes do great under a clear glaze, but they can be fine unglazed too. At mid range and high fire temperatures, some underglazes will turn satin. A few might even become glossy.

More underglaze test tiles:

Amaco Velvet Underglazes

Amaco LUG Underglazes

Spectrum Underglazes

See all posts on glazes: click here

What has been your experience with Speedball Underglazes? Let us know in the comments.

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