Pottery In Australia Vol 15 No 1 Autumn 1976

COVER: Lollis by Hiroe Swen, Pastoral Gallery, 1975, 26 cm x 19 cm.
Ligbt turquoise, 1285· C., electric kiln.
EDITORIAL COMMIITEE
Editor Margot Staples
President Beryl Barton
Adele Salmon Janet Mansfield
Shirley Moule Derek Smith
Margaret Tuckson
Business Manager Barbara Austin
State Correspondents
Connie Drldan (Vic)
Jean Robins (WA)
Ron Rowe (SA)
Margaret McNaught (Old)
Penny Smith (Tas)
PI.ue .ddr.,s all corr .. "ondence to
The Editor 0' "Pottery In Australle"
48 Burton Street, OerllnghufSt, N.S.W. 2010
re/ephone: 31-3151
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POTTERY
I N AUSTRALIA
PUBLISHED BY THE POTTERS' SOCIETY OF AUSTRALIA
VOL. 15 No. 1 1976
Two Dollars
CONTENTS
Editor visits Ch ina p. 2
An Australian Potter looks at New Ch ina's
Ceramics Ivan McMeekin p. 3
The Potteries of Shihwan Dennis O'Hoy p. 7
Wares of Yching Margot Staples p. 15
Bryan Newman in Australia Janet Mansfield p. 18
Thoroughly Modern Milling (Part One)
Stephen Harrison p. 23
A Day in Izcuchaca May Davis p. 30
The Use of the Computer for Ceramic Glaze
Calculation H. J. McWhinnie p. 31
Recent Work p. 35
" Qu inja" Trevor Woods p. 43
Hydraulically Operated Potters' Wheel
Janet Barriskill p. 47
West Australian Clay Body Test Michael Kusnik p. 51
Insulation, Refractories and Kiln Design
Maxwell J. Murray p. 52
Half a Year Onwards-A Brief Review of
the Potters' Society of Australia . p. 66
Book Reviews p. 67
Exhibition Reviews p. 68
Exhibitions and Competitions p. 73
News p. 75

EDITOR VISITS CHINA
In September 1975 ten Australian potters visited China as the guests of the
Ministry of Light Industry. We spent a month touring the pottery and porcelain
centres and were able as well to see ivory carving, silk weaving and embroidery,
inlay and fan-making. We visited museums and took part in a number of seminars
with Chinese craftsmen and technicians.
One of the tasks of the museums, as the Chinese see it, is to illustrate how
the past may serve the present. In the great porcelain centre of Chingdechen the
museum is deliberately used as a place of inspiration for local designers. The
Shanghai museum which was established in 1952 displays archeological finds.
Since the Cultural Revolution in the late sixties, archeological studies have been
vIgorously pursued.
In the early fifties, the small craft workshops became collectives, and many
new factories were established. Conditions for craftsmen in the new workplaces
became healthier and more comfortable. In the factories we visited the excellent
lighting and pleasant surroundings impressed us all. Continuing efforts are being
made to eliminate hand work by resort to machines. Perhaps many traditional
techniques will be lost because of this. However, 1 believe that there is a policy
of preserving knowledge of traditional techniques so that the past will continue to
serve in the development of new products.
The information contained in the three articles in this issue on the potteries
of China sets out information which warrants the attention of our readers.
2

AN AUSTRALIAN POnER LOOKS AT
NEW CHINA'S CERAMICS
Ivan McMeekin
In the twenty-six years that have elapsed since the 1946-1949 Liberation War the
main part of Chinese industry has changed over from the use of traditional Chinese
crafts and technology to the use of what is basically Western industrial technology.
For artist-craftsmen like ourselves there were many aspects of the traditional
crafts and technology of great value and interest, not only practical aspects but
philosophical and aesthetic ones as well. With our great admiration of Sung
achievements in mind, in a vague and illogical way we expected to find Sung
techniques still extant, when probably they disappeared many centuries ago, and
it seemed were nowhere to be seen in today's modern factories.
At lirst this was a bitter disappointment, but gradually it became evident
that some of the artistically important aspects of the traditional techniques were
still there, but in a modern form that made them difficult to see. Simplicity and
directness of technique can still be seen in many places. They can be seen in the
selection, processing and blending of raw materials: there are still usually only
two materials used in porcelain bodies, porcelain stone and kaolin. The processing
and blending was done with an almost nonchalant simplicity that was staggering.
They can also be seen in glaze application which is still done, using beautifully
thought out methods of application to raw ware. Other important aspects were the
willing commitment to a high skill level, and generally the extent of personal
commitment to the work. Also that people were able to enjoy doing their work
well without harassment and the greedy emphasis on speed and production that
often mars the atmosphere of our own factories.
The two forming methods almost universally used were the same as those
used in our own industry : slip-casting and jolJeying - and in the refractories
industry, pressing. Only at Yching in the tea-pot factory and large jar factory have
hand forming methods survived virtually unchanged.
In firing the change was not pronounced. The old climbing or bank kilns
(called by the Chinese potters "dragon kilns" ) are often still there, but are disused.
Their place has been taken by Western-style tunnel kilns, adapted to local conditions.
One of the most astonishing sights we saw was a hand-fired coal-burning
tunnel kiln for porcelain! . . . something far beyond our industrial capacity for skill,
application, and reliability. The majority of tunnel kilns seen, however, were oilfired
by pressurised burners, much in the same way as our own are. Reasons given
for the change to tunnels were quite conclusive. In the first place the tunnel is a
very much more efficient unit; secondly the firing of the "dragon kiln" was
strenuous and exacting, and an adminsitration seeking to improve the working
conditions of the people would naturally look for a more acceptable way of firing.
Thirdly-an irrefutable argument-the supply of wood-fuel became exhausted, the
last kilns to go out of service being those near canals which enabled them to get
fuel from farther afield.
However, I feel we should not presume that the same ugly shortcomings of
our own industry will not automatically appear, because Chinese potters have
adopted some of our techniques. Our own industry has been bugged by our inability
to understand the activity as an ART, and by our industrial commercial values
which are inimical to art in any case. We should remember that this particular art
3

is theirs, and was introduced into the West only a few centuries ago. Their long
experience and greater understanding of it will, I feel, lead them along a different
path, and the introduction of Western technology should be seen as a stage in the
revitalisation of their industry, that they and we agree had sunk to a low ebb prior
to 1949. They are adapting the industry-or the art if you wish-to the new aims
of an idealistic socialist structure, the aims of a people determined to take their
rightful place in the human community.
The Museum Collections
The collections we saw had been formed since 1949, and comprised mainly
excavated pieces. To the student of Chinese ceramics these collections were of the
greatest interest as the often irrefutable provenance of a piece (provenance in this
application meaning what it is, where, and when it was made), formed on archeological
grounds, enables us to revise our ideas about the things we already know
of, and, rather more interesting, a number of wares new to us in the West, or at
most only slightly known, have been excavated and studied.
Following in more or less chronological order are some of the discoveries
that were new to me:
1. There was a greater variety of wares produced in Neolithic or pre-historic
times than 1 had envisaged, and, of course, the Neolithic culture co-existed with
the early dynasties such as Shang. One of the most interesting early wares, almost
unknown in the West, is the Blackware made in Shantung province and elsewhere
in the coastal region. The collections in Shanghai, Nanking, and Peking contained
examples of this ware. It is a beautifully made, burnished, black earthenware. The
largest number of Neolithic wares are in the Peking Palace collection.
2. There were then no major surprises until the end of the Han dynasty, that is
the commencement of the period known to Western scholars as the Six Dynasties,
and which is often thought of as the Chinese equivalent of our Dark Ages, a period
of some four hundred years (A.D. 221 to A.D. 588) between the end of Han and
(disregarding the short Sui Dynasty) the commencement of Tang. It was a
confused period of unrest, but also of stimulation, change and achievement in art.
It was during this period that the ware we call celadon emerged and developed.
Celadons had been made in Han times, but it was only during the Six Dynasties
that the ware started to disclose its unique character.
These early celadons have been known in the West as Yueh celadons, Yueh
being a kingdom at that time occupying what is now, in broad terms, the province
of Chekiang. However, these new Chinese collections and studies make it cle

I
Neolithic: black earthenware stem-cup.
Ming: blue and white porcelain bowl
te-chen, and 1 was astonished at the number of well-known Southern Sung wares
that were made in that centre. The best of the Yingch'ing or Ch'ingpai wares it
seems all came from Ching-te-chen (there were of course other centres making
this ware), also several similar wares that have puzzled collectors for some time,
like the ivory coloured ware in the Ting style. Chinese scholars believe that the
potters who fled south at the collapse of Northern Sung were responsible for the
sudden development of Ching-te-chen as a major centre in Southern Sung times.
This makes the phenomenal development of porcelain there during Ming times
much easier to understand.
4. An interesting little fact emerged in relation to the so-called "green Chun" ware.
I had often wondered whether these pots were the result of some chance variation
in firing conditions or glaze ingredients in the production of the usual blue Chun.
But 1 found that this was not the case, that they were made at a place called
Lin J u, some fifty miles to the west-south-west of Chun Chou. Another interesting
little fact emerged in relation to Chun wares and that is that the name is pronounced
like a combination of June and doin' (short for doing) , i.e., Jooen.
5. It seems also that we need to revise our ideas about the Northern celadons.
A number of pieces which 1 would have described without hesitation as Northern
celadons were attributed to the Lung Ch'uan centre in Chekiang province.
6. Of great interest but not necessarily a surprise were the Yuan Dynasty
porcelains decorated in underglaze blue.
7. Another interesting fact to emerge in relation to Ming blue and white was that
many of the wares which we describe as "export wares" were also distributed on
the Chinese home market. Sherds picked up in Soochow, and several pieces in the
5

collections indicated this. It seems we should make a study of fMing blue and
white made for the general Chinese populace of that dynasty. I feel that these
would prove to be very beautiful wares, and in many ways preferable to the
rather straight-laced, over-decorated Imperial wares.
Comments
It may be wondered why there are no examples mentioned of work by
individual artist-potters making either utensils or sculptural pieces other than
representational figures. The reason is simple: we saw none, and the impression I
formed is that they do not exist in China.
It is my own view that the individual artist-potter is a phenomenon appearing
at a particular stage of industrial, economic, or cultural development. In our own
case he appears towards the end of the nineteenth century after some one hundred
and fifty years of ceramic industrialisation, quite largely, it seems, as a result of
deep dissatisfaction with industrial pots and industrial/commercial values and
concepts in general. The Chinese and Japanese ideas which Leach brought back
to England in 1920 were grafted onto this already existing movement and have
influenced it profoundly. But to expect to find potters similar to our own artistpotters
in a culture as different from our own as China is, and at such a different
stage of its history, is at best, parochial.
For over a thousand years the making of pots in China has been seen as a
major art form. It still is. Chinese potters are eclectic. There have been many
examples in the past of their welcoming, enjoying, and digesting foreign influences
to produce a new valid and lovely idiom of their own as a result. It is my view
that they are today at the start of another such cycle.
To have been able to see it at first hand was an indelible experience which,
hopefully, may initiate such a cycle in ourselves.
Ivan McMeekin led the delegation of ten Australian potters who visited China as
guests of the Ministry oj Light Industry in that country in September 1975. Cj.
Editorial this issue.
HOW TO DETECT GAS LEAKS. David Medlin, whose article "Low Cost Stoneware Kiln"
appeared in Vol. 14, No.2, has sent this correction to the procedure for checking gas leaks.
DO NOT USE A LIGHTED TAPER, this could be dangerous.
"Propane gas is not toxic and is odourless, but . an . odorant has been added to give
it a distinctive smell similar to onions. If the dIstInctIve odour has been detected an
immediate cbeck sbould be made for leaks. Brush a mixture of two parts household
detergent to one part water on the suspected leak; if it bubbles, immediately turn off the
Propane gas cylinder valve and tighten or repair tbe equipment.
If Propane gas is leaking do not strike matches or operate any electrical appliances in
the vicinity. Remove all sources of ignition and open all doors and windows. Do not attempt
to relight Propane gas until all traces of odour have disappeared. Turn on again and check
the suspected leak witb detergent and water.
Remember Propane gas is heavier than air and will remain in open containers, cellars
and confined spaces for a considerable time."
6

THE POTTERIES OF SHIHWAN
Dennis 0 ' oy
Senior Lecturer-Ceramics, Bendigo Institute of Technology.
After some weeks in the People's Republic of China and having visited Peking
and several other important centres, we travelled south to Kwangchou which was
to serve as our base for visiting the local potteries and particularly those of
Shihwan. Whilst at Kwangchou we also hoped to discover the tiny village from
which my father and his grandfather before him, had set out for Australia last
century.
Better known in the western world as Canton, Kwangchou is the largest city
in Kwangtung Province. It is quite heavily industrialised but thanks to its subtropical
climate is plentifully endowed with parks and street-trees. By now we
had become used to the crowds of people and, as in all Chinese cities, to the sea
of bicycles with bells challenging the blaring horns of vehicular traffic.
High on a hill well away from the noise of the city stands the impressive red
Five Storey Pagoda, built in the Ming Period (1368-1644) and now a museum of
Chinese ceramics. It has an excellent collection. The lower floors are used to
display wares produced at the nearby pottery centre of Shih wan and the higher
levels, historical wares. The Shihwan ceramic collection was obviously extensive.
Outside of China the Camoes Museum in Macau houses a smaller collection of
Shihwan ceramics.
There are numerous small potteries around Kwangchou, particularly in or
near the many villages. On a trip to Ts'ung hua, a hot spring resort some 80 km
north of Kwangchou, we passed scores of kilns along the roadside. The kilns
varied considerably with beehive kilns having corbelled arches, vertical doublechambered
kilns and small intermittent tunnel-kilns. However, most of these kilns
were used to produce bricks for local requirements and building projects. At the
hot springs the distinctive lamp posts and balustrades with designs of dragons,
phoenixes and plants were all ceramic. There were also ceramic rubbish receptacles
glazed white, blue and green lining all the streets. All of these were Shihwan
ceramic wares, and could be found even at distant Kweilin.
Shlhwan
Shihwan (Shekwan) is located south-west of Kwangchou on a bank of a
tributary of the Sui Kiang (West River). To get there from Kwangchou one must
first travel some 30 km to Fa-shan, a city of 240,000 inhabitants and then 9 km
to Shihwan. On approaching Shihwan it was obvious we were near a pottery town
as the extensively cultivated fields gave way to scarred low rolling hills which had
been dug for centuries for ceramic materials. Rising along the crests of other hills
were the long climbing kilns dominated only by the towering smoking chimneys
of the potteries. The long kilns which are really tunnels, are built on slopes at an
angle approaching twenty degrees, varying from the foot of the hill to the top.
The kilns are covered by tiled roofs which rise in step-like sections up the slope.
The fences and walls around many houses and garden plots are made from
structured piles of brown jars, pots and kiln saggars-all "wasters" from the kilns.
The history of Shih wan pottery can be traced as far back to the Southern
Sung Dynasty 1127-1279. The current pottery and porcelain products are
extensive - ranging from articles for daily use, building materials, decorative
objects using glazes, figures and animal modelling.
7

Shihwan has long been noted for figure modelling, as seen in the lively,
colourfully-glazed didactic temple decorations of the past. At the neighbouring city
of Fo-shan, the Fo-shan Ancestral Temple is richly decorated w'th these figures.
Similar examples can be seen in the temples of Hong Kong and Macau, and even
at the Joss House at Breakfast Creek, Brisbane, which was built entirely with
materials brought to Australia by the early immigrant Chinese pioneers.
Shihwan has a population of 23,000 people, of which 8,000 are pottery
workers. There are 14 pottery and porcelain factories divided into the following
categories:-
I. Industrial pottery and porcelain.
2. Architectural pottery and porcelain.
3. Domestic, daily use pottery and porcelain.
4. Art pottery and porcelain.
Shihwan Art Pottery and Porcelain Factory
When we arrived at our first pottery, the Shihwan Art Pottery and Porcelain
Factory, we were welcomed by Comrade Chan, representing the Revolutionary
Committee and the Workers. Comrade Chan explained that this was the only
"Art" pottery in Shihwan, and was established by 30 families in 1952 as a cooperative
with 100 workers. Prior to forming the co-operative, the families had
worked on an individual basis. In 1958 the co-operative was re-organized as the
Shihwan Art Pottery and Porcelain Factory, now employing 530 workers. The
art pottery produces basically four types of articles:-
I. Figures, contemporary motifs of soldiers and peasants, and traditional themes.
2. Animals, also along traditional lines.
3. Decorative glazes wares.
4. Small bonsai wares.
During the tour of the pottery we were particularly interested in the manufacturing
stages of the figures. I n the design studio the craftsmen were modelling
fine clay figures of lions, bears, roosters, figures on oxen and armed revolutionaries.
After the clay models had been made, pl aster moulds, often comprising several
complicated sections and pieces, were cast. The figures were then slip cast and
later, upon removal from the moulds, the various parts were joined and fettled.
After drying, underglaze colours and stains were painted onto the figures and the
glazes applied together with additional colours where required.
Away from the modelling and casting rooms, in another building taking
advantage of a hill, was the wood fired dragon (lung) kiln. We entered the
building through a circular doorway above a flight of steps, before coming to
the long tunnel kiln stretching beyond us. The kiln was (internal) 50 metres
long, 1.7 metres high and 1.6 metres wide. The pieces to be fired (in saggars) are
stacked into the kiln through loading openings in the sides. The roof of the kiln
had many strategically-placed small openings through which splinters of wood
could be fired so the temperature could progress up the inside of the kiln at
1360°C. Through years of firing the inside had developed a rich lining of ash
glaze. Once in 1938 there were thirty hill kilns in Shihwan. Many of these have
now disappeared to be replaced by more modern continuous oil-fired kilns, as
China has developed her own oil fields.
Above this dragon-kiln at the top of the hill along a flat site, was an oilfired
continuous kiln measuring 16 metres long, 1.8 metres wide and 1.9 metres
high. The kiln had a total of nine small firing chambers, and the glazed figures
were set on small refractory trays and mechanically pushed along through the
8

)
Chimneys of other kilns
dominate a large
hill-kiln at Shihwan.
A garden fence of
sandy-bodied unglazed
dishes (kiln wasters) .
Shihwan.
Glazed didactic figures
at Shihwan decorate the
Fo-shan Ancestral
Temple.
9

kiln. In another building a larger continuous oil-fired kiln was nea ing completion
and would eventually replace the wood-fired one.
More than 60 varieties of glazes are used at this pottery, d vided into high
firing glazes over 1300°C, and low temperature glazes under l300°C: Many have
been influenced by the Sung-

Entrance to the building
housing the dragon (lullg)
kiln. Shihwan AP and PF.
Young boys during
school vacation helping
build a new continuous
oil-fired tunnel-kiln,
Shihwan Porcelain
Factory.
A countryside pottery at
San Pu. The brown
glazed jars have simple
incised lines through the
glaze.
1 1

t
Making the clay figure
model at the Shih wan Art
Pottery and Porcelain
Factory.
Applying underglaze colours
to vitreous figures,
Shihwan Art Pottery and
Porcelain Factory.
Selecting brown glazed
spouted jars and cooking
dishes, Shihwan.
12

accompanied us through our stay in China as a representative of the China
Travel Service.
Our rout took us again through the countryside of Fo-shan and Shihwan.
Further on I was struck by the similarity of the countryside to that of Victoria or
N.S.W. around the Divide. There were even vast stands of familiar gum trees,
the only difference being the terraced slopes and rice paddies.
We had to cross several large rivers by ferry and whilst waiting for the boat
at San Pu, the opportunity arose for a quick look at another village pottery. It
was by the river, where all the materials and wares could be transported. Stacked
around the yard were the characteristic unglazed sandy grey clay wares and
common brown glazed jars and pots. Similar looking wares, together with the
green glazed types mentioned earlier, although much older, can be found throughout
Australia where there were Chinese settlements last century. These wares are
much sought after by collectors and very high prices are paid for them. The vivid
green glaze on these tiles, garden ware, ginger jars and pots are derived from the
addition of metallic copper in the form of filings. The brown glaze consists of
fine river-mud, rice-straw ash and some lime.
We arrived at the district capital of Toi-shan from which many Chinese had
left long ago for Victoria and in particular for the Bendigo gold fields. We passed
yet another pottery in the town with brown glazed ovoid shaped jars stacked
high. Leaving Toi-shan we eventually found my father's old village surrounded
by fields and dominated by a high brick tower, typical of the fortifications used
to ward off bandits or to protect the villagers during periods of strife. Passing the
tower we walked along a narrow lane-way. The neat grey brick tiled houses were
built close together and without much difficulty we came to the house where my
father and grandfather had once lived. Grandfather had emigrated to the Bendigo
Diggings during the great rushes of the 1850's, and my father left the village late
last century to join him. It did not take long for the villagers to discover our
arrival, and they flocked to the house to see and warmly welcome us.
Two days later the train left Kwangchou Station and carried us back to the
Hong Kong border. The next day a party of Australian potters began their tour
of the Chinese potteries.
Errata: See Vol. 14, No. I, Page 53. Victorian Clay Body Test No. 75/ 3. Total
shrinkage to 2% abs. should be 13.9% not 8.0%.
Page 55, Test No. 75/ 5. Total shrinkage should be 12.8% not 1.28%.
PUG GOON & BENDIGO CLAYS
The Potters' Gallery, 48 Burton Street, Darlinghurst NSW 2010, tel. 31 .3151 ,
now sells BendIgo ovenware clay.
13

Disused
"dragon" kilo.
Red Star
Pottery.
Leather-hard
pots waiting
for glaze.
Cooking pots
Star Pottery.
drying, Red
14

WARES OF YCHING
Margot Staples
Photographs by Kevin Crick and Doug Alexander.
Among the most appealing pots produced in China today are the wares of
Yching County. There in the town of Ting Shan potters have been engaged at
their craft for over 2,000 years.
The outstanding pottery of the area is the red, unglazed vitrified ware known
in China as Tse-sa (or purple sand ware) . Modern methods of body production
and firing are used for the red vitrified ware, although the shapes are formed by
traditional hand methods, including press moulding. The clay, a tough material
of medium plasticity and extreme fineness comes from a deposit of shale said to
be found nowhere else. After digging, the clay is weathered for three months or
more and is prepared by a vacuum grinding machine and then vacuum pug-mill,
which is an improvement on the pan mill used previously. The finished pieces
are fired in saggars for ease in kiln packing and protection from soot. They are
passed through a tunnel kiln 44 metres in length with a firing time of 36 hours.
The temperature reaches 1300°C and the atmosphere is oxidising.
The pace of the work is constant but unhurried. The craftsmen sit comfortably
in well-lit work rooms and take great pride in their skills. This is one of
the few places where the potters still mark their ware with their own stamps.
Tea-pots and other useful pieces for the table are produced, as well as flowerpots,
writing-sets (ink-slabs, brush-holders and water pots) , and decorative
pieces. Large flat dishes are made by slabs, the base slab being pressed into a
mould. Round pots such as tea-pots are first formed as cylinders made by the
slab method. The cylinder is beaten into a spherical shape and placed into a
mould. The final shape is produced by inserting the fingers inside and pressing
the clay against the form. The finished pieces are burnished with tbin sections of
buffalo born. They may be decorated by slip applied with a long tapering stick
or inlaid with a clay of another colour. When the pieces are white-hard they may
be carved with a diagonally cut metal tool sharpened on both sides. The ware is
often brushed with water to enable a sweeping cut to be made with the tool held
upright, as a brush.
The Red Star Pottery nearby produces lovely cooking pots and huge slabbuilt
pots for water storage, lotus growing or gold-fish raising. The latter pots
are produced by team work. Slabs are beaten out and cut to the required width
with a stick into which tbree sharpened blades are set at right angles. Bases are
cut and placed on low wooden supports. Two workers are needed to lift the large
slabs. The first is joined to the base in the usual way and its top is tapered so
as to receive the succeeding slab which is slotted to fit over it. With teamwork
a number of pots in different stages can be worked on at once. Tbe potters hold
a wooden form inside and paddle the outside as they move around the pots, to
produce shapes of such regularity as to appear to have been thrown.
In this pottery as elsewhere in China attempts are made to mecbanise production
and here a huge jigger is used to produce basic shapes which are
finished off by hand.
Many of the large pots are decorated with a dragon motif applied in clays
of various colours. The pots are set outside to stiffen and when leather hard
are glazed, using a long spouted container like a watering-can. The inside is
15

Lining up handle and
spout. The wooden tool is
curved to fit tbe diameter of
the flange exactly.
Engraving a leather-bard
flower-pot.
Finisbing off a pressmoulded
tea-pot.
Decorating a press-moulded
tea-pot.
16

poured with the required amount of glaze and a pad on a long stick used to
swish it over y missed spots. The outside is then glazed, the potter moving
around the form as he pours because of the size of the pots.
In the grounds of the Red Star Pottery the old dragon (lung) kiln still
stands. Long hours of hard work were needed to fire it. Here as in many other
pottery factories in China tunnel kilns are superseding these old "monsters". To
the Australian potters viewing the town from the top of the dragon kiln, it was a
stirring thought, indeed, that the sherds at our feet were hundreds of years old.
Slab-built pots are shaped
by paddle and anvil, Red
Star Pottery.
Glazing leather-hard POts
with an ash/ clay glaze.
Note implement for catching
eXcess.
17

BRYAN NEWMAN IN AUSTRALIA
Janet Mansfield
English potter, Bryan Newman was brought to Australia by the Craft Board of
the Australia Council. According to many potters here, he has been one of the
most successful of the visiting craftsmen that the Board has sponsored. With
workshops given in all States, potters have had every opportunity to learn
practical technology and some aesthetic assessment of the ceramic art. That Bryan
is an experienced teacher was obvious by the fact that he sustained his enthusiasm
and good will during what must have been an exhausting programme continually
working and travelling.
It is obvious too that Bryan is committed to clay. He says there are jobs in
the pottery to correspond to all one's moods and the facets of one's personality.
Even balancing the books suits a part of his nature although Bryan admits to
being the only potter he knows who can find enjoyment in book-keeping.
Bryan Newman delights in paradox, he likes to keep a flexible attitude to
life and enjoys nearly everything. He finds the silly and ludicrous just as meaningful
as the perfect and sublime maintaining that life is as it should be, just
a little bit crazy with a balance between chaos and order. What he says today,
he may contradict tomorrow, happily changing his ideas and emphasis regularly.
Bryan's work schedule in his own studio allows for plenty of variety. He
will spend three to four months on sculptural work, using slabs and combinations
of slabs and thrown forms, turning in relief to repetition throwing, making one
activity an antidote to the other. He feels the shapes he makes metamorphose,
subtly changing as the working time progresses. He is not pedantic about the
functional aspects of his domestic ware but likes to believe that most of it does
work mechanically. It is more important that a shape pleases him and if it
should have a small defect, well he says, it's like accepting defects in one's
friends.
At home, a farm house in Somerset, Bryan works with his wife Julie who
is also a professional potter and who mainly makes domestic ware. For six
months of the year he employs an assistant. His pace of work is very fast using
very few tools believing that they are only an extension of his body which is
more responsive anyway. His record output was 607 saucers in one day and that
included preparing and weighing out all the clay.
Bryan uses two clay bodies. For small pieces he mixes 25% fire clay with
75 % ball clay. For larger work he adds sagger clay to this mix in the proportion
of one part sagger clay to two parts of the other mix. His clays are blended in a
dough mixer and then stored for six weeks to mature before use. Besides being
fast and efficient in his work, Bryan is also neat. He always covers ware boards
with newspaper which keeps them clean and dry. His schedule of work usually
involves three weeks of making and then one and a half weeks glazing to firing.
Bryan normally bisque fires.
'
He has two kilns, one of 18 cubic feet, do ndraught, which has a David
Etchel! oil burner mounted at the top. The larger kiln, not so old nor yet quite as
reliable has a capacity of 55 cubic feet and is fired with two swirlamiser burners
in conjunction with a I" compressor. Bryan likes to combine dry glazes with
shiny areas of glaze on the one piece. For the dry glazes he uses unwashed ash
with China clay. When using pigments, an amount of china clay is added to
18

I
BRYAN NEWMAN in the
garden of Vic Greenaway's
pottery.
modify the colour. The glaze recipes that Bryan uses were given to all participants
of his workshops.
For his Australian workshops Bryan took his students through a progressive
series of throwing from bottles with stoppers and storage jars with lids to teapots,
teapots as we know them and teapots only limited by one's imagination. He
found that the students did not have the same technical achievement with their
stoppers and spouts as they could command with the rest of their shapes. In
throwing, he says, potters should experiment extending their materials, making
them so thin that the pot collapses totally. If the collapse is only in one part, then
that is its weak point. Experimenting with really thick handles (even thick to
the point of ridiculousness) as a reaction against the commercially thin handles
that we have been brought up to admire, will provide us with a balance. This
experiment we can apply to other combined or applied pieces such as stoppers
and knobs or lugs. Varying the widths, shapes and levels of rims to alter the
character of the pot, may possibly alter the potter in the trying. The rim, he
says, gives the feeling of weight and section to a pot.
Bryan claims having an intimate relationship with teapots. For good
pouring, the holes between the pot and the spout should be large enough and
numerous enough to enable the spout to be completely filled While pouring, the
spout should be tapered and have a sharp end. His use of the tapered piercer, a
tool for making holes from Podmores caused a run on a Sydney potters' supplier,
19

the only source in Australia. Bryan constructed many different teapots during
the workshop including the upside down or Christmas Pudding version, one
cylindrical one with severely turned lines, a barrel, a bottle angled at 60° and a
bowl and disc teapot. Some of these combined several different thrown sections
and Bryan has previously made them by combining twelve or more pieces. Some
bandIes were puJled, Bryan dips the clay length into the water instead of his
band and so has no dribbles of water running to his elbows; some handles were
thrown discs, turned and then cut to the desired length.
Thrown plates, bowls and bottles were demonstrated during the workshop
and Bryan used string to tie freshly thrown bowls and bottles to form lobed
divisions in each piece. Bryan altered the tension of the string to create sharp or
slow curves and also suggested using string soaked in slip or pigment for
heightening the lobed effect.
Bryan doesn't draw his work first, rather lets it all happen in the clay. With
a visual idea in mind he uses ceramic techniques to make a statement. Such a
statement is then the start. Tbis particularly applies to his slab pieces when the
form of a stickle back fish, an Edwardian high rise building or a boat shape
intrigues him enough to explore the form in clay. Inspiration comes from life in
Bryan's case, from his past, from bow he sees the future and how these influence
his life at tbe present. He does go to museums but spends more time looking at
the paintings and sculptures than the pots. He often goes to the Horniman
Museum in South London to see their good collection of masks and musical
instruments. Bryan usually works on several slab pieces at one time enabling him
to "home in" on an idea. Often his first statement he feels is a little stilted. He
relies on the last piece of clay applied to each work to unify and balance the
whole.
Slabs are cut from a large block of clay with the use of a wire and sticks.
The sticks are notched at intervals of i-inch, i-inch and i -inch on different sides
to give different thicknesses of slabs. The slabs are then set aside until they are
very firm and will give crisp edges when cut with a scraper. Slabs are joined by
scratching and then wetting the areas to be joined and pressed very firmly
together. Small slab pieces which are applied to the basic form are often pierced
through and then cut diagonally with the scraper to give a fin-like form , strong
at the attachment and very fine at the edge. These forms become even more
dramatic when glazed as the thin areas absorb much less glaze and the whole
effect is heightened.
Although some of Bryan's slab works are in the form of industrial towers,
harbour and river scenes, landscapes and transport systems, he says he is not
making a social comment on man's use of his environment. He feels that many
craftsmen while decrying the polluting effects of industry are only too willing to
enjoy its fruits.
Intending to be a painter, Bryan commenced art studies at Camberwell
School of Art when he was sixteen. After some time there he started to become
more interested in pottery and this interest became a total involvement. He still
sometimes paints for his own pleasure, landscapes mostly in a traditional style.
Although he feels that learning ceramics at art school probably took him longer
to become proficient at the wheel he was able to learn the techniques and
philosophies of various teachers. It can happen that potters who learn as apprentices
become mere satellites of the master potter and often find this hard to
overcome.
From conducting workshops in all States and also, working at Victor
Greenaway's studio, preparing an exhibition held at the Craft Centre, Melbourne,
20

Stoneware tea-pots by Bryan Newman_ Exhibited at the Craft Centre, Melbourne.
Bryan imagines that there will possibly be an Australian influence on his future
work. This may be reflected in some of his slab pieces. As he took the train
across the Nullabor from Adelaide to Perth he was deeply impressed by the
forms and colours of the landscapes. He also has at least three resolutions he
plans to adopt on leaving Australia. The first is to strengthen his body (presumably
his clay one), the second is to explore the effects of clay and glaze in the
firing range between I 100°C and 1200°C and the third is to take more holidays.
With such a full and exacting programme behind him now he no doubt will need
the last and I'm sure all the potters who learnt so much from him here will wish
him well and know he will succeed in his first two resolves.
With the layers of the past exerting their influence on us and our hopes and
the uncertainties of the future, now Bryan feels is the time to be an individual.
No particular style or fashion has been impressed upon us and we must work at
our own ideas until they are personal and satisfying.
BRY AN NEWMAN GLAZES--All reduced stoneware.
W9-W14 W9 WI4
Cornish Stone 50 50
Dolomite 20 20
China Clay 25 25
Whiting 5 5
Quartz 15 5
Matt white opaque glaze 1270°C-90°C. Good over slips. Apply medium thick.
21

11 Potash Feldspar 40
Whiting 15
Ball Clay 5
China Clay 10
Quartz 20
Iron Oxide 9
Black breaking to rust 1260°C-80°C. Useful glaze alone or with other glazes on
top, such as 12 or 31. Apply medium thick.
ABC
31 Potash Feldspar 24 24 24
Dolomite 3 3 3
Whiting 5 5 5
Zinc Oxide 1 3 3
China Clay 3 10 1
Quartz 20 15 25
A is white, semi-matt and milky; over II gives a blue.
B is white, semi-matt and milky; over 11 gives a grey.
C is white, semi-matt and milky; over 11 gives a white. .
D is white, semi-matt and milky; over II gives a grey. Apply medium thick.
LSL Potash Feldspar 40
Whiting 20
Ball Clay 15
China Clay 15
Quartz 30
Red Iron Oxide 2t
Green semi-matt glaze 1280°C, good with pigment of 1 Iron Oxide 1 China Clay.
Apply medium thick.
12 Potash Feldspar 20
Whiting 40
Colemanite 4 Gerstley Borate-Australian substitute.
China Clay 80
Yellow Ochre 5
Fairly dry glaze coloured yellow buff or brown depending on thickness 1260°C-
80°C. Apply thinly.
TRAD Wood Ash 3
Feldspar 3
China Clay 2
Puff or pale brown 1260°C-80°C. Apply medium thick.
Al Wood Ash 50 Apple or oak.
China Clay 50
1250°C-80°C. Pale, dry yellow, breaking buff. Apply very thinly.
A2 Wood Ash 50
China Clay 50
Cobalt Oxide 2
Terrible by itself, but with 12 over gives a soft blue. 1250°C-80°C. Apply very
thinly.
A3 Wood Ash 50
China Clay 50
Nickel Oxide 2
Dry, pinky brown. 1250°C-80°C. Paler with 12 over it. Apply very thinly.
22
D
24
3
5
3
1
5

THOROUGHLY MODERN MILLING
(Part One)
Stephen Harri son
Stephen Harrison, a Sydney potter, lectures part-time at East Sydney Technical College.
A ball mill, owned by the Potters' Society of Australia Is available for use to Members and
Associate Members. Telephone: Sydney 31 3151 .
We've all seen and admired Peter Rushforth's rock glaze tenmokus, and Harry
Davis' fine glazes. The individual qualities of these glazes came from the fact that
they were made from materials that were not pure commercial and iron free
materials, but rather, the opposite -
prospected, collected and processed by the
potter.
The word "processed" here means crushed to 200 mesh, and the most common
way of doing this is by ball milling.
Ball mills come in various shapes and sizes from 8 feet diameter down to 4t"
diameter. They essentially comprise a cylindrical jar rotated on its horizontal axis
containing a grinding media of rods, cylinders or balls. When the jar is rotated at
a certain speed, the grinding media will roll up the side and cascade down over
each other to the bottom causing any fine material caught in between to be
reduced in size.
Industry uses many different types of mills but I will concentrate on those
most suitable for studio potters to grind ceramic materials from approximately
YJ a" down to 150-200 mesh size. I have chosen 7'i6" as the maximum particle
size, because, if a larger size material is to be considered then another type of
crusher such as a jaw crusher or a roller crusher will need to be employed to bring
the material down to 1A. 6" or finer. Alternatively a very large ball mill will need
to be used to cope with the larger size rock. Either way this is out of the scope of
the studio potter.
Appropriate material of convenient size may be obtained as dust from under
the crushers of large quarries which produce blue metal for road surfacing or
cement aggregates. Such quarries around Sydney are located at Hornsby (Farley
& Lewers), Prospect (Pioneer Concrete) , Bombo (near Kiama) and Mittagong.
Fig. 1. Large ball mill on "A"
frame.
Fig. 2. Small mill jar on
rubber rollers.
The rock from Mittagong is probably the best known to potters for producing the
tea-dust glaze used by the SlUrt workshops for many years.
So--allowing for a starting size of 16 mesh or finer, a mill size of about
5 gallons capacity is probably best. This would have an inside diameter of about
12" and an internal length of 14" approximately. Larger jars (over 12" diameter)
usually have their own axles and run on plumber blocks, mounted on "A" frames
23

(see Fig. 1). But for small mills, 12" or less, the jar is usually placed on two
rubber coated rollers, one of which is driven, and the other free running (see
Fig. 2). In this case the opening for loading and unloading must be at the end or
co-axial with the cylindrical jar.
The traditional type of jar is made of porcelain, and for this size would need
to be about I" thick. When loaded with charge, balls and water, it weighs between
150 and 200 pounds. This is as heavy as can be lifted onto the rollers and why
any larger jars must be permanently mounted.
Grinding
Ball mills perform a few functions -
one of them being that of a grinder.
There are two theories as to when the most efficient grinding occurs. As
stated, the action is one of impact and rubbing caused by the cascading of the
balls. This cascading action is determined by the speed of the mill. If the mill is
stationary the balls and charge will lie in the bottom of the jar (see Fig. 3) and
as the speed is increased, the balls will begin to ride up the side of the jar (see
Fig. 4) and eventually will ride the circumference, and at this point the mill is
said to have reached its critical speed (Fig. 5) .
This speed will be different for each mill depending on its diameter. Larger
mills have a low critical speed and as the diameter d.ecreases the critical speed
increases (for a mill of 12" diameter, the critical speed is 77 r.p.m.). The critical
speed then, can be defined as "the lowest possible speed necessary to centrifuge
the media next to the mill lining". The critical speed can be calculated by the
following formula.
54.18
Critical speed = ---
y'Rft where R is expressed in feet
It is said that the best speed for grinding is between 64% and 87 % of the
critical speed. This is the range when the balls are cascading over each other. As
the speed is increased towards the upper limit (87% ) the balls tend to ride and
leave the wall of the mill and are projected into the void above the general mass
of the media and come crashing down with considerable force - thus achieving
the greatest impact (Fig. 6 ).
24
Fig. 3. Mill While
stationary or slowly
moving.
Fig. 4. Ball action when
speed j ncreases.
Fig. 5. Ball action at
speeds greater than the
critical speed.
Fig. 6. Ball action at
higher grinding speeds.
Fig. 7. Ball action at
lower grinding speeds.

This type of action is best when grinding or reduci~g particle. size is of
primary importance. It also causes the greatest wear of gnndmg medIa and t~e
lining. At the slower speed, the balls will leave the lining at a much lower pomt
and will then roll down the sloping mass of charge (Fig. 7). In this way the whole
mass of balls is in motion, each rolling over and rubbing against its neighbours.
The lower speeds are favoured for larger mills where wear and tear on the grinding
media and lining is kept to a minimum, but the milling time is greatly increased.
A faster speed is generally preferred for small mills, particularly in the case of
studio potters where the mill is only used intermittently and where wear of the
lining and contamination of the product are not such important considerations.
For a mill of 12" diameter, a suitable percentage of critical speed would
be 80% .
Good grinding is said to occur when the angle between the radius to the
point where the outer balls break from the periphery and the vertical is about 54 0 •
This angle is called "the angle of break" (Fig. 8).
The percentage of critical speed and angle of break are theoretical figures
only, and in actual practice it may be found that better milling takes place at
values other than the theoretical ones. But, since calculated curves agree closely
with photographed paths of balls in mills operating at maximum efficiency, it is
believed that variations above and below the theoretical values should be small.
- - ...-==--- -- -tl- - - --
Fig. 8. The angle of break.
Fig. 9. The angle of nip.
Grinding Media
The shape, size, distribution and type of material are all very important
factors in determining efficient grinding.
Shape: The most efficient shapes for grinding media are spherical balls. Many
tests have been made with cylinders, rods and fiat or "natural" shapes. It has been
shown that heavy density ceramic balls can produce the same dispersion in 75%
of the time taken by cylinders. When the ball mill is operated at its correct speed
and when all other conditions are equally correct, the balls follow roughly concentric
and parabolic lines of motion. In doing so, and via their own natural rotary
motion, they subject the material under process to 3 distinct assaults : prepeated
impact, abrasion and shear. The superiority of ball over cylinder can be explained
then, by the obviously greater degree of spin that can be imparted to a ball than
to a cylinder. The processing time taken with fiat or natural shapes falls between
25

that of the ball and the cylinder. This is probably because the flat "natural" shape
is closer to the ball than the cylinder.
Size: The size of the balls required for any mill will be dependent on the use
of the mill and the particle size of the charge, usually 2 or possibly 3 sizes of balls
are used. The larger size of balls would grind the material when it is first introduced
to the mill and when partly ground, the material will come within the range
of the smaller balls--the larger balls having served their purpose fulfil no real
function for the rest of the milling time. For this reason, the proportion of larger
balls tends to be only 20% and small balls make up the remainder. The ability of
a ball of certain size, to grind a particle of certain size, in proportion to that of
the ball, has a definite ratio and can be expressed by what is called "the angle of
nip" of the ball.
The angle of nip is an important factor relating to the ball action, particularly
in relation to the size of balls and the size of particles to be ground. Anyone who
has operated a roller crusher has seen lumps of materials ride between the rollers
without being ground. Similar action will take place between the balls, if particles
are too large for the balls to grip them (Fig. 9).
The angle between any 2 balls is called the angle of nip. The following
relation has been developed between the angle of nip, , the radius of the ball, R,
and the diameter of the particle, P.
R
cos-=---
2 P
R+-
2
Theoretical calculations indicate that", is a constant figure and equal to 17°.
Thus, P = 0.0222R.
It has been found that experimental values diller extensively from the
theoretical. This difference is attributed in part to the co-efficient of friction , which
varies greatly with the material to be ground, the mill lining and type of ball.
Thus, for a 12" diameter mill loaded with I" balls, the largest particle that
it is possible to crush would be 0.0111" or 52 mesh. This, I have found to be
untrue in practice. I have a mill of these dimensions and I mill soft material, e.g.,
pumice from 16 mesh to about 150-200 mesh in 3 hours, and hard material,
syenite, from 30 mesh to 150-200 mesh in 3 hours.
Perhaps, friction can account for the difference, but whatever the reason I'm
sure that if the materials were introduced at 52 mesh then milling time could be
halved. But the effort to collect, crush and sieve the material down to 52 or say
60 mesh by hand-which is the only technique available to most potters- unless
you're lucky enough to have access to a rock crusher-makes it worth running
the ball mill an extra hour or two, because, as I have said before power consumption,
mill wear and contamination of the charge are the least important considerations.
Tests in a mill charged with 400 Ibs. of white [rit showed the relation of ball
size to milling time.
Ball Size
Milling ;nme
1 i" 4 hours
2" 8 hours
U" 9 hours
3" II! hours
Still other tests on a 100 lb. mill showed that 90% o[ the material was
ground sufficiently fine in 3 hours to pass through a 200 mesh screen, but four
26

and a half hours were required to grind 99% of the material in order to pass it
through a 200 mesh screen. Thus t of the time was required to grind 'li 1 of the
frit. An increase in the proportion of smaller balls would have aided in decreasing
the mWing time.
When balls have worn down to an unusable size (and for a 12" mill this
would be half their original size-or less) or have chipped or otherwise lost their
spherical shape then the equivalent weight of new 1" balls should be added to
replace them. In cases where 2 sizes of balls are employed then the new balls
should be added as the larger size.
Materials for Balls: Traditionally, French flints were used as grinding media
(and still are in some industries) but lately dense porcelain has all but replaced
them for most uses. Dense porcelain has a specific gravity of beween 3.3 to 3.6,
and obviously the greater the density and hardness of the balls, then the greater
their ability to crush the charge. This is why recently, sintered alumina or
corundum baJJs have become popular in industry for certain applications, for they
have a specific gravity of 3.97 and a theoretical hardness of 9 on Moh's scale as
compared to approximately 7 (Moh) for flint.
The drawback here is that they are so hard and dense that they tend to wear
porcelain jars excessively, particularly if run near the upper limit. They are recommended
for use in rubber lined jars where they cause virtually no wear. Although,
they have been in use at the University of N.S.W. for quite some time in a porcelain
jar, and I am assured by Ivan McMeekin that they have not caused excessive wear,
this could be because the mill there is run nearer the lower limit.
Loading: The relative amounts of balls, charge, water and air space are very
important, and are usually expressed as percentages of the volume of the jar.
The average volume of the balls is usually about 55 % of the volume of the
jar, but can be between 45 % -60%. When spherical objects are stacked up there is
an air space between them and in practice this is found to be about 40% of the
total volume occupied by the spheres. So, 40% of 55 % is about 22%. In
practice, it has been found that if this space is filled with charge, the best results
are obtained. (Consequently, the real volume of balls is 33% of the volume of
the jar (see Fig. 10). )
The amount of water needed to give best grinding has been found to be about
20% of the volume of the jar. This leaves an air space of 35 % , or about one-third.
The amount of water plays an important role in achieving good results. If there
is too little when the material to be ground starts to be broken up, its surface area
will increase radically and the slip will become thicker. If the slip becomes too
thick, it will act as a cushion between the cascading balls and milling will be
Fig. 10. Relative volume of air,
water, balls and charge.
27

suspended and no more reduction in particle size of the charge will occur no
matter how long the mill is kept running. On the other hand, if there is too much
water, slippage will occur and good ball action will not be achieved, so mill output
will be low.
Blunging
Ball mills can be used as blungers and are very efficient for this purpose,
although a very large sized mill is needed to make it economical if the main
throwing body is to be produced in this way. I have a t-ton sized mill for grinding
feldspar and silica for the body and blunging the porcelain body. A small fivegallon
jar is not suitable for this purpose except in special circumstances. For
example, I've blunged a body containing an irony shale to break up and finely
mix the iron thus giving a very bright orange coloured body. 1 found I could not
achieve this in the ordinary blunger.
I've also used the small mill for blunging small quantities of porcelain body
while testing recipes-6t kilos can be blunged at one time. 1 t hours is ample
time for this, so three charges can be blunged easily in a day allowing discharging
time because the mill does not have to be cleaned thoroughly between charges if
the same material is being milled. If a different material is to be introduced the
mill must be scrupulously cleaned.
When being used as a blunger, the mill is best loaded with less balls -
approximately 35 % to 40% and the air space left can be much less or almost
eliminated, thus greatly increasing the volume attainable to the charge and water.
Cleaning
When the mill is to be emptied this is best done by sieving the opening with a
coarse i" sieve and inverting the jar over a large bucket, then rinsing the jar out
and repeating the process. I use this technique for the plastic jar. But the 5-gallon
porcelain jar, when filled with balls, water, and charge is too heavy for most
people to lift so it is best to take out the balls and put them in a bucket half-filled
with clean water then into another bucket half-filled with clean water and then
into a suitable bowl or bucket for storage, until they are placed back into the mill.
After this procedure, the balls will be quite clean and the first washing bucket will
contain about 5 % of the original charge. This is enough to make it worthwhile
keeping, and after decanting the sediment can be returned to the charge for drying.
The jar now will be only about 30% full and can be lifted by a reasonably strong
person, and the charge poured out into a bucket. If it is still too heavy, the charge
can be ladled out into the bucket. After emptying, the jar must be rinsed and
sponged clean before the balls are put back. This is particularly important if a
different material is to be ground next. I'm told by a friend who works in industry
operating ball mills, that if all the charge is not removed-particularly the ultra fine
section-it will double the milling time or halve the mill output of the next
charge. So they pump the jar empty using compressed air. This also prevents
materials like feldspar from settling as hard as a rock in the bottom of the jar
before it can be removed-un'ortunately not many potters have access to compressed
air-so other ways are available to overcome this. Cardew suggests adding
10% China Clay to give better suspension properties. When grinding igneous type
rocks the milling action increases the temperature and pressure in the jar and some
of the alkali materials are released by the grinding. This causes the ph to rise.
I've found that the best way to overcome this is by adding a very small amount of
diluted HCI acid. This will counteract the high alkalinity of the suspension and
return it to neutral, so that, although the material will still settle while unloading
28

occurs it is very easily stirred up again before it can form a solid rocklike mass in
the bottom. The only problem is that the acid tends to attack the fine brass sieve
lawn and may eventually cause it to wear away sooner than it otherwise wouldbut
even if it does, it's well worth it as far as I'm concerned-and I'm sure anyone
else who has had to try to mix a glaze that "settles" will agree.
If the mill has been used to grind a material with a high iron content after
cleaning, it may still have a discolouration of iron in the pores of the porcelainno
amount of washing will remove this. The easiest and quickest way is to charge
the mill with a couple of kilos of white quartz sand and run the mill for a couple
of hours. This will clean the lining and balls thoroughly. The usual discharging
and washing operation must then be carried out before the mill is recharged.
Dry Grinding
I've not had much experience with dry milling but I understand it is best to
run the mill 10% slower than for wet milling. This is because the friction factor
is so much higher for dry milling and the balls carry farther up the wall of the jar
before cascading. If you run your mill at the upper limit, like I do, then if the mill
is loaded for dry milling, the charge may ride the lining and not cascade at all -
thus very little grinding will occur and the mill lining may suffer excessive wear.
Also, if dry milling the volume of balls can be dropped to between 35 % -45 %.
Dry milling is normally only used when the material being ground is water soluble
or if it is thought that the milling process will break down the internal bonds of
the material releasing solubles. A good example of this is Nepheline Syenite.
Milling Rock
The time required for milling rocks varies greatly and is dependent on:­
hardness of the rock,
starting size of the rock dust,
the way the mill is charged,
speed of the mill,
the type of grinding media and its shape and size.
After the charge has been ground sufficiently fine it then has to be sieved.
I use only 60 mesh just to eliminate any pieces of chipped balls or any of the
original charge that might have got caught in the gap between the lid and the jar
and so missed out being ground. Once sieved the usual procedure is to leave it to
settle. The water is decanted and it is finally put on a drying bed. I've found that
the technique of hanging slip up in filter cloth bags to dry in the wind is virtually
useless for clay slip or any fairly plastic material-but for non-plastics, this method
is excellent. After sieving and setting the slip is poured into a bucket lined with
filter cloth and when almost full , the edges of the cloth are gathered up and tied.
The "bag" of slip is then hung up in a place that is outside in the wind, but
sheltered from the rain. I've found this technique to be twice as fast for drying as
on a drying bed.
I hope these notes are of some use to anyone interested in obtaining a ball
mill . There are a few small and large ones turning up on the second hand market
each year. But new, they are completely uneconomical. So, for the next issue, I
hope to have ready what r plan as a second part of this article--"How to build a
small ball mill---

A DAY IN IZCUCHACA
May Davis
The saga of Harry and May Davis in Peru is always worth some space in POTIERY IN
AUSTRALIA. The Davises are setting up a pottery in Izchucaca in order to train locals as
potters, giving them employment and so preventing the drift to the cities and inevitable
unemployment. Part of a newsletter from May is reproduced.
Harry up at 5.30 (candle-light) and I get a cup of tea in bed. At 6.00 he's out
working on a jigger for crucible making and planning the work for the day. At
7.00 the workers arrive. Javier is to make maketas (unglazed hanging flower pots).
Maximo tries to pump up a flat tyre, but the pump won't work, even for Harry.
Harry and I have breakfast of porridge, tea and rolls. The latter have got
stale and are rock-hard but by holding over steam till they are soggy aud then
toasting in a flame they are fine. 1 sweep through, wash-up and boil water to fill
the filter. 7.45 I leave with three men to get clay. We go to the local petrol pump
first to borrow a pump. "It's out of order." We hail a passing truck with the same
request and get the same answer. 1 get suspicious, but it is probably all true as a
passing bus stops, and they carry compressed air, so the tyre is fixed . A stop in
the village for me to get eggs from a scruffy man with six dogs. (Everyone has
dogs as protection against thieves, though the professional thieves poison the dogs
first.) The matter of change for my 100 sole note is difficult. Ten eggs come to
35 soles (1 sole = 1 U.K. penny or 2 N.Z. cents). He has 65 soles but he can't
do the sum and daren't trust me. He spends ten minutes finding 100 soles in change
from the neighbours which he gives to me. I then pay him back 35 soles. (Note
the tyre and eggs have taken at least five times as long as they would have done
elsewhere. Small but typical examples.) On the way back I go to the bank for
change. There is a man in front of me cashing a cheque. On receiving the money
he hands a 50 sole note back to the clerk, who says "thank you" and puts it in
his breast pocket. They behave as though this tipping was a normal transaction.
I give the men money to get a drink, as it is hard work getting the clay. The drink
is chicha, alcoholic, home-made from maize or the berries of the pepper tree
(schinus molle) . It is sold from an open bucket at 2 cents a glass. Back by 9.30,
Harry says "For God's sake make some tea." He is feeling awful as we went last
week to get bracing for the kiln from a mine above Huancavelica, at J 4,000 feet.
It took three days, two travelling, and the height gave Harry soroche (altitude
sickness) , and on top of that we replenished our water containers from what we
thought would be a high safe stream and it was lethal! We both had two days of
vomiting and diarrhoea. Sr Quispe the mason, with Marcial to fetch and carry, is
building an adobe lean-to at the end of the kiln to house the kiln furniture. Javier
is throwing as is also Jesus, who is making candle-sticks, an idea of his own, and
we hope a good line for local consumption. Milche and Maximo are putting
blunged clay out in cloths to stiffen. Although the rainy season has just begun
(some rain every day) the air is still so dry that we can stiffen the equivalent of a
filter press-full every 24 hours, using nothing but calico bags spread out on dry
earth. Marcial wants a cure for stomach-ache. I give him digestive aids, safe and
harmless. Harry is deciding which tree to cut down for the window-lintel in the
adobe lean-to, then he goes back to working on the jigger. 1 1.00 a.m., the house
vibrates. It is the oil-burning steam-train, half-an-hour late, I can just see the
carriages over the trees with a man sitting on each roof ready to apply the manual
30

akes. I get lunch and put another pan of water in the filter, but see a crisis
looming, as fuel (leadless petrol) for our camping stove was unobtainable last
visit to Huancayo, and we have only one week's supply in consequence. Lunch is
soup made of left-over potatoes and carrots and a meat cube. Quinoa (a proteinrich
cereal) with onions and tomatoes, and broad beans. Pawcaw for dessert. The
beans are locally grown, and most pods have only one bean in them, some two
and occasionally three, not more. I do not know if this is deterioration of the seed,
the soil or the climate. 12.40 we rest, but Harry is up at 1.00 though I stay longer.
In the afternoon we have a visit from a local man who has a Lima friend with
him, a business man. For the second time we are asked why we don't make fake
Inca antiques. A gulf becomes apparent between us when we are literally unable
to get across to him why we would never do this ... "but" he says, and this to
him is an uncounterable final argument, "there is money in it!" (There is too!)
We light our candles at 6.00 and go to bed at 8.30.
We wish to thank all those who have given us financial support, and also the
many who offered actual help. Alas this was usually in terms of "I have no skills,
only a willing pair of hands" and one reason why we are here is that Izcuchaca
is full of idle, unskilled hands, we don't need any more! We are not appealing for
funds this time. I hope to write again next year with another report on progress
both practical and financial ... so for now, all the best to you all.
THE USE OF THE COMPUTER FOR
CERAMIC GLAZE CALCULATION
Harold J. McWhinnie
J have developed, as part of a National Endowment for the Arts Grant, several
programmes that will calculate and analyse glaze computation problems. This
article will describe two such problems as recently submitted by studio potters.
The computer programmes themselves are written in Fortrand. I just take
the programme which seems to best fit the glaze which I wish to analyse. Each
chemical is identified as a variable and when working from a glaze batch formula,
I place into the programme the necessary molecular equivalents which are divided
into each gram amount. The programme will also unify the formula by dividing
each amount by the sum of our RO factors.
In analysing a glaze, I also programme up to 20 variations on the basic
formula and compute molecular formulas for each of these. I then can select more
than one glaze to test depending upon the specific problem that I wish to solve.
By doing this, I am able to select the more promising solutions to the specific
problem under study. An example is the several solutions that were attempted to
solve the problems with Dennis Caribbean Blue Gloss that I have selected for
discussion in this article.
The following is the batch recipe for Dennis Caribbean Blue, a cone 10
reduction glaze which fires to a glossy burnt orange colour.
31

( I) Balch formula
Custer feldspar·
Flint
Borax
Whiting
Tin oxide
Bentonite
Ilmenite
Rutile
(2) Molecular formula
KaO 0.55
CaO 0.14
SnO 0.10
0.21
Ben
1.00
36.0 grams
36.0 grams
10.0 grams
15.0 grams
02.0 grams
01.0 grams
02.0 grams
02.0 grams
Si0 2
10.09
The above glaze fired to cone 10 on Oden Heights stoneware clay becomes
very dry while on porcelain clay fired to a rather nice satin-matt with an ivory
colour. It was decided to remove amounts of flint in order to adjust the melting
point of the glaze.
Our computer analysis of the molecular formula indicated too much Si0 2
although the originator of the glaze did attempt to compensate for the Si0 2 with
the addition of amounts of boric acid. The alternatives which this glaze presented
was to either add more B2 or take out some of the Si02. We decided on the latter
alternative.
The new formula is as follows:-
KaO 0.55 A1 2 0 : 1 Si0 2 Batch formula
CaO 0.20 .50 5.00 Custer feldspar 36.0
SnO 0.10 Flint 10.0
TiO 0.05 Whiting 15.0
Ben 0.05 Tin Oxide 2.0
0.05 Bentonite 1.0
rtmenite -- Ilmenite 2.0
1.00 Rutile 2.0
The above glaze flowed very well, had good colour, and produced some very
nice ivory pink qualities on white porcelain clay while producing the rutile blues
on the stoneware. Interaction with the iron in the clay body will produce the blue
tones on Oden Heights stoneware clays.
We next tried two more variations on the same glaze formula.
Glaze C
Custer 36
Flint 5
Borax 10
Whiting 15
Tin 2
Bentonite I
Ilmenite 2
Rutile 2
"For Australian potters the material custer feldspar has the following ultimate analysis:
-molecular weight 618, AI . 0 3 content 1.06, SiO. content 7.05. Select your nearest potash
spar with above factors.
32

This glaze with even less SiO t flowed even better than glaze B, again fired b.
dusty pink gloss on porcelain and a moonlight blue on stoneware.
Glaze D
Custer 36
Flint 20
Borax 10
Whiting 15
Tin 2
Bentonite 1
Ilmenite 2
Rutile 2
This glaze increased the Si0 2 content and did not flow so well on the stoneware,
but still produced the pearl ivory glaze on the porcelain.
The following glaze problem was recently sent to me for a computer analysis.
This glaze consisted of tbe following formula :
A. Neph. Syenite 158.5 grams
Magnesium carbonate 84.97 grams
Whiting
11.20 grams
EPK
61.80 grams
Flint
84.97 grams
The desired cone level for this glaze was cone 8 and my correspondent's
problem was that this glaze which had worked for many years at that temperature
suddenly started to craze very badly. This occurred when she changed her source
for feldspar.
Upon analysis her glaze was found to have the following molecular formula:
KaO 0.34 AI 2 0 :! Si0 2
MgO 0.46 0.62 4.23
0.20
CaO
1.00
The cause of her problem would seem to be too much Si0 2 for cone 7-8
glazes and we suggested the following solution:
A. Remove 61 grams of flint
B. Remove 61 grams of EPK
We fired glaze A at cone 10 with good results, a nice satin-matt on Cedar
Heights stoneware and a white glaze on porcelain. So for cone 10 the formula was
correct but my correspondent fires at cone 7-8 so we continued with our adjustments.
Her new formula should read as follows :
B. Neph. Syenite 158.5 grams
Magnesium carbonate 84.97 grams
Whiting
11.20 grams
Flint
23.97 grams
Her molecular formula should be :
FormB
KaO
MgO
CaO
0.34
0.46
0.20
1.00
Si0 2
1.48
33

This adjustment brought the A1 2 0 a content down to an acceptable range for
cone 8 but we also reduced the silica content a little too much so a further adjustment
was made with the final form ula as glaze C.
We tested the above formula and found the absence of EPK caused the glaze
to "bead up"; also very strong crazing was encountered on the glaze before firing.
Glaze B crazed on stoneware but had a rather nice greenish satin-matt effect
on Cedar Heights. It tended to "bead up" on porcelain when fired to cone 10.
Forme
KaO
MgO
0.34
0.46
0.20
Si0 2
2.48
CaO
1.00
Neph. Syenite 158.5 grams
Magnesium carbonate 84.97 grams
Whiting
11.20 grams
Flint
53.97 grams
At cone 10 this variation also produced a very stony beaded texture due to
no EPK. As a result of these explorations the following glaze was made and tested.
Final Glaze
Neph. Syenite
158.5 grams
Magnesium carbonate 84.9 grams
Whiting
11.2 grams
Flint
23.9 grams
EPK
20.0 grams
This glaze formula is one example of the kind of computer analyses which we
can perform here at the University of Maryland.
Harold McWhinnie is Associate Professor of Ceramics at the University of Maryland,
College Park, Maryland, 20742, U.S.A. He has recently received a grant from the National
Endowment for the Arts to develop a data bank for ceramic glazes at the University.
Hopefully th is will be a system whereby glazes can be classified and sorted and then
retrieved in terms of specific characteristics. In addition he has developed a computer
programme which generates over 12,000 cone 8-12 glazes. These glazes will form the
basis for the data bank and he hopes to make this available to students and artists in the
future. He would be interested in conducting research on similar glaze problems for
potters in Australia. He would need to have not only the glaze formulas but ultimate
analyses for the specific raw materials especially sources of feldspar either soda or potash.
NATIONAL FUNCTIONAL POTIERY AWARD in Adelaide (see Exhibitions and Competitions
this issue). The award is sponsored by Bob Mickan who runs ~he. "Pug Mill", the
Adelaide agent for Walkers Clay, in conjunction with the Craft ASSOCIation of S.A., who
will be responsible for aU preselection of the work. The aim of the award IS to promote a
higher standard of functional pottery in Australia. A single piece or set may he deemed
winner, adjudged on functional design, finish, originality and technique. The judge or judges
will be selected just prior to the opening of the award. It will be a selling exhibition and
33t% will be taken out by Aldgate Crafts. Craftsmen not invited formally can enter by first
sending slides of work which will be judged by the exhibition'S committee of the Craft
Association of South Australia, P.O. Box 17, SI. Peters, S.A. 5069. Closing date: Two weeks
prior to opening date.
34

RECENT WORK
LES BLAKEBROUGH
Porcelain form, 18 em x 16 em
Maequarie Galleries. Sydney 1975
35

RECENT WORK (continued)
COLIN PEARSON (U.K.)
Porcelain form, 16 em x 32 em
First Prize, Faenza 1975
SHIGEO SHIGA
Slip-decorated pot, 48 em x 52 em
Gold Medal, Faeoza 1975
36

RECENT WORK (continued)
PAM MORSE
Wine set, feldspar and iron glaze
Potters' Gallery, Sydney J 975
PHOTOGRAPH: DOUGLAS THOMPSON

RECENT WORK (continued)
BELA KOTAl
Stoneware 50 em in height
Craft Association of W.A.
Exhibition of 1976
PHOTOGRAPH: ROGER GREENWOOD
JOYCE SCOTT
Stoneware. iron glaze. hI. 61 cm
1976 Festival of Arts Exhibition. Adelaide
38

RECENT WORK (continued)
DON REITZ (U .S.A.)
Salt-glazed stoneware
39

RECENT WORK (continued)
JUDY LORRAINE
Draped and coiled drum, 40 cm diameter
Unglazed stoneware, iron and copper rubbed in
Goat Parchment head, lashed with clay and leather thonging
40

L
--------;----------- - -
RECENT WORK (continued)
COLIN J. BROWNE
Porcelain incised, 11 em x 9 em
Truffles Gallery, Victoria
41

RECENT WORK (continued)
VIC GREENAWAY Plate, 38.1 cm , white porcelain, blue decoration Narek Gallery

"QUINJA"
Trevor Woods
When, last year, we established our pottery 8 km west of Burleigh Heads on the
Gold Coast of Queensland, we chose to call it "Quinja" an Aboriginal word
meaning "ash".
We had a background of a Studio Ceramics course at the Brisbane Technical
College and a long affiliation with the Queensland Potters' Association. In May
1973 I took a few days' leave from the drawing office in Brisbane and my wife
Sybil and I headed for Queensland's Sunshine Coast. We spent a day with the
Everetts at the Montville Pottery and drove away with wild radical dreams. Our
family was largely grown up and off our hands-why not throw caution to the
four winds? Seven years short of superannuation, why not resign my architectural
position and establish a pottery and school in the geographical centre of the Gold
Coast, where we had a family interest in a 10-acre rural site?
We returned to Brisbane from our holiday to find Harry Ashburner contemplating
the possihility of resigning his position as an electrical engineer, to pot full
time, and our planning took on added zest.
We planned a partnership on a time basis where Harry, Sybil and I would be
responsible for sharing the routine duties of running the business with each
responsible for limited production of functional stoneware on behalf of the
partnership.
We would establish an on-site gallery for the sale of ware produced by
members of the partnership. We would conduct classes. As our partnership duties
would be of a limited nature, time would be available and each of us would be
free to produce and sell our own work without restriction. We were convinced
that, in order to make a living, it would be necessary to concentrate largely on the
making of functional stoneware and, as we each had a strong leaning towards this
type of ware, there was little difficulty in the decision to restrict our production
accordingly. Non-functional ware would represent a very small percentage of our
output. September the sixth, 1974, with our bridges burned by job resignation and
horne sale, Sybil and I and teen-aged son moved into a large caravan on the
Quinja site armed with council building plan approval and surrounded by acres
of six-foot-tall grass.
Six months later we moved into completed living quarters with the adjoining
pottery struc res ready for fitting out and equipping. Home and pottery we had
designed, each to complement the other, with face brick finishes externally and
internally throughout, with stained timber finishes and ceilings the only painted
surfaces. The roof is tiled and concrete, tiles and bricks were selected as floor
finishes. Building materials throughout were chosen with low maintenance a major
consideration.
We had planned the pottery to provide for a work flow aimed at reducing
unproductive steps to a minimum. Benches and shelves are all on brick plinths
and so remain dry footed during the weekly hosing of the floors which slope and
drain to central floor wastes. Windows extend from 9" above floor level to ceiling
height, generally in 6' wide banks and provide extensive cross ventilation and
natural lighting. Night illumination is provided by thirty fluorescent tubes each of
forty watts.
AU power points are remote controlled from cords hung from ceiling switches
as a safety precaution. A small neon on the plug-in plate indicates whether the
43

point is switched on or off. A bonus side effect resulted from the ceiling switches
as the walls adjacent to the power points do not become clay spattered. Clay
storage (about 5 tonnes) is just inside an external door which can be reached by
delivery trucks. A wedging table is adjacent, 25" high and topped wit reinforced
concrete. Height and topping material each were happy decisions, e former
suiting Sybil's 5' height as well as our tall male students, whilst the concrete top
is easily cleaned without fear of surface damage. The pugmill, also adjacent to
the clay store, is secured to the lower level of a split-level bench which reduces
the physical effort involved in operating the hopper lever, whilst the high section
accommodates the clay supply at the most convenient level for feeding the mill.
Clay re-cycling is carried out in an area immediately outside the external door to
the clay room and redeemed clay travels only a few steps to be milled ready
for use.
Centred in the studio area and forming the hub to clay preparation, throwing
wheels and glazing area, is a tile topped island bench with stainless steel sink and
lever action tap. At the end of the bench a shadow board carries all turning tools,
ribs, cutting cords, etc. The convenience of running water at the centre of most
major activities we now tend to take for granted.
Two studio wheels occupy the voids between the arms of a bench shaped like
an "En. We often say we couldn't afford an "E" type Jag. but given the option,
we'd choose an "E" type bench. Anyone setting up a studio with one wheel might
well be advised to plug for a "U" type. Our HE" type is 23" high, level with the
wheel heads which makes ware boards, bats, tools and clay placed on it, all within
easy reach.
We made seventy-five ware boards from i" masonite reinforced with two
pieces of pine. They are very light yet do not sag. The reinforcing pieces raise
the boards above bench surfaces providing a sure grip and easy handling. As a
ware board fills with ware it is transferred to six-feet high racks behind. The
racks have solid timber ends to which slats were glued and nailed at 3" centres
top to bottom. The slats serve as runners for the ends of the ware boards and
allow for very flexible height adjustment between boards. Similar racking is provided
in the kiln room and the boards contribute greatly to efficient handling of
ware. They are even carried in and out of the kiln. The glaze area accommodates
bulk supplies of feldspar, kaolin, etc., under benches and oxides, etc., in shelves
above. Beam balance, glaze test pots, etc., are also stored in this area and tengallon
plastic bins placed on the floor serve as glaze containers.
I
J
Pl.-DOll.
"'-4--"";
1JG.,I.J..,c. , ,1UCJt. e 'IL Y. -
44

The "Quinja" partners at work. Greenware lines the wall.
The kiln room houses a 3t c.f. electric kiln, used for some bisque firing,
together with a 63 c.f. (approx. 45 c.L setting space) four-burner, down-draught,
oil-fired kiln. We built the latter ourselves. Materials costs were in the vicinity of
$1,800, of which $1 ,200 was provided by the Crafts Board of the Australia
Council in the form of a cultural grant. Dense fire bricks were used almost
exclusively. Air is provided by an industrial blower and the grade of oil is
"heating".
Bisque firings, we have had eight to date, have been completed using four
pot burners (firing cycle 14 hours-960°C-oil cost $10) . The first three glost
firings were completed using four pot burners (firing cycle 21 hours-1280°C-oil
cost $20). 1 an endeavour to reduce the length of the firing we decided to switch
from pots to . ts at 950°C. The result over five further glost firings has been a
qualified success (17 hours-1280°C-oil $20). We are happy with the 17-hour
cycle but there are a number of other aspects we feel call for improvement and
we are currently planning modifications in an endeavour to reach temperature on
pot burners alone, as with the first three firings but within the 17-hour jet schedule.
We conduct regular classes and the school area adjoins the studio area.
Classes are limited to 10 students (the pottery being equipped with ten wheels).
Each student is allotted a section of racking slatted to take ware boards in a
manner similar to the studio racking. Pigeon holes (twelve) are provided in the
school area for personal effects during class. The school area is also equipped with
reinforced concrete wedging table, hand-building tables, stools, etc., and students
have their own glazing area and glaze bins although they use the same glazes as
ourselves.
Quinja Gallery, open from 2 p.m. to 5 p.m., six days a week, adjoins the
stud io area without visual barrier b ~tween the two but all other areas arc screened
from the gallery.
45

A wood-fired and an oil-fired raku kiln have been built and fired in the service
area behind the pottery where bulk oil tanks, etc., are also located. Off the covered
area leading from the pottery to the living quarters are change rooms and store
room accommodating reserve stock, packing cartons, etc.
In our teaching programme we cater for beginners and advanced students.
Emphasis on design, both in form and function, is being stressed in the practical
application of techniques introduced and practised during the year. We now have
forty students enrolled.
So it is that, at a time in life when many people are starting to think of
retirement, we are finding something which began as a hobby, then became an
obsession, and is now a very satisfying way of li fe.
DEREK SMITH'S WORK CHOSEN FOR JAPAN. Tbe Chunichi International Ceramic
Exhibition bas taken place in Japan for some years. 11 is promoted by the Japanese daily
paper "The Chunichi Shimbun" of Nagoya and is arranged witb the co-operation of the
Japanese Foreign Ministry and the Japanese Association for Cultural Affairs. For 1976's
edition the Committee of tbe 4th Exhibition and Ibe director of the "Chunichi Shimbun"
asked the Municipal Administratio~ of Faenza, as organiser .of tbe Jnternatio~ al Competition
of Contemporary ArtistIC CeramICS, to start a co-operauon for the secllon of foreIgn
ceramists in the Japanese Exhibition. It was agreed that the foreign section is formed only
by works coming from the International Competition of Faenza.
Derek Smilh one of the Australian gold medal winners at Faenza, 1975, has had his
"Discoid Form" 'cbosen for Japan. The Museum of Ceramics, Faenza. has also loaned
Derek's work "Slab Form No. 4". The Japanese Exhibition will begin in the first half of
May 1976 in Nagoya; it will move to Tokyo, then 10 Osaka and will close in Kanasawa in
July.
46

~-------------~ -~ --- --
HYDRAULICALLY OPERATED
POTTERS' WHEEL
Janet Barriskill
In the days when the availability of commercially made wheels was very limited
my f ther, Alfred Patten, came up with the idea of making an hydraulic type
whee . In his opinion it would perform equally well as an electrically powered
wheel ith these added advantages:
(a) greater flexibi lity of control with smooth speed change;
(b) infinite number of speeds between zero and maximum;
(c) would take unlimited amount of clay with no fear of stopping or damage to
machine;
(d) quiet operation with automatic lubrication by transmission oil;
(e) would lend itself ideally to foot operation.
He had in his possession several hydraulic outfits (war disposals from gun turrets
of armoured cars) and in 1960 the ideas came to fruition and the completed
wheel certainly exceeded all expectations.
The outside specifications of this wheel were made to my own requirements.
I h d specifically asked for a "stand up" wheel at a comfortable height and with
eas of foot operation. The casing was made from sheet metal with a copper work
tray. release lever was fitted to free the belt to the shaft to enable the wheel
head tb be "free wheeled" if required.
I "-ave since had a second wheel designed. It has been suggested that several
wheels could be operated in a line using the one hydraulic system. For the seated
position a separate stool is used and a foot pedal is at a comfortable position on
the rig ; a corresponding foot rest is on the left. An added feature is an alternate
foot dal at floor level to enable one to stand to operate if one wishes. The
Inside wheel showing hydraulic motor
driving wheel head and foot-operated
control valve.
Outside housing of electric motor and
constant delivery pump.
47

t
t
HYDRAULICALLY OPERATED POTTERS' WH
Diagrammatic arrangement of parts.
L (Variable speed).
48

)
,

outside casing used is marine ply. The electric motor, oil tank and hydraulic
pump are housed in a separate brick box outside my workshop.
Operation
(a) Constant delivery pump draws transmission oil from the reservoir at constant
quantity and pressure.
(b) Oil is delivered directly to the foot operated speed control valve which in
turn delivers the right quantity and pressure of oil to the hydraulic m r to
drive the wheel head at the desired speed.
(c) When the wheel head is driven at speeds less than the maximum sp the
excess oil is automatically returned by the by-pass pipes to the oil reservoir.
HYDRAULIC CIRCUIT-Refer to diagram.
A. Oil reservoi r.
B. Constant delivery pump.
C. 1 h.p. electric motor directly coupled to constant delivery pump.
D. Foot operated speed control valve.
E. Hydraulic motor driving wheel head.
Note: All parts of the hydraulic circuit can be housed within the oa inet
under the wheel head or alternatively the oil reservoir, electric motor and d6l.ivery
pump may be housed in a separate cabinet away from the machine.
,(
MAYFAIR CERAMIC AWARD
You are invited to partiCipate in a newly created biennial
ceramic exhibition. A Purchase Award of $1000 wi ll be
given by the Mayfair Company. Selected entries will be
displayed in a selling exhibition to be held at the
Australian Design Centre, Melbourne, October 11-0ctober 24,
1976.
Application Forms and further information
may be obtained from:
Exhibitions Officer
Crafts Council of Australia
27 King Street, Sydney 2000
Ph 296261
50

WEST AUSTRALIAN CLAY BODY TEST
Michael Kusn ik
Michael Kusnik is Lecturer in Ceramics, Department of Art and Design, W.A. Institute of
Technology.
Michael Kusnik has tested a commercial stoneware body for Pottery in Australia.
Michael writes, "The sophisticated local potters make their own clay bodies using
local raw materials. We have highly plastic china clays as well as a number of
goo · sedimentary clays in W.A. Many local potters make almost any type of
ceramic body, e.g., white and red earthenwares, stoneware, translucent porcelain,
as well as cooking ware body based on cordierite. Local brick and tile manufacture.
s supply the coarser types of clays for schools, etc. In my evaluation I left
out tterburg Limits because from my experience the values are useless to potters.
I agree then the Atterburg Limits are useful figures for construction engineers."
TES RESULTS
Name on label: Paper Collar Stoneware Body No.2.
Pac aging: Plastic Bags.
Nominal weight: 15 kilos.
Supplier: Meg Sheen Art Supply Shop.
Unfired properties
Moistur~ content as purchased-20.5% wet basis.
Residu on 14 mesh-3.0% of dry weight
36 -4.0%
80 -4.2%
200 -8.1%
ge Wet to Dry-5.0% of wet length
Dry to Cone 9-5.3 % of wet length
Dry m Ius of rupture-5130 kPa (mean of 12 rods)
Firing behaviour
% Water Absorption
Orton Con No. Oxidised Reduced
06 20.6 Not done
03 14.5 Not done
4 9.8 Not done
9 Not done 1.5
Manufacturer's recommended range- 900°C biscuit
1260°C-1280°C glost
Colour
Very light pink
Darker
Light tan
Brown (reduced)
Estimate of workability
1. Very plastic clay, throws easily, never tires (no fatigue).
2. Easy to throw, dry and fire.
3. Good all purpose clay for beginners and professionals.
4. Contains a few larger particle (pyrites) which on firing bleed and leave
unsightly pinholes.
51

INSULATION, REFRACTORIES
AND KILN DESIGN
Maxwell J. Murray
Max Murray works with the C.S.I.R.C. in Melbourne.
Refractory materials now available permit ceramic kilns to be constructed with
much greater insulating efficiency than was possible in the past. In order t make
use of these new materials and techniques, potters and kiln builders should have
a working knowledge of the materials and calculations used in kiln design. In this
article I will firstly describe the properties of refractory insulation and the W4y in
which these properties are determined and presented. Secondly, some of the more
common materials which are available in Australia have been categorized and
listed according to their application and properties. Thirdly, the aspects hich
influence the choice and design of a kiln are considered, and lastly the calculations
involved in designing a kiln are set out in detail.
I would like here to clarify differences between the terms "insulation" and
"refractories".
Insulation is used to describe any material which will resist the passage of
heat and includes not only ceramic materials but also foamed plastics. per.
aluminium foil. etc.
Refractories is the term aplied to construction materials which satisfactorily
withstand high temperatures and generally only refers to ceramic material In the
past, refractories were often not good insulators and it has heen in this area that
modern materials have been developed possessing both good insulating properties
and resistance to high temperatures.
Manufacturers of refractory materials test their products in order to de ermine
the limiting properties of the product. These properties then are our guidelines in
the selection of a refractory material for a specific application.
Let us now consider what some of these properties are and how t · are
determined.
Refractoriness
The refractoriness, or resistance to temperature, of a material is determined
by the P.C.E. (Pyrometric Cone Equivalent) test. A sample of test material is
prepared in the shape of a pyrometric cone and is placed in a kiln together with
a number of known pyrometric cones, the values of which co er a range of
temperatures. The cones are heated until the test material cone softens sufficiently
to bend under its own weight. The test material is compared with the pyrometric
cones nearest to it in behaviour. Sometimes material may not correspond just to
one cone and may be described as having a PCE value between two cones.
Refractory structures rarely fail by melting; before this can occur they are
more likely to collapse. Many kilns and ovens are quite large structures in their
own right and the refractories used in these structures, particularly in an arched
roof. have to support very high loads. For this reason another test was developed
to give an indication of strength at high temperatures. The R. U.L. (Refractoriness
Under Load) test is carried out by heating a sample of test material while it is
compressively loaded with known weights. The temperature and movement taking
place in the sample are measured until a reduction of more than 5 per cent in the
original length is registered. The temperatur~ at which collapse commences and
52

----~-------- - - -
at I per cent deflection intervals up to 5 per cent are used as an indication of the
material's R. U.L. value.
Another test which is used as a measure of the stability of a material to
repeated heating is the Determination 0/ Permanent Linear Change on Reheating.
This test is carried out by accurately measuring a refractory sample, heating the
sample to a measured temperature and soaking the sample at that temperature
for a set period. After cooling the sample is again measured and any difference
between the first measurement is presented as the permanent linear change in per
cent of the initial length.
Thermal Conductivity
The thermal conductivity of a material is a measure of its ability to transfer
heat. For kiln insulation, low thermal conductivity is sought. Knowledge of this
property enables the kiln designer to minimize the amount of heat lost through
the kiln wall and by the design of less bulky, thinner walled kilns to improve the
thermal efficiency.
Thermal conductivity is measured on a complex apparatus in which one face
of the test material is heated while the opposite face is cooled by a water filled
calorimeter. The rise in the temperature of the water is measured at a range of
hot-face temperatures.
Porosity
The porosity of a ceramic refractory is a property which strongly influences
the thermal conductivity. Porosity is the air space contained within a ceramic in
the form of holes or pores expressed as a percentage of its volume. The higher the
porosity, the better usually will be its insulating ability, but strength, R.U.L. and
durability to abrasion and corrosion may be lowered.
Porosity is determined in several ways, one of which is to weigh a thoroughly
dry refractory sample (Wd), then to boil the sample in water for two hours. The
sample is left in the water for at least three hours after it has cooled and is then
weighed while immersed (Ws). The sample is then removed, lightly dried on the
surface and weighed again (Ww) . The apparent porosity as a percentage of the
Ww-Wd
total volume is then obtained using the formula : P = X 100.
Ww-Ws
Density
Another important property to know when choosing refractories is density,
especially refractories used in shuttle and other intermittent kilns. The bulk density
of a refractory material, expressed in grams per cubic centimetre can be determined
Wd
from the data obtained in the porosity test, where: B.D. = ----
Ww - Ws
SpecifiC Heat
The specific heat of a material, in conjunction wi th its density is used to
calculate the energy storing capabil.ity of the material. Specific heat is the heat
energy which will raise the temperature of one gram of material by one degree
Celsius. The ability of a material to store heat is dependent on both its density
and specific heat. The energy which is stored in the refractory will considerably
increase the cost of a firing. During the cooling cycle the stored heat is released
delaying the rate at which cooling can be carried out, although with some
refractories a tendency to spall may be an overriding factor.
53

Thermal Expansion
The thermal expansion of a ceramic material is also important. When most
ceramic materials are heated they will expand and if constrained wiJI tend to
crush and spall or buckle the structure. This is the reason that expansion joints
are built into kilns to enable movement to be absorbed in a gap of soft compressible
material. Many ceramic materials do not expand at a constant rate; quartz is a
good example. When quartz is heated and reaches 573 degrees Celsius it will
suddenly expand at a greater rate. This sudden change in its rate of expansion is
known as the quartz anomaly and is a reversible change in volume. You can
imagine the stresses in a high silica containing material, which due to shading or
proximity to burners is say 30° hotter at one end than the other. At 573 °C one
end will suddenly expand while the other end wiJI not change.
The thermal expxansion of a ceramic material is measured in a dilatometer.
A sample of material is placed in a small furnace on the dilatometer and gradually
heated. As the material increases in length the amount of growth is recorded
together with the temperature. When completed the data is plotted on a graph.
Some example dilatometric curves are shown in Fig. 1. Curve A is a typical 32 per
cent alumina fireclay brick. The large and sudden expansion due to the quartz
anomaly is clearly seen at 573°C. This type of brick is popular with potters for
kiln construction largely because of its cheapness and availability. The 50 per cent
alumina brick, Curve B, has a better thermal expansion curve in that the expansion
rate is uniform over the temperature range and therefore the material would not
be subjected to as severe stress in heating and cooling. However, the cost of this
type of brick is usually greater.
The Diatom brick, Curve C, is the best of all in terms of thermal expansion
and also has very good insulating properties; however, its P.C.E. value is only
cone 010 (approximately 900°C) and it must not be used above this temperature.
Size
Before a decision is made on what construction materials to choose, first
decide what size kiln is most suitable for your particular requirement. Consider
the situation where say a potter is producing on average .03 cubic metres (approx.
1 cu. ft.) of ware a day. They could choose to build a small .037 cu.m. kiln and
fire once a day, or build a I cu.m. kiln and fire once a month. Let us co ider the
economic factors involved.
Figure 2 shows the internal dimensions of a .037 and 1.01 cu.m. capacity
kiln. For simplicity the flue and firing boxes have been omitted. Assuming a
common method of insulation in both cases, the internal surf· e areas were
calculated. In the case of the smaller kiln this was 0.67 sq.m. or a surface area to
volume ratio of 18.1 : 1. With the larger kiln the surface area wa 6.25 sq.m. with
a surface area to vol ume ratio of 6.25 : \. Other factors being equal, heat losses
due to conduction are dependent upon the area of refractory insulation used. the
internal surface area of the small kiln is nearly three times greater than the llirge
kiln for an equivalent volume, therefore the heat losses by conduction from the
smaller kiln would be nearly three times more than from the larger kiln for the
same volume of ware. The heat storage capacity of the smaller kiln is also three
times that of the large kiln, when you consider that 27 firings are required to
achieve the same ware output. It is therefore obvious that the larger the kiln the
more efficient it will be.
Because thermal efficiency decreases with size it is imperative that very light
weight, highly insulative materials should be sed in the construction of any small
kiln. The materials need not be particularly song and the ceramic fibre materials,
54

C;8
0-6
A : 32~. UMINA BRICK
B .. HIGH ALUMINA BRICK
C • DIATOMITE BRICK
FiS 3 Max,,,,,,,,, T.mpe"lIu. LimI ts lor Ie Un
Solid Mat .. ;a!~
Mn~;~,
"C
."'"
>1'"
GttrHll., &- fle.1bIe
Mal:'r .."
. Hot 'act lin"'91
" kltn furn; II,,,e.
Hot l.ee inwliliort
. SKk"'P onsulflion
... ElirctrOfl'lclIf'd
Mullite
.600
--.--'
'-'-'- '- '
200
.....././/.
.....
_._._._ . ..s.­
".".-'
600 800
TEMPERATURE. ·C
1000
' Rl ·28
• Reuynill1ited
Sillcone • • blde.
tS ilh~k
1 CordOenil\: Mulli!
' RI·1G
~ Sil~C,}rbide
+ Ordi1h36
+OrdilhJ2 ' A12.
' Ukbti

Materials
After establishing the size and shape of the kiln the next thing to consider is
the most economical materials for construction. Let us now consider some of the
refractory materials which are available in Australia and of interest to potters and
kiln builders.
Listed in Fig. 3 are the maximum temperature limits of various kiln materials.
They have been grouped into three categories.
(1) Hot Face Linings and Kiln Furniture
These materials are generally not good thermal insulators but are instead
strong materials at high temperatures, have high R.U.L. values, and are resistant
to abrasion. They are used in applications in which they are likely to be subjected
to high loads or wear, such as kiln props, bats, bridge walls, door jambs and
surrounds. They usually have high heat storage capacities and so their use should
be kept to a minimum.
(2) Hot Face Insulation
These materials are used as the main internal insulation of a kiln. They have
low thermal conductivities and in most cases are also low in density and have high
R.U.L. values. The ceramic fibre products are excellent hot face insulators but in
the blanket form are not self supporting which causes difficulty in construction.
Expense is a limiting factor with all hot face insulation.
(3) Back-up Insulation
These are lower cost insulators usually having very good insulating properties
but they are limited by low P.C.E. values and so are used behind hot face
insulating materials.
Table 1 gives the properties of these locally available refractory materials
listed according to their general use. Firstly, attention is drawn to three potentially
hazardous materials.
A sbes/os: I have deliberately left this material off the table. It is dangerous
to health, causing lung and stomach cancer, even 20 years after contact and its
use should be avoided at all cost.
Ceramic Fibre: Recently health authorities have expressed concern at the
possibility of some fibres having similar effects to asbestos. Wear a dust mask
when handling these materials.
Diatomaceous Powder: Long term contact by inhalation can cause Ilicosis of
the lungs. Wear a dust mask if you are using this material. (This is t e material
used in swimming pool filters; owners take note.)
One group of materials not listed are the castable and mouldable group of
refractories. These materials are difficult to list accurately in terms of their properties.
Strength, density, porosity and thermal conductivity ar all influenced by
the method of preparation and application and can vary over wide limits.
The materials are applied or cast in a wet mouldable form and allowed to set
to a desired shape. There are three methods by which setting may take place. Air
setting in which a chemical bonding agent such as Sodium Silicate is incorporated
in the mix. Heat setting in which the actual bonding is achieved ceramic ally by
firing, and hydraulic bonding in which a high alumina refractory cement combines
with water to set as concrete. In all cases maximum strength is achieved only after
'firing.
In order to reduce the overall cost of refractories in a kiln, we should try
to use various material combinations. As the temperature within the wall of a
kiln decreases, a material with a lower temperature rating can be used. These
materials are less expensive and are usually better insulators. From the table it is
56

apparent that there are a number of excellent insulating materials but with
limitations on the maximum temperature at which they can be used. For example,
the diatom brick is a good back up insulator but if the brick was to be subjected to
more than 900°C it would have to be used in combination with one or more other
materials with higher maximum service temperatures. The skill in kiln design is
to use a minimum quantity of costly refractories for the hottest parts of a kiln and
to back them with larger quantities of lower cost insulating materials.
When two or more materials are used in a structure the contact interface
temperature must be calculated. This is done to ensure that the temperature will
not exceed the maximum temperature limit of the lower quality materials, otherwise
the kiln could fail at the interface.
The temperature of each interface is also used in calculating the heat storage
capacity of an intermittent kiln. The heat storage or thermal inertia is important
in considering the overall thermal efficiency of refractory insulation. For example,
one material combination may be very good for thermal insulation but may waste
more heat in s:orage than another material combination which is less effective in
insulation.
Anybody who attempts to design a kiln should know how to calculate the
conduction losses, interface temperatures and thermal storage capacity of refractory
insulation. Without this knowledge the hit and miss approach will more than likely
result in a very inefficient kiln, costly in its use of fuel and costly in its materials
of construction. The calculations are not difficult and nowadays with the aid of
the electronic calculator they can be carried out fairly quickly.
The following example is for the previous I cu.m. capacity kiln constructed
with a combination of refractory materials. The kiln has the internal dimensions
of 0.91 m wide, 1.09 m long and 1.02 m high. For simplicity the same material
combination is used in the walls, floor and roof and a steady state situation in
which temperatures have stabilized, is considered. The properties of all the
materials used are listed in Table 1.
Calculations
I. Conduction Losses
Firstly sketch a cross-section of the chosen layout depicting the materials
which will be used. Then write in for each material the thickness and the thermal
properU of conductivity and density.
1300'C
--.
Fire
Brick
Vermiculite
Clay
Brick
(4t") (2") (4t")
~kness .115 m .05 .115 m
Thermal
conductivity .10 .21 1.12
w/ m.K
Density 1200 256 1600 kg/ rna
1 .235 m (11") ~
The resistance to the conduction of heat or thermal resistance for each of the
insulating materials is calculated by dividing the thickness of the material by its
thermal conductivity value.
. thickness of material
Thermal ReSIstance (Rt) = --:-________ _
For the firebrick
Rt _
thermal conductivity value
.115
= . 115
.100
57

For the vermiculite Rt
For the clay brick
Rt
.050
.2 10
.115
1.120
.238
= .102
Add them together for
the total Thermal Resistance
= .455 square metres Kelvin/ watt.
or m 2 °C/ w
The heat Bow for every square metre of kiln interior surface can now be
calculated for a given temperature difference. The outer surface temperature of a
kiln is influenced by the velocity of air Bow over that surface. The velocity in turn
is influenced by whether the surface is horizontal or vertical, and the texture of the
surface. GeneraUy after taking all these factors into account and giving consideration
to an economically viable temperature, a figure of about 100°C is accepted.
The temperature difference between the inside of a kiln operating at 1300°C and
the outside of the kiln say 100°C is 1300 - 100 = 1200°C.
temperature difference
Therefore Heatflow (q) = ______.,.-__
total thermal resistance
1300- 100
.455
= 2637 watts/ sq.m.
The heat Bow figure multiplied by the surface area of the kiln will give the Heat
Loss Due to Conduction.
For a 1 cubic metre kiln with a surface area of 6.25 square metres the conduction
heat loss Qc = 6.25 X 2637
= 16 480 watts or 16.48 kilowatts.
This is the power lost every hour that the kiln is at I 300°C. The loss also occurs
at lower temperatures but at a reduced amount.
2. lllterface Temperatures
The next step in the calculations is to determine the interface terwx:ratures
between refractories to ensure that they will not exceed the upper tttnperature
limit of any of the insulating materials.
I ff te~'

TemperalUre between the 1st and 2nd material
(Firebrick and vermiculite) T = inside temperature - heat flow X
1·2 thermal resistance of 1 st material
1300- (2637 X .115)
1300- 303
= 997°C
Note that this temperature is just below the lOOO°C limit for vermiculite fill.
Temperature between 2nd and 3rd material
(Vermiculite and clay brick) T = T - heat flow X thermal
2-3 1·2 resistance of 2nd material
997 - (2637 X .238)
997 -628
= 369°C
Note that this temperature is well below the 900°C limit for clay brick.
3. Heat Storage
Temperature on outer surface
T = T - (2637 X .102)
3-4 2·3
= 369-269
= lOO°C
The heat lost due to storage in the refractories can now be calculated,
assuming steady state conditions have been reached.
Heat stored (Q) = surface area X thickness X density X specific
heat of the refractory X average maximum temperature.
For the calculations a specific heat of .22 calories/ gram. Kelvin is taken.
Heat stored in the firebrick Q = 6.25 X .115 X 1200 X .22 X t(T + T )
inside 1·2
= 6.25 X .J 15 X 1200 X .22 X HJ300 + 997)
= 217 833 kilocalories.
Heat stored in the vermiculite Q = 6.25 X .05 X 256 X .22 X t(997 + 369)
= 12 020 kilocalories.
Heat stored in the clay brick Q = 6.25 X .115 X 1600 X .22 X H369 + 100)
= 59 202 kilocalories.
The total heat stored = 217 833 + 12 020 + 59 202
= 289 055 kilocalories X .001163
= 336 kwh
These calculations can be applied to any refractory combination provided the
technical data is available. The procedures are fundamentally those given in the
following texts: ASHRAE Handbook of Fundamentals 1967; Chemical Engineers'
Handbook, J. H. Perry, McGraw-Hill. Further examples of refractory combinations
and the calculated results are shown in Table 2. The first combination (l) we
have just calculated. In the (II) combination the vermiculite and firebrick were
replaced with an RI-26 insulating brick. This shows an obvious improvement over
the previous combination with a reduction in overall losses, even though conduction
losses are greater.
The ([[I) combination u lizes a diatom brick on edge backed with rockwool,
in place of the clay brick. The t tal heat losses are further reduced but the interface
temperature T 12 exceeds the rna imum limit of the diatom brick and the combination
wou'd be unsafe to use for long at 1300°C.
The (IV) combination is interesting in that it is the same as (III) except
that the rock wool has been left off. This has caused an increase in the conducted
heat loss with a resultant lowering of the interface temperature, and so the diatom
brick can now be safely used. It is also interesting to note that the heat lost in
59

storage is now less and that this combination of refractories would be the most
economical {rom an energy conservation basis.
The newer ceramic fibre materials sold under the trade names of Triton
Kaowool, Fibrefax, Cerafelt, Saffil, etc., are being increasingly used for kiln
insulation and so I have incorporated these materials in the next three material
combinations. Note however, that the maximum temperature limit for the lower
cost fibres is 1260°C. Example (V) shows the effect of a single layer of ceramic
fibre blanket. The wall is only 50 mm thick and yet the heat losses have been
substantially reduced. These materials however are not free standing and would
need to be supported from outside. The usual method of supporting ceramic fibre
blanket is to attach it to a rigid backing material, with heat resisting pins spaced
about 300 mm apart. The commercially available pins are expensive, and add to
the already high cost of the fibre. A less costly method is to use short lengths of
16 swg "Kanthal" element wire bent into loops and passing through the fibre to
be fixed on the cooler side to a steel framework or refractory brick wall.
The material combination (IV) shows the effect of an additional supporting
wall of diatom bricks placed on edge. The heat losses have been further reduced
and a simpler supporting framework would now be used to support the roof.
The last .combination (VII) is similar to a design described by H. D. Emblem
and colleagues and referred to earlier in this article. This combination uses
ceramic fibre blanket pinned to a panel of vermiculite concrete which is in turn
backed with low cost rock wool blanket. Large insulating panels could be made
in this way and encased outside with light gauge steel. The panels would quickly
assemble into a kiln and be self supporting. The heat losses for this combination
are the lowest of any previous method of construction.
An argument often put forward by potters is that light insulation is a waste
of money because insufficient heat is stored in the refractories to slow the rate of
cooling down. Slow cooling being a requirement for crystal growth in some glazes,
r disagree with this attitude for several reasons. Firstly, in a large well loaded
kiln a lot of heat is unavoidably stored in the ware itself and if the kiln insulation
is efficient it will prevent this heat from being lost at any great rate, thus slowing
cooling. Secondly, if especially slow cooling is desired it is still economically
feasible to "fire down", that is control the rate of cooling by still applying some
heat from the burners for the few hundred degrees in which this is required. For
example, the cost of firing down a 1 cu.m. capacity kiln constructed from the
(VII) material combination would amount to 6c per hour, using natural gas. The
reason for this low figure is that heat is no longer required to raise the temperature
of the ware or refractories, and the only losses are the very low conduction loss
and a small flue loss.
Most potters fire much too slowly. Quicker heating and cooling should be
carried out to suit the sensitivity of the ware and not be restricted by the
dominating influence of heavy refractories. Quicker heating and cooling can enable
a more rapid turn-around of a kiln and in situatio s where there is frequently a
backlog of work waiting to be fired, this can save the cost of building another kiln.
Another advantage of lighter kiln materials is that foundations need not be as
heavy or as costly.
Fuels
Any article on kiln design would not be complete if it did not make some
reference to the fuels used for firing. The choice of fuel will greatly influence the
design of a kiln and the choice of refractories. For instance an electric kiln would
60

not require the same quantity of refractories as a gas or oil kiln, as there would
not be a flue or firing box.
The following briefly lists the comparative merits of three of the most
popular fuels. The costs are applicable to Victoria but may have to be modified
in other areas.
Electricity
Electricity is much easier to control than gas and oil fuels. Several tariffs
exist in Victoria. Commercial potters can take advantage of a night rate between
the hours of 11 p.m. and 7 a.m. at only 1.2 1 c/kWh, although their day tariff is
a little higher than that for domestic consumers. For hobby potters (people not
manufacturing for sale) the domestic tariff can be used. That is: for the first
90 kWh, 9.99 c/ kWh; for the next 450 kWh, 3.17 c/ kWh; and the balance used
in a yearly quarter at 2.58 c/ kWh.
The average domestic consumption of electricity for washing, lighting, refrigeration,
etc., is 950 kWh per quarter so that any kiln firing costs would be only
at the 2.58 c/ kWh rate.
Another advantage with electric firing is that flue losses do not exist. This is
the heat wasted by being carried out by the exhaust gases when gas, oil or for
that matter wood, is burned.
Natural Gas
Natural gas is becoming more readily available throughout Australia and is
a very convenient fuel. The price in Victoria on the domestic 04 tariff for people
with gas room heaters, is .17 c/ megajoule (1 kWh = 3.6 Mj) which is equivalent
to .612 c/ kWh.
If the industrial tariff is applied the cost is .32 cjMj for the first 20,000 Mj,
.26 c for the next 30,000 Mj, .21 cjMj for the next 100,000 Mj, and so on down
to .1 cjMj.
LPG
The versatility and cleanliness of LPG are the main features of this fuel. The
cost has increased recently and it is now $12.50 per 100 lb. bottle, which is
equivalent to 1.98 c/kWh. The freedom from the Natural Gas Authority's regulations
is claimed by many to be worth the extra expense; however, this can be a
short-sighted view.
Safety Equipment
Safety equipment should be fitted to any kiln, but in particular to gas-fired
kilns, in order to guard against the risk of overheating or explosion. The natural
gas authorities are strict in this requirement and will not allow a kiln to be connected
to their supply unless it meets with their regulations. Thus many potters
bypass these regulations by using LPG which is not as strictly controlled. For a
small kiln, continuously watched, the risks are perhaps tolerable but an explosion
in a large kiln can be fatal. If you are designing or already have a large kiln, give
some thought to fitting the required safety equipment; you should find that the
saving in fuel costs by changing to natural gas will soon pay for the extra equipment
required.
Kiln FIring Costs
The amount of energy required and the fuel used will obviously set the basis
for the cost of a firing. As was previously shown, the correct choice of refractories
will enable a saving in energy by cutting down heat losses and shortening firing
times. Just how much this "lost" energy is worth, for each of the previous material
61

combinations is shown in Table 3. The calculations are based on steady state
conditions.
Table 3. Cost of energy lost for 1 cu.m. kiln, using different fuels.
7 h.
Cost of Lost Heat
Maximum
Temperature
Total Electric LPG" Natural"
Material Heat Loss Firing at Firing at Gas Firing at
.6 I 2c/ kWh
Com binatioD kWh 2.58c/ kWh I 1.98clkWh I
I 451 $11.63 $10.71 $3.31
II 327 $ 8.44 $ 7.76 $2.40
III 271 $ 7.00 $ 6.44 $2.00
IV 261 $ 6.74 $ 6.20 $1.92
V 167 $ 4.30 $ 3.96 $1.22
VI 109 $ 2.81 $ 2.60 $0.80
VfJ 92 $ 2.37 $ 2. 18 $0.67
" includes 20% allowance for flue loss
It is apparent that the choice of fuel can have a marked influence on the cost
of the firing.
The decision on the shape, size, refractory combination and fuel rests with
you the user. Hopefully now you will be able to design and build your own kiln,
specifically suited to your particular requirements, and do this more economically
than in the past.
TABLE 1 -
PROPERTIES OF REFRACTORIES
Authors Note: The specific heat of refractories is usually not give~ by
manufacturers. A value of . 22 J/kg for most paterials
and . 27 J/k9 for ceramic fibres is re=ommended.
+Hot Face Lininss & Kiln Furniture
NA
-
Not Available
Maximum Bulk. Thermal Apparent
Supplier Type Service Density Expansion Porosity
TEmp.
C kg/m 3 em/em °c ,
N H A F 1400 2120 NA 20
N Ordish 36 1350 1880 NA 28
N Ordish 32 1300 860 NA 27
0 t-1ullite (electromel t) 1650 2500 ·5.0 NA
°
Silicon carbide (ree) 1500 2600 4.0 NA
0, R, D Sillimanite 1470 2700 5.0 NA
0, R, D OOrdierite-Mullite 1450 2900 3 . 0 NA
62
0 , R, D Cordierite 1300 2700 2.7 NA

·Hot Face Insulation
Type
f-1aximum
Service
Temp.
°c
Bulk
Dcnsi1jY
k9/m
Thermal
Conductivity
w/m.K
N, 10, V 1U- 26
N, 0, V RI-20
N, RI-24
I, E Chrome-Alumina Fibre(i)
J, G, E High Alumina Fibre (ii)
K, G, E Ceramic Fibre S 1b(iii)
K, G, E Ceramic Fibre 6 1b
K, G, E Ceramic Fibre 4 1b
1540
1400
1320
1510
1400
1260
1260
1260
850
750
700
175
140
12S
90
64
.49 @ 1000 0 C
.43 @ 1000
.37 @ 800
.18 @ 800
. 1S @ SOO
.24 @ 1000
.27 @ 1000
.33 @ l OCO
"sack Ug Insulation
Supplier
Type
H Darley
5 Litebrik
N Orcel
A, W Vermiculi te Concrete*
E Calciwn Silicate
N Diatom Erick
L Clay Brick
E Marinite
Maximum
Service
Temp.
°c
1200
/
1300
1350
1050
9S0
900
900
900
Bulk
Density
k9/ m3
U50
1200
1200
450
250
650
Ther:nal
COnducLivity
w/m.K
. 65 g 500°C
.505 @ 500
. 550 @ ?
.2~ @ SOO
.112 @ 500
#l ~ @ 600
1600 1.12 @ 600
576 .U5 @ ?
Apparent
Poro::.;ity
\
54
55
50
NA
N.\
80
NA
NA
A
M
A
B
C
Vermiculite Fill
Oia tomaceous Fill
Perlite Fill
Rock Wool BlankEt
Fibre Glass Blanket
1000
900
6S0
750
4S0
256 .21 @ 800
400 .16 @ 500
135 .12 @ 500
60 .073 @ 260
44 . 094 @ 260
NA
NA
!'lA
NA
NA
Suppliers Names:
5 South Yarra Firebrick Co.
N Newbold General Refractories
A Australian Gypsum
I' George \'1ills, McCann & Son
E Eliza Tinsley
L Local brickworks
1~ Materials Ltd
B Bradford Insulation
C I.e! Fibreglass
H Darley Firebrick Co.
I ICI Refrac tories
I' G.R. Stein
J 3-M company
K Morganite
0 Nonporite
R Russel Co''''an
0 Diamond Ceramics
V R G Williams & Co .
G Carborundum
"'Vermict:,lite Concrete
Vermiculite 5 parts by vol ume
Ciment Fondu 1 part
63

Table 2. Heat losses under stt!adv state conditions for different material combinations.
Thermal
Resistance
Interface
T emperalure
Conducted Stored Total
Heat loss ' Heat Loss Heat l on
I.
13000 C
Th ickneu(m)
Th erma! Cond
D. nsity
II.
13000 e
Th icknes,(m)
Th ermal Cond
De nsity
Firebrick Ver. Clay Brick
(4 %",
. 115
1.0
(2")
.05
.21
(4 Yz" )
.115
1.12
1200 256 1600 lOOOC
1-
(11"1
RI·26
(4\;"1
. 115
.374
800
Clay Brick
(4\;"1
. 115
1.12
1600 l000C
~
-WI-
III
13000 e RI ·26 Diat. Rock
Wool
- (4 \;"1 (3") \1"1
Th ickness{m)
Th ermal Cond
D. nsity
.115
.374
800
.07 5
.J9
640
.025
.073
60 l OOOC
(8W'I-_'--
IV
-
13000 C
Th it:kncss(m.
Th ermal Cond .
D. mity
RI·26
{4Yz".
.115
.374
Dial.
(3" 1
.075
640 100 0 e
~
R 11·2, 12·3
m 2 K/w ·C
997
.455 369
.4 10 402
947
1.044 4 g~
.702 776
q a at
kw kwh kwh
16.48 336 451
18.29 199 327
7.18 221 271
10.68 186 261
.
V.
~m...,·~
12 woe
~
Th ickness(m)
The rmal Cond.
D ensity
-
Ceramic
Fibre
(2"1
.05
.16
96
l00"C
.......-
(2") ~
.312 -
(
23.2 4.75 166.8
64

Table 2 Continued
Thermal Interface Conducted Stored Total
R psistan~ Temperature Heat loss Heat Loss Heat Loss
R t' _2. t2_3. q 0 Ot
VI.
---
12SOOC Ceramic Diat.
Fibre
12"1 13" 1
Thiekneu{m} .05 .075
Thermal Cond
Demity
.16 .19
96 640
l000C
~1 5"'J --
m2K/w "C kw kwh kwh
.704 747 10.3 36.5 108.5
VII.
126O"C
---
Thic:.kncss(m.
Thermal Cond
Demit.,.
Ceramic Ver. Rock
Fibre
Wool
12" 1 13-, In
.05 .075 .025
.1 6
124
.Oil
96 450 60
f--- 16"1
1.013 Btl6
512 7.5 42.4 94 .9
SPECIAL MlD-TERM SCHOOL - REPETlTlON/ PRODUCfION THROW­
ING. A mid-term special instruction course will be held at the Gallery workshop
every Thursday and Friday evenings from 6-9 p.m. for a period of four weeks
from 3rd June to 25th June inclusive. The tutor will be Richard Brooks, who has
worked with both the Leach Pottery and Shiga Shigeo. Twelve students only will
be enrolled, and these are expected to be reasonably proficient at the wheel.
Instruction will cover production attitude and application following through with
the turning and possible appendages. No firing will be done within the course
duration. Enquiries to the Potters' Society of Australia, 48 Burton Street, Darlinghurst.
Telephone : 31-3151. Tuesday to Saturday. Fee: $30.00.
65

HALF A YEAR ONWARDS
A brief review of the Potters' Society of Australia.
In the six months since the Spring issue of POllery in A IIstralia there has been great activity
both for the Society and many of its members.
A new vitality is evident with the establishment and development of the Society's new
headquarters at 48-50 Burton Street. Darlinghurst, Sydney. Much credit goes to Hon.
Secretary Joan Alenson for her part in this. Better facilities bave been created for members
with the updating of equipment in the workshop and the provision of a library-reading room,
which also serves for viewing slides and films.
Exhibition galleries have been renovated. The Potters' Society now has the major
exhibiting gallery for ceramics in Sydney, with four rooms on two levels. These are attractiog
increasing numbers of visitors.
Membership of the Society now stands at 415 with 140 Exhibiting Members in all
States. There are 113 residing outside N.S.W. Recognition of the role of the Society is
increasing. The N.s.W. State Government, through the Department of Culture, Sport and
Recreation has assisted with small grants, one to help the Society to undertake a country
kiln-building seminar in Condobolin and another towards the purchase of equipment for the
workshop. The Crafts Board of the Australia Council has made a grant for the commissioning
of special articles for Pottery in Australia.
The Society continues to undertake schools and seminars in ceramics in both city and
country areas. The kiln-building seminar, conducted by Jim Simpson in Condobolin in
September 1975 drew potters from many country areas and proved a very successful evenl.
The now traditional Potters' Society Summer Schools were quickly filled . An Earthenware
School for beginners was conducted by Beryl Barton and a Stoneware School for advanced
students was conducted by Richard Brooks and Melinda Hardy. Both were held for the first
time in the workshop area of the Potters' Society headquarters. The latter was also the venue
for the Brian Newman four-day workshop in Sydney in October 1975, a project organised
by the Craft Associ.ation of N .S.W. and financed by the Crafts Board.
In addition to general exhibition of Members' work there were special shows by Peter
Dobinson and Janet Barciskill.
The Society's Workshop School commenced its 1976 enrolment with full evening classes,
students enjoying the improved faci lities. Associate Members' days held monthly were well
supported. A varied programme has been followed involving talks, slide viewings, demonstrations
a nd general participation.
Of special significance was the visit to China of the Australian Potters' Delegation,
organised by Margot Staples and lead by Ivan McMeekin. This was as much a "diplomatic"
mission as an instructional visit and as such was very successful. A Potters' Society Group
depaJled for a tour of China in April this year.
International Women's Year 1975 was bighlighted in various ways. The Australian
Information Service featured two members, Janet Mansfield and June Lord in the publication
"Austlalia and Australia Now", in recognition of the importance of women potters
today.
Tbe momentum gained in tbe past period continues with the visit in April of the
internationally-known potter, Don Re.itz, to give master classes, workshOps and lectures in
Sydney, Perth , Canberra, Armidale and Cootamundra. His visit, co-sponsored by the Potters'
Society of Australia, coincides with the Australian-American Festival. SpeCial ceramic
exhibitions of Members' work are planned for the Potters' Gallery and the Seymour Centre.
A school for production throwing is being organised for mid-year to further develop
ski lls of members and an Jnterstate Members' Exhibition is to be "'eld in Octoher 1976 al
the Potters' Gallery.
66

BOOK REVIEWS
HANDICRAFTS OF INDIA by Kamaladevi Chattopadhyay, published by the
Indian Council of Cultural Relations, Azad Bhavan, Indraprastha Estate, New
Delhi, 110001. Price: Rs 60.00. Forty-four pages of black and white illustrations,
twenty pages of colour, 146 pages of text.
Meeting Kamaladevi Chattopadhyay at the World Craft Council's Asian
Conference in Sydney in 1975 one could not fail to be impressed by her deep
sincerity and good sense when she spoke of the craftsman's place in the developing
nations. Kamaladevi Chattopadhyay had been chairman of the All India Handicrafts
Board for 20 years and active in the theatre movement for a great part of
her life. She has also held the position of Vice-President of the World Crafts
Council.
Handicrafts of India sets out to document the traditional crafts of India,
giving information on techniques and historical development and discussing the
place of the crafts in the lives of the Indian people. A chapter on earthenware
points out that clay objects for ritual use are as important and prolific as clay
domestic utensils. A filled water pot is a symbol of good omen and indispensable
in any ritual, and the many deities requiring worship cause the production of
countless clay figurines, ceremonial pottery and votive offerings. The style and
production methods of a great many districts are described including reference to
glazed tableware, recently developed.
"The growth of handicrafts in society was the sign of the cultivation of
sensitivity and the stirring and mellowing of humanism. It stood for man's endeavour
to bring elegance and grace into an otherwise harsh and drab human life
.. . " wrote the author in her introduction. As a record of the crafts of a highly
creative people Handicrafts of India is a work of authority.
It is a pity that the illustrations which all appear at the end of the book on
unnumbered pages were not directly related to the text.
THE POTTERS' DICTIONARY OF MATERIALS AND TECHNIQUES by
Frank Hamer, Pitman Publishing Pty. Ltd., 158 Bouverie Street, Carlton 3053-
$32.00.
This is a large, very readable book containing 348 pages profusely illustrated
with photographs and line drawings. Apart from its value as a dictionary this
book contains as much useful information as you would find in a small library of
potters' references.
The definition 0 words and phrases is frequently followed by a detailed
article. Under the headmg Crack is a description of 20 different types of cracks,
their causes and remedies. Perhaps you are guilty of Clobbering, you can find its
definition in these pages. An appendix of useful tables such as Conversion Scales,
Formulas, Table of Elements, and Ultimate Analysis, to mention a few, add to
the book's value.
Frank Hamer has produced this excellent book with an authority based on
years of experience as a potter and teacher.
67

EXHIBITION REVIEWS
JUDY LORRAINE
Craft Centre, South Yarra
Judy Lorraine's exhibit "Potsound II:
Primitive Metaphysical Propositions"
at the Craft Centre in South Yarra,
Victoria, offered the viewer a sigruficant
sensual experience. Using unglazed
clay, hides, knotted and coiled
fibres, and bamboo, she created a
series of musical instruments which
satisfy the auditory, as well as tactile
and visual senses. The broad range of
works included drums of several types,
plate and bowl gongs, chimes, pluckin'
drums, maraccas, ocarinas, and a
banjo. Although the use of clay in producing
such objects is uncommon if
not unique, they are not an expression
of a search for novelty. On the contrary,
Judy Lorraine has based her
work on simplicity, purity of form ,
sensitivity to musical sound, and a
strong affinity for her materials. Separating
herself from contemporary
ideas of musical instruments, she starts
with a simple material, clay, and some
fundamental characteristics of sound.
Her objects are the answers to basic
questions about making music, questions
about vibrations, resonant spaces,
closed and open volume. Because of
this, they are never decorative imitations
or superficial reproductions of the
craft of other peoples, other times.
They are not like "primitive" objects,
they are primitive in a most genuine
sense of that word. They are an effective
answer to a contemporary craftsperson's
search for simplicity, yet at
the same time they represent an extension
of the simple clay pot, giving
it greater scope as an object to be seen
and touched but also struck, plucked,
beaten, pounded, shaken, and heard.
Although "Potsound II" was the
major and most interesting exhibit in
the show, three other themes were
also presented-"Elephant Bird Spectator
Sports", "April in Saigon", and
"Grub City". Most noteworthy of these
were Saigon's Elephant Majors, satirical
constructions of coil and slab, with
military hats, noses askew, glazed buttons,
and chests full of medals. The
majors gave the impression of being
small-minded, self-important, promoted
beyond merit, and entirely supernumerary.
The social comment in
"April in Saigon" was more readily
perceivable than in "Grub City", an
expression of the chaos and dehumanization
of the modern city. Texture suggesting
high-rise buildings was superimposed
on a form which was part
grub, part city-scape. Miniature road
signs, green trees, and flags related to
titles such as "Self-Destruction", "Men
at Work", and "Lone Pine Parking
Lot".
Some thrown functional pottery
was shown. On the whole this lacked
the warmth and spirit which characterizes
Judy Lorraine's bold and handsome
hand-built work. Her large slab
plates, rubbed with oxides to complement
simple impressed patterns, were
among her finest pieces, strong and
earthy yet subtle and elegant.
Judy Lorraine's throughtful explorations
into sound-making clay objects
have resulted in some extraordinary
work with ~a t beauty and vitality.
Such work may well have the potential
for further extension into the areas of
music, movement, and theatre. Developments
of this type can contribute
to a breakdown of those compartments
which tend to confine and separate
creative people and their expressions,
defirung creative work by the materials
used rather than by the essential idea.
Tete Triggs
68

JOYCE SCOTT
Adelaide Festival of Arts
Exhibition, March 1976
In her latest exhibition of hand-built
ceramic sculpture at the Greenhill Galleries,
Joyce Scott maintains the exceptional
quality for which her work is
renowned.
Though many of the pieces are
very large, Joyce manages to retain a
strong feeling of lightness, and elegance,
in her work. This combination
of massive size with an air of delicacy
is exceedingly satisfying.
Through the sensitive use of clay
and the design elements of movement,
form, texture and colour Joyce creates
sculptures that are beautifully simple,
yet maintain delicate balance and individuality.
These pieces often have subtle
alterations in contour and surface, and
smaller exciting areas of contrast with
broken edges and clusters of organiclike
forms.
One senses a movement towards
greater use of space and the environment
within some of the sculptures.
VIC GREENAWAY
Narek Galleries
Peter Schlliz
The most spectacular of Greenaway's
pieces, the most individual, are his
female figures. In these, over the last
two years, he has written a figurative
essay on his deepest creative and intellectual
aspirations. Significantly, in this
quite brilliant one-man exhibition at
Narek Craft Galleries in Canberra the
calmer, more masked, figures' are
clothed in porcelain : earlier the glazes
were less refined and contrasts between
plain, stone, tapered, cylindrical stems
and freely-shaped hoods or cowls were
urgently suggestive. The sterns symbolized
the intransigence of materials, the
restraints of orthodox skills, the co~ls
stood for the unrealised, interpretative
aspirations - sometimes they floated,
ghost-like, sometimes they suggested
shapes from a romantic past, sometimes
they carne close to the anonymous,
emblematic present. There was
a sense of exploration, of the excitement
of something tentative and halfrealised.
The sculptural pieces in this exhibition
are pieces of fulfilment; to the
extent that there is a suggestion in them
already of the decadent. Two new, and
quite unprecedented, pieces offer both
a new direction and a memory of
Greenaway's time in Japan - sma))
wharves or jetties, with miniature
figures in random posture, little islands
of man's affectations and anonymity.
Greenaway's latest "big" figures are
much more certain in their execution:
cone-like stems accept variations and
the cowls have lost their ethereality
and romance, and accepted an anchoring
decorativeness. They assert the
vanity of human wishes.
These figures and the new composite
pieces which use them, indicate
the directions of Greenaway's thought,
the tensions between craftsman and
thinker. Other pieces in the exhibition
find a different resolution. There are
sets of plates, goblets, tea cups, coffee
cups; there are individual jugs, platters
and vases. There is the stock of the
domestic potter but no recognition of
the limitations commonly accepted by
the domestic potter. Another of
Greenaway's signatures is his transformation
of the humblest of all domestic
pots, the egg-cup, into a quite beautiful
, and independent, shape. And all of
what might loosely be called his domestic
items have this energy of reappraisal.
They do not conform. They
do not seek change for change's sake.
They offer the limited harmony which
his larger, more intellectually exploratory
forms suggest is so uncertain ;
they recognise its validity and, on the
simply decorative level, its beauty.
These are the precious things wi th
which we surround ourselves.
This is a beautiful, and complete,
exhibition. It marks both Greenaway's
69

extraordinary technical accomplishment
and his creative aspiration. It is
an attempt to lead people beyond their
expectations, to encourage them not to
respond to any conventional notion of
standards of excellence but to look for
meaning, to find values which are not
easily typed. For Greenaway it is, of
course, one of those recurring moments
of declaration; but it is one that we
should ·Ill ponder.
w. S. Ramson
ROBYN TREMBLE
Brisbane Potters' Den
The similarity of glazes, techniques,
forms, and ideas which were for so
long a monotonous feature of Queensland
ceramics are now no longer quite
so evident.
The main impetus to greater individuality
in Queensland ceramics
seems to have been largely due to the
efforts of the Queensland Potters'
Association with its imaginative programme
of workshops and exhibitions.
The echoes of the Soldner visit are still
apparent, indicating that his shock
treatment in this conservative environment
was extremely effective. It is even
more apparent at times that the individuality
of a visiting potter can be
parodied into a trendy gimmick on the
local scene and pseudo Peascods litter
the exhibitions for months.
The real value of the visitors,
however, has been to open the scene
to the potential of ceramics as a creative
and expressive medium away from
the sound comforts of Leach and
oriental embellishments.
Recent exhibitions in the Brisbane
Potters' Den have provided excellent
examples of fresh and individual approaches
to the medium, and the exhibition
in November by Robyn
Tremble showed a promising originality.
Most of the pots in the exhibition
were of unglazed stoneware with positive
rounded profiles. Some of these
carried rows of disc handles and in
others the starkness of the form was
ROBIN TREMBLE: Black bottles, 65 cm,
manganese over unglazed stoneware.
J280' C. Potters' Den, Brisbane
relieved by broken and torn lips held
securely by buttons and button-holes.
A series of rounded bottles had a distinctly
anthropomorphic quality with
pleasing rounded forms ~hd with small
eyes impressed above the spouts.
Equally pleasing was a group of
raku pots with simple tin and copper
glazes and heavily blackened body.
These pots had a directness and vitality
a~propriate to the technique and suggest
that Robyn Tremble has the sensitivity
to develop fairly rapidly into one
of our more promising potters.
Jeff Shaw
70

GOSFORD SHIRE SEVENTH
ANN UAL ART EXHIBITION
This year's exhibition of paintings, pottcry
and drawing, held in March,
attracted more than seventy entries in
the wheel-thrown and hand-built pottery
sections. The prizemoney of $450
allocated for the pottery section was
used to purchase acquisitions for the
Shire's collection. The adjudicator,
Wanda Garnsey, said that it was satisfying
to see such an improvement in
the standard of pots from the previous
JANET MANSFIELD: Raku platter. 45 em
diam., white glaze, copper lustre. Gosford
Shire Annual Art Exhibition
year. She commented on the wide range
of approach in the hand-built pots and
the interesting variety of glazes used in
the wheel-thrown section. Results of
the wheel-thrown section: Highly Commended
- Janet Mansfield, Shigeo
Shiga; Commended-Janet Mansfield,
G. McCracken, Beryl.£arton, D. & W.
Campbell. Results of hand-built section:
Highly Commended - Roger
Keane, Gillian Dodds; Commended -
Mavis Schicht, Ross McBride, Glenys
Morrison, John Flakelar.
THE FRED AND MARY MARER
COLLECTION
Fred and Mary Marer have been collecting
pottery on the West Coast of
California over the past 20 years. Paul
Soldner selected part of their collection
which has been loaned for an exhibition
sponsored by the Crafts Board of
the Australia Council. The collection
will be seen in the following galleries:
Newcastle City Art Gallery; Australian
Museum, Sydney; Queensland Art Gallery,
Brisbane; Tasmanian Museum
and Art Gallery, Hobart; National
Gallery of Victoria, Melbourne; Adelaide
Festival Centre; Art Gallery of
Western Australia, Perth.
As an introduction to the Exhibition's
Catalogue Paul Soldner writes:
"As I recall, Fred Marer just walked
into our pot shop one Saturday afternoon
sometime in 1955. We were a
small group then, maybe half-a-dozen
students and our teacher Peter Voulkoso
Although the perspective acquired
with time has shown that great things
were happening in clay that year, little
did we realise the importance then.
But somehow Fred Marer must have
sensed its importance because he soon
became a regular visitor, a collector of
our pots and a personal friend. . . .
At times Pete would point out a particularly
successful pot to Fred, and
Fred in turn would often act on his
information by asking to purchase it.
It didn't seem to make much difference
who made it, just that it be good .. . .
Fred's collection of contemporary pottery
is exciting because he was present
at its inception. He understood the
evolving shapes and ideas because he
made the effort to understand the
people who were making them change.
A purchase was not often a snap
judgement. Rather, after a length y
consideration of a piece, perhaps a
questioning of the maker, Fred would
ask to take it home on trial. I believe
this patience of the need to live with
a new idea, helps to explain why so
71

many of Fred's pots are of high
quality. The test of time as one method
of judging value has been one of Fred's
most useful tools in determining what
to buy. Added to this, of course, was
his willingness to seek advice from
others and a certain willingness to
gamble. But, in the end, the collection
reflects Fred's eye."
PETER VOULKOS: Platter, stoneware with
porcelain inlay, 40.6 cm x 33 cm approx.
Fred and Mary Marer Collection
PUBLICATIONS available from the Editor, 48 Burton Street, Darlinghurst 2010.
Pottery in Australia (back numbers) 9/ 2, 10/ 1,10/ 2, 11 / 1, 11 / 2, 12/1 (70 cents
each); 12/ 2, 13/ 1, 13 / 2 ($1.50 each); 14/ 1 ($2.00); 14/ 2 ($2.00).
Materials and Equipment:
1. Checklist for N.S.W. Potters, 75 cents.
2. Checklist for Victorian Potters, 25 cents.
3. Checklist for West Australian Potters, 25 cents.
Booklets: (postage extra 20 cents per copy).
ELECTRIC KILN ( Arthur Higgs): price 75 cents.
GAS KILN, CATENARY ARCH (Les Blakebrough): price 50 cents.
GAS KILN, TOP LOADING (Ivan Englund): price 50 cents.
RAKU: price 50 cents. (Copies of earlier edition: 30 cents).
A SIMPLE WOODFIRED KILN (Ivan Englund): price 50 cents.
HIGH-TEMPERATURE WOOD-BURNING KILN (Ivan cMeekin):
price 50 cents.
A 10 cu. ft. OIL-FIRED KILN PLAN (Alan Peascod): price $2.00.
BRISBANE ROCK GLAZES, and
THE BUMBO LATlTE, both by Ivan Englund : price 30 cents each.
A DIRECTORY OF POTTERS: gratis, 20 cents postage.
GALLERIES & POTTERIES TO VISIT IN AUSTRALIA: gratis, 20 cents
postage only.
KICK-WHEEL PLAN (set of four diagrams): price $1.00
72

EXHIBITIONS & COMPETITIONS
EXHIBITIONS
Fred & Mary Marer Collection
Judi Elliott
Millon Moon
Bela Kotal
Milton Moon
Janet Barrlskill
Alan Walt
Group Exhibition
Carol-Ann Fooks
Sandra Black
Milton Moon
Joyce Scott
Sam Shub
Lucy Boyd, Hatton and
Robert Beck
Australian-American Festival
Exhibition
Maldon Pottery
M1cbiko Love
Kim Martin
Derek Smltb
Mark Thompson
Sue Moorhead
Zelma Dufton
Shigeo Shiga
Drinldng Pots
Newcastle City Art Gallery
Beaver Galleries, Red Hill, A.C.T.
Collectors' Gallery, Perth
Cliff St. Gallery, Perth
Festival Theatre Complex, Adelaide
Potters' Gallery, 48-50 Burton St.,
Darlinghurst, Sydney
The Craft Centre, South Yarra, Vic.
Narek Galleries, Deakin, A.C.T.
The Craft Centre, Glibert PI. , Adelaide
Collectors' Gallery, Perth
Greenhill Galleries, North Adelaide
Greenhill Galleries, North Adelaide
Manyung Gallery, Mt. Eliza, Vic.
Macquarie Galleries, Canberra
Potters' Gallery, 48·50 Burian St.,
Darlinghurst, Sydney
Potters' Cottage, WarrandYle
Fremantle Arts Cenlre
Potters' Cottage, Warrandyle
The Crafl Cenlre, Soulh Yarra. Vic.
Jam Factory Gallery, St. Pelers, S.A.
Aldgate Crafrs, Aldgate, S.A.
Macquarie Galleries, Sydney
Von Bertouch Galleries, Newcastle
Laburnum Gallery, Blackburn, Vic.
Feb. 1976
Feb.
Feb.
Feb.
March
March
March
March
March
March
March
March
March
March·April
April
April
April
April
April
April
April
April·May
April·May
April·May
FORTHCOMING EXHIBITIONS
Potters' Society of AustraJia­
Ikebana Pots
Jan Twyerould
Judi Lorraine
PhilUp McConnell
Andrew Park
Val Taylor
Crafts Victoria
Ration Beck and Lucy yd
Potters' Society of AustraJla­
New Members
Potters' Society of Australia­
Members' Exhibition
Potters' Society of Australia­
Members' Exblbition
Victorian Ceramic Group
Frederick Cbapeau
Graham Gonn
Sbunlcbl Inoue
Ben Kyprldakls
Greg Daly
Vlt Jurlvlclus
Potlers' Gallery, 48·50 Burton St.,
Darlinghurst, Sydney
Aldgate Crafts, Aldgate, S.A.
Narek Galleries, Deakin, A.C.T.
The Craft Cenlre, South Yarra, Vic.
Old Bakery Gallery, Lane Cove, Sydney
Beaver Galleries, Red Hill, A.C.T.
Shepparton Art Gallery
Von Bertouch Galleries, Newcastle
Potters' Gallery, 48·50 Burlon St.,
Darlinghurst. Sydney
Potters' Gallery, 48·50 Burton St.,
Darlinghurst, Sydney
Farmer's Blaxland Gallery, Sydney
Caulfield Art Cenlre, 441 Inkerman St.
Narek Galleries, Deakin, A.C.T.
Aldgale Crafts, Aldgale, S.A.
The Chlft Centre, South Yarra, Vic.
FeSlival Centre, Adelaide
Potters' lIage, Warrandyte, Vic.
Potters' Gallery, 48·50 Burton St.,
Darlinghurst, Sydney
May
May
May
May
May
May
May·June
May·June
June
June
June
June
June
June
June
June
June
July
73

Peter Rushfortb
Les Blakebrougb
Robyn Davis and Lois Westlake
Crafts, Victoria
Jim Nelson
Group Exhibition
12 South Australian Potters­
Day for Mugs
Vic Greenaway
Janet Mansfield
Jan Twyerould
Sylvia Halpern
Judith GledhUl and DOD Jones
Beaumaris Art Group-­
Ceramic Exhibition
Shlgeo Shiga
Australian Ceramics--46 Potters
Peter Mlnson-Glass exhibition
Japanese Prints and Ceramics
Sam Herman-Glass exhibition
R. and C. Craine
Tim Moorhead
John Dermer
Rhonda Longbottom
Alan Peascod
Wally Scbwab
Alan Watt
Alan Peascod
Hilary WoUf
Jolanta Janavicius
David Jones Art Gallery, Sydney
Macquarie Galleries, Sydney
Old Bakery Art Gallery, Lane Cove,
Sydney
City of Hamilton Art Gallery
Narek Galleries, Deakin, A.C.T.
Potters' Gallery, 48-50 Burton St
Darlinghurst, Sydney .,
Aid gate Crafts, Aldgate, S.A.
Jam Factory Gallery, St. Peters, S.A.
Beaver Galleries, Red Hill, A.C.T.
Narek Galleries, Deakin, A.C.T.
Potters' Cottage, Warrandyte, Vic.
Aldgate Crafts, Aldgate, S.A.
Clive Parry Galleries, 468 Beach Rd.,
Beaumaris
Narek Galleries, Deakin, A.C.T.
Newcastle City Art Gallery, Newcastle
Beaver Galleries, Red HiIJ, A.C.T.
Macquarie Galleries, Canberra
The Craft Centre, South Yarra, Vic.
Manyung Gallery, Mt. Eliza, Vic.
Narek Galleries, Deakin, A.C.T.
Potters' Gallery, 48-50 Burton St.,
Darlinghurst, Sydney
Aldgate Crafts, Aldgate, S.A.
The Craft Centre, South Yarra, Vic.
Jam Factory Gallery, St. Peters, S.A.
Manyung Gallery, Mt. Eliza, Vic.
Potters' Gallery, 48-50 Burton St.,
Darlioghurst, Sydney
Beaver Galleries, Red Hill, A.C.T.
Old Baker Gallery, Lane Cove, Sydney
July
July
July
July
July-Aug.
Aug.
Aug.
Aug.
Aug.
Aug.
Aug.
Aug.
Aug.-Sept.
Aug.-Sept.
Aug.-Sept.
Sept.
Sept.
Sept.
Sept.
Sept.-Oct.
Oct.
Oct.
Oct.
Oct.
Oct.-Nov.
Nov.
Nov.
Nov.
COMPETITIONS
Third Singleton Pottery Prize
$125 Acquisitive
$50 Local
$65 Purchases
Judges: lim and Jean Tyler. Enquiries Phone 065.747157
Townsville Pacific Festival Ceramic Awards
$250 Non·acquisitive open
$100 Non·acquisitive North Queensland
$500 Purcbase for Art Gallery
Judge: Hiroe Swen
Enquiries: Mrs. Fussell, P.O. Box 1798, Townsville
Bendigo lnternational Pottery Award
S 1,500 Best Exbibit
$500 Highly Commended
$250 Honourable Mention
Port Hacking Potters' Group
$ I 00 Open hand·built
$100 Open Wheel·thrown
Enquiries: Box 71, P.O., Miranda. Phone 522.83 ~ M. Ogle
Walkers/ Pugmill Pottery Award
$500 Prize
Enquiries: See page 79.
May 1976
June
July
Aug.
Oct.
74

COMPETITION AWARDS
Diamond Valley Ceramic Award
Judge: Reg Preston
Aldgate Crafts Award-Mad
Hatters Teaparty-
Judge: Reg Preston
Judge : Bert Flugelman
John Teschendorf
Thomas Cockram
Functional teapot
Mark Thompson
Fantasy teapot-
Gosford Shire 7th Annual Art Exhibition--See reviews page
Bathurst Ceramic Award
Hunters Hill Annual Art Exhibition
Open Ceramic Section
1st Prize: Janet Mansfield
Highly Commended: Gillian Dodds, Peter Wilson
Sculpture: Weody Ericksoo
Nov. 1975
March 1976
Sept. 1975
NEWS
THE WESTERN AUSTRALIAN ARTS COUNCIL in association with the City of Fremantle
and the Fremaotle Arts Centre has established a new programme called Arts Access. This
programme will take pottery workshops to country areas. Enquiries to I Finoerty Street,
Fremantle.
A guest tutor at Fremantle Arts Centre for the summer school was Bill Samuel who
conducted the master class.
Jean Robins, recently returned from tour of China, Europe and Morocco, is now
resident tutor at the Fremantle Arts Centre. The rich variety of Moroccan handcrafts and
visits to the colourful old pottery districts in Fez Marrakesh and Safi was a rewarding
highlight of the tour.
Bryan Newman as guest of the Craft Association conducted a stimulating workshop at
the premises of the Perth Potters' Club in October. The workshop was for 12 potters of
wbich 4 places were reserved for country people.
Victor Greenaway has been invited to teacb the residential craft scbool organised by
the W.A. Institute of Technology at Muresk Agricultural College in May. Other potters
invited to demonstrate are Sandra Black, Joan Campbell, Mick Kusnick and Jean Robins.
W.A. Institute of Tecbnology are planning a ceramics, textiles and jewellery workshop
to take place at Kalgoorlie Scbool of Mines in October.
Mick Kusnick at W.A.I.T. bas been evaluating clay and minerals from the Fitzroy
Crossing area with a view to establishing an aboriginal pottery.
Sandra Black who finishes ber year as resident graduate at W.A.l.T. in June will be
having an exhibition at tbe Collectors Gallery in March.
BEAUMARIS ART GROUP. The new extensIon, which the Pottery Section of the Group will
move into is well in progress. Tbe newly acquired pug-mill makes life somewhat easier. This
term the Group are fortunate to have Judy Lorraine as a tutor. A Raku workshop is being
planned for the near fULUre. The lOtb Annual Open Exbibition will be beld at tbe Clive
Parry Galleries, Beaumaris, in August. It is by invitation only. The Group hold many other
classes in Arts and Crafts. EnqtJ.iries are always welcome. BAG Studio, Reserve Road,
Beaurnaris 3193 . Telepbone: 99.4917, Mon.-Fri., 10 a.m.-I p.m.
VICTORIAN CERAMIC GROUP. At the Annual Meeting in November the following
executive was elected for 1976: Fresident, Kay Rose; Vice-President, Brian More; Secretary,
Kirill Maganov; Treasurer, Geoff Boag, and Committee. The Group concluded a very busy
and succe.ssful year with an illustrated lecture by Tele Triggs on "New Crafts in Old Places"
(in Ameflca), the "Yellow earth of North China and its Relationship to Ceramics of the
Area", by Lorna Grover, and a panel dilcussion and selection of members' slides. The
p~ogralT!me of country workshops cO!'tinued and the last city workshop w~s a weekend for
Kiln . bUlldlOg. A great deal of planrung bas already been accomplished th,s year. The first
meetmg was a panel discussion night, tbe subject: "What is the future and place in today's
75

society for the Studio Potter?" The panel, H. R. Hugban, Reg Preston, Ian Sprague, Peter
Laycock and Elsa Arden agreed that while there has neve.r l,>e~n a better public acceptance
of pottery the potier's work must be a labour of love--

TAMWORTH ART AND CRAFT SOCIETY's workshop, equipped with 4 wheels, electric
kilo, silk screen materials, leather work tools, art equipment, macrame twines a!,~ ropes! is
used regularly. We have jllst held a weekend for advanced pott 7 rs tutored by GII,han 9r, .gg·
Seven of our members attended Harry Davis' workshop m Armldale. A members exh,h,t,on
was held in February with guest speaker Rosemary Sinclaire talking on Art and Craft in
the community. The Society's collection is now on display at the Tamworth Art Gallery.
Our postal address is P.O. Box 641 , Tamworth 2340.
NEWCASTLE CERAMIC GROUP exhibited for the first time at the Newcastle A.H. & L.
Association Show. An exhibition will be held at our workshop on 24th-25th April. We are
looking forward to schools later in the year to be tutored by Hildegarde Anstice, Janet
Mansfield aod a New Zealand potter. Our Anoual Review will be held on 24th-25th-26th
of September, in the Foyer of The Great Hall at the University of Newcastle. This is not
just a sale but a review of the Group's achievements and standards we wish to maintain.
57 Bull Street, Cooks Hill.
The PORT HACKING POTTERS' GROUP will conduct regular workshops for members this
year. These will include Soft Slab Building with Beryl Barton, Bead and Jewellery Making
with Betty Davies, and demonstrations and lectures with John Turvey and Bill Samuels.
Our 15th ANNUAL COMPETITION will be held at Grace Bros., Broadway, from 5th to
13th August. For entry forms write to Box 71 , P.O., Miranda 2228, or phone M. Ogle
522-8335.
The Sutherland Shire Council will be opening their new Civic Centre at Sutherland in
June. The Group have been asked to organise a Pottery Exhibition in conjunction with other
crafts for one week. Anyone interested in exhibiting their crafts should contact Betty
Davies, 528-6444.
Meetings are held regularly on the first Wednesday night of each month at the Cronulla
School of Arts, Surf Road, Cronulla. Visitors are welcome. Telephone M. Ogle, 522-8335.
The Craft Association have asked the Group to exhihit their work at the Craft Association
rooms, 50 Burton Street, Darlinghurst, in September for three weeks. Secretary:
S. Mortson, P.O. Box 71 , Miranda.
SIX: Summer Art Programme 1976, Skidmore College, Saratoga Springs, New York, June 28-
August 6. Introductory, intermediate and advanced courses are offered in: painting, drawing,
sculpture. photography, film making. ceramics, jewellery and weaving. Scholarships availahle.
Write or call: Regis Brodie, Director, SIX: Summer Art Programme, 1976, Skidmore College,
Saratoga Springs, New York 12866. 518-584-5000, ext. 373.
JANET KOVESI writes from London, "I have been baunting Primavera in Cambridge and
the C.P.A. sbop in London wbere I saw an enchanting exhibition nf work by new members .
. . . Ian Godfrey sbowed salt glazed models of kitchen dressers, kilns, potters' wheels, pianos,
beds, and little landscapes with silhouetted trees, clouds and rainbows . . . a tiny picnic
tray in the foreground and a house or church in the distance . . . sometimes cut from
slabs or thrown cylinders. One had a little ship tossing in waves made like partly unfurled
swiss-roll slices."
BETTY BEAVER'S new gallery is a large area of 1100 square feet at 9 Investigator Street,
Red Hill, Canberra. Glass gives plenty of natural light, and good lighting has been instaUed
for the dull days and evenings. There is on display a wide selection of craftwork from
Australia and overseas. Betty would like to hear from any craftsmen who would like to have
their work in Canberra, either in the general display or for exhibition.
DOUG ALEXANDER is establishing a pottery at the Cuppucumbalong Art and Craft
Centre near Lanyon, Canberra (proprietors Karen Beaver and Henry O'Cleary) . Doug, who
will be the first craftsman-in-residence at Cuppacumhalong was one of the Delegation of
Potters who visited China in 1975.
CYNTHIA MITCHELL, Tasmanian potter,
who visited China with the Australian Potters'
Delegation, sent the photograph of
Chinese type pots she has heen making
since her return. She says the stetmer is a
great success and she uses it often. "No
water in the food to start, but it cooks rice
beautjfully and it's great for any casserole
meals because none of the flavour can
escape. The wine /lask is based on the
shape of a prehistoric one from the Nanking
Museum,"
CYNTHIA MITCHELL'S "Chinese"-style
covered tea-cups, steamers and wine-carafes
77

WALLY SCHWAB has been appointed by the South Australian Craft Authority as Master
Craftsman to manage the pottery workshop at the Jam Factory. Wally has a masters' degree
in ceramics from Alfred University, New York, where he studied with Daniel Rhodes and
Val Cushing. He is expected to take up his appointment this year in May.
KEI!H OGILVIE has been commissioned and has now placed six large flower pots in the
FestIval Theatre Restaurant. The pots are the same basic form with diameters about 56 cm
and varying heights up to 84 em. They vary in proportion and are covered with a dolomite
glaze and overglazed with feldspathic glazes.
A "DAY FOR MUGS" is on again at Aldgate Crafts, S.A. It's their ninth annual event,
from July 4-18. Twelve S.A. potters make hundreds. of mugs, goblets, tumblers, drinking
vessels of all shapes and SIzeS for sale. At the opening the purchasers get their mugs kept
filled with hot mulled wine.
ANNE MERCER made this set of cannisters.
They won the Bendigo Prize for 1975
for the best set of utilitarian pieces. Alan
Watt, Victoria, won tbe award for the best
single piece. Peter Rushforth was chairman
of the judging panel. Both potters are emplayed
as lecturers in ceramic design, Anne
at O'Halloran Hill D.F.E. and Alan at the
State College of Frankston, Victoria. The
Craft Board of the Australia Council commissioned
A nne to make a similar set for
their own collection.
MILTON MOON has resigned from fuB-time lecturing at the Torrens C.A.E. School of Art,
Ceramics Department, and is now working and living in is SUMMERTOWN POTTERY.
It is in the small hiBs town, in the lane at the side of the t Office store, telephone: 30-1927
(Adelaide). He's open Wednesday to Sunday 11.00-5.00, or by appointment. He sells a range
of functional ware from dinner sets to garden seats alld pots. His only assistant is his son
Damon who is carrying the Moon name to the secooo generation. They use an Ana-Gama
(bank kiln) for wood firing and a 2-chamber kiln fired with gas for production work.
Milton's last commission was a fountain for the Adelaide Festival Theatre Complex.
It consists of domes of varying sizes in a round pond with water spouting out into perfect
dome forms that touch each other as tbey fall back into the pond.
PARIS CREEK STUDIO run by potters Dorothy and Eddie Andrews is open to visitors
7 days a week. Phone them first: 388-3224 (Adelaide).
78

MUSWELLBROOK CERAMIC GROUP. Members of the Muswellbrook Ceramic Group
prepared pots for a display at the Far West Local Anists' Exhibition at the end of March.
The next major event will be lbe Annual Pottery Prize in conjunction with tbe Art Prize
Exhibition whicb opens on Saturday, 31st July. It is hoped tbat polters from all over
Australia wili suppon this competition. .
The Ceramic Group is suffering acutely from sbortage of workmg space at the Pot House.
A grant was not forthcoming, and necessary extensions are delayed due to lack of finance.
The fifth BENDIGO POTTERY AWARD, open to professional studio polters by invitation,
has been extended to include potters in the United Kingdom, U.S.A., Canada, Japan and
Europe. The winning exhibitor will receive $AI,500. There are also prizes of $A500 and
$A250 for Highly Commended and Honourable Mention. Among the judges this year are
Alan Watt and Milton Moon. Alan Watt was an Award winner in 1974. The winners will
be announced at the Bendigo Art Gallery on Friday, 16th July. The exhibits will be on
display at the gallery for two weeks. All pieces, except for the Award winners, will be on
sale during the exhibition and 25 % of tbe sale price will be contributed by tbe exhibitor to a
fund set up by the Award Committee to purchase a collection of contemporary ceramics
for the gallery-to be known as the " Bendigo Poltery Ceramic Collection".
CRAFT ASSOCIATION SOUTH AUSTRALIA workshops for ceramics this year include:
Surface enrichment, June 12th-13tb, Alan Wall; Small Clay Objects, May 1st-2nd, Marcia
Del Thomas; Introduction to Funk, November 6tb, Tim Moorhead; Ceramic Sculpture, no
date set, Ron Rowe; Stained Glass Worksbop, March 26th-27th, Fred Hammill.
THE CERAMIC STUDY GROUP continues actively to pursue its aim of furthering study
opportunities for its members. The resid.ential Spring School held at Blackheath in September
1975 was tutored by Kathy McMiles and Greg Nelson. In October of that year a holiday
weekend was devoted to a Primitive Campout on Janet and Colin Mansfield's property at
Mangrove Mountain. At the Annual General Meeting in Novemher, Ted Jones was elected
President, Elizabeth Green, Secretary and Rhonda Smith, Treasurer.
The 1976 programme opened in Fehruary with an Activity Day at the home of Mollie
and Sid Grieve at Pymble with a programme including the creation of a large wall mural
designed by Esme Hopkins, and demonstrations of Japanese calligraphy by Miss Teruko Akita,
porcelain handbuilding by Mavis Scbicbt, ceramic sculpture by Frederick Chepeaux, papermaking
by Marjorie Hall, a combination of techniques for making pols by Rick Ball, and
wheel-throwing by Greg Nelson.
The C.S.G. Study Tour No.4 leaves at the end of April for a tour of Iran, Greece, Crete
and Turkey.
A lively programme is planned for the rest of tbe year, the first activity being a two-day
workshop in mid-April conducted by Hiroe Swen.
The group's monthly meeting is held at the McMahon's Point Community Centre, Blues
Point Road, McMahon's Point, on the fourtb Thursday of each month at 8 p.m. (enquiries
32-2103).
79

pots from Angkor Wot
ond Summertown S.A.
exhibited at
aladdin
specialising in australian and
asian/pacific art and ceramics
exhibitions:
Chinese potlers (Pong, Sung, Ming)
Su khotai & Sawankalak (AD 1200-1450)
Annomese o rt potters (AD 1000·1600)
Khmer (AD 900-1400)
Austra lian (AD 19705: including Shigo, Travis. Moon.
Mansfield and contemporary o rt potters)
tel 358 4493
aladdin gallery
~5 .Ii%o beth boy rd sydney
Potter: Shiga Shlge o - Sto neware iar wit h
iron oxid e d ecoration.
Day and Evening Pottery Clo sses
I ",'ruction in preparation of cloy, slob·bullt pots,
coli pots, wheel work. vorlous glozinR', stocking and
firing.
WORKSHOP
ARTS CENTRE
Rick 8011 95 6540
Renota de lambert 434766
Term 2 M ay 24-Aug ust 14
John Turvey 5298461
Term 3 September 6-November 27, 1976.
Pointing; d rawing; etching; li thography; silk-screen;
woodcuts; sc: ure; creative weaving; creative em.
brOidery; macrame; mosaiC; iewellery.making; gen·
eral deSign· art clas.ses for children and young people.
33 Laurel Street, Willoughby, 2068
Tel. 95-6540. (Enquiries 9 .30-4.301
Holf-term students occepted
80

THE
POITERS'
GALLERY
48-50 BURTON STREET
DARLINGHURST NSW 2010
TELEPHONE: 313151
Open five days a week
-Tuesday to Saturday-
10.30 am to 5.30 pm
Stoneware Earthenware
and Porcelain Pots
by Members of
THE POTTERS' SOCIETY OF AUSTRALIA
GIFT VOUCHERS available for pots or for subscriptions to Pottery in A uslralia
NEW SUB S C RIP T ION Application Form
Pottery in Australia
48 BURTON STREET
DARLlNGHURST NSW 2010
Annual Subscription $A4
(including postage) $US6
$Can6
£Stg.2.50
Two issues per annum
Name (block letters)
Mr.!Mrs.!Miss . . . . . . .
Street . ...... .
Town ...... . .. . . . . State .
Postcode
Subscription to commence wjth Issue No .. . ... . .. . .. .. .. .
(Cbeques, Money Orders and Postal Notes should be made payable to
Pottery 10 Australia. Stamps are not acceptable.)
8 1

RUSSELL COWAN PTY. LTD.
Materials and Equipment for the Craft Potter
Agent and Distributor for
ACME MARLS LTD.
Manufacturers of finest quality High Alumina
KILN BATS
KILN PROPS AND FITTINGS
Available throughout Australia
WOODROW AND PARTNERS PTY. LTD.
Our complete range of kilns
are distributed by Russell Cowan
Pty. Ltd.
For several years we have been
associated with Russell Cowan Pty.
Ltd. through the use of their Acme
Marls kiln furniture for our complete
range of ilns. Kiln owners
requ iri 9 service should still contact
us direct at
2 Waine Street, Harbord, N.S.W., 2096
Phone 93.1220
82

RUSSELL COWAN's
for
RUSSELL COWAN and WALKER CLAYS
GLAZES and FRITS
COLOURS,GOLD,LUSTRES
ACME MARLS KILN FURNITURE
ORTON CONES
WOODROW KILNS
PODMORE and DILLY WHEELS, PUGMILLS and MIXERS
MODELLING TOOLS
BOOKS
all miscellaneous pottery supplies
RUSSELL COWAN PTY. LTD.
128-138 PACIFIC HIGHWAY, WAITARA NSW 2077
Telegrams: Russellcowan Phone 47.0294
83

SHIMPO ELECTRIC POTTERS' WHEEL
(Now manufactured in Australia featuring our larger drip tray with storage capacity)
MODEL RK'2
Price: $473.00 ex Factory
Plus Sales Tax
OPTIONAL EXTRA;-Oetochoble seat with adjustable height.
Price: $24.00
Plus Sal.s Tax
80th seat and drip t(oy available separately
Price of drip troy: $26.00 Plus Sales Tax
Wheel Head speed 0-200 RPM
Clockwise and anti-clockwise rotation
Motor 1 HP 240 VAC
Weight 149 Ibs
This compact wheel utilizes Ring and Cone principle to ensure
smooth and accurate running
Automatic Acceuories Pty. Ltd.
27.29A Hall Str •• t
Hawthorn East, Victoria, 3123
20·7891
Sale. Offices:
VICTORIA
Automatic Accessories Pty. ltd.
27·29 A Ho II Str •• t
Hawthorn East, Victorio. 3123
20·7891
SOUTH AUSTRALIA
Automatic Accessories Pty. ltd.
58-60 King William Street
Adelaide, South Australia, 5000
63·5307
84
N .S.W.
The Potters' Society of Australia
48·50 Burton Street
Ooriinghurst, N.S.W. 2010
31 ·3151
Automatic Accessories Pty. ltd.
27 Grosvenor Street
Neutral 8ay
N.S.W. 2089
9O~502 - 90-4-

---.. ~-----
the handbuiltceramicsof h SYJeI1
JUST PUBLISHED!
THIS 22-PAGE BOOKLET FEATURES
MANY PHOTOGRAPHS OF HIROE SWEN'S
LATEST EXHIBITION PIECES
OBTAINABLE FOR $2 INCL POSTAGE
SEND YOUR CHEQUE TO PO BOX 381
QUEANBEYAN
NSW2620
85

~ narek galleries canberra
Representing Australian Craftsmen Working in:
Pottery Silver Leather G lass
Weavi ng Furniture Batik Pri nts
23 Grey Street
Deakin A.c.r.
Phone: 733374
Karen Beaver
POTTERY SUPPLIES
262 Given Terrace, Paddington, Brisbane, Queensland, 4064
• Clays-Local, Southern and English.
• Wheels-Craig, Fact, Shimpo and Venco.
• Kilns-Ward (Electric),
• Pugmills-Venco and Wengers.
• Glazes-Powdered and Brush-on,
Cowan, Cesco, Blythe, Ferro and Wengers.
• Minerals, tools, kiln furniture, bungs, taps etc.
China blanks and colours.
Distributor for-RUSSELL COWAN, WENGERS LTD. FACT WHEELS
Agent for-ALEXANDER, BLYTHE, CESCO, CHINACRAFT
Phone: 363633
laburnum gallery
for
quality australian halTdcraft
ceramics
copper
graphics
jewellery
pewter
weaving
woodcraft
workshop
86
9a salisbury avenue
blackburn, 3130
phone: 8780842

WALKER CERAMICS
BORONIA RD., WANTIRNA, VIC. PHONE 729-4755
S.A. Agent:
All Supplies
The PUG MI LL
74 Henley Beach
Road
Mile End
SA 5031
Tel. : 43 4544
Clay Distributors
See Separate
Page for details
of Interstate
Distributors.
ALL POTTERY SUPPLIES
Clays and Bodies
Twenty three different bodies and casting slips
listed on separate page.
Catalogue on request.
GLAZES - Full range Powder and Paint-on.
FRIT - Blythe, Cesco, Ferro, DeGussa,
Podmore, Leach, Walker.
COLOURS - On Glaze, Under Glaze, In Glaze,
Body Stains: Blythe, Ferro.
DECORATION - Hanovia and Blythe. Matte and
Liquid Bright Golds, Lustres,
Lithographs.
COPPER
ENAMELS - Schauer & Co. - Blythe.
MATERIALS - All Glaze and Body materials.
PUG MILLS - Venco 3 models 100-400 Kg.hr.
WHEELS - Hire or Sale. Venco, Tetlow,
Shimpo, Brent (U.S.A.), Fact
KILNS - Pottery, Stoneware, Enamel,
Gas L.P., Town-Natural Gas.
Manufactured in six sizes.
Also custom built.
Build Your Own Kiln-plans and
all materials supplied.
Gas Equipment and Burners.
Pyrometric Equipment.
Electric Kilns-Tetlow.
Kiln Furniture -
Acme Marl Bats,
Props, Stilts, Saddles, etc.,
Cones-Orton.
SUNDRIES - Tools-Corks-Taps-Tongs-
Kidneys-Seives, etc.
CERAMIC CABINET UNITS, Wedging Tables,
Sink Units. Made to Order or Standard.
BOOKS: Complete range from elementary to
technical.
ADVISORY SERVICE
87

WALKER CERAMICS
BORONIA RD., WANTIRNA, VIC. PHONE 729·4755
N.S.W. Agents:
Russell Cowan
Pty Ltd
128-138 Pacific
Highway Waitara
N.S.W.2077
Tel.: 47 0294
S.A. Agent:
The PUGMILL
74 Henley Beach
Road
Mile End
SA 5031
W.A. Agent:
Meg Sheen
306-308 Hay
Street Subiaco
W.A. 6008
Tel. : 81 8215
Nonporlte (WA)
6 Peel Street
O'Connor
WA 6163
Canberra Agent:
Torrens Pottery
and Craft
Supplies
6 Davies Place
Torrens A.C.T.
Tel.: 434544
The following types of clays and bodies are suitable for
general pottery work.
TERRA COTTA BLENDED CLAYS - Firing temperatures of
900-1060 ' C.
Throwing Terra Cotta. A medium texture plastic clay mixture
containing some fine grog suitable for textured throwing or
hand building.
Hand Building Terra Cotta. A rougher texture plastic clay blend
containing more grog, suitable for hand building or liles.
Fine Throwing Terra Colla. A very plastic smooth blend of
terra cotta clays. A filter pressed body very suitable for
throwing, turning and very fine work. Vitreous at 1060' C.
Fi re from 950-1060' C for varying colour of terra cotta.
Manganese Blended Clay. A medium texture, plastic blend with
a manganese addition. Suitable for throwing or hand-building.
Firing temperature Is 1000' C to a maximum of 1060' C.
The colour will change from a light tan at 1000' C to a
deep chocolate coloured vitreous piece at 1060' C.
POTTERY CLAYS AND EARTHENWARE BODIES.
While Pottery Clay Blend. This is a blend of clays designed
for easy throwing or hand building. It gives a fairly smooth
turned finish and is Ideal for almost every school or pottery
use. Fires to a cream colour from 1050-1100' C. Suggested
biscuit firing temperature of 950 ' C minimum.
While Modelling Clay. This Is a very plastic smooth body made
specifically for sculpture. Ideal firing temperature Is about
1100' C, when it fires to a cream coloured dense body.
Pink Earthenware Body. This Is a commercial body stained
to give a pink colour. It is extremely smooth and Is designed
for easy throwing, modelling or casting. Biscuit or Glost firing
temperature at 1080 ' C and is satisfactory using a low biscuit
temperature of 950' C and a glost temperature of 1080' C.
It will fire to a vitreous body at about 1150' C.
White Earthenware Body. This is a commercial body
designed for jiggering, jolleying or casting. Designed for a
biscuit firing temperature of 1100' C and glost at 1060-
1080' C. Fires to a near white colour with a smooth finish.
NEW VITREOUS POTTERY BODY.
Ironstone. This Is a commercial body stained to a buff
brown colour. It Is extremely smooth and designed for easy
throwing, turning, modelling or casting. Suggested firing
temperature 900-1000' C for biscuit and 1100' C for glosl.
This will give a vitreous light brown coloured body.
Raku. A reddish firing body for this special application.
This body can be fired at the usual Raku temperatures, but Is
also a good stoneware hand building clay at 1300' C.
Stoneware Clay. and Bodl •. Primarily for throwing but can
be used for fine hand building. ALL BODIES ARE
INTERMIXABLE AND WILL FIRE OXIDIZING OR REDUCING .
No. 2 Stoneware Body. This is a buff grained body
designed for throwing or hand building with reasonable
texture. It has proved 10 be a most popular clay mix. Firing
temp. 1300-1350' C under oxidizing or reducing conditions.
88

WALKER CERAMICS
BORONIA RD., WANTIRNA, VIC. PHONE 729-4755
No. SA Stoneware Body. A cream body with ample tooth for
throwing and hand building. It is still smooth enough to
give a smooth fine lip for beakers, etc. Fire to 1300' C.
No. 5B Stoneware Body. An exceptionally good clay for the
largest exhibition pots by hand building or throwing. It has
high green strength and no drying problems. Firing
temperature 1300' C reducing or oxidizing to a grained buff
grey colour.
No. 6 Stoneware Body. A very rich dark brown flecked body
at 1280·1300' C. Very good for partial glazed ware. It throws
very easily with plenty of tooth and grain. A maximum of
30 minutes reduction at 1290-1300' C (Cone 10) Is all the
body needs.
No. 7 Stoneware Body. A very plastic, smooth, strong
throwing body, at 1260-1300' C. Fires to a grey colour with
dark specks. Under reduction a warm walnut brown with flecks.
No. 8 Stoneware. A grey white with a buff grain coloured body
with excellent throwing qualities. Has more tooth than No. 7,
fires 1280-1300' C to a smooth surface. Under reducing
conditions is a much darker buff grained grey colour.
No. 9 Stoneware. A superb throwing body firing to a rich
red brown colour under reducing conditions, or a deep
grained red buff under oxidizing conditions at 1280-1300' C
maximum.
No. 10 Stoneware. A white porcelain at 1280-1290' C. It Is
completely vitreous. As a body It Is very smooth and suitable
for any sized work when a white body will assist good
glaze colour development. Easy to throw.
No. 12 Stoneware. A good throwing body especially
compounded to fire at 1240-1260' C, making it possible In
the common electric kilns. The colour is a sandy brown and
the body is vitreous.
Hand Building Stoneware. Mixture very suitable for
hand building huge pots or tiles. II is still qulle plastic enough
to throw, If you can stand the roughness, to the biggest pot
you wish for. II does give an interesting iron blebbed buff
brown surface, which Is quite rough, when fired to
1250-1280' C. it is very much used and enjoyed.
Dark Hand Building Stoneware. Same properties as the
cream hand building stoneware but stained with a small
percentage of manganese to fire to a deep chocolate
brown colour.
White Hand Building Stoneware. Fires to just off-white
colour. Excellent for glaze colours and does not develop
any specki ng.
CASTING SLIPS.
1. White Earthenware Body.
2. White Stoneware Body - for rapid casting - fires to 1280' C
. to a completely vitreous piece.
These are Similar to the previous descriptions but have
been slightly changed in composition for rapid casting.
89

B!xthe COLOURS (AUSTRALIA) PTY. LT .
With international reputation for quality, now offer the best
in Australian and imported-
GLAZES-STAINS-FRITS- COPPER ENAMELS
ON-GLAZE COLOURS-UNDERGLAZES, RAW MATERIALS, MEDIA
AND BRUSH-ON GLAZES
Available only through the following agencies:
QUEENSLAND CANBERRA SOUTH AUSTRALIA
Pottery Supplies Torrens Pottery Gilberton Gallery
262 Given Terrace Supplies 2-4 Walkerville Terrace
PADDINGTON, 4064 6 Davies Place GILBERTON, 5081
TORRENS, 2607
Sparex-Australia
The Pugmill
430 Ross River Road VICTORIA 74 Henley Beach Road
TOWNSVILLE, 4810 Deans Artcraft Pty. Ltd. MILE END, 5031
368 Lonsdale Street
MELBOURNE, 3000
NEW SOUTH WALES
Pacific Ceramic Diamond Ceramic WESTERN AUSTRALIA
Supplies Supplies Carrolls Pty. Ltd.
24 Norman Street SO-52 Geddes ~treel 566 Hay Street
PEAKHURST, 2210 MULGRAVE, 3170 PERTH, 6000
Durham Ceramics
' Handcraft Supply
45 Du rham Street
Ply. Ltd. BALLARAT, 3350 TASMANIA
33 Brighton Avenue
Walker Ceramics
Tasmanian Craft Tools
CROYDON PARK, 2133
Boronia Road
66 Brisbane Street
• Copper Enamels only WANTIRNA, 3152 LAUNCESTON, 7250
LEACH POTTER'S WHEEL
Made in Australia by arrangement with the Leach Pottery,
St. Ives, Cornwall, U.K.
The Wheel made by Craftsmen for the discriminating Potter.
Timber construction -
Clear Flat Lacquer Finish
Epoxy tray 4V2 ins. deep
10 inch dia. C.1. head
Adjustable leg action
Also Motor Wheels
from
J. H. WILSON
68a Christian Road
Punchbowl, N.S.W. 2196
Phone 750-8369
90

pon RS EQUIPMENT
by DOALL
THE "DOALL" ELECTRIC
POTTERS' WHEEL
This sit-down model - foot operated
cone drive variable speed (0/200
r.p.m.) - with 12" diameter throwing
plate - full length (high impact) Plastic
Tray - Rust resistant cablnet­
ON/OFF water proof switch - 240V
V. hp motor with plug and lead for
normal household power point.
Stand up models and Kick Wheels also available.
THE "DOALL" STUDIO
MODEL ELECTRIC POTTERS'
KILN
A top-loading Kiln with a capacity of 60 Ibs.
Inside measurements 15" x 15" x 18" deep - The
lid can be raised to accommodate tall
pots - Temperature range to 1280' C on either
single or two phase power.
Sturdy metal frame with heat resistant
cladding - Best quality K23 bricks with
Kanthal Wire elements, drawing 4.8 KW.
Drying rack on lid - Weight 135 Kg.
" School" model as supplied to ald.
Education Dept, also available.
THE "DOALL" L.P. GAS
POTTERS' KILN
A top-loading kiln with a capacity of 4.8 cubic
It-Inside measurements 19Yz " x 19112" X 21"
(approx). Best quality K23 bricks and
insulation - Economical single jet air controlled
" Venturi" burner, uses only 20 lb. to 30 Ibs.
gas per firing.
Temperature range to 1300' C - The lid
can be raised to accommodate tall pots­
Drying rack on lid, weighing only 155 Kg.
(Portable).
6 cubic It and 8 cubic It models available
on request.
Enquiries to Manufacturer - Ooall Service Pty Ltd,
12-14 Nile Street, Woolloongabba, Qld, 4102 Phone 391 4467
Russell Cowan Pty Ltd, 128·138 P cific Highway, Waitara, N.S.W. 2007
Phone 47 0294
91

Ceramic Art Supp ies
THORNGATE BUILDING
57 PULTENEY STREET, ADELAIDE
Telephone 2233284
INCORPORATING : THORNGATE POTTERY SCHOOL
THE THORNGATE GALLERY
Specialists in supplies of material and equipment
for
CRAFT POTTERY
HOBBY CERAMICS
COPPER ENAMELLING
AUSTRALIAN DISTRIBUTOR for
Thomas C. Thompson-Enamels USA * Wengers-Clay and Glazes UK *
Duncan Ceramic Products - Low Fire Glazes. Underglazes. Stains and
Casting Moulds USA * Kemper-Tools for Potters USA * Westwood
Ceramics-Clays USA * Cerami Corner-Ceramic Transfers USA.
WARD EQUIPMENT
92
NEW
Ceramic Art Supplies
introduces
HARRISON MAYER
HAVING BEEN APPOINTED AS ONE OF THEIR DISTRIBUTORS IN
AUSTRALIA. WE HAVE PLEASURE IN OFFERING A NEW RANGE OF
CLAYS
FRITTS
GLAZES * ACCESSORIES
FULL RANGE OF STAFFORDSHIRE CONES
CATALOGUES AVAILABLE UPON REQUEST
Country and Interstate Orders welcomed
Wholesale Enqu; es accepted

THE KRAUS POTTER'S WHEELS
ELECTRIC WHEEL
KICK WHEEL
• Y. h.p. resilient mounted motor
for quiet an d smooth operation.
• Variable speed; powerlul drive at
all speeds. Speed locks at any
sett ing.
• All steel construction , finished
with Hammertone baked enamel.
• One piece libreglass slip tray.
• Cast iron Wheel head, 9Y2" diam.
machined true and grooved.
• 22" high, 19" wide, 40" long
weight 120 Ibs.
• Self-aligning lully-sealed bat/­
races
• Maintenance Iree.
• Adjustable seat for height.
• Cast iron Wheel Head, 9Y2" diam.
machined true and grooved.
• Fly Wheel weighs 80 Ibs. well
balanced.
• 29" high, 30" wide, 34" long.
• Total weight 140 Ibs.
• A comlortable wheel , suitable lor
lall and low pieces.
• NOW with moulded one-piece
f:breglass slip-tray.
Manufactured by:
BUZZA PRODUCTS
80 HOTHAM PARADE, ARTARMON, NSW 2064.
PHONE: 43-3806 BUS.
42-1 928 PRIVATE
93

BENDIGO POTTERY
prepared clays
STONEWARE - EARTHEN OVENPROOF
- WHITE EARTHENWARE
(packed in 28 Ib (approx.) plastic bagged blocks)
Write or phone for prompt assistance with prices,
technical details, transport arrangements.
We despatch Australia wide.
We invite you to visit Australia's Oldest Pottery
Workshop to experience the craft being carried
out much as it was during the late 1800's.
BENDIGO POTTERY P.O. BOX 666 EPSOM VIC 3551. (SlD 054 484404)
94
159-3191
AUSTRALIAN MADE
tor the Australian Ceramic Industry
CESCO
•
STAINS
CASTING SLIPS
GLAZES
EARTHENWARE BODIES
ENGOBES STONEWARE BODIES
• TURNTABLES RAW MATERIALS
• FRITS
TERRA COTIA BODIES
• CONES
KILN FURNITURE
• UNDERGLAZES ONGLAZE COLOURS
•
CESCO "FLOW-RITE" BRUSH-ON GLAZES & OXIDES
Cadmium Red - Orange - Yellaw 980°C - lO60° C
POTIERS' WHEELS, PUGMILLS & KILNS
CERAMIC SUPPLY COMPANY
61 I.AKIMIA STRUT, IILMORI
N.S.W., 2191
7'''1:144

BEAVER GALLERIES
CANBERRA
Devoted exclusively to display and appreciation
of craftwork
Ph (062) 95 9803
Director: BETTY BEAVER
Hours: Wednesday - Sunday
10.30 am - 5 pm.
9 INVESTIGATOR STREET
RED HILL ACT 2603
BATIK
GLASS
POTTERY
WEAVING
SILVER
LEATHER
Craftsmen interested in exhibiting in Canberra contact Betty Beaver
THE TALISMAN PORTABLE
ELECTRIC POTTERS WHEEL
Manufactured in New Zealand by The Talisman Potters Supplies Co. Ltd.
P.O. Box 36087 Northcote, Auc~land 9 N.Z.
SPECIFICATIONS
* Y4hp split phase balanced
motor.
* Ring-cone principal.
* Variable speed 10 rpm to
200+ rpm .
* Dual foot control.
* Throwing load 12 kg.
* 10" aluminium wheel head.
* Weight approx 30 kg.
• Low maintenance.
* Detachable fibreglass
bowl, wheelhead, pedals
and feet.
AUSTRALIAN AGENT
Potters' Society of Australia
48 Burton Street
Darlinghurst 2010
Phone 313151

ELECTRIC POTTERY KILNS
BIG KILNS
MEDIUM KILNS
LITTLE KI LNS
STONEWARE FIRING SOLID FUEL REDUCTION
AUTOMATIC OR MANUAL CONTROL
HILLDAV INDUSTRIES
9 Vanessa Avenue, Baulkham Hills, NSW, 2153 Phone 639-2547
8 Orana Crescent, Peakhurst, NSW, 2210 Phone 53-6606
THE POTTER'S WHEEL
Neutral Bay
GALLERY
Pots and Ceramics by leading craftsmen
SCHOOL
Day and evening classes: all levels
MATERIALS
Clay, tools, glazes, wheels, brushes
Films and slides for hire
Agents for: Fulham Pottery (London)
Richard Brooks 5 Special Classes at The Potter's Wheel. 5 Weeks of
Specialised Classes between June 5th and July 3rd will be held for
12 Advanced Students who have or intend to set up a small Workshop.
The Programme will include Workshop Production and Techniques
with emphasis placed on the Design of Domestic Ware. Also included
will be tool making and a limited amount of hand-building, with
the final week being spent on Decoration and Glazing.
Fee: $55.00 for 5 weeks 12.00 to 5.00 p.m.
Dates: Sats. June 5th, 12th, 19th, 26th, and July 3rd.
Applications to
The Potters' Wheel Pty. Ltd. 27A Grosvenor St. Neutral Bay
NSW 2089. Tel: 9093583
96

et
POTTERS EQUIPMENT
14 PITT STREET RINGWOOD 3134
VICTORIA AUSTRALIA 729 2857 870 7533
Distributors of ROBERT BRENT Corp. Pottery
Equipment
POTTERY WHEELS-Electronic controlled.
Cone free. V3 HP $339; V2 HP $610,
also 1 HP.
KiCK WHEEL KITS-Motorising attachments
available.
SLAB ROLLERS-Rolls 25 Ibs of clay for
.• hand building.
HAND EXTRUDERS - of handles, tubes,
coils, mouldings, etc.
Catalogue available on request.
Agencies-Walker Ceramics, WANTIRNA, Victoria.
Gilberton Gallery, GILBERTON, South Auotralia.
Interstate agent enquiries welcome.
HI-TEMP KILNS
SALES, REPAIRS and REMOVALS
PUGMILLS, WHEELS
All enquiries to
CERAMIC SUPPLY CO
61 LAKEMBA ST
BELMORE
NEW ZEALAND POTTER
PubUd.ed crt Wemngto" by ,It. Edito,.ial Committee, twice year.y
in August and Decembe,. The yearly subscription ;, $A3.50
and 'he m090zine may b. obtained from
Ne"", Zenland Potte,. P.O . • ox 12162. Wellington North. Nltw Zealand.
97

STANGAS POTTERY KILNS
to suit Professional and Home Potters and Schools.
Specialising in L.P. Gas firing for
flexibility and simplicity of operation.
No installation costs, economical to operate.
Capable of firing to Stoneware temperatures.
L.P.G. burner kits also available.
Now manufactured under license by
Ashwood Combustion Services
39 Yertchuk Avenue, Ashwood 3141
Telephone (03) 211 3819
DIAMOND CERAMIC SUPPLIES (N.S.Wol PTY. LTD.
for
POTTERS' EQUIPMENT AT THE RIGHT PRICE
ELECTRIC POTTERY WHEELS
LPG GAS KILNS
ELECTRIC KILNS
KICK WHEELS
PUG MILLS
KILN FURNITURE
RAW MATERIALS
CASTING SLIPS
FU RNACE B/ LAYERS FOR HIRE
FIRING ON THE PREMISES
CLAY'
CERAMIC DECALS
BRUSH ON GLAZES
GLAZES & FRITS
KEMPER TOOLS & BRUSHES
PYROMETRIC CONES
BANDING WHEELS
REFRACTORIES
PYROMETRIC EQUIPMENT
GLAZE CALCULATORS
WENGERS' PRODUCTS
DIAMOND-BENDIGO-ENGLISH-AMERICAN
BURN ER & COMBUSTION EQUIPMENT
HIRE OF KICK & ELECTRIC WHEELS
12 BRIDGE STREET, RYDALMERE, N.S.W. 2116
638-3774 - 638-5946
fA DIVISION OF ELLIS FURNAC E & INCINERATOR CO. PlY. LTD,)
DISTRIBUTOR FOR KEMPER PRODUCTS
98

Capacity 6 cwt per
hour % horsepower
single phase motor
with overload
protection. Complete
ready for use.
Price: $995.00 (Aust.
curr.) ex works.
P.O. Box 51-032,
Auckland.
Phone 596-603, New
Zealand.
CODES MARK 4
DE-AIRING
PUG-MILL
GENUINE PUGGOON CLAY
PUGGOON EXTRUDED CLAYS: "Prepared" bodies ready to use in 12.5 kg
plastic sealed packs. Range - red earthenware, buff middlefire, white
stoneware.
PUGGOON MILLED CLAYS: Airfloated to 200 mesh (or as required) in 31 kg
paper packs. Range: 4 clays (2 white, 1 buff, 1 terracotta). Also 1 clay
suitable for kiln furniture etc.
PUGGOON CRUDE CLAYS: Quarried raw clays in 50 kg jute bags or bulk
supplied. Range: 7 clays.
Sample packs of each group available from Gulgong only, $4.50 per pack, post paid.
For brochures, price lists, information, sample pack. or supplies, contact:
The Manager
PUGGOON KAOLIN CO.
P.O. Box 89
Gulgong, N.S.W., 2852
" The town on the $10.00 note"
Telephone (063)
Tallawang 75-9611
The Manager
PUGGOON CERAMICS
P.o. Box 19
Alexandria, N.S.W., 2015
99

"COWLEY"
CONE-DRIVE ELECTRIC POTTER'S WHEEL
Features:
* Speed Range 0-250 r.p.m.
* Clay Capacity - in excess of 10 kg
* Rubber mounted - vibration free
* 10" grooved wheel head
* A.S.S. high impact plastic moulded tray
* V4 h.p. electric motor (overload protected)
* Dimensions 26" long; 20" wide; 25" high
* Weight 28 kg - packed 33 kg
Price $249 Inc. Sales Tax
Available from
TORRENS POTTERY & CRAFT SUPPLIES
53 Col bee Court, Phillip A.C.T.
MATERIALS AND ACCESSORIES
FOR POTTERS AND OTHER
CRAFTSMEN
Phone 822919
• POTTERY
• RUGMAKING
• SPINNING
• WEAVING
• SCREEN PRINTING
• ARTISTS' MATERIALS
• MACRAME
• ENAMELLING
• CHINA PAINTING
• NEEDLEWORK
• LEATHERWORK
• CLASSES & WHEEL HIRE
Torrens Pottery
and Craft Supplies
53 COLBEE COURT, PHILLIP, A.C.T.
BUSINESS HOURS
Mon. to Fri.
9 a.m. - 5.30 p.m.
Saturday
9 a m. -4 p.m.
PRINTED BY EDWARDS'" SHAW PTY LTD 184 SUSSEX STREET SYDNEY NSW2000

•
ACt\- r;/3( /2-