Western Pennsylvania Potters Community

Pro Panel Pedestals

2012-01-11T11:24:00.004-05:00

Pro Panel Pedestals -$400.00
Light Gray or "Moonbeam"
Desk-36 inches high, two shelves
3 Pedestals, 16x16, 36 inches tall
1 Pedestal , 16x16, 30 inches high
1 Pedestal, 16x16, 24 inches high
All in good condition with feet for outdoor use.
Pick up at my studio- Karen Howell Porcelain, Trafford, PA
howellporc@aol.com
www.karenhowell.com for the studio equipment for sale

STUDIO EQUIPMENT SALE

2012-01-07T10:54:00.006-05:00

KAREN HOWELL PORCELAIN
I've reduced some prices and some items are free for pick up. Check the web site for changes. http://www.karenhowell.com

Brent wheel and slab roller still available

2011-12-17T15:12:00.003-05:00

Kiln #1 sold and there are still two available. The wheel and slab roller are still for sale and lots of smaller items.

STUDIO EQUIPMENT SALE

2011-12-13T14:01:00.002-05:00

I've added more listings and prices to the Studio Sale. The studio, FYI, is 17 miles SE of Pittsburgh near Monroeville. Trafford is on Route 130 East. You may need to come and browse to see all that's available.

STUDIO EQUIPMENT SALE

2011-12-07T16:04:00.006-05:00

Karen Howell is closing her ceramic studio and has a partial list of equipment for sale on her web site. http://www.karenhowell.com/eqforsal.html.
The studio is located 17 mile SE of Pittsburgh.

Cone 6 Oxidation Results Group 8

2011-10-17T10:58:00.003-04:00

Cone 6 Oxidation Results Group 8

All of the results below for Cone 6 glazes were achieved with the use of a cooling cycle. See the following link for details on firing and cooling schedule:

Cone 6 Oxidation Results Group 5

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-5.html

Links to Cone 6 Groups 1 - 4 without controlled cooling.

Group 1

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-1.html

Group 2

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-2.html

Group 3

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-3.html

Group 4

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-4.html

Links to Cone 6 Groups 1 - 4 with controlled cooling.

Group 5

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-5.html

Group 6

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-6.html

Group7

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-7.html

152C

152 - Turquoise Matt Cone 6

Nepheline Syenite 62%

Strontium Carbonate 21%

Silica 8%

OM#4 Ball Clay 7%

Lithium Carbonate 3%

Copper Carbonate 4%

Bentonite 2%

152C over 8 - with controlled cooling.

152 - Turquoise Matt Cone 6

Nepheline Syenite 62%

Strontium Carbonate 21%

Silica 8%

OM#4 Ball Clay 7%

Lithium Carbonate 3%

Copper Carbonate 4%

Bentonite 2%

8 - Jen's Juicy Fruit Variation (Red Matte) Cone 6

EPK 10%

Gillespie borate 9%

Nepheline syenite 49%

Flint 12%

Whiting 11%

Lithium carbonate 9%

Soda ash 10%

Titanium dioxide 5%

Black Iron Oxide 6%

152 over 162 - with controlled cooling.

152 - Turquoise Matt Cone 6

Nepheline Syenite 62%

Strontium Carbonate 21%

Silica 8%

OM#4 Ball Clay 7%

Lithium Carbonate 3%

Copper Carbonate 4%

Bentonite 2%

162 - Bailey's Red C/6

Custer Feldspar 42.1%

Flint 12.3%

EPK 13.4%

Talc 10.3%

Bone Ash 13.1%

Lithium Carb 2.6%

Frit 3124 6.2%

Red Iron Oxide 7.3%

Bentonite 0.02

159C - with controlled cooling.

159 - Carmen's Turquoise C/6

Neph Syenite 52.8%

Whiting 1.9%

Strontium Carb 30.2%

EPK 8.5%

Flint 6.6%

Copper Carb 4.3%

Bentonite 3%

159C over 77 - with controlled cooling.

159 - Carmen's Turquoise C/6

Neph Syenite 52.8%

Whiting 1.9%

Strontium Carb 30.2%

EPK 8.5%

Flint 6.6%

Copper Carb 4.3%

Bentonite 3%

77 - Ron Roy Raw Sienna C/6

Frit 3195 23%

Wollastonite 28%

Neph Syenite 4%

EPK 28%

Silica 17%

Rutile 6%

Red Iron Oxide 6%

161C over 43 - with controlled cooling.

161 - Apricot C/6

Custer Spar 44%

Whiting 19.9%

Flint 10.7%

EPK 10.7%

Lithium Carb 5.3%

Talc 3.1%

Frit 3124 6.4%

Rutile 7%

Bentonite 2%

43 - Kaki with Gillespie Borate C/6

Gillespie Borate 27%

Flint 25.3%

Custer Spar 16.9%

Talc 11.8%

EPK 4.2%

Red Iron Oxide 12.8%

Bentonite 2%

161C over 72 - with controlled cooling.

161 - Apricot C/6

Custer Spar 44%

Whiting 19.9%

Flint 10.7%

EPK 10.7%

Lithium Carb 5.3%

Talc 3.1%

Frit 3124 6.4%

Rutile 7%

Bentonite 2%

72 – Ron Roy Waterfall Brown C/6

Frit 3134 33.5%

Frit 3195 26%

OM4 Ball Clay 17%

Silica 23.5%

Red Iron Oxide 12.5%

Rutile .1%

162 C - with controlled cooling.

162 - Bailey's Red C/6

Custer Feldspar 42.1%

Flint 12.3%

EPK 13.4%

Talc 10.3%

Bone Ash 13.1%

Lithium Carb 2.6%

Frit 3124 6.2%

Red Iron Oxide 7.3%

Bentonite 2%

163C - with controlled cooling.

163C -with controlled cooling, thicker application than above.

163 - Red Orange C/6

Minspar 47.7%

Talc 17.2%

Bone Ash 15.3%

Flint 11.6%

EPK 4.1%

Lithium Carb 4.1%

Crocus martis 11.5%

Bentonite 2%

169C -with controlled cooling.

169 - DJ's Perfect Purple Cone 6

Neph Syenite 18%

Frit 3134 14%

Whiting 20%

OM 4 18%

Silica 3%

Chrome Ox .02%

Tin Oxide 7.5%

Cobalt Carb 1%

Red Iron Oxide 5%

169C over 87 - with controlled cooling.

169 - DJ's Perfect Purple Cone 6

Neph Syenite 18%

Frit 3134 14%

Whiting 20%

OM 4 18%

Silica 30%

Chrome Ox .2%

Tin Oxide 7.5%

Cobalt Carb 1%

Red Iron Oxide 5%

87 - Zinc Semimatte/Glossy Base Glaze Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

171C - with controlled cooling.

171 - Lana Purple C/6 Semi-matte

Custer Spar 27.2%

Frit 3134 8.2%

Silica 31.8%

Whiting 11.7%

Neph Sye 14%

Strontium Carb 3.5%

Magnesium Carb 1.6%

Bentonite 2%

Cobalt Carb 0.6%

Tin Oxide 4.8%

Chromium Oxide 0.2%

171C over 87 - with controlled cooling.

171 - Lana Purple C/6 Semi-matte

Custer Spar 27.2%

Frit 3134 8.2%

Silica 31.8%

Whiting 11.7%

Neph Sye 14%

Strontium Carb 3.5%

Magnesium Carb 1.6%

Bentonite 2%

Cobalt Carb 0.6%

Tin Oxide 4.8%

Chromium Oxide 0.2%

87 - Zinc Semimatte/Glossy Base Glaze Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

176C - without controlled cooling.

176 - Pinnell Green Black C/6

Frit 3134 4.3%

Neph Syenite 29.3%

Spodumene 27.2%

Strontium Carb 17.8%

EPK 12%

Silica 8%

Titanium Dioxide 5%

Copper Carb 5%

177C - with controlled cooling.

177C - Bailey's Blue C/6

Minspar 43%

EPK 5%

Silica 21.5%

Zinc Oxide 6%

Whiting 22.5%

Bentonite 2%

Cobalt Oxide 3%

177C over 87 - with controlled cooling.

177C - Bailey's Blue C/6

Minspar 43%

EPK 5%

Silica 21.5%

Zinc Oxide 6%

Whiting 22.5%

Bentonite 2%

Cobalt Oxide 3%

87 - Zinc Semimatte/Glossy Base Glaze Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

Cone 6 Oxidation Results Group 7

2011-10-16T10:30:00.002-04:00

Cone 6 Oxidation Results Group 7

All of the results below for Cone 6 glazes were achieved with the use of a cooling cycle. See the following link for details on firing and cooling schedule:

Cone 6 Oxidation Results Group 5

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-5.html

Links to Cone 6 Groups 1 - 4 without controlled cooling.

Group 1

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-1.html

Group 2

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-2.html

Group 3

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-3.html

Group 4

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-4.html

Link to Cone 6 Group 6 with controlled cooling.

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-6.html

72C with controlled cooling.

72 - Ron Roy Waterfall Brown C/6

Frit 3134 33.5%

Frit 3195 26%

OM4 Ball Clay 17%

Silica 23.5%

Red Iron Oxide 12.5%

Rutile .1%

75C with controlled cooling.

75 – Ron Roy High Calcium Semimatte Base 2 C/6

Frit 3195 23%

Wollastonite 28%

Neph Syenite 4%

EPK 28%

Silica 17%

Copper Carb 5%

Rutile 6%

77C with controlled cooling.

77 – Ron Roy Raw Sienna C/6

Frit 3195 23%

Wollastonite 28%

Neph Syenite 4%

EPK 28%

Silica 17%

Rutile 6%

Red Iron Oxide 6%

77 - without controlled cooling.

78C - with controlled cooling.

78 – Ron Roy Spearmint C/6

Frit 3195 23%

Wollastonite 28%

Neph Syenite 4%

EPK 28%

Silica 17%

Rutile 6%

Copper Carb 4%

87C

87 – Ron Roy Zinc Semimatt Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

87C over 70 - with controlled cooling.

87 – Ron Roy Zinc Semimatt Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

87C over 169 - with controlled cooling.

87 – Ron Roy Zinc Semimatt Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

169 - DJ's Perfect Purple Cone 6

Neph Syenite 18%

Frit 3134 14%

Whiting 20%

OM 4 18%

Silica 30%

Chrome Ox .2%

Tin Oxide 7.5%

Cobalt Carb 1%
Red Iron Oxide 5%

87C over 171 - with controlled cooling.

87 – Ron Roy Zinc Semimatt Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

171 - Lana Purple C/6 Semi-matte

Custer Spar 27.2%

Frit 3134 8.2%

Silica 31.8%

Whiting 11.7%

Neph Sye 14%

Strontium Carb 3,5%

Magnesium Carb 1.6%

Bentonite 2.%

Cobalt Carb .6%

Tin Oxide 4.8%

Chromium Oxide .2%

100C - with controlled cooling.

100 - Bronze Green Matt glaze C/6

Lithium Carb 1%

Strontium Carb 20%

Neph Syenite 60%

Ball Clay 10%

Silica 9%

Titanium Dioxide 5%

Copper carb 5%

118C - with controlled cooling

118 - Transparent - C/6 Yellow

Minspar 37.3%

Bentonite 2%

Dolomite 6.6%

Lithium Carb 3.7%

Whiting 11.8%

Zinc Oxide 4.1%

Silica 34.5%

Yellow Stain Standard's K83 10%

132C - with controlled cooling.

132 - Blue Green Sugar Maples Cone 6

Talc 3.3%

Whiting 14.3%

Frit 3134 13.3%

Minspar 46.2%

EPK 6.4%

Silica 16.5%

Tin Oxide 2.4%

Zinc Oxide 4.4%

Black Copper Ox 1.1%

Bentonite 2%

132C over 71 - with controlled cooling.

132 - Blue Green Sugar Maples Cone 6

Talc 3.3%

Whiting 14.3%

Frit 3134 13.3%

Minspar 46.2%

EPK 6.4%

Silica 16.5%

Tin Oxide 2.4%

Zinc Oxide 4.4%

Black Copper Ox 1.1%

Bentonite 2%

71 – Ron Roy Waxwing Brown C/6

Frit 3134 34.5%

Talc 9.5%

OM4 Ball Clay 25%

Silica 31%

Red Iron Oxide 15%

Titanium Dioxide .15%

132C over 118 - with controlled cooling.

132 - Blue Green Sugar Maples Cone 6

Talc 3.3%

Whiting 14.3%

Frit 3134 13.3%

Minspar 46.2%

EPK 6.4%

Silica 16.5%

Tin Oxide 2.4%

Zinc Oxide 4.4%

Black Copper Ox 1.1%

Bentonite 2%

118 - Transparent - C/6 Yellow

Minspar 37.3%

Bentonite 2%

Dolomite 6.6%

Lithium Carb 3.7%

Whiting 11.8%

Zinc Oxide 4.1%

Silica 34.5%

Yellow Stain Standard's K83 10%

137C - with controlled cooling.

137 - Oribe Green Cone 6 Sugar Maples

Custer Spar 32%

Whiting 24%

Silica 24%

EPK 12%

Zinc Oxide 8%

Copper Carb 5%

Bentonite 2%

138C - with controlled cooling.

138 - Faux Celedon Cone 6 Sugar Maples

Minspar 41%

Silica 19%

Zircopax 12%

Whiting 7%

Dolomite 5%

Zinc Oxide 2%

Kent. #4 Ball Clay 1%

Copper Carb 2.5%

Bentonite 2%

143C - with controlled cooling.

143 - Hansen Clear GA12 Cone 6 Darker Green

Custer Spar 20%

Frit 3134 20%

EPK 20%

Wollastonite 20%

Silica 20%

Copper Carb 4%

Bentonite 2%

143C over 17 - with controlled cooling.

143 - Hansen Clear GA12 Cone 6 Darker Green

Custer Spar 20%

Frit 3134 20%

EPK 20%

Wollastonite 20%

Silica 20%

Copper Carb 4%

Bentonite 2%

17 - Randy's Red C 5/6

Flint 30%

EPK 5%

G200 20%

Talc 15%

Gillespie Borate 30%

Red Iron Oxide 15%

145C - with controlled cooling.

145 - Satin Matt Cone 6 Lt. Green

Neph Syenite 41.8%

Gillespie Borate 10.4%

EPK 12.5%

Whiting 10.4%

Lithium Carb 6.2%

Silica 12.5%

Titanium Dioxide 6.2%

Copper Carb 2%

Bentonite 2%

147C - with controlled cooling.

147 - Satin Matt Cone 6 Rusty Bronze

Neph Syenite 41.8%

Gillespie Borate 10.4%

EPK 12.5%

Whiting 10.4%

Lithium Carb 6.2%

Silica 12.5%

Titanium Dioxide 6.2%

Red Iron Oxide 3%

Cone 6 Oxidation Results Group 6

2011-10-15T04:29:00.005-04:00

Cone 6 Oxidation Results Group 6

All of the results below for Cone 6 glazes were achieved with the use of a cooling cycle. See the following link for details:

Cone 6 Oxidation Results Group 5

http://wpapotters.blogspot.com/2011/10/cone-6-oxidation-results-group-5.html

Links to Cone 6 Groups 1 - 4 without controlled cooling.

Group 1

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-1.html

Group 2

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-2.html

Group 3

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-3.html

Group 4

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-4.html

33C

33 - Blue Green/Copper Red Cone 6

Talc 3.3%

Whiting 14.29%

Frit 3134 13.33%

Kona F-4 Feldspar 46.16%

EPK 6.4%

Flint 16.52%

Tin Oxide 2.24%

Zinc Oxide 4.3%

Black Copper Oxide 1.07%

33C over 87

33 - Blue Green/Copper Red Cone 6

Talc 3.3%

Whiting 14.29%

Frit 3134 13.33%

Kona F-4 Feldspar 46.16%

EPK 6.4%

Flint 16.52%

Tin Oxide 2.24%

Zinc Oxide 4.3%

Black Copper Oxide 1.07%

87 - Zinc Semi-matte/Glossy Base Glaze Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

38C

38 - Nutmeg C/6

Dolomite 23.3%

Spodumene 23.3%

Frit 3134 6.8%

Ball Clay OM4 23.3%

Flint 23.3%

Red Iron Oxide 1.07%

Yellow Ochre 3.24%

Tin Oxide 4.85%

Bentonite 2%

43C

43 - Kaki with Gillespie Borate C/6

Gillespie Borate 27%

Flint 25.3%

Custer Spar 16.9%

Talc 11.8%

EPK 4.2%

Red Iron Oxide 12.8%

Bentonite 2%

46C

46 - Woo Yellow C/6

Nepheline Syenite 35.64%

Strontium Carbonate 20.06%

Zircopax 16.16%

Dolomite 12.95%

Silica 7.59%

EPK 7.59%

Red Iron Oxide 3%

Bentonite 4%

Epsom Salts 1%

56C over 84

56 - Bee's Green C/6

Gillespie Borate 40.3%

Strontium Carb 0.2%

Talc 9.9%

Zinc Oxide 0.1%

Custer Spar 20.1%

EPK 10.6%

Silica 18.8%

Tin Oxide 2%

Copper Carb 2%

Cobalt Oxide 0.8%

Red Copper Oxide 2%

Rutile 4.8%

84 - Glossy Base 1 C/6 Light Stormy Blue

G-200 Feldspar 20%

Frit 3134 20%

Wollastonite 10%

EPK 20%

Talc 11.5%

Silica 18.5%

Cobalt Carbonate 1.%

Rutile 4.5%

70C

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

70C over 12

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

12 - Jen's Juicy Fruit Variation Whiting C/6

EPK 9%

Gillespie borate 10%

Nepheline syenite 50%

Flint 7%

Wollastonite 15%

Lithium carbonate 9%

Soda ash 10%

Titanium dioxide 5%

Black iron oxide 6%

70C over 56

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

56 - Bee's Green C/6

Gillespie Borate 40.3%

Strontium Carb 0.2%

Talc 9.9%

Zinc Oxide 0.1%

Custer Spar 20.1%

EPK 10.6%

Silica 18.8%

Tin Oxide 2%

Copper Carb 2%

Cobalt Oxide 0.8%

Red Copper Oxide 2%

Rutile 4.8%

70C over 87

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

87 - Zinc Semi-matte/Glossy Base Glaze Sea Green C/6

Neph Syenite 36%

Wollastonite 13%

Zinc Oxide 10%

EPK 10%

Silica 31%

Cobalt Carbonate 1%

Rutile 6%

70C over 121

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

121 - Transparent C/6 Almost Black

Potash Spar 44%

EPK 6%

Bentonite 2%

Lithium Carb 4%

Whiting 14%

Zinc Oxide 5%

Silica 24%

Black Iron Oxide 12%

70C over 132

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

132 - Blue Green Sugar Maples Cone 6

Talc 3.3%

Whiting 14.3%

Frit 3134 13.3%

Minspar 46.2%

EPK 6.4%

Silica 16.5%

Tin Oxide 2.4%

Zinc Oxide 4.4%

Black Copper Ox 1.1%

Bentonite 2%

70C over 159

70 - Raspberry C/6

Whiting 20%

Neph Syenite 18%

Frit 3134 14%

Om-4 Ball Clay 18%

Silica 30%

Green Chrome Ox .02%

Tin Oxide 7.5%

159 - Carmen's Turquoise C/6

Neph Syenite 52.8%

Whiting 1.9%

Strontium Carb 30.2%

EPK 8.5%

Flint 6.6%

Copper Carb 4.3%

Bentonite 3%

Cone 6 Oxidation Results Group 5

2011-10-14T13:29:00.005-04:00

Cone 6 Oxidation Results Group 5

Thus far I have batched over 120+ different glazes in 300 gram batches, the formulas for which have been found from publicly available sources. After firing these tests in an electric kiln to Cone 6, I have photographed each and am making them available to potters with the accompanying formulas.

One difference with this Group 5 is that I have introduced a cooling cycle to the firing. The cycle is as follows and the firing is accompanied by a Cone 6 witness cone. After 12 consecutive firings, the witness cones are identical from firing to firing.

The firing cycle:

Rate	Temp	Hold Time
rA1= 360	F1 = 900	0
rA2= 300	F2 = 1800	0
rA3 =200	F3 = 2016	0
rA4 = 108	F4 = 2197	0.3
rA5 = Full	F5 =1800	0
rA6 =150	F6 = 1300	0
rA7 = 0000

To summarize, I fire at a rate of 360/hr to 900 degrees F, then at 300 degrees/ hr to 1800 degrees F, 200 degrees/hr until 2016 degrees F is reached, then 108 degrees/hour to 2197 at which time I hold it at that temperature for 30 minutes.

The kiln is shut off until a temperature of 1800 degrees F is reached and then turned on to slow the rate of cooling to 150 degrees/hr until 1300 degrees F is reached. At this point the kiln is turned off and cools naturally.

I use a Vulcan kiln controller attached to a Paragon QA11 test kiln. The combination of new elements in the Paragon and new thermocouple and controller has produced consistent heat work from one firing to the next.

Links to Cone 6 Groups 1 - 4 without controlled cooling.

Group 1

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-1.html

Group 2

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-2.html

Group 3

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-3.html

Group 4

http://wpapotters.blogspot.com/2010/11/cone-6-oxidation-results-group-4.html

Group 5 results with controlled cooling.

1C (C denotes controlled cooling)

#1 Jen's Juicy Fruit Variation (Red Matte) C/6

EPK 10%

Gillespie borate 9%

Nepheline syenite 49%

Flint 12%

Whiting 11%

Lithium carbonate 9%

Soda ash 10%

Titanium dioxide 5%

Red iron oxide 10%

#2 - Jen's Juicy Fruit Variation 2 (Red Matte) C/6

EPK 10%

Gillespie borate 9%

Nepheline syenite 49%

Flint 12%

Whiting 11%

Lithium carbonate 9%

Standard Ceramic's #487 Red Stain 10%

Soda ash 10%

Titanium dioxide 5%

#2 normal cooling same formula

3 - Pete's Tomato Red #3 C/6

Kona F-4 (Minspar) 33.7%

Frit 3134 9.8%

Bone ash 10.7%

Whiting 3.8%

Magnesium carb 5.9%

EPK 12.5%

Flint 23.7%

Bentonite 2%

Red iron oxide 8%

4 - Tomato Red #13 C/6

Frit 3134 10.8%

Nepheline syenite 23.1%

Bone ash 10%

Magnesium carb 6.2%

Whiting 7.7%

EPK 21%

Flint 21.2%

Bentonite 2%

Red Iron Oxide 10%

#4 without cooling cycle.

5C with cooling cycle

5 - Tomato Red #13 Pumpkin Orange C/6

Frit 3134 10.8%

Nepheline syenite 23.1%

Bone ash 10%

Magnesium carb 6.2%

Whiting 7.7%

EPK 21%

Flint 21.2%

Bentonite 2%

Red Iron Oxide 10%

Rutile 2%

#5 without cooling cycle.

6C with cooling cycle.

6 - Tomato Red #13 with spodumene C/6

Frit 3134 11%

Spodumene 11.2%

Bone ash 7.9%

Magnesium carb 6.3%

Whiting 7.9%

EPK 21.6%

Flint 21.7%

Neph Syenite 11,8%

Bentonite 2%

Red Iron Oxide 10%

6 - without cooling cycle.

8C - with cooling cycle.

8 - Jen's Juicy Fruit Variation (Red Matte) Cone 6

EPK 10%

Gillespie borate 9%

Nepheline syenite 49%

Flint 12%

Whiting 11%

Lithium carbonate 9%

Soda ash 10%

Titanium dioxide 5%

Black Iron Oxide 6%

8 - without cooling cycle.

12C - with cooling cycle.

12 - Jen's Juicy Fruit Variation Whiting C/6

EPK 9%

Gillespie borate 10%

Nepheline syenite 50%

Flint 7%

Wollastonite 15%

Lithium carbonate 9%

Soda ash 10%

Titanium dioxide 5%

Black iron oxide 6%

12 - without cooling cycle.

18C - with cooling cycle.

18 - Jade Green C 5/6

G200 38.1%

Barium Carbonate 19%

EPK 9.6%

Flint 9.5%

Gillespie Borate 9.5%

Zinc Oxide 9.4%

Copper Carbonate 4.9%

18 - without cooling cycle.

Potters Tour in Western Pennsylvania Oct. 15-16

2011-09-30T07:46:00.000-04:00

http://potterstour.com/index.htm

Nine potters' studios will be open for viewing, demonstrating, and selling Saturday and Sunday, October 15 and 16th. Go to the link above for complete information.

This is a wonderful way to spend a Fall weekend day going from studio to studio which are generally 15 to 20 minutes apart. Meet some interesting artisans and see and buy some outstanding work.

List of the Smithsonian Artist Interviews Awaiting Transcription

2011-09-27T10:56:00.000-04:00

List of the Smithsonian Artist Interviews Awaiting Transcription or on Microfilm

Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America

Link to Smithsonian’s Oral History Interviews

http://www.aaa.si.edu/collections/interviews

No live links.

Bennett Bean

Scheduled for transcription.

Paulus Berensohn

Scheduled for transcription.

Don Reitz

Scheduled for transcription.

Edward Eberle

Scheduled for transcription.

Rudolf Staffel

Interview not posted.

Tashiko Takaezu

Interview not posted.

Ken Price

Interview not posted.

Henry Varnum Poor

Transcript: Patrons must use microfilm copy.

Tony Marsh

Scheduled for transcription.

Laura Anderson

Transcript: use requires an appointment.

Charles Fergus Binns

Microfilm reels 3606 through 3611 available at Archives of American Art offices and through interlibrary loan.

Harding Black

Microfilm reels 2245 & 2250 available for use through interlibrary loan.

Aaron Bohrod

Microfilm reels 1794-1797 available at Archives of American Art offices and through interlibrary loan.

Anne Currier

Scheduled for transcription.

Ruth Duckworth

Interview not posted.

Edris Eckhardt

Interview not posted.

John Glick

Interview not posted.

Wayne Higby

Tapes. Use requires an appointment.

Annelies Ruth Kahn

Microfilm roll 2889 available at Museum of Fine Arts, Houstonand through interlibrary loan.

Luman Pierre Kelsey

Microfilm reel D23 available for use at Archives of American Art offices and through interlibrary loan.

Richard Mower – did a series of video taped workshops of potters. Part of the “Making it in Clay” series done at Montgomery College from 1978 to 1981.

Unmicrofilmed: use requires an appointment.

Otto Natzler

Transcript: Use requires an appointment.

Richard Notkin

Scheduled for transcription.

Antonio Prieto

Use requires an appointment.

Viktor Schreckengost

Microfilm reel 1078 available at Archives of American Art offices and through interlibrary loan.

Evaline C. Sellors

Microfilm reels 2080-2081 available for use through interlibrary loan.

Ken Shores

Scheduled for transcription.

Mary Chase Stratton

Microfilm reels 593, 1010 & 1021 available for use at Archives of American Art offices and through interlibrary loan.

Akio Takamori

Scheduled for transcription.

Frans Wildenhain

Untranscribed; use requires an appointment.

Marguerite Wildenhain

Untranscribed; use requires an appointment.

Betty Woodman

Scheduled for transcription.

Links to the Smithsonian Artist Interviews

2011-09-25T22:53:00.001-04:00

Links to the Smithsonian Artist Interviews

Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America

Link to Smithsonian’s Complete Oral History Interviews

http://www.aaa.si.edu/collections/interviews

I have posted below the links to completed transcripts and also a photo of each artisan's work. In a separate posting I will list other potters/ceramic artists who have been interviewed but not yet transcribed. Those will be added in the future when the Smithsonian makes them available.

Potters/Ceramic Artists

Robert Arenson

http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-arneson-11807

Rudy Autio

http://www.aaa.si.edu/collections/interviews/oral-history-interview-rudy-autio-11713

Ralph Bacerra

http://www.aaa.si.edu/collections/interviews/oral-history-interview-ralph-bacerra-12942

Cynthia Bringle

http://www.aaa.si.edu/collections/interviews/oral-history-interview-cynthia-bringle-12710

Fong Chow

http://www.aaa.si.edu/collections/interviews/oral-history-interview-fong-chow-12375

Val Cushing

http://www.aaa.si.edu/collections/interviews/oral-history-interview-val-cushing-12255

William Daley

http://www.aaa.si.edu/collections/interviews/oral-history-interview-william-p-daley-11897

Eddie Dominguez

http://www.aaa.si.edu/collections/interviews/oral-history-interview-eddie-dominguez-13566

Michael and Magdalena Suarez Frimkess

http://www.aaa.si.edu/collections/interviews/oral-history-interview-michael-and-magdalena-suarez-frimkess-13128

Otto and Vivika Heino

http://www.aaa.si.edu/collections/interviews/oral-history-interview-otto-and-vivika-heino-13053

Jun Kaneko

http://www.aaa.si.edu/collections/interviews/oral-history-interview-jun-kaneko-12628

Karen Karnes

http://www.aaa.si.edu/collections/interviews/oral-history-interview-karen-karnes-12096

Marilyn Levine

http://www.aaa.si.edu/collections/interviews/oral-history-interview-marilyn-levine-12144

Warren MacKenzie

http://www.aaa.si.edu/collections/interviews/oral-history-interview-warren-mackenzie-12417

John Mason

http://www.aaa.si.edu/collections/interviews/oral-history-interview-john-mason-13582

Nan McKinnell

http://www.aaa.si.edu/collections/interviews/oral-history-interview-nan-mckinnell-12178

Jim Melchert

http://www.aaa.si.edu/collections/interviews/oral-history-interview-james-melchert-11926

Ron Nagle

http://www.aaa.si.edu/collections/interviews/oral-history-interview-ron-nagle-13019

Susan Peterson

http://www.aaa.si.edu/collections/interviews/oral-history-interview-susan-peterson-12242

Frances Senska

http://www.aaa.si.edu/collections/interviews/oral-history-interview-frances-senska-13078

Dave Shaner

http://www.aaa.si.edu/collections/interviews/oral-history-interview-david-shaner-13277

Peter Shire

http://www.aaa.si.edu/collections/interviews/oral-history-interview-peter-shire-13651

Paul Soldner

http://www.aaa.si.edu/collections/interviews/oral-history-interview-paul-soldner-12457

Robert Sperry

http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-sperry-13172

Robert Turner

http://www.aaa.si.edu/collections/interviews/oral-history-interview-robert-turner-12010

Patti Warashina

http://www.aaa.si.edu/collections/interviews/oral-history-interview-patti-warashina-12864

Kurt Weiser

http://www.aaa.si.edu/collections/interviews/oral-history-interview-kurt-weiser-13585

Beatrice Wood Interview age 83

http://www.aaa.si.edu/collections/interviews/oral-history-interview-beatrice-wood-12423

Beatrice Wood Interview age 99

http://www.aaa.si.edu/collections/interviews/oral-history-interview-beatrice-wood-11853

Open Studio Sale, Robyn's Nest Pottery

2011-06-08T07:55:00.005-04:00

Open Studio Sale Robyn's Nest Pottery

June 11 & 12, 10-5pm
404 Limestone Court Plum, Pa

Map

Come visit the studio of Karen Mckee with guest potter Christy Culp

Porcelain and Majolica pottery for everyone!

Local potters tour Japan in January

2011-02-18T16:55:00.008-05:00

In January, several Pennsylvania potters were part of a two week tour of some of Japan. Holly Van Dine and Dennis Bergevin joined a group of sociology and ceramics students which was organized at Washington and Jefferson College.

Harada Shuroku, respected Bizen potter.

Japantrac, a tour firm from State College, organized and expertly led the trip for W & J College ceramics and sociology students. (A few local ceramists also went along.)

Japantrac has led Japan tours for the New York Museum of Modern Art, the Guggenheim Museum and The Japan Society and many others. Their guides provide a depth of cross-cultural understanding and a view of Japan tailored to the interests of the travelers.

On this trip, the group stayed in several Japanese-style hotels featuring tatami floors and guest kimonos and Japanese baths. Ceramics visitors went to the Robert Yellin gallery in Mishima and made a trip to Bizen with Yellin as a guide.

Robert Yellin

Robert Yellin is a leading interpreter of contemporary Japanese ceramics and runs a gallery, the Robert Yellin Yakimono Gallery in Mishima (and also available online).

http://www.japanesepottery.com/index.php

His blog: http://www.e-yakimono.blogspot.com/

Pottery from the Yellin Gallery by

Uetake Satoshi

Pottery from the Yellin Gallery by

Tim Rowan of the US.

Pottery from the Yellin Gallery.

Pottery from the Yellin Gallery by

Takeuchi Shingo.

Pottery from the Yellin Gallery.

Shigaraki Jar by Furutani Kazuya.

Pottery from the Yellin Gallery by
Takeuchi Shingo.

Pottery from the Yellin Gallery. Ono Kotaro, white porcelain tea cups.

Bizen is considered Japan’s most popular unglazed pottery, made continuously for over 1000 years. The clay comes from local rice paddies (high iron content) or local mountains (low iron content) and is wood fired for long periods, anywhere from 10 days to three months, since the clay will crack if the kiln temperature rises too fast.

Japanese refer to keshiki, or the landscape of the work. Keshiki are different effects caused by the positioning of the pot in the fire flow and fly ash.

Four of these effects are called: yohen, or highly prized firing mutations; goma, a sesame seed tone from the ash; hidasuki, a fire cord pattern; and sangiri, a charcoal tone.

Bizen pottery.

Robert Yellin offered us this Sixth century BC poem as very much in the spirit of Zen and a yakishime (woodfire) pot:

Pots are made out of clay

But the hollow space in them makes the essence of the pot

And the essence comes from an intangible something

In the spirit of the potter

Which he is able to blend into all his knowledge of the throwing,

The glazing, and the firing

So that every piece from his hand is as much his own signature and his heartbeat

Only then will the pot be good, that is, alive

And the more highly developed a potter is as a human being, the better his pot

For there is no real beauty without character.

Most potters love food so Holly has provided us with a visual sampling.

The Reverend's noodles.

Eel Dinner.

Baby Sardine Dinner.

Prawn Dinner.

At the Sushi-go-round. Holly and Dennis on left.

At the Sushi-go-round.

Dressing up for dinner.

From the Noodle Shop.

Japanese Bakery.

Yogi Dennis.

Calligrapher.

Dennis meets the wall.

Holly's room at the Buddhist Complex.

For more information on future tours, you can reach Japantrac at Jonathan Phillippi

admin@japantrac.com

John Britt video of making a pho bowl.

2011-02-18T12:33:00.000-05:00

John Britt video of making a pho bowl. John is the blog master of the NC Clay Club blog at:

www.ncclayclub.blogspot.com

John Britt video of making a v-shaped bowl.

2011-02-18T11:06:00.000-05:00

John Britt shows how to make a v-shaped bowl.

John is the blog master for the NC Clay Club blog

http://ncclayclub.blogspot.com/

John Britt video of making a pour over coffee funnel.

2011-02-18T10:58:00.000-05:00

John shows how to make a pour over coffee funnel.

John is the blog master for the NC Clay Club.

http://ncclayclub.blogspot.com/

John Britt video of throwing tumblers.

2011-02-18T10:53:00.000-05:00

John Britt, potter who does the NC Clay Club blog, demonstrates throwing a tumbler in a unique way.

http://ncclayclub.blogspot.com/

This is a 10 minute video showing Alex adding a coil at a demo he did for the Clay Club in Western NC. Recorded on February 16, 2011 using a Flip Video camera.

2011-02-18T10:34:00.002-05:00

Alex Matisse showing how to add coils to throw a larger pot. Courtesy of Alex Matisse and John Britt of the NC Clay Club Blog.

http://ncclayclub.blogspot.com/

Studio Rental Space - BrickPitt Ceramic Studio

2011-02-18T10:19:00.001-05:00

Studio Rental Space - BrickPitt Ceramic Studio

Heather Connolly in her studio.

http://www.brickpittceramicstudio.com

Heather has established a clay studio in the Penn Hills section of Pittsburgh and is offering rental space to potters, along with classes and open studio time.

To discuss rental, contact Heather at:
brickpittstudio@gmail.com
or call

412-727-1329

Studio is located at

102 Purity Road. Pittsburgh, Pa. 15235

Heather has a group of potter's wheels, kiln, shelving, ect.

BrickPitt Ceramic Studio is outfitted with two large work tables, a large wedging table and glaze table as well as built-in shelving for ample storage space and 24 hour access for renters.

Future plans include acquiring a slab roller, extruder, spray booth and additional electric kiln.

Additional information is at the website:
http://www.brickpittceramicstudio.com

If you are a potter in the area, make yourself known to her.

Welcome and good luck.

For sale - recrystallized silicon carbide shelves

2011-02-15T17:49:00.000-05:00

Jerry Wagner has for sale 150 recrystallized silicon carbide shelves that measure 19" x 22" x 5/8" thick and weigh approximately 6 lbs. each. Jerry is asking $150.00 each.

These are brand new shelves and are excellent for reduction firing. One note of caution: In cooling, starting at 500 degrees Centigrade, they need a cooling rate of 25 degrees per half hour to prevent cracking.

You can contact Jerry on his cell at 724 317-9105.

Steven Hill Glaze Workshop - Results

2011-01-29T16:22:00.027-05:00

Steven Hill Glaze Workshop - Results from workshop held at Standard Ceramic on November 19-21, 2010 "Throwing, Spraying, and Electric Firing".

A three day workshop sponsored by Standard Ceramic was conducted at Standard's facility in Carnegie, PA. The first day was devoted to throwing demonstrations by Steven and the pieces produced were force-dried to make them ready for single firing in electric kilns

Throwing demo.

Throwing small porcelain cup.

More throwing.

Drying rim of bowl.

Adding spout to pitcher.

Adding handle.

Participants ready for spraying demo. Standard constructed one spray booth for each glaze.

Standard also provided an effective exhaust system.

Samples of suggested glaze combinations. Steven supplied most of the glazes but some participants brought their own. These were Cone 6 glazes.

Steven demonstrating his glaze spraying techniques onto his greenware pitcher.

Notice the use of safety mask.

Receiving advice.

Participants at work.

Waiting in masked silence.

Participants moved from station to station, selecting their own glaze combinations.

More glazing.

Participants' ware cooling on the last day.

Pots in a different kiln.

A third kiln. Believe there were four kilns in all.

Participant result.

Another finished pot. Participants brought three bisque pieces each.

Feedback from participants was that they were pleased with the results, especially with glazes and techniques that many had not used before.

Learning the properties of each glaze and the thickness to apply and in what order requires attention to detail and note-taking.

Showing a number of glaze combinations.

Bisque tiles were used under the pots to protect the shelves from runny glazes.

That green glaze sure did run.

More participants' work.

Many thanks to Steven Hill for conducting the workshop and sharing these techniques. Also, much credit to Standard Ceramic Inc. and its employees for all the preparations required for a successful workshop. Finally, thanks to Linda Dujmic, Carla Flati, and Lisa Sittig for photos and descriptive information.

www.stevenhillpottery.com

www.standardceramic.com

Questions answered by Linda Dujmic, workshop participant.

What you learned by watching him throw? I learned his throwing style. Everyone throws differently and has their own little tricks and he wanted to show us how he achieved the effects he wanted.

What was his purpose in having you sit and watch him throw? I don’t really know. I guess to give us an idea of where he was coming from.

Was the throwing so he could generate work for spraying and that was his primary purpose? I think he wanted to share his style with us and to generate some greenware pots to demonstrate his spraying techniques.

In general, could you describe his theory for layering glazes? To get the effects of a gas firing.

Why this one over another? This is the way he liked the glazes. He only gave us suggestions. We were free to experiment with different glaze layering and most of us did do this. One person even used their own glazes instead of his.

Did he say that he tested the glazes in various combinations to see the results and that anyone replicating that would have to do the same? I don’t remember his saying this but obviously, anyone would have to experiment with different combinations of whatever glaze they used to get something that they personally liked.

When Steven was spraying, what tips did he provide for better results? He explained how to use the spray guns and add more glaze.

What was your experience in spraying? It wasn’t difficult.

How did you measure thickness? It was a problem to estimate the amount of glaze needed. You have to have a feel for when there is enough glaze on a piece and this only comes with experience. Since we were inexperienced, we tended to get more glaze on a piece than we needed and a lot of glaze ran during the firing. You can’t expect great results the first time, especially in a workshop environment.

If you had the equipment in you studio, how much would the workshop be helpful in actually doing it or would you say that you now know that it could be done but you would need to invest considerable time in learning what glaze combinations to use? The workshop was helpful in that I was able to try a new glaze technique and as with all glaze application. It would take some time to get comfortable enough with it to get the results that I personally wanted. I consider the workshop a stepping stone that I can use to generate new ideas for my own style and technique.

Insurance for Artists/Craftspeople - Fractured Atlas

2011-01-29T09:53:00.001-05:00

Insurance for Artists/Craftspeople - Fractured Atlas

www.fracturedatlas.org

When I was searching for liability insurance, I found that it was expensive. Then I found Fractured Atlas.

Fractured Atlas is a non-profit organization that supports the arts and creative industries. Through its combined purchasing power, Fractured Atlas provides its members with high-quality coverage for much lower rates than would otherwise be possible.

For insurance, you will pay an initial fee to Fractured Atlas and then pay the insurance carrier yearly. I found it to be the most affordable solution available.

Fractured Atlas provides artists with health, liability, property, and casualty insurance via relationships with top insurance companies at very good rates. The also assist with fiscal sponsorship, international artist visas, on-line business courses, and other discounts and services.

You can get more information via their website:
www.fractruedatlas.org

or by calling 1-888-692-7878 and ask for Emily Gray. If you get voice mail, leave a message and number. Usually, you will get a call back within a day.

The Greater Pittsburgh Arts Council is also a member, and they may be able to also provide you with information.

http://www.pittsburghartscouncil.org/

Dek Ingraham
1-412 391-2060 ext. 234

Christy Culp's Show

2011-01-26T12:44:00.001-05:00

Some of Christy Culp's teapots.

Christy Culp is a potter who teaches ceramics at Deer Lakes High School outside of Pittsburgh. Full of energy and enthusiasm, Christy maintains a blog at

www.2pearspottery.blogspot.com

Christy has a show at the Boulevard Gallery in Verona with an artist's reception on February 5th from 5:00 to 8:00 PM.

Directions to Gallery:

From Pittsburgh take Butler Street to Allegheny River Blvd (11 miles). Others use MapQuest or Google Maps.

Samples of Christy's work below.

Square Plates.

Teapot

Mugs

Profile: Karen Howell

2011-01-10T12:48:00.003-05:00

Profile: Karen Howell

http://www.karenhowell.com

Fredasaurus

This was a commission that Karen did as a tribute to Fred Rogers. In fact, there are similarities in personalities of Fred and Karen: both projected a strong gentleness that was backed by a seriousness of purpose that was/is maintained over a lifetime.

Karen earned an undergraduate degree in art education at IUP during the seventies and taught in public school in the early part of her adult life. She also went on to earn an MFA in ceramics from IUP. Upon being laid off during a cutback at her school district, Karen set up a studio in Trafford, PA and has been an independent ceramic artist since then.

While proficient at throwing porcelain, Karen has evolved into a tile artist and draws heavily on her drawing skills and understanding of ceramics to develop her unique look.

Fireplace commission in progress. (Apologize for the poor photo.)

Molds on shelving.

More molds - Karen has literally hundreds of molds produced over the years.

Bisque with mold.

Originals are produced on moist slab rolled tiles. Karen utilizes her considerable drawing skills to incise lines in the moist clay which helps control the flow of the glaze when molten.

Molds are filled via a slip casting process. Karen buys a dry porcelain mix from Standard Ceramic and blunges it in the Slip-O-Matic. She then fills the dispensing unit (square take to the left). About half of the 150 lb. mix in the Slip-O-Matic fills the dispensing unit.

From there Karen uses a pitcher to fill the molds lined up on a nearby table. Poured pieces dry for a day and are then released and trimmed. Slip cast tiles are then placed on a sheet of 5/8" drywall board cut slightly smaller than the wooden ware boards on her drying carts.

Flat slab pieces are slowly dried between two sheets of 5/8" drywall board to prevent warping. She uses a Brent slab roller. She has sold her ram press which was used when her business did a lot of wholesaling. At one point she had four employees now she works alone.

The production side contains three 10 cu ft Crusader Cone 10 kilns, although she fires to Cone 6. The kilns are connected to a Fire Right controller, which has limited ramp and cool-down capabilities but helps in managing the firings.

Over the years, Karen has done a lot of her own building and repair work, crediting her father with helping to build a skill set. He also built a number of pieces of equipment including a potter’s wheel, although she now prefers the Brent wheel.

Cat tile. Notice the mice in the corners. Her drawing skills allow her to bring life to animals she draws (in this case the cat not the mice).

Crow tile. Good example of incised lines controlling the glaze flow.

More crows (notice the eyes).

Bird tile.

Kitchen back splash. While Karen does commissions, most of her sales are single tiles that are sold at art fairs and from her website.

Landscape over fireplace.

Another landscape.

Karen belongs to the Pennsylvania Guild of Craftsmen and sells her work at art fairs in the Northeast US.

Contact Karen Howell at the following: (She's friendly).

Karen Howell Porcelain
PO Box 7
208 Fifth Street
Trafford, PA 15085

By phone:
412.856.8933 (between 10 a.m. and 5 p.m.EST)

Email: Howellporc@aol.com

www.karenhowell.com