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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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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How To Make Pottery Ribs from Detergent Bottles

Just about anything can be turned into a rib for working with clay or on the pottery wheel, but the plastic in detergent bottles can be just the right hardness for a custom rib. It’s a great way to upcycle a bottle, and gives you the flexibility to make a specific shape for your studio. Here’s how to do it.

Equipment needed

• Empty detergent or dish soap bottle

• Box knife or X-acto

• Scissors

• Fine sandpaper, 150 grit or finer

• Marker and other ribs for tracing shapes

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Step 1

Wash and clean a detergent bottle.

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Step 2

Carefully cut into a bottle with a box knife or X-acto, then make a rough cut of the plastic with a scissors. The flat planes of a bottle are best, but the curved areas may be useful too.

The scraps can be recycled.

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Step 3

Trace an existing rib that you like with a marker and cut out, or draw your own shape.

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Step 4

Refine the shape by cutting with your scissors. The final step is to clean up any burrs or uneven bits with sandpaper and you’ve got a new rib!

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Tips:

> Plastic bottles have different characteristics—thickness, flexibility, etc—try this method on a variety of bottles to find the right ribs for your studio.

> It’s easiest to work with a clean bottle, but they do take a lot of water to rinse out. You can also clean the ribs after cutting.

> Be careful when first cutting into a bottle with your knife.

Related post: Make Metal Pottery Ribs

Do you make your own ribs? What do you use? Let us know in the comments.

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Amy Sillman on Why Making Art is Hard

In the essay On Color, New York-based artist Amy Sillman has what may the best description of what it takes to make an artwork:

Making a painting is so hard, it makes you crazy. Before even the vicissitudes of color, you have to negotiate tone, silhouette, line, space, zone, area, layer, scale, speed, and mass while interacting with a meta-surface of meaning, thought, text, sign, language, intention, concept, and history; you have to go your own way, to cut away from your heroes and influences, and still be utterly conscious and literate about the discourse. You have to simultaneously diagnose, predict and ignore the past, present and future, all at once; you have to remember and to forget at the same time. You have to both deny and embrace all your impulses toward romanticism and irony; you have to both love and hate your objects and your subjects, to believe every shred of romantic and passionate mythos about painting and at the same time to cast a gimlet eye upon it.

The book contains drawings and essays by Amy Sillman.

The book has 17 essays, including On Color and Further Notes on Shape, an essay Sillman wrote in conjunction with a 2019 group show Sillman curated at MoMA. In Further Notes, Sillman writes about a theory of “draw-ers” vs. painters:

For a long time I’d been nurturing a second idea, too, that somehow got nested in these thoughts: that you could divide artists into draw-ers versus painters, and that draw-ers were a subculture. Painters, it seemed like, work from an idea, moving deductively from the big picture down to the details in order to produce or construct an image they have in mind. Draw-ers, on the other hand, work from the weeks outward, building up from particulars, inductively, scratching and pawing at their paper with tools the scale of their hands. OR maybe they never get to a bigger picture at all, but move sideways, abductively, from a particular to particular. This made drawing itself seem like an activity not founded on logic but made up of contingencies, overflow: stray parts—a process that might be described as working blind, like a mole, or like a beaver building a thatch, rather than someone with an overarching worldview.

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Later in the essay, Sillman addresses the idea that drawing and making is a political act as much as any other form of artmaking.

Maybe artist fussing over shapes are not the same people we first think of when we think of political art. But they make lumpen form that registers protest, they make gestures of care and repair, or they merely try to beam out an electrifyingly personal and strange signal that wakes up the receiver for a moment—one weird moment that could shift the sense of things, and thereby alter the world, even if only slightly. That sounds urgent to me.

The book also contains a variety of diagram drawings by Sillman.

Faux Pas., Selected Writings and Drawings
by Amy Sillman
256 pages, paperback, 2020, After 8 Books

The back cover of Faux Pas. by Amy Sillman

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Wayne Thiebaud on How to Avoid Being an "Art Employee"

Wayne Thiebaud is known for his iconic pop paintings of everyday American objects and though he was part of the generation of Pop artists that included Andy Warhol and Roy Lichtenstein, he maintained his independence from the New York art world (and never really thought of himself as a pop artist). He lived and worked in Sacramento and Davis, California, and in addition to paintings of cakes, gumball machines, and counter displays of pies and food, he also painted vertiginous San Francisco cityscapes, abstracted landscapes, and more. He was also a beloved professor at University of California at Davis. He passed away in late 2021 at the age of 101.

Pages 36-37 of Episodes with Wayne Thiebaud, including a reproduction of Pastel Scatter from 1972, a (lol) pastel drawing of sticks of pastels.

For the book Episodes with Wayne Thiebaud, (view book on Amazon) two of his former students, Eve Aschheim and Chris Daubert, conducted four conversations between 2009 and 2011 which were then lightly edited and published. The book includes lots of great quips and background on Thiebaud (such as he thought Jackson Pollock was a middling painter) along with reproductions of work by Thiebaud and some of his influences.

One of my favorite bits is from the beginning of the book, where Thiebaud details why he left New York City in 1957 after living there for a year:

Eve Aschheim: Why did you come back from New York?
Wayne Thiebaud: I missed space and tennis, and having a life. I was afraid, as I perceived it, which is maybe curious, that there was too much talk and focus on art rather than painting or sculpture or what I think we’re obliged to do. And I think the idea of an art employee is very dangerous.
Chris Daubert: What do you mean by “an art employee” — someone who works for the art world?

Pages 52-53 of Episodes with Wayne Thiebaud (Shop at Amazon)

WT: It refers to the dangers and seductions of the current art scene that can infer a kind of need to belong or be influenced by whatever its present preoccupations may be. And it can be an easy distraction away from what serious and unique directions painters’ personal researches and interests may take them. That, for me, is a disassociation from the percentage of those basically three worlds: the art of the self, the art of art history, and the art of your self (the art of your own artistic preoccupation), so that you get some kind of an equal mix. If they get out of balance, it seems to me you get an art employee, where you’re so saturated with “What should I do? What can I do? What might I do?” rather than saying, “Oh, I really feel I want to do and pursue art with the great tradition” —using that as a bureau of standards and inspiration and knowledge and tools, and combine those as best you can.

Later in the same interview, Thiebaud returns to this idea of the art employee who might end up making “light manufacturing products.”

EA: Your paintings have this incredible complexity, and at the same time the painting is fresh and everything’s at risk when you apply it. Is that something you have to struggle for?
WT: It is a lot like a golf stroke or a tennis stroke. That’s the basis of whyI believe so much in lots of drawing and lots of manipulative skills being developed. I know now there’s a big process on to deskill the artist—have you heard about that?
EA: Benjamin Buchloh has pushed this idea, which lots of people have taken up.
WT: [laughs] Risk. It’s something you just have to take into account, that you’re going to fail a lot and you can’t baby up to it. You’ve got to go for it, and then if it fails you either are stuck with it and you deal with it, hope that maybe you can bypass that area, or you just have to destroy it and start over, you just have to scrape it off. And that’s why de Kooning scraped off so many paintings. He never wanted to have it look labored or chintzed or—
EA: Safe.
WT: Yes, safe. And it’s very hard to get students to do that because it’s hard to do.
EA: It’s hard to simultaneously get the complexity of the composition.
WT: That’s right, but that’s why you have to think of de Kooning drawing so well; he had a rich vocabulary of forms that he could draw on, in addition to what he might be looking at. And we have got to get back to drawing somehow. I know there’s that other danger of learning to draw and then you can never do anything but that.
EA: A critic said that drawing is how to get out of Abstract Expressionism. The next generation of artists got out by drawing and the ones who continued to paint—and this happened several times in different historical periods—got stuck, while the ones who drew were able to find a new way.
WT: That’s true. I think as it became very easy to develop these light manufacturing products, and the temptation was great because it becomes a salable commodity again—and there you are trapped in that art world. Dealers don’t want you to change.

The back cover of Episodes with Wayne Thiebaud.

A few other great quotes from the book:

Thiebaud on drawing:

“Yes, I think everybody should draw. It’s such a terrific way of knowing things and testing what you know. It gives you access to so many things, that we’re just really cheating ourselves to not to teach people to draw…Once you get past the hurdle of people being terrified or bored by it, either one, and to find out it’s not mysterious… You can’t draw like Rembrandt, but you can really represent things, you can draw your things, find out about things. You can begin to see what your life is in terms of where you are in space and what things are, and ways to go. It really is a poetic exercise also.”

Thiebaud on learning technique

“When I used to work a lot harder with the students, trying to get them to do some of these things, I’d just point out, ‘Well, this is one of your muscles here. This is where you’re used to doing writing.’ I said, ‘Then you have this whole hand with all your fingers. That’s wrist. You’ve got to develop this universal wrist so you can come at it, under it, over it. Then you’ve got to the arm, from here, and what that can do or not do, and then you’ve got the shoulder.’ And all of those various motions you have to train so that you do it like hitting a golf ball.”

Thiebaud’s advice to painters:

“Get the hell busy, make lots of mistakes, do thousands of drawings—from the figure—even if you’re going to be an abstract painter. Learn things about grace, pressure, tension. Don’t be afraid of making lots of mistakes. Don’t be afraid of being influenced. Copy pictures. Enjoy the hell out of it.”

This book is full of lots of great ideas and quotes from Thiebaud. It’s a must for any Thiebaud fans or for students of painting.

Episodes with Wayne Thiebaud
by Eve Aschheim and Chris Daubert
104 pages, 2014, Black Square Editions

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Best Small Test Kilns for At-Home Firings on 120V

The Skutt KMT-614 Kiln Master Touchscreen Kiln, the top pick for a small at home electric kiln that can plug into a regular 120V outlet.

A small kiln or test kiln is a great addition to any studio. They allow you to quickly fire test tiles, small pieces, beads, jewelry, or doll parts. And the good news is that there are a variety of great options for test kilns that plug into a regular household 120V outlet on a 20 amp fuse, which means that you probably don’t need to rewire anything. (Although it is always recommended that you check with an electrician before installing an electric kiln.)

Test kilns are also a great addition to academic, teaching, or production studios because they fire hot and fast, allowing you to do tests or make small pieces without having to fill an entire large kiln. As with any kiln, safety is of utmost concern and test kilns should be kept in clean, fire-proof areas and be placed at least 12 inches from drywall, or anything flammable.

There are a lot of small kilns but most don’t go hotter than 2000 degrees, which is just enough for working with low-fire clay. This post will focus on kilns that can reach cone 6 or hotter, or around 2200 to 2350 F. The post includes kilns from Skutt, Olympic, Paragon, ConeArt, L&L and Cress that meet these specifications:

• Fire on 120 V power with a 20 amp fuse (typically found in North America in households)

• Can reach Cone 6 / 2250 F or hotter

• Use a standard plug found in North America

The Skutt KM-614 is a supersized test kiln with an 11 x 11 x 13.5 inch tall kiln chamber, a standard Skutt controller, and can reach as high as cone 6.

TOP PICK: Skutt KM-614 or KMT-614

The Skutt KM-614 or KMT-614 models are more of a mini-kiln than just a test kiln, and either model is the top pick for a small test kiln because of it’s larger size and ability to reach cone 6.

The models are identical except the KM model has a push button controller and the KMT has a slightly more expensive touchscreen controller. This kiln runs on 115V and needs a 20 amp fuse (typically a standard fuse in a household breaker box), and measures 11 x 11 inches wide and 13.5 inches deep, for a 0.8 cubic foot kiln chamber. The kiln can fire to cone 6 or around 2250 F, and uses a standard plug. The kiln chamber is lined with three-inch-thick brick, and the outside dimensions are 29 x 28 inches by 28 inches high, with a weight of 88 pounds.

At 13.5 inches deep, this kiln really gives you a height option that is hard to find in a test kiln. The only drawback on this kiln is that it can’t go to cone 10, but otherwise it’s a great small kiln that will last for decades and comes with Skutt’s great reputation for build quality and support.

Skutt KM-614 pushbutton control
List Price: $2175
Retail Price: Often available for around $1,650-$1,700

Skutt KMT-614 touchscreen control
List Price: $2,560
Retail price: Often available for around $2,200

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Runner Up: Paragon Caldera or Caldera XL

The Paragon Caldera is a square, top loading test kiln that can reach 2350 F.

The Paragon Caldera models are more of a standard small-size test kiln, but they are great for tests or small pieces. The Caldera measures 8 x 8 x 6.75 inches tall for a 0.25 cubic foot firing chamber, while the Caldera XL measures 7.5 x 7.5 x 9 inches tall for a 0.29 cubic foot firing chamber. The kilns fire on a standard 120 V plug and can reach cone 10 or 2350 F. These are great little kilns that just get the job done and can go hot.

The Caldera is listed at $1128 but can be found for about $1030, and the Caldera XL is listed at $1308 and can usually be found for around $1200.

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Table of Contents

• Top Picks

• Skutt tests kilns

• Paragon test kilns

• Olympic test kilns

• Cress test kilns

• L&L test kilns

• ConeArt test kiln

• Summary

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Skutt Test Kilns

The Skutt FireBox 8x6 LT, a small test kiln rated to Cone 6 / 2250 F.

Skutt makes four kilns that plug into a standard 115/120V outlet, the two KM / KMT 614 models detailed above, the FireBox 8x6 LT, and the FireBox 8x4 LT. The FireBox models are 8 x 8 inches square and either 4.5 or 6.5 inches tall. The FireBox 8x6 is rated to Cone 6 / 2250 F, and the FireBox 8x4 is rated to Cone 10 / 2350. The kilns are only available with push button controllers

The FireBoxes are interesting kilns, but they are just a few hundred dollars cheaper than the 614 model while being quite a bit smaller. With that in mind, I would go for the Skutt 614 unless a smaller kiln is all you have room for or need.

The Skutt KM-614 (detailed above) is the top pick for a small test kiln.

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Paragon Test Kilns

Paragon makes numerous small and test kilns that plug into a regular 120 V outlet, but not all are suitable for temperatures above 2000 degrees. As detailed on the Paragon web site, only 4 of these small kilns are designed to fire to Cone 10 / 2350. Paragon also makes at least 6 kilns that will fire to low fire ceramic temperatures, or around Cone 1 / 2000 F. They also have a few small kilns that are a bit larger than a cubic foot, such as the Express 66-3 kiln, but these models require a different plug, breaker box, and power supply. As this review is focused on kilns that plug into a regular outlet, we’ll just cover the four kilns that meet that criteria and can reach Cone 6 or higher temperatures.

The Paragon Caldera test kiln.

The best Paragon option is the Caldera or Caldera XL. They fire hot—to cone 10 or 2350—and are 6.75 and 9 inches deep respectively, but they aren’t that wide, around 8 inches square. The Caldera measures just 0.25 and the taller XL is 0.29 cubic feet. But, if all you need is a small, dependable test kiln, they might be right for you.

Paragon also makes two cone 10 kilns that are smaller than the Caldera.

The FireFly Digital test kiln from Paragon.

The FireFly Digital is very similar to the Caldera, but the kiln chamber measures 8 x 8 x 4.5 inches tall, for a 0.16 cubic foot chamber.

The Q11 is another interesting cone 10 model from Paragon. It is a front loader, with a chamber that measures 6 x 6 x 6.25 inches tall.

Both of these models retail for around $1000. Because they are quite small, it seems worth it to upgrade to the larger Caldera model or consider a kiln from a different manufacturer.

The Paragon Q11 is a small, front loading test kiln.

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Olympic Test Kilns

The HotBox 89E is the largest of Olympic’s 120V test kilns that can reach cone 10, measuring 8 x 8 x 6.5 inches tall

Olympic makes 12 small kilns that plug into a 120V outlet.

> Six of these kilns can reach cone 10 / 2350 F. These models range in size from a very small 0.11 cubic feet and top out at about 0.33 cubic feet. These include the five HotBox kilns, and the Doll E / Test E kiln.

> Three kilns can reach cone 6 / 2250 F and are a bit larger, ranging up to 0.58 cubic feet. These include the 129, 129 FLE, and 139 FLE models.

> Two kilns can reach cone 4 / 2100 F. One is the 1214 Raku E and the other is the 1214-120E, which is most comparable in size to the top pick from Skutt, measuring 11.25 x 11.25 x 13.5 inches for a kiln chamber of 0.86 cubic feet, but this kiln is only rated to 2100 or cone 4, whereas the Skutt 614 is rated to Cone 6.

> One Skutt kiln is rated to Cone 04-03 / 2000 F, the interesting model called the Traveler 120 V.

For more info, visit the Olympic website.

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Cress Test Kilns

The Cress BT911T test kiln has an 11 inch diameter hexagonal chamber that is 9 inches deep, and is rated to cone 6 / 2250 F.

Cress makes a variety of kilns that are great build quality. Cress makes manual and digital/automatic kilns, but the only digital kiln that works with a standard 120V household plug is designed to top out at 2000 F.

For test kilns, there are six manual-fire options that reach at least cone 6. These manual kilns have a Dawson kiln sitter along with a limit timer, which allows you to safely fire the kiln with light supervision.

The three smallest models, the A4HKT, the A8HKT, and the BT511KT range in size from 0.11 cubic feet to 0.33 cubic feet, and will reach cone 10 / 2350 F. The largest of these volume wise is the A8HKT, which is 8 x 8 x 9 inches deep.

The Cress C11HT test kiln has an 11 x 11 x 11 kiln chamber, Dawson kiln sitter, and manual limit timer.

Cress also makes three slightly bigger models that will fire to cone 6 / 2250. These are the BT711H, the BT911T, and the C11HT. The BT711H and BT911T are 11” wide hexagons and are either 6.5 or 9 inches tall. The largest test kiln is the C11HT, which is an 11x11x11” cube that has a 0.77 cubic foot chamber.

For more info, visit the Cress website.

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L&L Test Kilns

The L&L Doll and Test kilns feature a hexagonal 0.5 cubic foot kiln chamber and a variety of power supplies to meet your needs.

L&L is loved by many for their kilns with hard ceramic element holders, protected thermocouple, and easy to access electrical panels and they bring all these features to the three DL11 Doll and Test Kiln models. These three models are the same, except for different electrical components. The kiln features a 0.5 cubic foot hexagonal chamber that is 11 inches wide by 9 inches deep, and each model is listed at $1650.

> DL11-D is rated to cone 5 / 2170 F and uses a regular household plug on 120V.
> DLH11-D is rated to cone 6 / 2230 F and uses a regular household plug on 120V.
> DLH11-DX is rated to cone 10 / 2250 F but will need a 240 power supply and a socket for a NEMA 6-20 three prong plug. (Check with your electrician to see if this will work with your current box and fuses)

For more information, visit the L&L website.

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Cone Art Test Kiln

The Tucker’s Cone Art doll / test kiln, pictured here with the Bartlett touchpad controller.

Tucker’s Cone Art makes one size of a small doll / test kiln, which is rated to cone 10 or 2350 F. Like all Cone Art kilns, the kiln features 2 1/2” thick brick backed by 1” of insulation. Typically, this allows the Cone Art kilns to reach higher temperatures on a lower amperage. In the United States, Cone Art kilns are also sold as Bailey kilns, the main difference being the color of the electrical box, but the test kiln size is currently not listed on the Bailey site.

The 119D Cone Art test kiln is available with a touchpad Bartlett controller, or with the upgraded Genesis touchscreen controller. Both models use as a standard 120V outlet. Although this kiln is smaller than the top pick from Skutt, the ability to fire hotter may make this the ideal kiln for your studio.

For more information, visit the Cone Art website.

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Summary

This post has covered a wide variety of small doll and test kilns that will work with a standard plug on 120V, and will fire to at least cone 6. The top pick is the KM-614 from Skutt for it’s ability to fire to cone 6 and larger size, especially the 13.5 inch height. But there are many other options to suit and studio.

Test kilns are ideal if you work small, such as dolls, beads, or small sculptures, or you need a kiln that you can fire without having to fill an entire large kiln, such as for tests. They make a great addition to any ceramic studio.

What is your favorite small kiln? Do you fire at home with a kiln like this? Let us know your experience in the comments.

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Cone 6 Ultramarine Cobalt Blue Glaze (Glossy Clear plus Cobalt Carbonate)

Cone 6 Glossy Clear is a studio favorite for a clear glaze and it also makes a great glossy base glaze for adding metallic oxides or stains. These tests show Glossy Clear mixed with cobalt carbonate ranging from 1 percent to 5 percent, resulting in an Ultramarine Glossy Blue Glaze. (Click here to see the original glossy clear post.)

The test tiles were fired in an electric kiln with a medium-slow speed and 15 minute soak at cone 6. The five tests all resulted in glossy blue glazes that did not craze or crack on the Laguna Frost Porcelain test tiles.

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To my eye, the 3 percent cobalt carbonate is an ideal amount, resulting in a deep ultramarine blue. At 4 and 5 percent cobalt carbonate, a thick application starts to result in a deep midnight blue that is almost black, while the 1 and 2 percent mix was a bit light for the blue I was seeking. But your results and desired glaze color may vary, so it’s great to have options.

To make this glaze, simply mix the Cone 6 Glossy Clear glaze and include your desired amount of cobalt. After mixing with water, this glaze must be screened to break up and distribute the materials, particularly the wollastonite and cobalt carbonate. This test was mixed to a specific gravity of 1.50.

Following the recipe, there are a few images of the test tiles in different light conditions.

Cone 6 Glossy Clear Glaze with Cobalt

Ingredient	Percentage	3000g batch
Nepheline Syenite	30	900g
Gerstley Borate	24	720g
Silica	20	600g
Kaolin (EPK)	16.5	495g
Wollastonite	9.5	285g
Talc	2	60g
Add
Cobalt Carbonate	3	90g
	105	3150g

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Test Tile Images

These images show the test tiles in a few different light conditions, to more accurately represent this glaze.

The test tiles with some indirect Northern light.

Test tiles in a flat lighting condition.

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#Glazes That Work

This recipe is part of our series of posts of glazes that just work. There’s a million glaze recipes out there, but we’re posting a series of our tried-and-true favorites. Click here to see the other recipes we’ve posted.

For more info:
Original Glossy Clear recipe post

Another Cone 6 Cobalt Blue glaze that might interest you

Read our guide on mixing glazes from scratch.

See our reviews of the best scales, cordless drills, or corded drills for mixing glazes.

Check out our recommended glazing accessories.

If you’d like to learn more about mid-range glazes, the best place to start is The Complete Guide to Mid-Range Glazes by John Britt. The book provides a comprehensive overview of materials, techniques and glaze recipes. Shop this book at amazon or bookshop.org

Do you have a favorite cone 6 cobalt blue glaze or mid range base glaze? Let us know in the comments.

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John Baldessari on Cheap Art

John Baldessari (1931-2020) was a California-based Conceptual artist and educator known for his work with appropriated images, video, and text-based work. Famously, he’s known for saying that “Every artist should have a cheap line,” but the actual quote is more nuanced and was in response to a 1976 poll about artist-made books in Art-Rite magazine no. 14.

Here’s Baldessari’s full quote:

“Re. your request for statements on books: I enjoy giving books I have made to others. Art seems pure for a moment and disconnected from money. And since a lot of people can own the book, nobody owns it. Every artist should have a cheap line. It keeps art ordinary and away from being overblown.”

While I’ve heard the shorter Baldessari statement for years, I didn’t know that it was made in the context of artists books. While it’s my belief that when possible, art should be affordable and accessible to all, it’s interesting to learn that he was speaking specifically about books.

What do you think about artists having a cheap line to go with more expensive work? Let us know in the comments.

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Two pages of the Art-Rite Idea Poll on artists books, from Publishing Manifestos.

The entire Idea Poll on artists books is republished on page 56-65 of Publishing Manifestos, a 2019 anthology of statements on book making from artists and writers. Or look for the entire run of Art-Rite magazine republished in a 2019 facsimile edition.

Publishing Manifestos includes lots of great stuff, including manifestos from Takashi Murakami, Allen Ruppersberg, Gertrude Stein, Kathleen Hanna, Mladen Stilinovic, and more.

The cover of Publishing Manifestos

Shop Publishing Manifestos Abebooks | Amazon | Bookshop.org

Shop the Art-Rite anthology Abebooks | Amazon | Bookshop.org

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Red Gorilla Tubs, a review and appreciation

Gorilla Tubs are amazing buckets, especially for mixing plaster, gathering clay chunks, or as a wide trough for pouring glazes. Designed for gardening, stables, and construction sites, these flexible buckets are equally at home in art studios. They are affordable, long-lasting, easy to clean, and just great to use. The only drawback is they aren’t as good for moving large amounts of liquid—stick to a rigid bucket for carrying water or ceramic slip.

Look at the flexibility of this bucket!

Earlier this year, I purchased the Small 3.5 gallon / 14 L blue bucket pictured above, for mixing and pouring plaster. It’s just the right size for most of my plaster pours, and the flexible edge makes it super easy to pour. And when I’m done, the flexible sides make it easy to pop the plaster off and clean it for the next use. If you mix plaster, you definitely need to get one of these buckets.

After using and loving the first bucket, I recently added the shallow sizes, including the mini shallow 1.3 gallon / 5L and the shallow 3 gallon / 15 L tubs. They stack easily when not in use, and are so useful for glazing, mixing clay, gathering odds and ends together, or a variety of other tasks. They are quickly becoming my favorite buckets in the studio. (For throwing, I only use the Argee 5 qt Big Mouth Bucket (shop at amazon) )

Formerly known as Tub Trugs, Gorilla Tubs are manufactured in Spain by Red Gorilla. The buckets are easy to find on Amazon in the U.S., but two that I ordered shipped directly from Spain and arrived in a few weeks. Definitely check the shipping and vendor location etc, but these should be an affordable upgrade to your studio. The buckets are available in a variety of sizes and colors. Included here are links to the three buckets pictured in this post.

More Images of the Gorilla Tubs

The bottom of the tubs is slightly reinforced with thicker rings of plastic, but still flexible.

These sizes stack together nicely.

The inside of the Gorilla Tubs is smooth and flexible. Easy to clean!

In conclusion, without being too over the top, these are great buckets and are perfect for anyone who mixes plaster. But once you get one, I’m sure you’ll find that you’ll use it all the time for a variety of tasks.

Do you have a favorite bucket for the studio? Let us know in the comments.

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Testing Silicon Carbide Grits in Cone 6 Lava / Crater Glazes

Lava or crater glazes can be a lot of fun, resulting in bubbling, textured finishes in cone 6 oxidation firings. The addition of silicon carbide will produce this result in just about any glaze, as the silicon carbide produces vapors as it reaches temperature.

If you want to mix these types of glazes, you’ll notice the recipes generally say “fine silicon carbide is best.” But what does that mean, exactly? There’s a whole range of silicon carbide grits out there, and many ceramic suppliers just carry one or two.

For this post, seven different grits of silicon carbide ranging from 60 grit (coarsest) to 800 grit (finest) were tested to see which produced the best lava- or crater-type bubbles in a cone 6 oxidation firing. They were tested in the Marilee’s Lava glaze at a 3.5% concentration of silicon carbide. (Many recipes list the silicon carbide in this glaze as 0.34, but I’ve seen enough others arguing that was originally a typo many years ago, so I went with the 3.5% recipe.)

Note that excessive bubbling can cause small blister that break, crack, or produce sharp surfaces. It’s always best to test in your kiln. If excessive bubbling occurs, apply thinner coats of this glaze, or reduce the concentration of silicon carbide.

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Table of Contents:

• Intro

• Marilee’s Lava Glaze Recipe

• Results

• Where to Buy Silicon Carbide

• Test Tiles

• Other Recommended Lava / Crater Glazes

• Summary

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Marilee's Lava (3.5% Silicon Carbide version)

Ingredient	Percentage	1000g batch
Custer Feldspar	49.7	497g
Whiting	23.9	239g
EP Kaolin	13.2	132g
Silica	13.2	132g
Add:
Titanium Dioxide	11.3	113g
Silicon Carbide	3.5	35g

Results

Going in to these tests, I assumed the finer silicon carbide was recommended because the rougher stuff resulted in even bigger bubbling that might crack and break, but I couldn’t have been more wrong. The larger silicon carbide pieces (coarser grits such as 60 and 120) barely caused any bubbling. The 60 grit resulted in a pockmark texture that is interesting, but definitely not lava or crater. The sweet spot seemed to be 400 grit, if you want big, flowing lava effects. At 800 grit, there was still great bubbling but surprisingly to me, the silicon carbide is so fine that it results in less of the grey discoloration so often found with this material.

Overall, I found all the results interesting and these will help me fine tune my glazes, and I hope yours too. Test tile images for all grits are posted below.

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Where to buy Silicon Carbide

The silicon carbide used in these tests was purchased at HIS Glassworks in North Carolina.

Your local ceramic supplier most likely carries silicon carbide, but many just have one or two grits.

Or check out suppliers on Amazon. There are a few, including a kit with a selection of grits designed for rock polishing.

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Test Tiles

The first group of images shows the range of glaze results with the different silicon carbide grits.

Vertical test tiles of Marilee’s Lava Glaze fired to cone 6 oxidation (medium speed firing). The bottom shows one dip, while the top has a second dip.

Test tiles fired horizontally with the same range of silicon carbide grits. Top half has a second dip.

The horizontally-fired test tiles at an angle to show some of the texture. There is virtually no lava / crater effect with coarser grits.

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60 Grit Test Tiles

60 grit vertical test tile

60 grit vertical and horizontal test tiles

60 grit vertical and horizontal test tiles

120 Grit Test Tiles

120 grit vertical test tile

120 grit vertical and horizontal test tiles

120 grit vertical and horizontal test tiles

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220 Grit Test Tile Images

220 grit vertical test tile

220 grit vertical and horizontal test tiles

220 grit vertical and horizontal test tiles

320 Grit Test Tile Images

320 grit vertical test tile

320 grit vertical and horizontal test tiles

320 grit vertical and horizontal test tiles

400 Grit Test Tile Images

400 grit vertical test tile

400 grit vertical and horizontal test tiles

400 grit vertical and horizontal test tiles

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600 Grit Test Tile Images

600 grit vertical test tile

600 grit vertical and horizontal test tiles

600 grit vertical and horizontal test tiles

800 Grit Test Tile Images

800 grit vertical test tile

800 grit vertical and horizontal test tiles

800 grit vertical and horizontal test tiles

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Other Recommended Lava / Crater Glazes

There are a wide variety of lava / crater glazes and even underglazes but here are a few others recommended for cone 6 oxidation:

Akiko’s Crater Glaze (view recipe on glazy.org)

Pinell’s Strontium Crater (view recipe on glazy.org and also here. Also a few color tests here.)

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Summary

This post covered tests of seven different silicon carbide grits in Marilee’s Lava glaze fired at cone 6 oxidation in a medium-speed electric firing. The best lava / crater results were with 400 to 800 grit, but all the results were interesting and might prove valid for future glaze research or application on sculptural pieces.

Lava and crater glazes are a great textural option for glazing in cone 6 oxidation. Due to the uneven glaze surface, they are not recommended for food service but can be used on the outside of pots or sculptural pieces.

If you enjoyed this post, you might enjoy the review of the glaze book Special Effects Glazing. If you are looking for a comprehensive introduction to glazing, the best book to start is John Britt’s Complete Guide to Mid-Range Glazes. Shop the book at amazon or bookshop.org.

What lava or crater glazes do you use in your studio? Let us know in the comments. Happy glazing!

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The Best Black Paper Drawing Pads and Sketchbooks

Black paper makest colored pencils, markers, gel pens, gouache and other media just pop off the page. If you’ve never tried it, you should definitely try some in your studio.

For this guide, 11 different pads and sketchbooks were tested and compared for quality of paper, ability to handle a variety of media, and price. There were some clear favorites and a range of papers that are worth exploring. First a quick overview, and then more info on each pad tested.

What we recommend:
Best everyday drawing pads:
Top Pick: Canson XL Black Drawing Pad
Strathmore 400 Artagain Black Drawing Pad is also great

Best for finished artwork / thicker, more vesatile paper:
Top upgrade pick Strathmore 400 Black Mixed Media Pad
Fabriano Black Black
Clairefontaine PaintOn Black Pad
Stonehenge Aqua Coldpress Watercolor Paper

The other papers tested were thinner and more expensive than our top pick, the Canson XL. All the pads are covered below. Shopping tip: Most of these pads are cheaper at Blick but you can find them at Amazon and many other stores.

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TOP PICK: Canson XL Black Drawing Sketchbook

The Canson XL Black Drawing Sketchbook is our top pick for an everyday sketchbook.

The Canson XL Black Drawing Sketchbook is our top pick for an everyday black paper. It’s got enough body and heft that it feels almost professional grade, but it’s still affordable enough that it’s great for an everyday sketchbook or for use by students and kids.

The paper is made in France for Canson North America, and each sketchbook features 40 pages of 92 lb / 150 gsm paper. Try it with colored pencils, gel pens, metallic markers, or regular crayons. The paper has a matte black finish and it’s just thin enough that is can be folded or creased, but it does have a great body and feels like the perfect paper weight for an affordable sketchbook.

These sketchbooks have a cardstock cover, heavy board back, is spiral bound on the long side, and each sheet is perforated for tearing out.

The Canson XL Black Drawing Sketchbooks
Spiral bound, available in 7x10” and 9x12”
40 sheets
92 lb paper
9x12” pad generally retails for around $8.50 or $0.21 per sheet

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UPGRADE PICK: Strathmore 400 Black Mixed Media Pad

The Strathmore 400 Black Mixed Media Pad is our top pick for professional-grade paper.

There are a few black paper pads tested that are great for professional-grade, finished artwork — or just if you like thicker paper — but the all-around favorite for an upgrade pick was the Strathmore 400 Series Black Mixed Media Pad. Made in the USA in Appleton, Wisconsin, each pad features 15 sheets of acid free, 184 lb / 300 gsm paper that is matte, thick, and wonderful for drawing, wet media such as ink or gouache, and can be used for collage or other techniques. And best of all, it’s a great paper that is also quite affordable. At the time of this writing, it was easy to find a 9x12 inch pad for around $6, or about $0.40 per sheet. If you like drawing on black sketchbook paper, order one of these pads and see what happens when you do the same thing on thicker paper.

Each pad is glue-bound on the top edge and has a thin cover and hard cardboard back. The pages removed easily but you may need to cut off a bit of the glue edge for finished artwork.

Strathmore 400 Black Mixed Media Pads
Glue bound, available in 6x8”, 9x12”, 11x14”, 18x24”
184 lb / 300 gsm paper
15 sheets per pad
9x12” pad generally retails for $6.00 or $0.40 per sheet

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Table of Contents

1. Top Pick: Canson XL Black Drawing Pad

2. Upgrade Pick: Strathmore 400 Black Mixed Media Pad

3. Best for Watercolor / Ink / Wet Media: Stonehenge Aqua Coldpress Black Watercolor

4. Best for thick and smooth cardstock: Fabriano Black Black

5. Also great: Clairefontaine PaintOn Black Pad

6. Best recycled option: Strathmore 400 Artagain Drawing Pad

7. Best for Pastel: Canson Mi-Teintes Black Pastel Paper

8. Not worth it: Arteza Black Drawing Pad, Faber-Castell Black Sketchbook, Conda Black Sketchbook

9. Best for guestbooks or sketching: Fabriano Hardcover Black

10. Summary

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The top two picks are great, but there are a few more pads that we recommend and might work for you in the studio:

Stonehenge Aqua Coldpress Black Watercolor: Best for Watercolor / Ink / Wet Media:

The Stonehenge Aqua Coldpress is a really interesting black watercolor paper that is great for wet media and collage.

Another great upgrade / professional grade pick is the Stonehenge Aqua Coldpress Black watercolor paper from Legion Paper. Advertised at 140 lb / 300 gsm, the paper is 100% cotton, acid free, and feels and handles just like a high-grade watercolor paper, except it is black. Try this with watercolor, gouache, metallic inks and pens, or acrylics, this is a heavyweight paper that can do it all. It feels thicker and more absorbent than our top upgrade pick, the Strathmore 400 Mixed Media paper, but it’s great for wet media.

Each pad is glue bound on the top edge with a cardstock cover and heavy cardboard back. During testing, the final few pages got a bit hard to remove from the glue top so definitely plan to cut them off and you may need to cut off the glue edge so that it matches the look and feel of the other three edges. The pads typically cost around $18 for a 9x12 inch which is a lot for a drawing pad, but a fair price for watercolor at about $1.20 per sheet.

Stonehenge Aqua Black Watercolor Pads
Glue bound, Cold press available in 7 sizes, square or rectangular, ranging from 2.5x3.75” to 10x14”
Glue bound, Hot press available in 4 rectangular sizes ranging from 2.5x3.75” to 10x14”
15 sheets per pad
140 lb / 300 gsm paper
9x12” generally retails for $18.00 or $1.20 per sheet

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Fabriano Black Black: Thick and smooth cardstock that is great for drawing

The Fabriano Black Black pad is a great option for dry media, pens, and has a similar feel to cardstock.

The Fabriano Black Black is a great option for a thicker drawing paper that feels like smooth cardstock but still takes dry media really well. A word of advice: don’t use any wet media on this paper as it will buckle and bubble when exposed to water or anything wet. But it’s still great for pens, markers, colored pencils, and crayons. It doesn’t work as well with glue if you were thinking of using it for collage though, as the smoother paper really resists any glue.

Made in Italy, the Black Black pads are glue at the top and have a thin paper cover and cardboard back. Each sheet peels out quite cleanly from the glue top.

Fabriano Black Black pads
Glue bound, available in 8x8”, 9x12”, and 11.75x16.5”
20 sheets
300 gsm
9x12” generally retails for $12.50 or $0.63 per sheet

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Clairefontaine PaintOn Black Pad: Another great option for thicker paper

The Clairefontaine PaintON Black Mixed Media Pads is a great option for finished, pro grade drawings, paintings, and collage.

The Clairefontaine PainON Black Mixed Media Pad is another great option for finished or professional grade artworks. The paper is double sized and works with wet or dry media, and is great for sketching, ink, watercolor, gouache, acrylic, pastel, or for glue / collage. The paper is made in the Netherlands but the sketchbook also says “Made in Morocco” so maybe it is assembled there.

The pads are glue-bound at the top and each pad features 20 sheets of 250 gsm paper. It’s a bit lighter than the other “pro grade” papers, but the paper is still thick, heavyweight and is absorbent. It’s really a great pad but it is on the expensive side, around $19 for a 9x12 inch pad or almost $1 per sheet.

Clairefontaine PaintOn Black Mixed Media Pads
Glue bound, available in 6x8”, 7x10” and 9x12”
20 sheets per pad
115 lb / 250 gsm paper
9x12” generally retails for $18.99 or $0.95 per sheet

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Strathmore 400 Artagain Drawing Pad: Great drawing paper made from recycled content

The Strathmore 400 Series Artagain drawing pad has black paper made from 30% post-consumer fiber.

The Strathmore 400 Series Artagain Drawing Pad is a great recycled paper option for an everyday black paper sketchbook. Made in the USA, it has acid-free, 60 lb /160 gsm paper made with 30% post-consumer fiber. It has a slightly glossier, smoother finish than the Canson XL Black paper and even though it is 60 lb weight, it is still a decent thickness for drawings and sketches. This paper is best with dry media.

Each pad is glue bound at the top edge and pages remove easily. If you like this paper, you can also find it in rolls, which is great for banners, huge drawings, or if you want to work with a custom size.

Strathmore 400 Artagain Black Drawing Pads
Glue bound, available in 6x9”, 9x12”, and 12x18”
24 sheets per pad
60 lb paper
9x12” generally retails for $6.50 or $0.27 per sheet

This paper is also available in a 42” wide, 10 yard roll (shop at Amazon)

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Canson Mi-Teintes Black Pastel Paper: Best for pastel / charcoal or for textured paper

The Canson Mi-Teintes Black Pastel Pad features 24 sheets of black paper with one side more textured.

The Canson Mi-Teintes Black Pastel Pad is your best option for a more textured paper. It features a dual sided paper with a woven texture on the top side and a flatter surface on the back side. The paper is matte black and not shiny. It’s made in the USA with materials from France, including some cotton.

The pads are glue bound on the top edge and have 24 sheets per pad with 98 lb / 160 g paper.


Canson Mi-Teintes Black Pastel Pad
Glue bound, available in 9x12” pad or loose sheets
98 lb / 160 gsm paper
24 sheets per pad
9x12” generally retails for $8.50 or $0.35 per sheet

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Not worth it: Arteza Black Drawing Pad, Faber-Castell Black Sketchbook, Conda Black Sketchbook

The next three pads didn’t stack up to the quality and affordability of the Canson XL Black Drawing pad. They feature fewer pages with thinner paper, but if you prefer a ring binding on the top edge, a few of these may be right for you for an everyday pad that you can carry around for sketches or prepatory work.

Arteza Black Drawing Pads

The Arteza Premium Black Paper Sketch Pad is a good competitor to our top everyday pick, but generally is more expensive.

The Arteza Premium Black Sketch Pads generally come in a 2 pack and feature 30 sheets of 9x12 inch paper with a ring binding and perforation at the top. The paper is matte black, a bit absorbent, and best for dry media such as pastels or colored pencils. The paper and notebook are a great option if you like ring binding at the top, but even in a two pack, they are slightly more expensive than the Canson XL Black Drawing Pads. These pads were manufactured in China for the US-based Arteza company.

These pads are great option for students, kids, or anyone looking for an everyday black paper sketch pad.

Arteza Black Drawing Pad
Spiral bound, available in 9x12”
90 lb / 150 gsm paper
30 sheets
9x12” two pack generally retails (60 sheets total) for $20 or $0.33 per sheet

Faber-Castell Black Sketchbook

The Faber-Castell Black Paper Sketch Pad had the thinnest paper tested and while it might be ok for kids, artists of any age will be better served by getting a higher quality sketch pad.

The Faber-Castell Black Paper Sketch Pad was the thinnest paper tested. Made in China for Faber-Castell USA, it doesn’t indicate the paper weight but it’s not much thicker than printer paper. It is, however, made with 50% post-consumer recycled fiber. Advertised mostly as a sketch pad for kids, I think they’d be better served with the Arteza pad above, or our top pick the Canson XL. But at 25 sheets with a tape binding, this is lightweight and easy for anyone to carry around.

Faber-Castell Black Sketchbook
Glue bound, available in 9x12”
25 sheets
9x12” generally retails for $7 or $0.28 per sheet

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Conda Black Sketchbook

The Conda Black Paper sketchpad has 40 sheets and is ring bound at the top.

The Conda Black Sketch Pad is another cheaper option with thin, somewhat glossy paper. Advertised as 90 lb / 150 gsm paper, it feels thinner and lighter than that. The 40 sheet sketchbooks are ring bound at the top with unperforated pages. The Arteza or Canson XL are better options. There is no indication on the pad as to where it is manufactured.

Conda Black Sketchbook
Spiral bound, available in 9x12”
90 lb / 150 gsm paper
40 sheets
9x12” pad generally retails for $11 or $0.27 per sheet

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Fabriano Hardcover Black: Best for guestbooks or sketching

The Fabriano Hardcover Black Drawing book is a premium landscape-style notebook (or a relatively skinny page on the tall side) that is marketing as a drawing pad but most likely conceived as a guest book for signatures. It has a premium front and back cover that feels like fabric-covered cardboard, and 40 pages of slightly textured 90 lb / 190 gsm drawing paper. The paper itself is nice and great for drawings, but at this price, you’d be better served by any other cheaper sketchbook or just going for one of the premium pads. But if you like the nice cover (it is really nice and a fun sketchbook to use!) then go for it.

Fabriano Hardcover Black
Spiral bound, available in 6x6” or 8.25x11.75”
90 lb / 150 gsm paper
40 sheets
8.25 x 11.75” generally retails for $35.00 or $0.88 per sheet

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Summary

There are a lot of great options for black sketchbooks and drawing pads. After testing, the top two favorites were the Canson XL Black Drawing Sketchbook for it’s mix of quality and low price, and the Strathmore 400 Mixed Media Paper for it’s great quality, low price, and suitability for professional-grade artworks. But there were a variety of options for every budget. No matter what you go with, black paper is a great thing to experiment with and may just become your favorite type of drawing paper.

What is your favorite black paper for drawing, sketching, or painting? Let us know in the comments.

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Cone 6 Bisque Crackle Slip

This is a test of the bisque crackle slip commonly known as Rhodes Crackle Slip or Oestreich Slip. It is typically recommended as a Cone 10 recipe, but I noticed the same recipe was listed in John Britt’s Complete Guide to Mid-Range Glazes without zircopax (It’s also in Britt’s high fire book but with zircopax). To determine the difference, I tested the slip with and without zircopax in a cone 6 oxidation firing, on two different clay bodies, and with both brushing and dipping. Zircopax is typically a whitener / opacifier but can also stiffen glazes, so I was interested to see what it did in this recipe.

Results:

The recipe without zircopax appears to be more suitable for cone 6. It doesn’t crack quite as much, but it also didn’t flake off. The slip with zircopax was more stiff and a bit flaked off the thickest brushing tests, and larger pieces flaked off the extra-thick parts of the dipped test, especially on red stoneware.

Your results will vary, so definitely test! Also, this bisque slip is often recommended for use underneath other glazes. In that case, mixing it with our without zircopax may not make much of a difference as the other glaze can help attach pieces to your ware. The slip can also be mixed with oxides and stains. You could also vary the borax to see what happens with melting and adhesion, or try substituting gerstley borate for borax.

Cone 6 Bisque Crackle Slip

Ingredient	Percentage	1000g batch
Custer Feldspar	20	200g
Glomax (Calcined Kaolin)	20	200g
Silica	20	200g
Kaolin (EPK used in these tests)	15	150g
OM4 Ball Clay	15	150g
Borax	5	50g
For a stiffer or cone 10 slip, add:
Zircopax	5	50g

Methodology:

Two slips were mixed, one with the added zircopax.

Slip was brushed on flat tiles made with Standard 112 Brown Speckle Clay. From left to right, 1, 2, 3, and a 4th layer of slip was brushed on the tiles.

Slip was dipped on cylinders made with Standard 112 Brown Speckle and 308 Brooklyn Red clays. Slip was dipped in 3 second dips and allowed to dry, from bottom to top in 4 layers, with the top having the heaviest application. The heaviest application in both brushing and dipping resulted in the biggest cracks.

In general, the slips appeared to get a nice crackle with 3 layers brushed, and 2-3 layers dipped.

Images

The slip was brushed on test tiles made with Standard 112 Brown Speckle Clay, ranging from 1 to 4 layers. The slip with zircopax was more prone to cracking (see the difference on 2 layers) but as it got thicker, the with zirc slip did flake off a bit.

Slip was dipped onto test tiles made with Standard 308 Brooklyn Red and 112 Brown Speckle clays. Dips were 3 seconds each and ranged from one dip at the bottom to four dips at the top. The slip with zircopax was drier, cracked more, but was also more prone to flaking. A few large pieces simple fell off the red clay test tiles.

The test tiles together.

References and Summary

The recipes for this crackle slip can be found in two John Britt books:

Complete Guide to Mid-Range Glazes (shop at Amazon) (shop at Bookshop.org)

Complete Guide to High-Fire Glazes (shop at Amazon) (shop at Bookshop.org)

Or on Glazy.org, look at these pages:

Rhodes Crackle Slip

Oestreich Slip

Oestreich Bisque Crackle Slip With Colors

Borax can often be found in the laundry section of your local market. Or shop borax at Amazon.

Do you have a favorite crackle slip? Let us know in the comments.

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Gift Guide for Artists who Paint and Draw

This guide has more than 30 ideas for artists who paint, draw, and create. Most suggestions are priced between $25 and $100, along with a few higher ticket items. There are plenty of ideas for the painter or artist in your life, or perhaps you’ll find a gift for yourself. In general, this guide focuses on high-quality art supplies, equipment, and books.

Note: This site uses affiliate links for sites such as Amazon and Blick. If you click the links and complete a purchase, we may receive a percentage at no extra cost to you.

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Blick Noir French Easel

The Blick Noir French Easel.

Perfect for in the studio or on the go, this black French-style wooden easel from Blick is stylish, functional, and a great deal. The easel combines a sketchbox, easel, and canvas carrier into one unit. Folded, it measures a compact 22 x 16 x 6.5 inches, and it can extend up to 73” tall and accommodate canvases up to 34” tall. It weighs about 10 lbs. This is a great easel for someone setting up an at-home studio and can be carried or folded down for painting in plein air. It retails for around $100.

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Golden A-Z Acrylic Explorers Kit

The Golden A-Z Acrylic Explorer Kit.

This popular set introduces artists to a variety of products Golden Acrylics—the company bills it as a workshop in a box and it basically is. It includes heavy body (i.e. thick) acrylics, fluid acrylics, high flow acrylics as well as pastes, gels and mediums. It’s a great intro to Golden’s high quality product line, and can really expand an artist’s skill set. The kit retails for around $28 and includes 4 tubes of paint, 5 small bottles of paint, 4 tubes of different mediums and a bottle of clear painting medium.

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Aquabee Super Deluxe Sketchbook

The Aquabee Super Deluxe Sketchbook.

The Aquabee Super Deluxe Sketchbook from Bee Paper is a favorite mixed media pad that came out on top in our recent review of mixed media pads. It can do everything from light watercolor to ink to marker, colored pencil, and anything else. The sketchbooks are available in a variety of sizes (9x12” is a great option) and has a stiff cardboard back and a leatherette cover with a wire binding for easy turning of pages. The 93 lb / 150 gsm paper is light cream color and is a pleasure to use, and the books range from 6x4 inches to 14x17 inches, with 50 or 60 pages per book.

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Williamsburg Oil Paint Sets

The Williamsburg Oil Paint Signature Series has 9 colors in 11 ml tubes.

Williamsburg is known for its intensely pigmented, handmade oil paints that are the favorite paints of many professional artists. Available individually or in a variety of sets, try the Signature Series set of 9 for an introduction to these wonderful oil paints. An oil painter will appreciate this, or any set of the high quality Williamsburg paints. The Signature Series set has 9 tubes with 11 ml of paint each, or about 1/3 of an ounce.

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The Artist’s Way by Julia Cameron

The Artist’s Way by Julia Cameron

This classic, first published almost 30 years ago, helps artists, writers, and creative types unlock their full potential. Through a series of exercises, such as a letter to yourself and the famous “morning pages” of free writing (visual artists can just substitute sketching) everyone can discover their creative path in an open-ended way that accommodates everyone. At times a bit new age-y, this book is still worth a read for the ideas and exercises. The book grew out of a series of workshops that Cameron ran, and the book feels like you are in the room with Cameron’s gentle but insistent guidance.

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Faber-Castell 9000 Series Drawing Set

Faber-Castell 9000 Series Drawing Set.

Faber-Castell makes some of the best pencils and is the choice of professionals and serious artists. It’s easy to just reach for the signature green pencils first. This set of 12 pencils from F-C’s signature 9000 series has one pencil each ranging from the soft and dark 8B up to 2H. There’s also a set for designers that ranges from 5B to 5H. The sets come in a hinged metal tin or a soft bag and usually retail for around $15-$20. This is the perfect set for anyone who loves to draw. Pair it with a sketchbook and a sharpener for a perfect gift.

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Tote Bag for Tools, Pencils, and Brushes

JJRing Nylon Tote Bag

Every artist can use a little organizational help, and a tote bag keeps everything is at hand and easy to find. The JJRing nylon art/craft bag is has a 16 pockets, is available in eight colors, and is a great value, typically priced at $15 to $25.

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Caran D’Ache Luminance Colored Pencils

The Caran D’Ache Luminance pictured here in the 20 pencil box.

The ultra-premium Luminance colored pencils are a joy to use and the entire set is 100 percent lightfast, which means that the pigments are designed to withstand UV rays. Under museum conditions, these colors will hold up for at least 100 years. The Luminance (and the Derwent Lightfast) were our top picks in a recent test of colored pencils based on the color intensity, quality, and the lightfast ratings. The Luminance also has an easy-to-use cardboard box where each pencil is inset into foam, so the pencils don’t jumble around. Prices range from a set of 20 pencils for $55 to a set of 76 pencils for around $225.

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The Story of Painting: How Art Was Made

The Story of Painting: How Art Was Made from DK.

This 2019 book covers the entire 25,000 year history of painting with illustrations, texts, and guides to technique, composition, and subject matter. It’s a great overview for a beginning painter, or a wonderful reference book for the more experienced artist. The details, images, and texts make this more than just a coffee table book. It’s available in hardcover for around $25.

The book includes detailed examinations of numerous paintings.

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Utrecht Artists’ Watercolor Paint Box

The Utrecht Watercolor Box is a complete painting kit.

This set has everything an artist needs to get started with watercolor painting and it’s made by Utrecht, the Brooklyn, NY company known for high quality, artist-grade paints and mediums. It comes in a beechwood box and includes a 9x12” watercolor block, four brushes, a flat knife, a needed eraser, plastic palette with 24 wells, and 18 tubes of watercolor paint. The box usually retails for around $225.

Utrecht also sells smaller sets of just watercolor paints.

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Anker Soundcore Q20 Noise Cancelling Headphones

The Anker Soundcore Q20 Noise Cancelling Headphones.

Over-ear noise cancelling headphones can really help you focus on your work, especially if you work in a shared or noisy environment. There are a lot of options for this type of headphone, but the Anker Soundcore Q20 strike a balance between quality and affordability, especially considering they will probably get covered in paint at some point. These headphones have an impressive 40 hour playing time, and a dynamic sound quality that while not quite audiophile level, really deliver a lot for the $50 price tag.

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Liquitex Acrylic Gouache

The Liquitex Acrylic Gouache 12 color essentials kit.

Gouache is a type of opaque watercolor paint, and the Liquitex Acrylic Gouache is an interesting twist on this product that is really nice to use. Think of it as a matte acrylic paint that is fluid right out of the bottle and will result in a matte finish that doesn’t show brush strokes or cracks. It’s become a favorite acrylic paint of many. It’s available in small squeeze bottles—to use, just press out what you will need on a tray or palette. The colors are available individually or in a variety of sets. Try the 12 color essentials set for around $55 or the fluorescent set is also fun.

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Blick Super Value Bulk Canvas Pack

The Blick Super Value Bulk Canvas Pack has 40 16x20” pre-primed canvases.

Almost a gag gift for the extreme size, this bulk pack of 40 stretched canvases are great for anyone who paints a lot. These 16x20” canvases are pre-primed with acrylic gesso on 5/8” thick stretcher bars. At around $120, these canvases work out to about $3 each—an incredible value. And a gift like this will provide plenty of surfaces for an artist to get to work.

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Winsor & Newton Artisan Water Mixable Oil Paint

Winsor & Newton Artisan Water Mixable Oil Paint.

Water mixable oil paint is an interesting innovation made by a variety of manufacturers. It allows you to thin paint with water (although most companies do make some mediums as well) but more importantly, you can clean up this paint with water and soap. This makes it so much easier to keep hands, brushes, palettes, and everything clean, especially if you are painting at home. Winsor & Newtown makes a great line of water mixable oil paint called Artisan, and it’s available individually and in sets. The set of 10 colors in the smaller 0.7 ounce tubes is a great introduction to this line.

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Foam Daubers

Foam daubers aka sponges on a stick.

These sponges on a stick are a fun craft tool for artists of all ages. Variously known as spouncers, daubers, or stick sponges, these are a great way to add polka dots and round shapes to any surface. Use with acrylic, watercolor, or inks. Available in bulk packs for around $10–20, they are a great tool for any artist.

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Create Dangerously: The Power and Responsibility of the Artist by Albert Camus

Create Dangerously by Albert Camus.

This 1957 speech by the Nobel Prize winner was first published as a standalone text in 2019 in this small, pocket-sized book. A call to arms for artists to participate in society, it’s an interesting read for anyone considering a career in the art or who is interested in what role artists might take in civic discourse. The paperback usually retails for $8.

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Canson XL Black Drawing Pad

The Canson XL Black Drawing Sketchbook

A sketchbook with black paper is a fun way to mix things up in the studio. Pair it with opaque colors from pens or pencils, and you’ve got a whole new way to approach color and design. A studio favorite is the student-grade Canson XL Black Drawing Pad. Each pad features 40 pages with 92lb black paper, with micro-perforations at the side if you want to remove a drawing for framing or other purposes. Available in 7x10” or 9x12”, expect to pay $7 to $10 for these pads. For a great gift, pair this with gel pens or colored pencils.

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X-Acto Basic Knife Set and Case

The X-Acto Basic Knife Set with case.

Every artist needs X-Acto knives at some point, and this basic set of 3 knives and 10 replacement blades is a great introduction to the variety of blades from this venerable company. Use this for trimming watercolor paper, collages, or any art and hobby purposes, these will get used all the time. This set typically retails for around $23. Pair it with a cutting mat (see below) for a great gift.

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Self-Healing Cutting Mat

Alvin Cutting Mats are one option for self-healing cutting mats.

Self-healing cutting mats are a great way to protect both your tables from cuts and it helps your knife blades stay sharp longer. Available from a variety of manufacturers (Alvin, Blick, Cricut, X-Acto etc) the main thing is to pick the size and color that works for your space. Traditionally available in green and black from Alvin, there are now a variety of colors and sizes. For at-home use, an 18x24” mat or 24x36” sizes are usually best, but you can go bigger or smaller. In addition to cutting, these make great surfaces for using liquid or hot glue, or for moving around drawings or paintings that are not yet dry. The larger sizes are also useful for covering tables used for drawing, painting, and crafts.

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Arches Watercolor Blocks

Arches watercolor blocks come in a variety of paper thicknesses and finishes.

Arches makes some of the best watercolor paper and watercolor blocks are a great way to try out their paper. Sealed on the side with glue, each sheet stays in place and won’t warp, and can then be cut off using a dull knife. Then the next sheet is ready to go. These come in hot and cold press in a variety of thickness. Cold press paper has a bit more texture and the mid-weight 140 lb / 300 gsm paper is a good place to start, such as an 8x10 block of 20 sheets that retails for around $33. Pair this with a high-quality set of watercolors (such as Sennilier, Utrecht, etc) and you’ve got a great gift for a watercolor artist.

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Sennelier Watercolor Travel Set

Sennelier La Petite Watercolor Travel Set

Sennelier makes some of the best watercolors that are rich in hue, depth, and just enough transparency. They are a pleasure to use and when paired with a watercolor block (see above) make a great gift. This travel set includes 12 tubes of watercolor paint and a small palette for adding water. The tubes hold 10ml or .33 oz of watercolor paint, which can go a long way—especially if they are mixed with water and used wet on wet. It’s a great introduction to the Sennelier line of watercolors, and generally retails for $35-$40.

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JBL Bluetooth Speaker

The JBL Flip 4 portable bluetooth speaker.

It’s always great to have music or podcasts in the studio, and a portable bluetooth speaker makes it easy to play anything from your phone, tablet, or laptop. The JBL Flip 4 is slightly older (meaning it’s available at a discount) but is still a great option that sounds great, is easy to pair with devices, and comes with long-lasting build quality. For something bigger and louder, check out the JBL Charge line of speakers. The JBL Flip 4 is waterproof, available in a variety of colors, and usually retails for around $90.

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Studio Designs Fusion Center Drafting Table

Studio Designs Fusion Drafting Table and Stool. (Cabinet is not part of the set).

Studio Designs is known for high quality but affordable studio furniture (I’ve been using the Graphix II Workstation for years) and the Fusion Center is a great introductory table and stool for artists who draw, paint, or craft. Featuring a work area that is just under 24 x 35 inches, the table can adjust from flat to a 60 degree angle. There’s also a pencil and brush rack, and a slide-out side table, giving the table an overall potential footprint of 24x48 inches, and the table is adjustable from 26.75 to 35.35 high. It’s a great first desk for the serious hobbyist or art student who is ready for their own dedicated table. It typically retails for around $125.

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Daybook: The Journal of an Artist by Anne Truitt

An older edition of Daybook by Anne Truitt.

This classic journal by the American sculptor has been in print continuously since it was published in the early 1980s. In it, Truitt details her daily observations about artmaking as well as her history as an artist and mother. It’s an enlightening read that ranges from the mundane, to money concerns, to the theoretical underpinnings of her works and how she made them. It’s available new and used, including a recent digital edition that includes Daybook and two more books of Truitt’s journals. For more, check out this excerpt of the book. Daybook is available in paperback for around $15.

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Holbein Artist’s Gouache Set

The 12 color set of Holbein Artists’ Gouache.

Gouache is the opaque version of watercolors and Holbein makes some of the finest gouaches around. These professional grade paints are vibrant, dry to a matte finish, and can be thinned with water if less intensity is desired. The colors are available individually or as sets, ranging from five colors for around $30 to all 84 colors for over $700. A set of 12 or 18 colors makes a great introduction to this line of colors and in the smaller .2 ml tubes, these sets range from $44 to $53.

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Pentel Pocket Brush

The Pentel Pocket Brush Pen with two refills.

The Pentel Pocket Brush is a portable, easy-to-use, and refillable brush pen that can lay down a super-fine line or a heavier stroke. Perfect for travel and on the go ink sketches, it can also be used in the studio for finished work. It’s good for painting, cartooning, and more, and is available with gray, black, or sepia-colored ink. The brush and two refills typically retails for around $13, and refills are about $3 for a two pack. Pair this with a mixed media sketchbook (such as the Aquabee Super Deluxe Sketchbook) and you’ve got a great gift.

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Alice Neel: People Come First

Alice Neel: People Come First is a 2021 monograph published by the Met Museum.

This 2021 monograph focuses on Neel’s history, social activism, and portraits. Published by the Metropolitan Museum of Art in New York and based on the blockbuster exhibition there, the hardcover book includes high-quality reproductions and essays on Neel and her work. A sense of life was in every mark that Neel made and this book is a deep look into a fascinating artist and her body of work.

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Sennelier Abstract Kit

The Sennelier Abstract Acrylic Paint Kit with 8 tips.

Sennelier Abstract acrylic paints are a new twist on painting. The paint can be squeezed out on a palette like any other paint, or try the various tips directly on these plastic pouches to squeeze paint right out of the bag. It makes the act of painting physical and immediate, and can open up a new way of working for any artist. The set includes 5 paints and 8 tips, and typically retails for around $35.

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Blick Studio Black Cotton Canvas

Blick Studio Black Cotton Canvas are pre-primed and stretched and ready to paint.

Black primed canvases are a completely different way to approach painting, and these pre-primed and stretched cotton canvases from Blick allow you to get right to painting in acrylic or oil. Available in 5 sizes ranging from 8x10 inches to 20x24 inches, these canvases have a traditional 3/4” deep stretcher bar and are suitable for hanging or framing. Pair these with an acrylic or oil painting set for a great gift.

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Golden Fluid Acrylics Set

The Golden Fluid Acrylic Set includes 10 paints.

Golden fluid acrylics are high flow, thin paints for artist that spray, brush, stain, or paint. They are highly saturated with pigment and they are almost ink-like in how they lay down and dry. They are a great way to mix things up and can be used with various mediums or thinned even further with water. The set of paints includes 10 colors in 1 oz jars and usually retails for around $42

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Blick Super Value Hardbound Sketchbook

The Blick Super Value Hardbound Sketchbook two pack.

Hardbound sketchbooks are great ways to keep all your sketches, thoughts, and notes in one place and this 2 pack is simply an incredible deal. At around $12 for two sketchbooks, it’s the same price you’ll pay for one hardbound sketchbook at other stores. The 65 lb paper measures 8.5x11 inches and is smooth, white, and acid free.

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Caran D’Ache Pablo and Supracolor Gift Box

The Caran D’Ache Pablo and Supracolor box set.

This handsome wooden box has a full set of Caran D’Ache Pablo colored pencil and Supracolor water-mixable colored pencils. The two lines blend together easily, giving you an unlimited range of possibilities for drawing, shading, blending, and working wet. At $464, it’s quite the statement gift but it includes 180 pencils, for an average cost of $2.58 each.

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Other Gift Ideas

Classes: A set of classes at a local studio or art studio can be a great gift.

Magazine Subscriptions: Magazines are great sources of ideas and inspiration.

Tours, Trips, or Conferences: Look for painting-specific travel tours, retreats, or conferences.

What are your favorite gift ideas for artists? Let us know in the comments.

Gift Guides

Check out these posts:

Gift Guide for Potters

Gift Guide for Young Artists and Creative Kids

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"If you can walk, you can dance" Louise Nevelson on making art

Louise Nevelson: Light and Shadow by Laurie Wilson

Louise Nevelson: Light and Shadow is a 2016 biography of the artist by Laurie Wilson. It’s a comprehensive, detailed overview of Nevelson’s life and approaches to art and is a great read.

From a young age, Nevelson was always making art but a combination of factors kept her on the margins of the art world until her late 50s, when she began to show in New York City and then, around the world. In her 60s and 70s, Nevelson became one of the most prominent sculptors in the world, working with installations, public art, and making numerous museum and solo gallery shows with her sculptural works.

It’s an inspiring story, and one that probably rings true to most artists in both the joy of art making but also the struggles to forge an artistic life and create your own path.

Below are a few excerpts from the book, with words by Wilson and quotes from Nevelson. The book is available in hardcover or digital editions.

Nevelson on making art:

“I’d rather work twenty-four hours a day in my studio … than do anything I know. Because this is living. It’s like pure water…. The essence of living is in doing, and in doing, I have made my world, and it’s a much better world than I ever saw outside.”

Sculpture is like a person…

One of Nevelson’s observations about this work could describe her aim as an artist: “I tell people who ask, that I don’t use wood; I don’t use black; I don’t make sculpture. If the sum of this wall doesn’t transcend wood and black and making something, then I’ve failed. Sculpture is like a person, who adds up to a lot more than a few cents worth of chemicals. I’m trying to communicate. Not to make something.” For Nevelson, this went beyond a statement about art; she was trying to articulate what she knew about the human condition: We are all alike and we are all different. And she saw her mission as expressing these contradictory truths, not in so many words, but through the formal decisions she made in her art.

On terra cotta clay, and approaches to different mediums.

Nevelson claimed that she worked on stone only when she was “a little exhausted creatively.” When she felt in full power, she preferred terra-cotta because “it gives flight and does not retard or restrict … the quick response of the clay to each idea; it permits a simplicity of approach.

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It seems Nevelson was repeatedly driven to create new formats and new versions, when she approached a familiar medium, as though the tried-and-true was never quite so satisfying as what had yet to be attempted or seen.

From the book: a 1944 experiment with found wood and a tire.

On sexism in the arts:

When asked if men treated her as an equal, Nevelson was quick to answer. “Originally, no—at 70 years, yes.”

“When I first started, nobody took me seriously. In the galleries—a woman! I’d look in the mirror and see the gestures they made behind my back. Meshugganah! A woman wanting to be a sculptor. A man sculptor said to me, ‘Louise, you don’t want to be a sculptor. To be a sculptor, you’ve got to have balls.’ ‘I’ve got balls,’ I said. But it hurt inside.”

Ferocious Bull, 1942. Another sculptural experiment that was lost.

If you can walk…

Jean Lipman, who had written Nevelson’s World a few years earlier, recalled a moment when Charles Kuralt asked Nevelson toward the end of the TV interview how, at age eighty, she could possibly maintain the energy and quality of the work that had made her famous. Nevelson paused for a full minute and said: “Look, Dear, if you can walk, you can dance.”

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Louise Nevelson: Light and Shadow

512 pages, 2016, by Laurie Wilson.

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