Ceramic Industry March 2011

March 2011 | Volume 161 | Issue Number 3 www.ceramicindustry.com

Decal Innovations ³ Color Control ³ Fiber-Based Insulation

Anytime, Anywhere

®

Anchor-Loc 3 insulating fiber

modules keep your project on schedule with consistent, reliable performance anywhere in the world. ®

Anchor-Loc 3 insulating fiber modules are specifically designed and manufactured for the global market, providing a winning combination of performance, reliability and consistency you can count on anywhere in the world. This new generation ® Insulating Fiber Modules of Anchor-Loc modules is designed to meet a wide range of application requirements in a variety of heat processing vessels. They provide continuous S-folded blanket construction for improved thermal performance in high temperature applications and are available in various fiber chemistries, temperature grades and densities to meet the most demanding requirements. Anchor-Loc 3 modules offer:

Consistent design & quality assurance Anchor-Loc 3 module design features construction from a continuous fold of spun blanket, stainless steel alloy hardware and center mount attachment. The design allows for consistent furnace layout, ease of installation and dependable service life. All components meet or exceed established industry standards assuring the same high quality worldwide.

Fast, cost-effective delivery The Unifrax sales team provides design recommendations, engineering layout and product sourcing options, ensuring a costeffective furnace lining solution wherever you’re located in the global market.

Universal specifications

For more information and a list of our worldwide manufacturing locations, visit the Unifrax website, call 716-278-3800 or email [email protected].

Anchor-Loc 3 modules are produced in each of our global manufacturing centers using the same raw material specifications, dimensional tolerances and assembly procedures, providing product uniformity and consistency worldwide.

www.unifrax.com

From slurry to sintering, count on Harrop. Engineered Engineered equipment equipment for for processing processing thin thin film film and and ceramic ceramic tape tape

Carsten Tape Casters

Binder Burnout Ovens

Sintering Kilns

The Carsten line of lab and production models feature automatic slurry control with micro-meter adjustment to within 0.0001” of wet tape thickness. PLC temperature controlled multi-zone infrared and forced air heating, selfaligning belt drive, and enclosed cabinet for cleanliness. Caster lengths from 6 ft. to more than 100 ft.

Carsten forced air conveyor ovens for binder removal from tape cast, pressed or extruded ceramic parts prior to sintering. Stainless steel belt and internals minimize contamination. Work is carried through multiple controlled heating zones. Processing temperatures to 450°C. Weight loss of organics controlled to ±0.3%.

Harrop pusher plate kilns custom engineered for precise firing cycles tailored to specified production volumes. Accurate multi-zone heating and atmosphere control. Unique high-density, highpurity refractory design for thermal efficiency and extended service life. Fully automated product handling system.

Harrop has been helping high-tech ceramic manufacturers for more than 50 years. Learn why we’re the most trusted name in the industry. Call 614-231-3621 to discuss your needs.

Fire our imagination www.harropusa.com

³ TABLEOFCONTENTS March 2011 | Volume 161 | Issue Number 3

17

PPP 11

18

DEPARTMENTS

FEATURES

Inside CI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 International Calendar . . . . . . . . . . . . . . . . . 7 Ceramics in the News . . . . . . . . . . . . . . . . . . 8 Ceramic Decorating . . . . . . . . . . . . . . . . . . 10 Glass Works . . . . . . . . . . . . . . . . . . . . . . . . . 11 Product Spotlight: Instant Color Laser Decals . . . . . . . . . . . . 16 What’s New . . . . . . . . . . . . . . . . . . . . . . . . . 20 Buyers’ Connection . . . . . . . . . . . . . . . . . . . 20 Services Marketplace . . . . . . . . . . . . . . . 21 Classified Advertisements . . . . . . . . . . . 29 Advertiser Index . . . . . . . . . . . . . . . . . . . . 30

³Heavy-Metal-Free Options Print and decal suppliers are developing new systems to meet the growing needs of the marketplace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 ³Developing a Multi-Location Color Control System Maintaining color control to a master standard is an especially difficult task for multi-location organizations . . . . . . . . . . . . . . 13

SPECIAL REPORT | GLASS ³Advanced Flat Glass Outlook The U.S. demand for advanced flat glass products is projected to reach $7 billion by 2014 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

SPECIAL REPORT | REFRACTORIES ³High-Temperature Fiber Products Fiber-based insulation products offer superior thermal efficiency for high-temperature kilns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

pottery

³The Perils and Rewards of Glaze Testing . . . . . PPP 4

PRODUCTION PRACTICES

ON THE COVER: Photo courtesy of Kraftware.

Photo courtesy of Jonathan Kaplan.

 Denotes articles with global emphasis

pottery

PRODUCTION PRACTICES

³Using Decorative Engobes . . . . . . . . . . . . . . . . PPP 9 ³Brilliant Possibilities . . . . . . . . . . . . . . . . . . . . PPP 11 ³Green Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . PPP 15 ³Artists Helping Artists . . . . . . . . . . . . . . . . . . PPP 16 ³Building an Online Presence . . . . . . . . . . . . . . PPP 18 ³Supplier Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PPP 20 Ceramic Supplier Directory . . . . . . . . . . . . . . . . . . . . PPP 22

PPP

Sourcebook

Glass Supplier Directory . . . . . . . . . . . . . . . . . . . . . . PPP 24

A Special Section of

³The Washington Square Outdoor Art Exhibit . . PPP 26 001 ppp cover.indd 1

2/10/11 7:09 AM

CERAMIC INDUSTRY (ISSN 0009-0220) is published 12 times annually, monthly, by BNP Media, 2401 W. Big Beaver Rd., Suite 700, Troy, MI 48084-3333. Telephone: (248) 362-3700, Fax: (248) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to nonqualified individuals in the U.S.A.: $178.00 USD. Annual rate for subscriptions to nonqualified individuals in Canada: $216.00 USD (includes GST & postage); all other countries: $228.00 (Int’l mail) payable in U.S. funds. Printed in the U.S.A. Copyright 2011, by BNP Media. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. Periodicals Postage Paid at Troy, MI and at additional mailing offices. POSTMASTER: Send address changes to: CERAMIC INDUSTRY, P.O. Box 2145, Skokie, IL 60076. Canada Post: Publications Mail Agreement #40612608. GST account: 131263923. Send returns (Canada) to Pitney Bowes, P.O. Box 25542, London, ON, N6C 6B2. Change of address: Send old address label along with new address to CERAMIC INDUSTRY, P.O. Box 2145, Skokie, IL 60076. For single copies or back issues: contact Ann Kalb at (248) 244-6499 or [email protected].

CERAMIC INDUSTRY ³ March 2011

5

³ INSIDECI by Susan Sutton | Editor-in-Chief, Integrated Media

Dressing It Up I’m dog-sitting my brother’s American Bulldog over the next few days. Homer (guess who’s a huge fan of The Simpsons?) has a face that almost defies description. He’s a mammoth-headed, dour-faced,

®

www.ceramicindustry.com 6075 B Glick Road • Powell, OH 43065 614-789-1880 (p)

EDITORIAL / PRODUCTION STAFF Amy Vallance, Publisher 281-550-5855 (p) • 248-283-6543 (f) • [email protected] Susan Sutton, Editor-in-Chief, Integrated Media 330-336-4098 (p) • 248-502-2033 (f ) • [email protected] Teresa McPherson, Managing Editor 734-332-0541 (p) • 248-502-2102 (f) • [email protected]

snub-nosed, 85-lb drool factory. He manages to look effortlessly mis-

Kelsey Seidler, Associate Editor 614-789-1881 (p) • 248-502-2051 (f) • [email protected]

erable and imposing in equal measure.

Cory Emery, Art Director 248-391-2325 (p) • 248-502-2077 (f ) • [email protected]

As we’re working on this, our decorating-themed issue, it occurred to me that no amount of decoration could dress Homer up. Even squeaky clean and drool-free, he’s never going to be a pretty boy. (On the other hand, he’s also an absolute sweetheart, which more than makes up for his aesthetic limitations.) Likewise, a plain, unadorned bowl or blank glass isn’t generally much to look at. Luck-

Karen Talan, Production Manager 248-244-6246 (p) • 248-244-3924 (f ) • [email protected] Ralph Ruark, Senior Technical Editor Charles Semler; Sandra Spence; Joe Cattaneo; George Muha Contributing Editors

SALES STAFF

ily, today’s manufacturers have plenty of decorating options to choose from in order to

Patrick Connolly • Europe/Asia 44-1702-477341 (p) • 44-1702-477559 (f ) • [email protected]

make their products more attractive to consumers, and we’re covering several in this issue.

Amy Vallance • U.S., Canada, Latin America 281-550-5855 (p) • 248-283-6543 (f) • [email protected]

Be sure to check out the Table of Contents on p. 5.

Pottery Production Practices We’re also including the PPP Sourcebook as a special section in this issue. Articles discuss glaze testing, the use of engobes, developing an online presence and more. In addition, the Supplier Index details contact information for companies that sell into the pottery and art glass markets. The accompanying Ceramic Supplier Directory and Glass Supplier Directory include additional information regarding each supplier’s product offerings in an easyto-read chart format.*

Ginny Reisinger, Sales Associate 614-760-4220 (p) • 248-502-1055 (f ) • [email protected] Peg Van Winkle, Reprint Sales 614-760-4222 (p) • 248-283-6530 (f) • [email protected] Robert Liska, Postal List Rental Manager 800-223-2194, ext. 726 (p) • [email protected] Shawn Kingston, E-mail List Rental Account Manager 800-409-4443, ext. 828 (p) • [email protected]

AUDIENCE DEVELOPMENT Jill Buchowski • Audience Development Manager Kelly Carlson • Multimedia Specialist Carolyn M. Alexander • Audience Audit Coordinator For subscription information or service, please contact Customer Service at: Tel. 847-763-9534 • Fax 847-763-9538 • e-mail [email protected]

EDITORIAL ADVISORY BOARD

INSIDE LOOK Take an Inside Look at upcoming industry events. This month, we feature Deco 11 and Coverings.

DIGITAL EDITION CI’s digital editions are easy to read, search and download. This month’s digital edition is sponsored by Mason Color Works.

… and www.PotteryProductionPractices.com

Surinder Maheshwary, Director, Quality Assurance/Process Improvement, Dal-Tile International; William Babik, Technical Sales Manager, Nabertherm Inc.; Charles Semler, Ph.D., Refractories Consultant, Semler Materials Services; Gary Childress, General Manager, Orton Ceramic Foundation; Matthew Centa, Technical Support Manager - Ceramics & Glass, Rio Tinto Minerals; James E. Houseman, Ph.D., President, Harrop Industries, Inc.

CORPORATE HEADQUARTERS 2401 W. Big Beaver Rd., Suite 700 • Troy, MI 48084-3333 248-362-3700 (p) • 248-362-0317 (f )

PPP SOURCEBOOK The online version of the PPP Sourcebook is searchable by product or company, and includes extras such as hotlinks, spec sheets, and videos for select suppliers.*

ONLINE EXTRA: THE ELEMENT OF CONTROL Potters can take a number of steps to improve their profit margin in a difficult economy.

NCECA PREVIEW The National Council on Education for the Ceramic Arts (NCECA) will hold its annual conference March 30-April 2 in Tampa/St. Petersburg, Fla.

*Supplier listings indicate paid advertising. Contact Ginny Reisinger at [email protected] for pricing.

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March 2011 ³ WWW.CERAMICINDUSTRY.COM

CORPORATE DIRECTORS Timothy A. Fausch • Publishing John R. Schrei • Publishing Rita M. Foumia • Corporate Strategy Ariane Claire • Marketing Vince M. Miconi • Production Emily Patten • Conferences & Events Lisa L. Paulus • Finance Michael T. Powell • Creative Nikki Smith • Directories Beth A. Surowiec • Clear Seas Research Marlene J. Witthoft • Human Resources

BNP Media Helps People Succeed in Business with Superior Information



³INTERNATIONALCALENDAR March 8-10 Bulk Solids Handling Course ³ Houston, Texas, www.asme.org/education * March 13-18 Pittcon 2011 ³ Atlanta, Ga., www.pittcon.org

Lower costs and improve your Ceramic Glaze and Body Formulations with

March 14-16 Conference on Injection Molding of Metals, Ceramics, and Carbides ³ Orlando, Fla., www.mimaweb.org/mim2011 * March 14-17 Coverings ³ Las Vegas, Nev., www.coverings.com March 15-17 6th Indian Ceramics Materials and Technology Exhibition ³ Ahmedabad, Gujarat, India, www.indian-ceramics.com * March 17-20 DECO ’11 Seminar and Conference ³ Pittsburgh, Pa., www.sgcd.org * March 23-24 St. Louis Section 47th Annual Symposium ³ St. Louis, Mo., http://ceramics.org/dates-deadlines/ st-louis-sectionrcd-47th-annual-symposium * March 30 - April 2 NCECA 2011 ³ Tampa/St. Petersburg, Fla., www.nceca.net April 4-8 2011 Industrial Combustion Seminars ³ Lebanon, Pa., www.hauckburner.com April 5-7 AeroDef Manufacturing ³ Anaheim, Calif., http://aerodef.sme.org April 18-20 4th Annual Tactical Vehicles Summit ³ Alexandria, Va., www.TacticalVehiclesSummit.com May 2-4 INTERTECH 2011 ³ Chicago, Ill., www.intertechconference.com

In Natural and Frit Glaze Suspensions: • Acti-Gel®208 greatly improves adhesive strength by >80% which helps to reduce surface defects and glaze chipping from handling and shipping. • Acti-Gel®208 eliminates other mineral thickeners and reduces cellulose ethers in glaze formulations. • Acti-Gel®208 should be used without Phosphates Dispersants such as SHMP or STPP which chelate excess ions thereby de-activating Acti-Gel®208. • By using Acti-Gel®208 to reduce Cellulose Ethers and eliminate Phosphate Dispersants, the negative effects of Sodium are greatly

reduced, allowing for increased adhesion strengths and reduced surface defects. • Acti-Gel®208 allows the glaze to dry rapidly without cracking. • Acti-Gel®208 is added directly to the mill for ease of dispersion and for ease of glaze removal from ball mill. • Acti-Gel®208 based glazes are highly stable and can sit, without settling or hardpacking, for >30 days. • Acti-Gel®208 works efficiently in Suspensions from 25% to 80% solids. • Acti-Gel®208 contains no sulphates

In Ceramic Body Formulations:

May 9-11 Construction, Corrosion & Infrastructure Conference ³ Las Vegas, Nev., http://www.goeshow.com/acma/CCI/ ereg497293.cfm?clear

• Acti-Gel®208 is an excellent flow aid, binder and reinforcing agent in extrusion and dry press applications.

May 10-12 Pneumatic Conveying Course ³ Houston, Texas, www.asme.org/education

May 18-20 Spray Finishing Technology Workshop ³ Toledo, Ohio, www.owens.edu/workforce_cs/spray2011brochure.pdf

• Lowers Formulation Costs! • Increases adhesion strength! • Dewaters Rapidly! • Allows more efficient use and faster batch addition times. • Excellent Anti-Settling and Anti-Sag properties. • Low yield point of gel structures allows for quick, easy flow under shear conditions.

May 18-21 PowderMet 2011 ³ Chicago, Ill., www.mpif.org

For more information and a FREE sample, visit our web site at www.activeminerals.com or call 410-825-2920.

May 17 NESHAP Subpart HHHHHH “6H” training program ³ Toledo, Ohio, www.owens.edu/workforce_cs/spray2011flier.pdf

Acti-Gel®208 features and benefits: • Ultra fine particle size gives excellent performance in spray and curtain coating applications. • Reduces extrusion pressures and improves forming and green strength. • Very low free crystalline silica (less than 1%), Grit Free. • Low free Moisture: Typical is 5%-8% FM.

JUNE 6-9 ArmorCon ³ Vienna, Va., www.ArmorConExpo.com JUNE 28-July 1 European Fuel Cell Forum ³ Lucerne, Switzerland, www.efcf.com

ActiveMinerals I N T E R N AT I O N A L , L LC

* Look for Ceramic Industry magazine at these events! For a more detailed listing, visit our website at www.ceramicindustry.com.

6 NORTH PARK DR, SUITE 105, HUNT VALLEY, MD 21030

CERAMIC INDUSTRY ³ March 2011

7

³ INTHENEWS CoorsTek Completes Saint-Gobain Advanced Ceramics Acquisition

The name you know and trust for over 160 years continues to expand its product line to bring you the finest in ceramic colorants. We offer over 90 different colors for temperatures between 1800ºF and 2350ºF. Contact us for details. Still the same great quality at the lowest possible prices.

Visit our website at: www.masoncolor.com

CoorsTek Inc. recently announced the completion of its purchase of the advanced ceramics business of Saint-Gobain. Augmenting an already expansive market presence, CoorsTek now owns and operates 44 facilities on four continents. With the acquisition, CoorsTek adds six manufacturing facilities in Europe; four in the U.S.; and one each in Canada, Mexico, and Brazil; as well as distribution and sales offices in Japan, China, Taiwan, and Singapore. Product lines and materials added include silicon carbide for use in semiconductor processing equipment; proprietary silicon carbide ceramic blends used in hot surface ignition systems; silicon nitride used to make extremely durable bearings; mullite used in molten metal filtration; steatite for electrical appliance markets; and specialty ceramics for custom, critical-duty applications. For further details, visit www.coorstek.com or www.saintgobain.com.

Kyocera Expands Solar Module Production Capacity

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Kyocera Corp. has announced it is increasing its solar module production capacity with the start of construction of its second plant in Kadan, Czech Republic, and the completion of an expanded assembly plant in Tianjin, China. 10:05:39 AM Kyocera recently started construction of its second solar module assembly plant in the Czech Republic. The new facility is set to be completed this fall and will have an annual capacity of 360 12/16/09 3:40:10 PM megawatts (MW), combining with the existing Czech plant for a total of 560 MW per year—the largest solar module assembly site in the Kyocera Group. For additional details, visit http://global.kyocera.com.

NSG Re-Commissions Vietnam Float Line The NSG Group has announced the re-commissioning of its VGI float line at the My Xuan facility in southern Vietnam. This follows work to convert the line to produce coated glass for use in photovoltaic applications. The line will manufacture the NSG Group’s NSG TEC solar energy products for export to Asia and elsewhere. The furnace startup is planned for this month. The VGI line was initially opened in 2008 to produce clear float glass for the domestic market in the southern part of Vietnam. Float production ceased in 2009, and the project for the solar energy coating line was launched last January. The re-opening of the VGI float line has created 400 new jobs; training of the new employees is already under way. For more information, visit www.nsggroup.net.

Buhler Completes Draiswerke Acquistion The Buhler Technology Group announced it completed its acquisition of Draiswerke Inc. at the end of 2010. Draiswerke, which generated sales of approximately $5 million last year, will be integrated in the Buhler Grinding & 8

March 2011 ³ WWW.CERAMICINDUSTRY.COM

Dispersion business unit. For more information, visit www.buhlergroup.com or www.draiswerkeinc.com.

H.C. Starck and Cabot Announce Patent Cross-License Agreement H.C. Starck and Cabot Corp. have signed a broad, non-exclusive worldwide patent cross-license agreement that allows mutual access to tantalum and niobium powder technology portions of their respective patent portfolios. This agreement enables each company to independently focus efforts and resources on product innovation and development in vigorous competition. H.C. Starck and Cabot Supermetals have each built strong patent portfolios through intense R&D efforts on a range of powder technologies, particularly metals, alloys, and oxides based on tantalum and niobium. For additional details, visit www.hcstarck.com or www.cabot-corp.com.

recent appointments. Bulk Handling Equipment Co., Northfield, Ohio, will represent the company in northern and central Ohio, West Virginia, and western Pennsylvania. Bulk Material Systems Inc., Orange, Calif., will represent Ingredient Masters throughout southern California and in Hawaii. Call (513) 231-7432 or visit www.ingredientmasters.com for details. 

NEW E-NEWSLETTER Advanced Ceramics & Glasses Digest provides a roundup of news and issues related to the advanced ceramics and glasses sector. To subscribe to this new FREE e-newsletter, visit www.ceramicindustry.com.

SAI NT GOBAI NLO MASS ‡ SYSTEMS ¨

Ceradyne Opens Second Solar Factory in China Ceradyne Inc. has announced the grand opening of Ceradyne Tianjin Advanced Materials, its new 218,000-square-foot factory in Tianjin, China. This newly constructed facility will produce high-purity ceramic crucibles for the forming of large polysilicon ingots for use in the manufacture of photovoltaic silicon solar cells. For more information, visit www.ceradyne.com.

Lithium Battery Fabrication Lab Installed at Penn State University Pred Mater ials Inter national has announced that a laboratory unit that will enable students to work with all phases of advanced lithium-ion battery experimentation has been installed at Pennsylvania State University. The line of 18650 lithium battery assembly machines for laboratories was designed by Hohsen Corp., Osaka, Japan, and is distributed by Pred. For additional details, visit http://mtrl1.mne.psu.edu or www.predmaterials.com.

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Ingredient Masters Expands Field Force Ingredient Masters Inc., a manufacturer of custom dry ingredient batching systems, has added to its sales organization with two

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³ CERAMICDECORATING

by Sandra Spence, SGCDpro Legislative and Regulatory Liaison

Product Safety Updates

A

new online consumer product safet y database was recently launched at www. SaferProducts.gov. Although the database is required by the Consumer Product Safety Improvement Act of 2008 (CPSIA), which is best-known for regulating lead content in children’s products, it can be used to report complaints against any consumer product. The Consumer Product Safety Commission (CPSC) database allows anyone to go to the website and file a report alleging an unsafe or potentially hazardous consumer product. The only comparable database in the federal government is the site for complaints about unsafe cars at the National Highway Traffic Safety Administration. The CPSC must send consumer reports to manufacturers within five days of filing . Manufacturers can respond w ith comments and may request that their comments appear with the report in the database. All of this information will be visible and searchable online. The CPSC must put reports in the database within 10 days after submitting them to the manufacturer, unless the agency agrees that the report is inaccurate. Even if the manufacturer has reviewed the reports and sent objections to the CPSC in time, the CPSC staff is under no legal obligation to resolve the issues raised by the comments before the report is included in the database. If the CPSC has not completed its analysis, or if it disagrees with the manufacturer, the complaint goes public.

All manufacturers or private labelers of consumer products are encouraged to pre-register with CPSC to receive timely online access to reports submitted about their products. A company account will allow the CPSC to contact the company when incident reports are received; an account will also permit the company to comment on the reports. Should companies fail to preregister, they will face the possibility of not being notified. Rosario Palmieri, vice president for the National Association of Manufacturers (NAM) and coordinator of the CPSIA Coalition, faulted the rule’s definition of who is eligible to post on the database. “The new definition includes attorneys, investigators, professional engineers, agents of a user of a consumer product, observers of the consumer products being used, consumer advocates, and consumer advocacy organizations, among others,” he said. “As a result, the database will be filled with bogus reports inspired by political or financial motives rather than safety.” Dissenting commissioner Nancy Nord warned that the absence of strict deadlines for complaint review could mean that unverified criticisms of a product reproduced electronically might end up in wide circulation and unfairly tarnish a manufacturer’s reputation. Nord and Commissioner Anne Northrup voted against the rule but were overruled by the three majority commissioners.

SGCDpro Approaches CPSC for Testing Standard The Society of Glass and Ceramic Dec-

CPSC Extends Stay on Testing The CPSC voted on January 31 to extend the stay of enforcement on the testing and certification of total lead content in children’s products through December 31, 2011. This is welcome news to manufacturers and decorators who have yet to receive clear guidance from the agency. The National Association of Manufacturers worked with SGCDpro and other industry groups to influence this decision.

orated Products (SGCDpro) recently approached the CPSC for guidance on working with ASTM International to develop approved standards for testing glass and ceramic decorated products. SGCDpro recognizes that the current consumer test methods associated with the CPSIA are not appropriate methods for decorated glass and ceramics, as they involve crushing the item to determine lead content. S G C D p ro h a s re co m m e n d e d a leaching test—similar to the Massachusetts test—for use in federal consumer testing. SGCDpro is also seeking guidance on leaching limits, which differ from overall content limits since glass and ceramic decoration is vitrified and cannot be removed or scraped off of the product. The proposal to the CPSC and further updates can be viewed at www.sgcd.org. 

Sandra Spence serves as legislative liaison for the Society of Glass and Ceramic Decorated Products (SGCDpro). As executive director of the SGCD from 1991 to 2001, she was instrumental in the development of voluntary guidelines still used in the industry today. For additional details, or for information on joining SGCDpro, call (740) 588-9882 or visit www.sgcd.org Any views or opinions expressed in this column are those of the author and do not represent those of Ceramic Industry, its staff, Editorial Advisory Board or BNP Media.

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March 2010 ³ WWW.CERAMICINDUSTRY.COM

³ GLASSWORKS by Joe Cattaneo | President, Glass Packaging Institute

North American 2011 Glass Packaging Outlook

A

smaller env ironmental footprint and an appeal to the health-conscious consumer were major areas of focus for the North American glass container industry in 2010, and these trends will continue into 2011. The North American glass container industry made strides in 2010 to improve recycling awareness and increase recycled glass collection for bottle-to-bottle recycling. This has helped to reduce greenhouse gas emissions and raw materials usage while saving energy and extending the life of glass manufacturing furnaces. The industry has already taken a significant step toward its 50% recycled content by 2013 goal. In further support of this goal, the industry released its first comprehensive life cycle assessment (LCA) in late 2010. The assessment enumerates the benefits of boosting the use of cullet in shrinking the industry’s environmental footprint. The findings of the LCA will help lay the foundation for the industry’s efforts in 2011 and beyond.

Appealing to Green- and Health-Conscious Consumers Consumers increasingly prefer to purchase products from companies that are environmentally responsible and working to reduce their carbon footprint. Businesses and industries that can “close the loop”—or put as much as possible back into the production cycle by reducing raw material use, energy and emissions—are those that will benefit in the long run. According the “2009 Conscious Consumer Report” from branding firm BBMG,

a national survey of 2000 adults found that 77% of Americans agree that they “can make a positive difference by purchasing products from socially or environmentally responsible companies.” In addition, the majority of Americans—nine out of 10—consider themselves “conscious consumers.” The industry’s LCA, which was coordinated by the Glass Packaging Institute, only helps to bolster the superior environmental benefits of glass packages. This is the message the glass container industry will persist in pushing out to consumers in 2011.

LCA Findings Bolster Glass’ Green Claims According to the LCA, the use of cullet to make new glass containers results in a decrease in primary energy demand and reduces carbon emissions. This essentially means that recycling glass helps to reduce the industry’s carbon footprint. PE Americas, a leading sustainability consulting firm, conducted the LCA by examining each step of the process—from raw material extraction to end use. The closed-looped, cradle-to-grave LCA collected data from 105 furnaces, which represented about 75% of North American glass container production. While some maintain that the transportation of glass bottles has more of an environmental impact because of the weight of the containers, a key finding of the LCA dismisses this claim. Instead, when studied it in its entirety, the environmental benefits stemming from the recycling of glass containers more than offset any increased impact generated by slightly heavier containers.

The transportation of raw materials and cullet used in glass production represents less than 4-5% of the total energy used in the production of container glass. Despite the fact that each glass container has its own carbon profile, existing recycle rates generally offset the CO2 burden that comes about when shipping foods and beverages across America. The 50% recycled content rate will only serve to further reduce carbon emissions.

Stepping into 2011 Now that the glass container industry has the support of data from the LCA on the clear environmental profile of glass packaging, efforts for 2011 will involve a renewed focus on bolstering glass recycling rates from homes and multi-family dwellings, bars, restaurants, and hotels. Glass manufacturing facilities will continue to improve their carbon footprint, and the industry will bring a fresh effort to taking the glass bottle “green” message to consumers. If you want to get on board, start by choosing—then recycling—glass bottles. The world will be a little bit greener for it. 

Joe Cattaneo is president of the Glass Packaging Institute (GPI). Founded in 1919, the Washington, D.C. area-based GPI represents the North American glass container manufacturing industry. Cattaneo has been affiliated with the industry since 1984 and has served as president of the GPI since 2001. To find out more about the strong environmental position of glass containers, visit www.gpi.org and sign up to receive the institute’s monthly e-newsletter. Any views or opinions expressed in this column are those of the author and do not represent those of Ceramic Industry, its staff, Editorial Advisory Board or BNP Media.

CERAMIC INDUSTRY ³ March 2011

11

Image courtesy of Brown-Forman, Louisville, Ky.

Heavy-Metal-Free

Options

➤ Print and decal suppliers are developing new systems to meet the growing needs of the marketplace. by Jim Roman, President, International Decal Corp., Northbrook, Ill.

D

emand has been increasing for full-color, heavy-metalfree designs on a range of products in the gift and promotional products industry. This demand has driven print and decal suppliers to develop new systems to meet the growing needs of the marketplace. Customers are looking for one decorating or decal system that can be used for a range of products, including glass, ceramic, plastic, acrylic, wood and stainless steel. Traditional lead- and cadmium-free water-slide and heat-release, fire-on decals are still limited in the full color ranges required by many art creations and corporate logos. Companies like The CocaCola Co. and PepsiCo have changed many of their logos to white because they cannot match the CocaCola and Pepsi red colorr with heavy-metal-free, fire-on decals. State and federal al laws and guidelines are makking it too risky to put bright ht fire-on colors on today’s glass ass and ceramic packaging. New non-fire and bake-on on decal transfer systems are growing in popularity because they enable decorators to offer a full range of bright colors and true four-color process decals using no heavy metals. Decorators can offer their clients decorated products without any color limitations. In addition, special embossed and metallic effects can be achieved that are not possible with traditional fired-on decals.

Water-slide, bake-on decals and non-fire rub-on transfers are two such systems.

Water-Slide, Bake-On Decals als The water-slide, bake-on decal is applied using water and has a removable cover coat. After the cover over coat is removed, the item needs to be heated in an oven at 300°F °F for 30 minutes. The inks aree hardened by the heat and are household dishwasher safe. These decals are being used on a variety of decorative cosmetic and alcohol containers ta to provide a moree durable and rich finish comd mpared to the traditional paper labels and p sstickers. Water-slide, bake-on decals are aalso being used to decorate stainless ssteel mugs and water bottles, as well as bicycles and motorcycles. b

Rub-On Transfers A rub-on transfer works like a pressuresensitive decal but has a removable liner that, when removed, leaves only the ink behind on the ware. This gives the appearance of a raised, direct-printed ggraphic. These transfers do not need to be heated or baked. They can be applied to any smooth surface item, including bottles that are already filled with products such as cosmetics, alcohol, wine and high-end water. Rub-on transfers are all acrylic based so they contain no heavy metals, which allows them to be used on food packaging and children’s products. These transfers are also household dishwasher safe.

Rub-on transfers are offset printed with 155-line halftone that offers the highest resolution possible. They can be prowith a special embossing mateduced wi rial to gi give the decoration a textured look and an feel, offering a rich and unique appearance on the product being decorated. d This raised embossed technique can also be used te w ithout any color. The clear embossed rub-on transfer, when applied to a clear or frosted plastic or gglass, gives the appearance that the container was custh tom molded with the embossing in the glass or plastic mold. Many companies are using this clear embossed transfer system both for production and when prototyping new packaging designs.

Continuous Innovation Decal printers and decorators are constantly working to improve the color range and durability of heavy-metal-free decals to meet the increasing demands of the marketplace and the environment. Water-slide, bake-on decals and rub-on transfers avoid regulatory and health and safety concerns while offering bright color options for today’s manufacturers.  For additional information, contact International Decal Corp. at 3318 Commercial Ave., Northbrook, IL 60062; call (847) 498-5820, ext. 11; fax (847) 498-6356; e-mail [email protected]; or visit www.internationaldecalcorp.com.

Above left: Non-fire and bake-on decal transfer systems enable decorators to offer a full range of bright colors using no heavy metals. (Image courtesy of Kraftware, Roselle, N.J.) Above right: Special embossed and metallic effects can be achieved that are not possible with traditional fired-on decals. (Image provided by ExactBuilt Decorating Co., Underhill, Vt.)

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March 2011 ³ WWW.CERAMICINDUSTRY.COM

➤ Maintaining color control to a master standard is an especially difficult task for multi-location organizations. by James Roberts, Technical Support Manager, BYK-Gardner USA, Columbia, Md.

Developing a Multi-Location Color Control System

T

oday’s sophisticated manufacturers require instant communication, not only across the production floor but between facilities in different cities or even continents. Companies often grow through acquisitions or expand by outsourcing some of their manufacturing to other companies. Others may even transfer production to other facilities of their own—around the corner or 12 time zones away—that may have unused capacity. Maintaining good color control to a master standard is an especially difficult task in these situations. An additional challenge is that so many different methods can be used to measure color. It seems that every instrument supplier has their own variation of components to obtain X, Y, and Z, or L*a*b* color numbers: sphere geometry vs. 45/0 or 0/45; or tungsten vs. xenon flash vs. LED technology.

While all of these methods can be effective, measurement data obtained on one instrument type will not necessarily match numbers generated by a different instrument type. Even the comparison of numbers between two sphere geometry instruments made by the same manufacturer can be different if the sphere size or measuring port size is different.

Understanding Gloss and Texture It can be difficult for manufacturers striving for consistent color control to determine what is correct when there are so many options. The first thing that needs to be addressed is the product itself. Is the product manufactured in such a way that the only variable in the appearance of the final product is color, or does the process allow for variations in gloss and texture that will modify the total visual impression of the product? Two products with

the exact same pigmentation can look different if one has a higher gloss than the other, or if one has a rougher texture than the other. The way that light bounces off the surface and reaches the eye of the evaluator impacts both gloss and texture. When light strikes a high-gloss surface, a portion of that light is bounced off of the surface at the specular angle and never really reaches the eye as a component of the color. The visual impression of a highgloss surface is that it looks darker than one with a lower gloss. The same holds true of surface texture; a smooth surface appears darker than a textured one.

Measurement Options To combat these issues, it is first necessary to standardize the instrument supplier for all locations, and to make sure that the exact same instrument is used in all locations. This eliminates the variability of instrument geometry, the light source used by the instrument, and sphere and port size variables. The chosen instrument should have unquestioned inter-instrument agreement and be robust enough in its manufacture to withstand extremes of temperature variability and less than “clean room” manufacturing conditions. Also keep in mind that a 45/0 spectrophotometer and an integrating sphere won’t provide the same information. A 45/0 (or 0/45) instrument measures the color similar to how our eye sees it. If the gloss on the part is higher than that of the standard, the 45/0 instrument will give color readings to indicate that the part is darker (the L* value will be lower than that of the standard). Is the part really darker? The eye thinks it is and the instrument will say that it is, CERAMIC INDUSTRY ³ March 2011

13

COLOR CONTROL

Figure 1. 45/0 measures color as the eye sees it.

Figure 2. Sphere SPIN measures absolute color.

but the only way to really know is to also measure the gloss of the part. If the gloss is the same, then yes, the part really is darker and will have to be adjusted for color. If the gloss is higher, however, then the part has to be adjusted for gloss before a true color reading can be obtained (see Figure 1). With an integrating sphere instrument, all of the light that bounces off of the surface of the sample is measured. The light that bounces off at the specular angle on a glossy surface gets measured as the exact same amount of light that bounces off of a matte surface. The integrating sphere measures the true color of the object but does not necessarily agree with what the eye sees (see Figure 2). A 45/0 instrument is often used for quality control when manufacturers check a product against a standard made of the same material and manufactured in a well-controlled process. If the color difference is greater than the specification, the most likely cause is probably the color, not the gloss. An integrating sphere instrument is most often used when trying to match the color of two different materials, regardless of the gloss (e.g., matching grout color to a ceramic tile). The materials are too different to have a gloss match, but it’s important for the pigmentation to be the same. The sphere instrument will report a good color match even if the gloss difference is huge, as long as the pigmentation is the same (see Figure 3). That’s not to say that the gloss measurement in either case is not important; gloss is an key element of any color evaluation. In fact, a 60° gloss meter is included on BYK-Gardner spectroguide handheld spectrophotometers. These instruments, which are available as 45/0 or specular included integrating spheres, measure color and gloss at the same time on the same spot on the sample. If the total color difference (6E) of the product is out of the specified range for that product, then the 6Gloss measurement will help determine if there is a pigmentation problem or gloss problem. Likewise, a zero 6E on the spectro-guide sphere may not visually match the standard. The 6Gloss will indicate what needs to be done to match the standard.

ing the instrument of choice for multiple locations. Two important parameters are the repeatability of the instrument and the reproducibility of that instrument when compared to others. If the instrument varies by more than .01 6E between readings of the same spot, it is difficult to know that the color is correct. Likewise, if two instruments at different locations don’t measure within a 6E of 0.2 to each other, it is impossible to know which unit has the right reading. With some instruments, the variability between instruments requires that a physical standard be measured at each location. That doesn’t work in a global manufacturing environment where the results are needed today, not next week when the physical standard gets to the other location. Another important feature to consider is the stability of the unit once it is calibrated. LED-based instruments have been known to hold good calibration values for months at a time. Xenon and tungsten technologies burn up a little every time they flash and need much more frequent calibration to compensate for the reduced flash intensity. Calibration values can also change with ambient conditions, not just time. With some manufacturers, a change in room temperature of even 5°C requires a new calibration to be performed on the instrument. The LED output in the spectro-guide is stable across all temperatures due to a patented technology that compensates for ambient room temperature. Results obtained in the air-conditioned lab and on the production floor will be identical. Other features to look for when choosing an instrument for quality control include its ability to store a large number of standards in the internal memory; a number of different color difference equations built into the firmware; all of the commonly used illuminant and observer angle combinations; and a number of built-in indices for commonly evaluated properties such as whiteness, yellowness, or metamerism. The unit should be lightweight for comfortable use, and should use standard batteries. Manufacturers need not compromise quality by moving to a handheld instrument. Many handheld instruments offer the same 10 nm resolution found in high-quality, high-cost benchtop instruments without the accompanying cost or maintenance requirements.

Additional Considerations A number of other factors should be considered when select14

March 2011 ³ WWW.CERAMICINDUSTRY.COM

The easy-link software package included with the spectroguide provides a method for storing and sharing standards, as well as producing a quality control report to share between companies or provide to customers. Instrument manufacturers also offer many software packages available for purchase; some are specific to that manufacturer’s instruments, while others include interfaces for many manufacturers and instrument configurations. The cost of the software can rival that of the instrument, so be sure to carefully review the specifications of any purchased software and make sure that it does everything that’s required.

The Best Choice In summary, when choosing a solution for color verification between different locations, it’s important to choose an instrument that delivers consistent results—on the same instrument and between different instruments, and under all operating conditions. Gloss is an important feature in determining total color, so a combination of gloss and color measurement is more valuable than just a color measurement. Most importantly, make sure that all locations are using the exact same manufacturer, geometry and instrument model. 

Figure 3. Depending on the instrument geometry, gloss differences may or may not show up as color differences.

For additional information, contact BYK-Gardner USA at Rivers Park 2, 9104 Guilford Rd., Columbia, MD 21046; call (301) 483-6500; fax (301) 483-6555; e-mail [email protected]; or visit www.byk.com.

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15

³PRODUCTSPOTLIGHT by Edward A. Weiner, President, Maryland China Co., Inc., Reisterstown, Md.

Instant Color Laser Decals

C

opy Cal is an inexpensive and easy method for achieving full-color decorating and personalization in any quantity. Copy Cal is a water-slide decal paper that prints in a regular color laser printer or copier. It enables decoration using oneof-a-kind artwork without the need for special equipment. The patented decal paper consists of four layers. The bottom layer is the carrier paper. The second is a water-soluble adhesive layer that allows the decal to release in water. The support layer (third) gives the decal its strength and handling properties. The fourth (or top) layer is a resin that bonds with the standard electrostatic toners used in most laser printers or copiers.

How to Use Artwork is generated on the computer and outputted to the laser printer/copier using Copy Cal paper instead of regular copy paper. Alternatively, the artwork can be placed on the platen of the copier. It may work best if the bypass tray is used, as this is a straighter paper path and the Copy Cal is thicker than normal paper. Once the image is printed on the Copy Cal paper, the decal can be cut to the desired size. The decal should be soaked in water for about 3-5 seconds, then allowed to rest for about 60 seconds. This allows the water-soluble adhesive to release the decal from the paper carrier layer. The decal can then be slid onto the ware; water and air bubbles should be removed with a squeegee. If the ware is curved, it may be necessary to warm the ware slightly to make the decal more flexible. The decal should be left to dry on the ware for 1-2 hours, then cured in an ordinary oven at 350°F for 15-20 minutes. After the piece is allowed to cool, the sur-

face should be wiped with a clean, wet towel. Once cured, the decorated image is very durable and can only be removed by a solvent such as acetone or with vigorous scraping with a razor blade. The cured image is heavy-metal free and UV resistant, and can be hand washed.

Potential Applications Many customers want a certain design on a particular shape of ceramic or glassware, but they can’t visualize how it will look when completed. Instead of proofing traditional ceramic decals, which can be expensive, a Copy Cal proof can be used to ensure that the customer likes the design fit and size. If the Copy Cal proof is approved, traditional ceramic decal printing can proceed. This technique can also be used for trade show samples and website photo samples. Decorators can use the system to evaluate customer reactions to a range of designs without the need for expensive ceramic decal proofing. After the show, only the most popular designs can be developed. This can save thousands of dollars in product development costs. For non-food-bearing surfaces, the decal paper can provide personalization, photo decorations, or short-run full-color decorations. It can be used to decorate items such as ornaments, vases, cookie jars, night-lights, trophies, jewelry, desk accessories, plaques, decorative plates, trinket boxes, etc. Copy Cal can be used to make fully functional finished pieces in less than an hour. Images are as high quality as the output from a printer/copier. It is ideal for photo-quality images for commemorative plates, photo ornaments,

wedding favors, memorial items, and keepsake boxes.

Limitations Copy Cal is not dishwasher safe and should not be used on surfaces that come in contact with food or sharp objects. It will not replace traditional ceramic decals for food contact areas or for large production runs. In addition, it is difficult to use on ware with severe compound curves such as fat-bellied teapots because the decals are not as flexible as traditional ceramic transfers. Finally, Copy Cal is not suitable for surfaces such as trivets that may come in contact with temperatures in excess of 400°F.

Expand the Toolbox Copy Cal will enhance the decorator’s capabilities and is suitable for smooth surfaces such as ceramics, glass, enamel, and even some plastics. An opaque version is available for glass and colored ceramic glazes, and two ceramic versions can be used on white glazes. One is for copiers that use fuser oil in the toner system and the other is for newer laser printers that don’t use the oil. Copy Cal is supplied in 11 x 17-in. sheets. It will not replace traditional ceramic decals, but it does provide decorators with another option for proofing, personalization, or small custom runs where traditional decal decorations are impractical.  For more information, contact Maryland China Co., Inc. at 54 Main St., Reisterstown, MD 21136; call (410) 833-5559; fax (410) 833-1851; e-mail [email protected]; or visit www.marylandchina.com.

Above: Copy Cal enables decoration using one-of-a-kind artwork without the need for special equipment.

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March 2011 ³ WWW.CERAMICINDUSTRY.COM

pottery

PRODUCTION PRACTICES

PPP

Sourcebook A Special Section of

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The Perils and Rewards of

Glaze Testing or How I Learned to Make Glaze Testing Work for Me

O

ne way to put ceramic students immediately to sleep is to talk about glaze calculation, glaze testing, or materials science. It happened to me many years ago, in the days before handheld calculators, computers or glaze software. In fact, we used slide rules and the most humble of input methods—the pencil! I did not continue to fall asleep. In fact, glaze testing is an important part of my studio practice. I guess I was lucky in that my inquisitive nature led me to want to know about ceramic materials and how they melt. High school and college chemistry provided me with a pretty sound understanding of the foundations of materials science, which, of course, is the basis for silicate science. My first clay and glaze class at Alfred University was an eye opener, especially when it was coupled with hands-on work in the glaze laboratory. While it certainly seems like that was in another world or another century, the basic fundamentals have not changed since then; the means to arrive at the desired results have just become more efficient. We now have kiln controllers that can provide repeatable firings, whether in electric or fuel-burning kilns. Glaze calculation software can show us the relationships of materials on an oxide level and calculate important ratios and coefficients of expansion. But the basic fundamentals still remain the same: an understanding of ceramic materials and what oxides they provide, and how these oxides function in 4

a glaze when subjected to heat. The numbers really become meaningless unless we have a basic comprehension of the building blocks of a glaze (or really, a glass). This short article is not intended to be a primer on glaze calculation or silicate science. Rather, its aim is to provide a methodology that makes glaze testing approachable, even easy.

Glaze Testing System I have honed a logical and repeatable system over many years that provides concise and researchable results for years after the initial testing is completed. My glaze testing system comprises four components: test tiles; glaze selection; glaze mixing, application and coding; and firing. Test Tiles I work with two clay bodies: one is a plastic throwing and hand-building mixture, and the other is a casting clay body. I make test tiles from both. It takes a few days but provides a good quantity that will last for many months. Since I make work that is both slip-cast and thrown/hand-built, I want to see how the glaze looks on each clay body. The easiest method of making test tiles from a plastic clay body is to throw a low semi-bottomless cylinder and angle the walls inward. Use a serrated rib to texture a small section as a last step in throwing the low cylinders. Once these have dried slightly, use a potter’s knife to cut the cylinder into small tiles. You can also roll a slab and cut out small rectangles. Or, you can pour a

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

by Jonathan Kaplan, Owner, Plinth Gallery, Denver, Colo.

Cast and slab-built test tiles.

smooth plaster slab with raised sides full of casting slip. After it sets up so that it can flipped over, cut the large slab into smaller workable tiles. The test tile should provide a host of information, not only about the fired glaze but about how it sits on the clay body. By texturing the tile, you can see how the glaze pools in thick and thin areas. Even more information can be gleaned when you include a bead of white or black engobe. It may be useful to put a hole in the top of each tile so you can hang or otherwise display them for reference. The tiles need to be fired vertically, so the low-cut cylinders are perfect for showing how a glaze flows. I usually fire my cast tiles vertically by supporting them from behind with a small piece of kiln furniture. Glaze Selection Thousands of glaze recipes/formulas exist in books, on the Internet and in your own glaze notebooks. I’m sure that most potters, after gaining a degree of fluency, end up using the same perhaps 6-12 glazes. While this is certainly acceptable, adding a few test tiles to each glaze firing might just expand the repertoire of glaze possibilities and result in a small surprise that makes your day! I look for glazes that have something of interest in the formula/recipe. Depending on the atmosphere, one might look for glazes that contain oxides such as strontium, lithium, barium, boron or others. I place a high value on these materials, as my current firing (cone 6/7 in an oxidizing atmosphere with a cooling cycle) may promote crystal growth. I also look for glazes that have a high calcium content,

The mixed glaze is screened into a small plastic cup.

Kaplan’s glaze lab in Denver.

since calcium promotes brightness in a glaze. These are just simple criteria that work for me and my studio practice; there are certainly many more to choose from. After I find a few glazes that spark my interest, I enter them into Hyperglaze and look at some of the oxide relationships in the unity molecular formula. If I wish to alter or change the formula, I use Insight Ceramic Software. Mixing, Application and Coding Hundreds of books on glazes are available and can provide a great deal of information. Some of those that I use are Robin Hopper’s The Ceramic Spectrum; The Potter’s Palette by Christine Constant and Steve Ogden; and, perhaps the quintessential reference, Clay and Glazes for the Potter by Daniel Rhodes. These texts include enough material for a lifetime of glaze testing. First, I dry-mix 2000 g of glaze base into a plastic bag. Then I fold the top of the bag over a few times, shake it and transfer it from hand to hand, changing its orientation many times so that the CERAMIC INDUSTRY / PPP ³ March 2011

5

GLAZE TESTING

Tools of the trade.

The loaded kiln is ready to fire.

Accurate record keeping is essential.

powders are well dispersed. I now have enough base glaze for 8-10 200-g tests. I use 200 g for each test because that amount provides enough material to enable the tiles to be dipped or sprayed, and there is enough left over for additional testing. Also, from a statistics point of view, the margin of error when using a 200-g sample when weighing out smaller amounts of coloring materials is much less. Select two base glazes that have several different materials in different amounts, and mix up 2000 g of base. Perhaps hundreds—if not thousands—of coloring oxide and stain combinations can be added to a base glaze. For simplicity, it might be best to select combinations of coloring oxides; they can provide a more interesting result than using just one material. Pick a selection of colorant additions that are of interest to you. For the sake of brevity for your first tests, select four combinations of differing percentages of iron oxide, rutile, cobalt oxide or carbonate, and manganese dioxide. You will add these to each of the two base glazes that you have mixed to make four tests for each glaze base. Weigh out 200 g of base material and add the first combination of coloring oxides. In your notebook, write down the base formula and the four combinations of coloring oxides that you have selected. Add this first combination to 220 ml of water. Remember to always add dry materials to water, not in reverse. It is easier to mix this way. Using an inexpensive fountain drink mixer, mix the glaze and water together for a few seconds until well dispersed. Then, using a small 80-mesh test sieve (from your ceramic supplier), screen the mixed glaze into a small plastic cup. Adjust the water content, if necessary.

You will make eight tests, four of one glaze base and four of the second glaze base. Using a marker, label the cups so you know that you have four tests of base A and four tests of glaze B (see coding instructions below). Take your test tile, dip it into the test glaze and count slowly to 10. This should deposit about .12 mm of glaze onto the tile. If you are using a flat cast clay tile, use a fettling knife and then a sponge to remove the glaze from the back of the tile. (Remember that any glaze touching the kiln shelf or support furniture will fuse the tile to the furniture.) Mix some black stain or iron oxide with a very small amount of ball clay and feldspar to make a fluxable marking compound. A commercial black underglaze can also be used. On the reverse of the test tile (the surface that you just removed the glaze from), code/label the tile as follows:

With additional work, you could run a quad-axial blend. Or take three glazes and run a simple tri-axial blend. There are instructions in many books on how to run these combinations. (Volumetric tests are easily done using 1 8 / - or ¼-cup measuring devices, combining the wet materials, mixing, and applying to a bisque tile.) Try combining all of the cups together. You will then have a slop glaze for a specific testing sequence. Combine all the cups into a bucket and date that bucket. That is your day’s slop glaze. Dip a test tile. You just might have the hottest glaze since sliced bread. But you will only have a limited quantity of this special blend! You have already mixed “shop glazes” that you use in your studio practice on a regular basis; it is very easy to run a wet volumetric line blend on any two glazes to see what happens. Measure out ¼ cup of each of two glazes and combine in a small cup. Or take equal parts of however many glazes you wish and combine them. Keep accurate records! Mix thoroughly and apply to a test tile and fire. This finishes your testing regimen, unless you have selected other glazes to test.

6

mm/dd/yyyy (Date) #nn (Test Number) For example, 02132011 #01 would refer to test number one on February 13, 2011. Then write this code/label number into your glaze notebook next to the glaze formula and oxide addition so you can then cross-reference the fired tile with your test work. It’s also possible to test the combinations of these tests. Do a simple volumetric line blend with one test of one base with another test of the other base. Try them in the following percentages: 75A:25B, 50A:50B and finally 25A:75B. You will then have 16 tests. (You have already done the 100A:0B and 0A:100B.)

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Firing I have a Nabertherm Top 25 kiln with a Bartlett CF6 controller. The kiln is round, 1.58 cu ft and nicely insulated. I set one shelf in the middle of the kiln and load the test tiles vertically, with small 1-in.-square pieces of kiln furniture to support the tile from behind. If I am at all concerned with the glazes running, I have some small setter discs that I use to place the tiles. I program the controller for three segments, as follows:

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GLAZE TESTING

• 100°F/hour to 2200°F, with a hold of 15 minutes • 250°F/hour to 2080°F, with a soak of 10 minutes = cone 6 • 150°F/hour to 1500°F Note that this end-point is specific to my kiln and for the firing of one shelf of test tiles supported by small pieces of kiln furniture. I use Orton standard size threehole cone plaques that hold two witness cones and the firing cone. The last segment is a cooling segment to encourage crystal formation. When I see the fired results and find a glaze that may be of interest for further testing, I mix up a 1000-g batch of glaze, put it on actual pieces and then fire. I also layer the test glaze with other glazes to see the result. I both dip and spray glazes. Many interesting surfaces can result by layering glazes with these two methods. It’s important to keep in mind that, due to the influence of thermal mass, glazes will

look different on a test tile after being fired in a small test kiln vs. fired in a regularsized kiln on actual ware. When I want to put the new glaze into use—after all of the testing is done and the results are repeatable—I will mix a 5000-g batch, which is approximately 3 gal of liquid glaze.

Thinking Ahead Yes, glaze testing is ponderous and time consuming. It can try the patience of the best of us, but it should be an essential part of any ceramic studio practice to always be proactive and think ahead. Customers’ color preferences change from year to year, and we may become bored with a glaze we have been using for a long time. Or maybe our new work just requires something different. Beyond using commercially prepared glazes, glaze testing encourages us to understand our materials and how they work with each other when heated. Your

STACK WARP CRACK FLIP… Repeat? Definitely, NOT Advancer® Light, Flat, and Strong – Made in the U.S.A. and Proven Over Time. – Advancer® kiln shelves stack up to Cone 16 and won’t warp, sag or crack after hundreds of firings under heavy loads. No other kiln shelf is the Advancer® brand silicon nitride-bonded silicon carbide. – A unique formulation that even resists glaze drips and runs – you know that’s better! Advancer®… First and lasting. ©2008, Saint-Gobain-Ceramics. All rights reserved.

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•

E-MAIL : [email protected]

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

work is important; it’s important that your work look its best, don’t you think? 

About the Author Jonathan Kaplan has enjoyed a 40-year career as a professional potter, ceramic artist, designer, manufacturer, author and educator. He developed the ceramics program at Colorado Mountain College in Steamboat Springs, Colo., where he also operated Ceramic Design Group, a contract design and manufacturing business. In 2006, Kaplan moved from the Colorado high country to Denver to reinvent himself as a ceramic artist and kick-start his studio practice. Concurrent with this move, he established Plinth Gallery in Denver’s River North Art District. In addition to Pottery Production Practices, his writings have appeared in Ceramics Monthly, Pottery Making Illustrated, and Ceramics Technical. He can be reached at [email protected].

➤ Engobes offer potters an alternative method of introducing color and texture to the ceramic surface.

Using

by Jeff Zamek, Owner, Ceramics Consulting Services, Southampton, Mass.

decorative Engobes

T

he use of engobes dates back to 3000 B.C.; archaeological digs have revealed that Neolithic potters used various colored clay decorations during that time. Whether it is sprayed, dipped or brushed on pottery, ceramic sculpture, or structural materials, the terms slip and engobe have been used interchangeably. The precise term is engobe, which technically refers to a coating that masks the color and texture of the clay body by imparting color or opacity that may or may not be covered with a glaze.1

Characteristics Engobes can contain clay(s), fluxes, fillers and other materials, depending on the requirements of the coating. As previously mentioned, the terms slips and engobes have been used interchangeably over the years. In the past, however, slips were referred to as a suspension of only clay and water.2 For example, Albany slip, a once common high-iron-content clay, was

Applying different color liquid engobes to a test piece.

used to coat utilitarian stoneware pottery when combined with water to produce brown/green glazes in wood and salt kilns. An engobe is not as glasslike as a glaze, but it can be slightly more vitreous than the clay body it covers. Engobes contain many of the same raw materials found in both clay bodies and glazes, but they are used in different ratios. They can be applied to ceramic pieces that are in the leather-hard state (and shrink more than engobes), or applied to bisque ware (requiring an engobe that shrinks less). When using either type of engobe, the critical goal is to achieve a compatible fit with the clay body. In some ways, engobes can be more difficult to use than glazes. While glazes only have to match the clay body, engobes have to shrink at compatible rates when applied to the clay body and must also fit the covering glaze.

Examples The Zam White Engobe, Easy Engobe and

Applying clear glaze over engobes.

Tom White Engobe are designed to fit leather-hard moist clay and can be fired from c/06 (1828°F) to c/12 (2383°F). They can be used in oxidation, reduction, salt/ soda and wood kiln firing atmospheres, but colors may vary depending on temperature, clay body color, application thickness, and kiln atmosphere. It is always best to test the engobes on your own clay body to ensure a compatible fit with the underlying clay body and the covering glaze. Whether the clay body is wet, leather hard, bone dry or a bisque application, the clay body should be free of dust and surface particles before applying the engobe. In wet to leather-hard applications of engobe, bisque fire the test tile; after that, spray, dip or brush the covering glaze. Place the test tile in the kiln and fire to the appropriate glaze temperature. (Keep in mind that small test kilns may not produce accurate results due to their faster rates of heating and cooling, and lower thermal mass.)

Clear c/06 glaze covering different-colored engobes. CERAMIC INDUSTRY / PPP ³ March 2011

9

USING DECORATIVE ENGOBES

Blue engobe trailing on black clay body to c/6 (2232°F).

Yellow engobe on platter soda-fired to c/9 (2300°F).

Often, the potter’s clay body can be the basis for an engobe. In many situations, the engobe will fit consistently as it shrinks at a similar rate as the underlying clay body. However, if the clay body is dark in fired color, a lighter engobe color would not be as easy to achieve from the same clay body. To prepare, weigh the dry materials to total 100 g, adding approximately 90 g of water. Place the wet mixture through an 80-mesh sieve before applying to leatherhard clay. The engobe must be the correct consistency for the intended method of application. It should be homogeneous, free of coarse particles and air bubbles, and remain in suspension. Optionally, two to four drops of Darvan 7, Darvan 811 or sodium silicate can be added to one quart of engobe during the mixing procedure. These sodium-based compounds deflocculate the engobe, which takes the place of some of the water and reduces shrinkage to help the engobe form a mechanical bond to the underlying clay body.

Engobes can also respond to the kiln atmosphere in reduction, wood, salt and soda-fired kilns. In some instances, engobes can be applied thickly, resulting in a raised surface that can add another dimension to the ceramic form. It is always amazing how many “old techniques” can be rediscovered and used on contemporary ceramics. 

Potential Uses Engobes offer potters an alternative method of introducing color and texture to the ceramic surface. They can be used as accent colors on unglazed clay, or a glaze coating can be applied over the engobe. In addition, engobes can be used to mask the color of the underlying clay body or to introduce new color variations that can interact with covering glazes. 10

References 1. McColm, Ian J., Dictionary of Ceramic Science and Engineering, Plenum Press, New York and London, 1984, p. 114. 2. Cushing, Val M., Cushing’s Handbook, third edition, p. 25.

About the Author Jeff Zamek started Ceramics Consulting Services in 1980. He works with individual potters, ceramics companies and industry, offering technical advice on clays, glazes, kilns, raw materials, ceramic toxicology, and product development. In addition to Pottery Production Practices and the PPP HotSpot, he is a regular contributor to Ceramics Monthly, Pottery Making Illustrated, Clay Times, Studio Potter, Ceramics Technical and Craft Horizons. Jeff ’s books, The Potter’s Studio Clay & Glaze Handbook, What Every Potter Should Know and Safety in the Ceramics Studio, along with The Potters Health & Safety Questionnaire, are available from Jeff Zamek/Ceramics Consulting Services. For additional information, call (413) 527-7337 or visit his website at www.jeffzamek.com.

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

Yellow engobe detail.

Zam White Engobe Grolleg kaolin E.P.K. Kentucky OM #4 ball clay Nepheline syenite 270x Flint 200x Superpax Soda ash Ferro frit #3195 Vee Gum CER

25 16 10 14 10 10 5 10 2

Easy Engobe Kentucky OM #4 ball clay Custer feldspar Flint 200x

70 20 10

Tom White Engobe Helmer kaolin Grolleg kaolin Nepheline syenite 270x

60 25 15

Yellow Mason stain #6404

8%

Blue Spectrum stain #2044

10%

Pink Spectrum stain #2083

10%

Black Spectrum stain #2004

12%

Green Spectrum stain #2033

10%

➤ One artist has taken two very basic elements— glass and light—and developed his own extraordinary style of art. by Kelsey Seidler, Associate Editor

t n a i l l i r B Possibilities

I

n the art world, innovation is encouraged and embraced. Glass artists, potters, painters and sculptors are always vying to use the latest material or sample the newest technique. But how often do critics and collectors encounter an entirely new genre of art? In 2000, artist Stephen Knapp introduced the lightpainting, which has no known precedent in art history. Essentially, Knapp has taken two very basic elements—glass and light—and developed an extraordinary style of art that is all his own. Through his creations, he hopes to share his fascination with the nearly limitless possibilities of painting with light.

Artistic Ambitions Knapp, who comes from Worcester, Mass., first started working with light when he graduated from Hamilton

College in 1969. His work as a fine art photographer allowed him to experiment with the interplay of light and dark. Although he was successful in this endeavor and often accepted commissions to work with well-known architects and interior designers, Knapp wanted to try his hand at other artistic ventures. Despite the fact that he had 10 years’ experience as a working artist, Knapp recognized that his education was far from complete. During this interlude from photography, he began to research new mediums; ceramic, metal and glass especially held his interest, and he used these materials to create a number of large-scale commissioned murals over the next several years. Knapp continued to take advantage of the kinetic effect that light has on his work while he tested a variety of new

“Self-Portrait – Spring” is part of Knapp’s personal collection.

techniques. “People think that I just sprang from the womb and created the lightpaintings out of nowhere. It didn’t happen that way,” he says. A great deal of study and practice with the properties of refracted light was necessary before the lightpaintings were presented to the public.

The Evolution of the Lightpainting Knapp’s output through the 1990s included many large kiln-formed art glass walls, including the largest, most detailed kiln-formed art glass walls in the world at the University of Nebraska. As he continued to push other mediums, he created 180 ft of carved slate and mosaic tile murals for the Walter Reed Army Institute of Research and a carved marble and kiln-formed glass installation for Royal Caribbean Cruise Lines. In 1994, Knapp was given the opportunity to create an exhibit for

CERAMIC INDUSTRY / PPP ³ March 2011

11

BRILLIANT POSSIBILITIES the Merchandise Mart in Chicago, Ill. As may be evidenced by the title, “Fantasy in Glass” was a valuable inspiration for the lightpaintings of the future. In the 5000-square-foot exhibit, Knapp demonstrated the possibilities of kiln-formed glass in an architectural scope in addition to creating a series of glass and steel sculpture and furniture. “I worked with a lot of architects at that time as well,” he says. “I have always been fascinated with the intersection of art, architecture and design.” It was here that he first started working with dichroic glass, a specialty glass consisting of multiple micro-layers of metal oxides that give the glass optical properties similar to a selective prism. Using it first for suspended sculptures, he soon discovered that the projected light was more exciting. His first lightpaintings in 2000 and 2001 were large architectural installations. Space was a challenge in the atrium of the Women and Babies Hospi-

“Social Commentary” was created for the Boise Art Museum in Boise, Idaho, where it is currently on display.

12

“Fandango” is a private commission, Allentown, Pa.

tal in Lancaster, Pa., but Knapp discovered that the limitation helped concentrate the effects of the light as it passed through the pieces of glass. He took great care to precisely position the glass pieces in order to truly capture his colorful visions. Knapp worked with outside fabricators to provide the glass shapes in his early installations, but soon realized that he could do much more if he learned to cut, shape and polish the glass in his own studio. Through extensive research, perseverance and practice, Knapp taught himself how to handle every step of the production process. He also started experimenting with other coating and laminating methods. Now he works with manufacturers to create his own unique palette. The lightpainting has developed into such an exacting art that Knapp is painstakingly selective even about the suppliers he chooses. Today, he uses four different suppliers just for the mounting brackets. Since the first attempts in the early 2000s, the lightpainting has come a long way. “For my first piece, I had about 38 pieces of glass available to me and I used maybe 15 of those,” he says. “Now I have hundreds— it’s on an entirely different scale. I experiment with an extensive palette of glass coatings and a variety of equipment for cutting and shaping the glass on my own.” It is here, at the intersection of this advanced technology and one artist’s seemingly limitless imagination, that the lightpainting’s niche may unfold in the art world.

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

From Personal Inspiration to Public Perception For the last decade or so, Knapp has been creating lightpaintings for private collections, corporate and public commissions, and museum shows. Key pieces include the “Seven Muses” commission for the Charles W. Eisemann Center in Richardson, Texas, and “First Symphony” in the Sursa Performance Hall at Ball State University in Muncie, Ind. Knapp’s work is currently on exhibit at the Boise (Idaho) Art Museum and the Naples (Florida) Museum of Art as well. People are certainly fascinated by the strange, ethereal properties of the neverbefore-seen lightpaintings. Nevertheless, Knapp has derived much of his success from the fact that he views the phenomenon of artistic inspiration differently than some of his contemporaries. “You don’t sit around and wait for inspiration to politely tap you on the shoulder,” he says. “I am motivated because I tell myself daily, ‘This is what I do.’ I have to. Sometimes you can leave a piece and come back to it the next day and look at it afresh, but other times you just have to push through because you know there’s something else that can be done. There have been instances when I have stayed up all night for hours, exhausted, just because I knew that a particular piece required something extra that was still within my power at that moment.” Each piece is carefully crafted for its eventual display space (whether it is des-

PRODUCTION KILNS 7RXJK3UHFLVH$IIRUGDEOH

“First Symphony” is installed at Ball State University, Muncie, Ind.

tined for a huge atrium or a private residence), and Knapp ceaselessly continues to experiment and research new methods to help him perfect the complex sensations and color interactions within a lightpainting. All these intensive efforts have clearly paid off: when people first glimpse Knapp’s unconventional work, their immediate reactions run the gamut from surprise and bemusement to wonder and awe. Knapp describes this response as a generally positive one. “Seven Muses” and “First Symphony” garnered simultaneous gasps from hundreds of people when they were turned on for the first time. But the artist wants people to progress past that original perception of the lightpainting. “There’s that initial ‘Oh, golly, gee, what IS that?’ moment that people do have, because they’ve never seen anything quite like it. And that will happen, but I want them to move past that. A lot of art these days is pedantic or didactic, and it is trying to teach about some social issue or other. They’re all saying the same things—I don’t want to do that. I want people to have individual responses and unique experiences with my art. Everyone brings their own perspectives that they can project onto a piece. Maybe they’ll find a place of meditation, or a place of reflection.”

Arts and the Economy In a failing economy, artists, galleries and museums are frequently the first to suffer. When people worry about paying for their groceries, the support of the arts tends to drop to the bottom of everyone’s priority lists. Even as the U.S. continues to struggle through its worst recession in years, Knapp has been able to weather the storm with few major difficulties. “I have been very fortunate in this economy,” he admits. “Although some things did not happen that would have in other circumstances, I have had a lot of work in the past decade.” Not all artists have been so lucky. Knapp says that the key to survival is really just dedication to one’s art. He believes that he has been successful because he continually hones his skill and puts in plenty of hard work. “In some ways, the bad economy was actually

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www.standardceramic.com Phone: 412.276.6333 Fax: 412.276.7124 CERAMIC INDUSTRY / PPP ³ March 2011

13

BRILLIANT POSSIBILITIES

“Shadow Musings” is part of Knapp’s personal collection.

beneficial for the art industry,” he says. “It weeded out a profusion of art that, really, wasn’t all that good. When the economy isn’t healthy, then you as an artist have to prove your worth. The cream rises.” Another necessary undertaking for any artist—especially in a difficult economy— involves effective marketing and promotion processes. Well-established artists never rely solely on their existing clientele base. “The most successful artists are the ones who practice careful marketing,” explains Knapp. “I reach out to galleries and museums slowly, after a certain amount of deliberation. It’s a selective process. I follow people in magazines or on the Internet and that’s how I choose where I’d like to show.”

Future Endeavors It seems as though Stephen Knapp has earned a well-deserved break; after all, he has already invented an entirely new category of artistic expression. But the dynamic artist has no plans to stop now. “There are centuries of paintings to look back upon, but for my own work there is no precedent,” he says. “There is plenty of exploring left to do!” Knapp’s advice for aspiring artists? “Find your own medium,” he suggests. “Don’t be afraid to experiment.” Indeed, 14

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

Three installations (“Next Yesterday,” “Falling Yellow,” and “Bel Canto,” respectively) as part of a solo show at the J. Johnson Gallery in Jacksonville Beach, Fla.

it is easy to see he has taken his own advice to heart. The stage is set; it will be a delight to see what Stephen Knapp has in store for the world.  For more information about Stephen Knapp’s lig ht paint ing s, v isit www. lightpaintings.com. Current installations can be v iewed on his Facebook page, Stephen Knapp Lightpaintings, as well.

by Arnold Howard, Marketing Manager, Paragon Industries, L.P., Mesquite, Texas

Green Ideas

➤ Through the implementation of green programs, Paragon Industries saves money and time while helping the environment.

F

rances Darby, the late founder of Paragon Industries, lived through the Great Depression and abhorred waste. Decades ago, she started an energy-saving program that remains a Paragon factory tradition. Here are some “green” ideas that you may find useful in your own operation, whether you operate a factory or a small pottery studio.

A Four-Day Week Frances Darby started a four-day work week at Paragon, which we have followed since the 1970s. The factory is open 40 hours per week from Monday through Thursday. In addition to saving gasoline and travel time, the four-day work week also cuts down on pollution. We avoid the worst hours of traffic by arriving at 7 a.m. and leaving at 5:30 p.m. Avoiding bumper-to-bumper traffic yields additional savings in gasoline and time. One of the reasons we have very little employee turnover here is that having Fridays off is like taking a holiday every week. Forty-five percent of our factory work force has been here over 10 years; 20% has worked here for over 20 years. It does not take long to get used to the 10-hour days. After a few weeks, 10 hours seem like eight. Also, the factory overtime is on Fridays, which gives employees the weekend to make extra money with part-time work if they need it. The four-day week also allows parents to spend more time with their children on their Fridays off. For many businesses, the four-day work week is definitely viable. It is possible to implement the four-day week without disrupting communications with customers. For example, we have a small staff in the office on Friday mornings to answer phone calls.

Paper-Based Opportunities Every Paragon office employee has a paper recycling box in which they toss scrap paper to be shredded into packing materials. Since 2002, we have shredded scrap paper and cardboard to make “spaghetti” packing for kiln furniture kits and our smaller UPS shipments. We have not purchased petroleum-based packing peanuts in years. The only peanuts we use are the ones we recycle from incoming shipments. Another of Frances Darby’s ideas was to print ruled lines on the blank backs of obsolete office forms and brochures for use in the office. We no longer print ruled lines, but Paragon employees still write on the back of scrap paper (such as letters and sales materials received in the mail). The recycled paper can also be glued together to make notepads. The glue, also known as padding compound, can be purchased from a paper store. Carefully stack the paper and apply glue to one edge with a paintbrush. After the glue dries, slit the edge into pads with a knife. Right now, I have a 17-in.-tall stack of notepads that I made from recycled paper.

Eco-Friendly Processes In 1997, the Paragon factory switched from oil-based spray paint to high-temperature water-based paint in order to reduce emissions. The oil-based paint emitted strong toxic fumes; the water-based paint fumes are comparatively mild. This is better for both our employees and the environment. In 2008, we reduced energy consumption by converting the entire factory from mercury vapor to T8 fluorescent lighting. In areas of the factory where continuous lighting is unnecessary, such as storage areas, we have installed motion sensor lights. According to a consultant, the reduced pollution from the saved electricity is equivalent to planting 24 acres of trees annually.

Kiln switch boxes are painted with blue, lowemission water-based paint.

To save on fuel costs, many operations are performed in-house, including silk-screening switch boxes.

We discovered that air compressors can be mounted outside to reduce the noise level in the building; providing power air tools throughout the kiln factory helps as well. We installed UV shades to protect the compressors from the hot Texas sun. This also saves electricity, because the compressors do not have to work as hard. In another example, three spot welders (used to make kiln switch boxes) were previously cooled with running water. To conserve water, we designed cooling systems that recirculate the water. As you can see, many “green” ideas can be implemented in the smallest operations. I hope that sharing our ideas has generated some of your own.  For additional information, contact Paragon Industries at 2011 S. Town E. Blvd., Mesquite, TX 75149; call (972) 288-7557; fax (972) 2220646; e-mail [email protected]; or visit www.paragonweb.com. CERAMIC INDUSTRY / PPP ³ March 2011

15

Artists Helping C

ERF+ (Craft Emergency Relief Fund + Artists’ Emergency Resources) supports the careers of craft artists throughout the U.S. with business- and career-strengthening programs, emergency relief support (e.g., grants, loans, brokered assistance for critical needs such as equipment, supplies, booth fee waivers at shows), research, and advocacy. The organization’s passion (and mission) is to safeguard and sustain the careers of craft artists and to provide emergency resources that benefit all artists so that they can thrive and continue to contribute to the quality of life in our communities.

Background & Emergency Relief Fund CERF+ got its start in 1985, when founders Carol Sedestrom Ross—then president of American Craft Enterprises—and glassblower Josh Simpson decided they wanted to tap into the inherent generosity that they had observed within the craft community. It was common practice at craft fairs for exhibitors to “pass the hat” for fellow artists who were dealing with emergency situations. CERF+ was founded in an effort to formalize and build on this simple grassroots gesture.

CERF+ spent the first couple of years raising funds and began awarding loans in 1987. Since that time, the organization has helped hundreds of professional craft artists throughout the U.S. with over $1.5 million in financial assistance and donated services, such as booth fee waivers, equipment, and supplies.

Emergency Preparedness and Mitigation After Hurricane Katrina, CERF+ recognized that no amount of money could ever right an artist’s life after that kind of devastation. In addition to emergency financial assistance, CERF+ needed to invest significantly in helping artists lessen and/or avoid altogether the impacts of emergencies. While much of the devastation on the Gulf Coast was unavoidable, CERF+ did see heartbreaking losses (such as ruined portfolios or critical formulas) that could have been prevented by backing these assets up and/or storing them in safe offsite locations. CERF+ has committed to developing the information, resources and educational opportunities tio to help artists pre-

pare for and respond to any kind of setback, from small-scale problems to large-scale emergencies. Thus, the organization’s name has recently changed from CERF to CERF+ to convey the expansion of its work. To this end, CERF+ has developed the first comprehensive emergency planning and response toolkit and companion website for studio artists. Called The Studio Protector: the Artist’s Guide to Emergencies, the kit has already been distributed to nearly 8000 artists. CERF+ is also creating workshops and curricula that build on the information in The Studio Protector; this material will eventually become a standard part of any professional development program for artists. Another area in which CERF+ is intensifying its efforts is business insurance. In 2007-2008, CERF+ organized a survey about artists’ relationships with business insurance. The data from this business insurance survey has been an eye opener for the crafts field and the insurance industry; a comprehensive report of CERF+’s findings was released in 2010. Most notably, 70% of the craft artists surveyed are uninsured for business losses, and 25% wrongly g y believe that their home-

t flood Rhode Island had

ndated in the larges Glover’s studio was inu seen in 200 years.

Mitchell’s studio after a mudslide.

16

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM OM

Billie Mitchell

Artists

➤ CERF+ is a vital resource for artists in need, as well as those who want to protect their work.

owners’ insurance provides protection for their business assets. Exciting developments influenced by CERF+’s work and research include two expanded insurance programs coming into the marketplace that target craft artists. One plan is a low-cost arrangement for art and craft businesses (originally offered by a Midwest insurance agency) that will now be available nationwide. Another plan will be offered by Fractured Atlas, a national non-profit arts organization that already had programs for performing artists.

Giving and Goodwill To illuminate the work of this one-of-a-kind organization, consider some stories about the artists CERF+ has recently helped. Tracy Glover* Last March, glass artist Tracy Glover’s studio was inundated in the largest flood Rhode Island had seen in 200 years. Like many of the people affected by the incredibly rare event, she did not have flood insurance. Enter CERF+. “CERF+ helped me with grants and loans immediately, which let me set up my business elsewhere,” Glover recalls. “The financial assistance held us over until FEMA and the Small Business Administration came through later. “What’s so great about CERF+ is that the people helping you are part of your artistic community. You feel supported by fellow artists. I can’t stress enough when you go through this—and I lost 80% of everything in my studio—that goodwill like CERF+’s is priceless.” Glover was able to take this devastating event and turn it into an opportunity *Excerpted from Artful Home.

to refine both her art process and her business. “The flood happened at the end of March, and amazingly,, thanks in partt to CERF+, I wass Tracy Glover, right. able to ship myy first product as soon as the end of May. I changed the focus of my business model, and so many positive things came from the experience. “Our new office is on the third floor of a building, which is well above the water line in case anything like this happens again. I went from maintaining my own glass furnace to renting time from other studios, which really made me more efficient and productive and lets me just focus on the glass I’m making.” Billie Mitchell Georgia ceramicist Billie Mitchell began her career as a painter, but two bouts of Hodgkin’s lymphoma left her with shaky hands—so she turned to clay in 1993. “I just looked at it as another challenge,” Billie says. “If someone tells me I can’t do something, I’m going to prove them wrong. I’m a strong person, and I just don’t let obstacles get in my way.” Over a year ago, Billie faced another life-changing challenge. Record-breaking storms in late September 2009 caused a deluge of 14-18 in. of rain to fall on her home in Acworth, Ga. The storms also caused a 23-ft section of her house’s foundation to collapse entirely. Billie was away in New Mexico when the storms hit on September 21, and a

neig hbor called a few n days later to tell her that d tthe water, which had casccaded down the hill, had now puddled into a verin ttable lake in her front yard. There was more bad news: T Her walkout basement stuH dio had been badly damaged. A wall of mud forced its way through the cinder block, pushing her 350-lb kiln and her sculptural clay pieces across the floor of her studio. A month later, Billie was stuck. She could not work, and she could live not in the house. FEMA had given her some money, but she did not have flood insurance; she estimated that it would cost thousands to replace the foundation of her house. Meanwhile, her friends in the art world rallied around her, raising money and offering to help her cart off the mud and cinder blocks. CERF+ was right there with them, giving her cash so that she could replace her equipment and get back to work. “I’m not one who accepts help graciously,” Billie says. “I’m not very good at it. But the love that these people have shown us has gone straight to our hearts. I just never knew I was going to be the one who needed help.”  For more information or to find out how you can help, contact CERF+ at P.O. Box 838, Montpelier, VT 05601-0838; call (802) 2292306; fax (802) 223-6484; or visit www.craftemergency.org or www.studioprotector.org.

CERAMIC INDUSTRY / PPP ³ March 2011

17

Building an

Online

Presence

➤ Diligently building your online presence can help enhance your success as an artist. by Vanessa Bertozzi, Director of Community, and Danielle Maveal, Seller Education Specialist, Etsy, Inc., Brooklyn, N.Y.

M

ost successful artists would agree that you need to do what is best for your business, but no single best approach exists for everyone. Many artists choose to sell through boutiques, galleries, trade shows, craft fairs, and other venues, in addition to selling online. An online presence is just another option with its own perks and drawbacks. So, why get online? Simply put, the digital era is here and now, and online shopping is very common these days. Globally, more than half of Internet users have made at least one purchase online in the past month, according to Nielsen.1 During the current economic crisis, people are still shopping online, even if the practice has slowed apace with offline shopping.

nology and information they need to start and grow their own businesses. As one Etsy seller, cobblerscabin, points out, there are “no major expenses in starting online as there are in craft fairs such as tents, entrance fees, displays, etc. You don’t have to transport all your items and do set-ups and take-downs.”

Location, Location, Location Even if you only want to present your artwork to brick-andmortar stores or galleries within your city, an online address can serve as the professional calling card you need show off your latest work. It’s important to keep in mind that people are increasingly using the Internet as a research tool before reaching out and making an initial contact.

The low cost associated with an online presence is pretty hard to beat.

Low Overhead The low cost associated with an online presence is pretty hard to beat. A perfect starting point for online marketing is your own web address (or URL). If you have the ability or the resources, you can build your own website, or you could join an affordable site that hosts independents’ shops. Of course, we recommend Etsy (we work here!), but many options are available with varying features and costs. At Etsy, we connect consumers with independent artists, craftspeople and collectors to find the very best in handmade and vintage goods while providing these entrepreneurs with the tech18

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

In addition, shoppers who primarily buy from you in a shop or craft fair might want to find you later. The Etsy seller behind MamaVSoap underscores the benefit of having an online presence, “As a buyer, I have a problem when I purchase a small item at a craft fair and then can never find the seller again.”

Pervasive Time and Space With an online shop, you can reach an audience of potential customers beyond borders and make connections to people in for-

eign countries. This opens your shop up to different time zones, and, even more close to home, you can “extend your hours” by having an online presence. After all, the Internet never sleeps. That being said, a virtual online presence can offer challenges—where do you hang your sign for all to see? You’ll need to put yourself in front of “virtual foot traffic,” where online shoppers will find links to your items. Many sellers do this by purchasing ads, joining group marketplaces where they know shoppers will be searching for products with keywords or “tags,” and by generating buzz through print and blog coverage. Another challenge? “It’s difficult to stop ‘working’ on your Etsy shop,” says the artist behind Etsy shop littleTstudio. “It’s so much fun, it’s hard to say ‘OK, I’m done for the day.’”

No Face Time The lack of face time is one aspect of selling online that individuals entrenched in the real-life selling experience might find different. For some folks, the lack of face-to-face interaction with customers is a bonus. Selling online works particularly well for shy people or those who have a hard time selling in person. It’s also great for parents who want to work from home so they can be with their children, as Etsy seller BululuStudio notes. For some people, however, selling online feels isolating and too impersonal. In other words, if you thrive off of your embodied presence, it may take some time to figure out how to translate that through a keyboard. Direct e-mails or the Etsy e-mail system (called Conversations or Convos) are a fairly intimate way of communicating with customers, and it’s up to you to find your own professional/friendly tone. Online language can be chirpier and come in quick spurts (especially for Twitter users), whereas some forum regulars prefer ongoing text-based discussions. Still other folks like the interactivity of the Chatrooms and the real-time, webcamenabled Virtual Labs. Bloggers will tell you that sharing their lives and creative processes through their blogs can garner them quite a following. In a way, you can document your life and have your face time on your own terms (and on your good hair days). All kidding aside, it is an art form in itself to be able to express your personality and vision largely through text and photos (perhaps short videos, too).

Technology Requirements We all know a couple of people who seem to have an electric charge running through their bodies that makes computers just randomly start hiccupping until they are kaput. If this is you, you need to do something about it, because there’s no denying that you’re going to need some electronic equipment and a little bit of savvy if you want to sell online. Once that’s taken care of, the required gadgetry is pretty straightforward. You’ll need a digital camera and a fairly speedy Internet connection. You’ll need a computer with enough juice

Etsy connects consumers with independent artists, craftspeople and collectors.

to store photos and run Photoshop and a word processing program (though you can use Picnik and Google Docs, which are free browser-based applications). Keep in mind that it takes time and passion to shoot photos that conjure the artistry of your pieces. You also need to be able to sign in often and check on your online presence. Just because you aren’t physically there doesn’t mean you shouldn’t be virtually “present” and staying on top of any messages or sales. It can be daunting at first, but launching your online presence can be a very fruitful endeavor if you stick with it.  For additional information, visit www.etsy.com.

Reference 1. Nielsen Global Online Survey, http://www.nielsen.com/media/2008/ pr_080128b.html. CERAMIC INDUSTRY / PPP ³ March 2011

19

Pottery Production Practices

sourcebook supplier index

AXNER POTTERY, A TRADE NAME OF LAGUNA CLAY CO.

THE KILN DOCTOR INC.

490 Kane Ct., Oviedo, FL 32762-1484

P.O. Box 721, 202 E. Main St., Front Royal, VA 22630

(800) 843-7057 Fax: (407) 365-5573

(540) 636-6016; (877) 545-6362 Fax: (540) 622-6016

[email protected]

[email protected]

www.axner.com

www.thekilndoctor.com

BAILEY POTTERY EQUIPMENT CORP.

L&L KILN MFG. INC.

62 Ten Broeck Ave., Kingston, NY 12401

505 Sharptown Rd., Swedesboro, NJ 08085

1831 E. 1450 Rd., Lawrence, KS 66044

(800) 431-6067 Fax: (845) 339-5530

(877) 513-7871; (856) 294-0077 Fax: (856) 294-0070

(888) 822-1982 Fax: (785) 841-8142

[email protected]

[email protected]

www.brackers.com

www.baileypottery.com

www.hotkilns.com

+ BRACKER’S GOOD EARTH CLAYS, INC. SEE OUR AD ON PAGE 14

SEE OUR AD ON PAGE 13 CERAMICS CONSULTING SERVICES 6 Glendale Woods Dr., Southampton, MA 01073-9476

L & L SPECIAL FURNACE CO. INC.

(413) 527-7337 Fax: (413) 527-2755

20 Kent Rd., Aston, PA 19014-1494

[email protected]

(610) 459-9216 Fax: (610) 459-3689

www.jeffzamek.com

[email protected] www.hotfurnace.com

+ CONTINENTAL CLAY COMPANY

CHRISTY MINERALS LLC

1101 Stinson Blvd., N.E., Minneapolis, MN 55413

833 Booneslick Rd., High Hill, MO 63350

(612) 331-9332; (800) 432-CLAY

(636) 585-2214 Fax: (636) 585-2220

LAGUNA CLAY CO.

[email protected]

[email protected]

City of Industry CA/Byesville OH

www.continentalclay.com

www.christyco.com

14400 Lomitas Ave., City of Industry, CA 91746

SEE OUR AD ON PAGE 13

(800) 452-4862; (626) 330-0631 CA; (740) 439-4355 OH;

SEE OUR AD ON THE IFC COYOTE CLAY & COLOR

(407) 365-2600 FL

5107 Edith N.E., Albequerque, NM 87107

Fax: (626) 333-7694 CA; (740) 439-4268 OH, (407) 365-5573 FL

(505) 344-2250

[email protected]

[email protected]

www.lagunaclay.com

www.coyoteclay.com MAYCO COLORS

+ PARAGON INDUSTRIES, L.P.

DAVENS CERAMIC CENTER

4077 Weaver Ct. S., Hilliard, OH 43026

5076 Peachtree Rd., Atlanta, GA 30341

(614) 876-1171 Fax: (614) 876-9904

2011 S. Town E. Blvd., Mesquite, TX 75149-1122

(770) 451-2105; (800) 695-4805 Fax: (770) 455-7012

[email protected] or [email protected]

(972) 288-7557; (800) 876-4328 Fax: (972) 222-0646

[email protected]

www.maycocolors.com

[email protected]

www.davensceramiccenter.com NORTH STAR EQUIPMENT

www.paragonweb.com SEE OUR AD ON THE OBC

DIVERSIFIED CERAMIC SERVICES INC.

P.O. Box 189, Cheney, WA 99004

P.O. Box 77951, Greensboro, NC 27417-7951

(509) 235-9200 Fax: (509) 235-9203

(336) 255-4290 Fax: (336) 855-6927

[email protected]

[email protected] or [email protected]

www.northstarequipment.com

ORTON CERAMIC FOUNDATION 6991 S. Old 3C Hwy., Westerville, OH 43082-9026

+

(614) 895-2663 Fax: (614) 895-5610 PETER PUGGER MANUFACTURING INC.

[email protected]

3661 Christy Ln., Ukiah, CA 95482

www.ortonceramic.com

(707) 463-1333 Fax: (707) 462-5578

IMERYS, NORTH AMERICA CERAMICS

[email protected]

100 Mansell Ct. E., Ste. 300, Roswell, GA 30076-0660

PLINTH GALLERY

www.peterpugger.com

(770) 645-3705 Fax: (770) 645-3460

3520 Brighton Blvd., Denver, CO 80216

SEE OUR AD ON PAGE 3

[email protected]

(303) 295-0717

www.imerys-ceramics.com

[email protected]

+Star listings indicate premium advertisers in this issue. 20

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

www.plinthgallery.com

sourcebook supplier index

Pottery Production Practices

RICHARD BURKETT - HYPERGLAZE

TUCKER’S POTTERY SUPPLIES

6354 Lorca Dr., San Diego, CA 92115-5509

15 W. Pearce St. #7, Richmond Hill, ON L4B 1H6 CANADA

(619) 286-1836 Fax: (619) 583-3894

(800) 304-6185; (905) 889-7705 Fax: (905) 889-7707

[email protected]

[email protected] or [email protected] SMITH-SHARPE FIRE BRICK SUPPLY

www.hyperglaze.com

www.tuckerspottery.com or www.coneartkilns.com

2129 Broadway St. N.E., Minneapolis, MN 55413-1716 (612) 331-1345 Fax: (612) 331-2156

VENT-A-KILN

[email protected]

51 Botsford Pl., Buffalo, NY 14216

www.kilnshelf.com

(716) 876-2023; (877) 876-8368 Fax: (716) 876-4383

SEE OUR AD ON PAGE 8

[email protected]

SAINT-GOBAIN CERAMIC MATERIALS, CERAMIC SYSTEMS

www.ventakiln.com

M.S. 301-432, 1 New Bond St., P.O. Box 15136

SPECTRUM GLAZES

Worcester, MA 01615-0136

94 Fenmar Dr., Toronto, ON M9L 1M5 CANADA

WARD BURNER SYSTEMS

(508) 795-5577

(416) 747-8310; (800) 970-1970 Fax: (416) 747-8320

P.O. Box 1086, Dandridge, TN 37725

www.refractories.saint-gobain.com or www.lo-mass.com

[email protected]

(865) 397-2914 Fax: (865) 397-1253

SEE OUR AD ON PAGE 8

www.spectrumglazes.com

[email protected] www.wardburner.com

SKUTT KILNS 6441 S.E. Johnson Creek Blvd., Portland, OR 97206-9552

WESTERN CLAYMACHINERY SALES-WCS

(503) 774-6000 Fax: (503) 774-7833

5028 Alhambra Ave., Los Angeles, CA 90032

[email protected]

STANDARD CERAMIC SUPPLY COMPANY

(323) 222-1141 Fax: (323) 222-4590

www.skutt.com

P.O. Box 16240, Pittsburgh, PA 15242

[email protected]

SEE OUR AD ON PAGE 7

(412) 276-6333 Fax: (412) 276-7124

www.claymachinery.com

[email protected] www.standardceramic.com SEE OUR AD ON PAGE 13

Include Your Company in the 2012-2013 PPP Sourcebook y er tt po

PRODUCTION PRACTICES

The PPP Sourcebook is a comprehensive resource for pottery materials, equipment and tools. Don’t miss your chance to be included next year.*

PPP book Source A Special Section of

Contact Ginny Reisinger at [email protected] or (614) 760-4220 for pricing and additional details. *If your company is listed in this year’s PPP Sourcebook, a listing form will automatically be sent to you again next year.

2/10/11 7:09 AM 001 ppp cover.indd 1

CERAMIC INDUSTRY / PPP ³ March 2011

21

+

2011-2012 PPP SOURCEBOOK SUPPLIER DIRECTORY Star listings indicate premium advertisers in this issue.



Blue check listings indicate display advertisers in this issue.

RAW MATERIALS/BODIES

Company

Bentonite Clay Gerstley Borate Grog Nepheline Syenite Porcelain Ramming Mixes Silica Stains Talc Casting Slip Extruders Mixers, Ball Mixers, Batch Mixers, Clay Molds, Plaster Molds, Pressure Casting Molds, Resin Presses Pug Mills Slab Rollers Wheels Banding/Decorating Wheel Decals

2011-2012

MIXING/FORMING

Bracker's Good Earth Clays, Inc.

++ ++++  ++ +  ++++     ++++  +

Continental Clay Company

++ +++++++ ++++++     ++++  +

Paragon Industries, L.P.

                       

Peter Pugger Manufacturing Inc.

           +   +    ++    

Axner Pottery,

• • • • • •

• • • • • •

• • • • • •

• • • • • • • • •

PPP SOURCEBOOK CERAMIC SUPPLIER DIRECTORY

a Trade Name of Laguna Clay Co.

Bailey Pottery Equipment Corp.

• •

• • • • • • • • • • •

Ceramics Consulting Services Christy Minerals Co.

•

Coyote Clay & Color

•

•

Davens Ceramic Center

• • • • • •

Diversified Ceramic Services, Inc.

• •

IMERYS

•

• • •

•

•

• • •

•

• •

• • • •

• • • • • • • • •

• • • •

The Kiln Doctor, Inc. L&L Kiln Mfg. Inc. L&L Special Furnace Co. Inc. Laguna Clay Co.

• • • • • •

Mayco Colors

•

North Star Equipment

•

Orton Ceramic Foundation Plinth Gallery Richard Burkett - Hyperglaze

22

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

•

•

•

2011-2012 PPP SOURCEBOOK SUPPLIER DIRECTORY KILNS/FIRING

EDUCATIONAL/SERVICES

HEALTH/SAFETY

MISC.

Engobes Frits Prepared Glazes Spray Booths Spray Equipment Burners Control Systems Heating Elements Kiln Furniture Kilns, Glass Kilns, Electric Kilns, Raku Pyrometers Pyrometric Cones Kiln Shelves, Alumina Kiln Shelves, Cordierite Kiln Shelves, Silicon Carbide Refractories, Firebrick Thermocouples Air Filters Classes/Workshops Kiln Hoods Kiln Shut-Off Device Kiln Vents Personal Safety Books/Videos/Software Classes/Workshops Contract Manufacturing Design Services Engineering Services Kiln Design/Repair Testing, Raw Materials/Glazes Accessories Exhibit Equipment/Supplies Jewelry Findings/Supplies Racks, Trucks, Carts Tools

DECORATING

+ ++ ++   ++  ++++++++ +  ++  ++++    +  +   ++

+ ++ +++ ++++++++++++ +  +   +++ 

   +  +   ++ 



     ++++++++  +  + +        

  ++       



                         

         •

• • • • • • • • • • • • • • • • • • • • • • • • • •

• •

•

• • • • • • • • • •

• • •

• • • • •

• • • • • • •

•

•

•

•

•

• •

• •

• • • • • •

• •

•

• • • • •

•

• •

•

• • • •

• • • • •

• • • • • • • • • • • • •









  

• • • • • • •

•





• • • •

• •

• • • • • • • • • • • • • • • • • • • •

•

•

• • •

•

•

•

• •

• • • • •

Contact information for each of these companies is listed in the Supplier Index (pp. 20-21).

CERAMIC INDUSTRY / PPP ³ March 2011

23

2011-2012 PPP SOURCEBOOK SUPPLIER DIRECTORY + Star listings indicate premium advertisers in this issue. Blue check listings indicate display advertisers in this issue. RAW MATERIALS/BODIES

Company

Bentonite Clay Gerstley Borate Grog Nepheline Syenite Porcelain Ramming Mixes Silica Stains Talc Casting Slip Extruders Mixers, Ball Mixers, Batch Mixers, Clay Molds, Plaster Molds, Pressure Casting Molds, Resin Presses Pug Mills Slab Rollers Wheels Banding/Decorating Wheel Decals

2011-2012

MIXING/FORMING

Saint-Gobain Ceramic Materials, Ceramic Systems

                       

Skutt Kilns

                       

Smith-Sharpe Fire Brick Supply

                       

Spectrum Glazes

        •                           

PPP SOURCEBOOK CERAMIC SUPPLIER DIRECTORY

Standard Ceramic Supply Company Tucker's Pottery Supply

• • • • • • • • • • • • • • • • • • • • • • • 

Vent-A-Kiln Ward Burner Systems

Tools, Fusing

Supplies, Fusing

+

Continental Clay Company

+ + + + + + + + + + + + + + +

Paragon Industries, L.P.







+

















Mayco Colors









•















Skutt Kilns





  















Spectrum Glazes



•

•

•

•

Tucker's Pottery Supplies





24



March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

•

Grinders



Paints/Pens

Kilns



Enamels

Precut Glass



Paper

Kits

Bracker's Good Earth Clays Inc.

Company

Molds

Fusing

Glass Cutters/Pliers

2011-2012 GLASS SUPPLIER DIRECTORY

EDUCATIONAL/ SERVICES

GLASS TOOLS/SUPPLIES

DECORATING

PPP SOURCEBOOK

•

Protective/Safety Equipment

FIRING/FUSING/SLUMPING

Grinder Supplies/Parts

GLASS

• •

Books/DVDs/Videos/CDs

•

Western Claymachinery Sales-WCS













2011-2012 PPP SOURCEBOOK SUPPLIER DIRECTORY KILNS/FIRING

EDUCATIONAL/SERVICES

HEALTH/SAFETY

MISC.

Engobes Frits Prepared Glazes Spray Booths Spray Equipment Burners Control Systems Heating Elements Kiln Furniture Kilns, Glass Kilns, Electric Kilns, Raku Pyrometers Pyrometric Cones Kiln Shelves, Alumina Kiln Shelves, Cordierite Kiln Shelves, Silicon Carbide Refractories, Firebrick Thermocouples Air Filters Classes/Workshops Kiln Hoods Kiln Shut-Off Device Kiln Vents Personal Safety Books/Videos/Software Classes/Workshops Contract Manufacturing Design Services Engineering Services Kiln Design/Repair Testing, Raw Materials/Glazes Accessories Exhibit Equipment/Supplies Jewelry Findings/Supplies Racks, Trucks, Carts Tools

DECORATING



                         

         



                     

         



                       

        

• • •      •      • •                    

 





  







• • • • •   • • • • • • • • • • • • •  • • • • • •    • •    • • • • •

• •

• •

• • • • • •

Include Your Company in the 2011-2012 PPP Sourcebook y r e t t o p PRODUCTION PRACTICES

A Special Supplement to Ceramic Industry

2010 • www.ceramicindustry.com • Spring

PPP book Source

The PPP Sourcebook is a comprehensive resource for pottery materials, equipment and tools. Don’t miss your chance to be included next year.* Contact Ginny Reisinger at [email protected] or (614) 760-4220 for pricing and additional details. *If your company is listed in this year’s PPP Sourcebook, a listing form will automatically be sent to you again next year.

Contact information for each of these companies is listed in the Supplier Index (pp. 20-21).

CERAMIC INDUSTRY / PPP ³ March 2011

25

The Washington Square

Outdoor Art Exhibit

Erh Ping Tsai (left) and Cynthia Chuang (center) are a husband and wife team who designs handcrafted porcelain jewelry.

T

he Washington Square Outdoor Art Exhibit takes place each year on Memorial Day weekend and the following weekend and on Labor Day weekend and the following weekend. The event showcases fine artists and craft artisans from the New York metropolitan area, the nation and the world. Visitors to the exhibit include art lovers, interior designers, tourists, and faculty and students from the area’s many schools.

The art exhibit began in the spring of 1931, in the heart of the Depression era. Jackson Pollock, in desperate need of funds to pay the rent on his Greenwich Village studio (which also served as his home) took a few of his iconoclastic paintings down several flights of stairs and set them up on the sidewalk near Washington Square Park. His friend and fellow Village artist, Willem DeKooning, in equally desperate financial straits, soon joined him. It is not known how many works of art—whose values would soon skyrocket—they sold that day. However, their enterprise was noted by some publicspirited citizens, including such luminaries of the art world as Gertrude Vanderbilt Whitney, founder of the Whitney Museum of Art; and Alfred H. Barr, Jr., director of the Museum of Modern Art. 26

They organized the art show that would evolve into the Washington Square Outdoor Art Exhibit. Early exhibitors included Village artists Alice Neel, Saul Berman and Ilya Bolotowski. Beauford Delaney made the trip from Harlem. Now, the exhibit is a showcase for artists both local and international, and is attended by art lovers from all over the world. Artists are selected by a jury of their peers, based on submitted slides of their work. No longer are nudes banned from the show; in addition, photography is now recognized as an art form and crafts can be displayed, provided each piece is a one-of-a-kind, handmade item. Cash prizes, donated by individuals, organizations and corporations, are awarded in various categories based on selection by artist-judges 

A visitor examines Mike Hirsh’s sculpture.

Information for Artists For the spring show, registration and images for jurying are due by April 20. Acceptances will be mailed no later than April 20. Applications received after the deadline dates will be considered as circumstances permit. The earlier applications are received, the sooner applicants will be notified of acceptance. Exhibitors may show work only in the categories in which they are accepted. Signing of all work is encouraged and all work must be priced and for sale. The sale of T-shirts is prohibited. In addition, every exhibitor must have a NYS Certificate of Authority to Collect Sales Tax, also known as NYS Form DTF17. More information can be found at

For additional details, visit www.wsoae.org.

March 2011 ³ WWW.POTTERYPRODUCTIONPRACTICES.COM

http://wsoae.wordpress.com.

Photos by Rebecca MB Pearson, www.rebbshots.com.

Origins of the Exhibit

A child admires Chuang’s jewelry designs.

Announcing the 15 cubic foot Paragon Super Dragon Cone 10, heavily insulated, digital– Suggested retail: $9850 • Maximum temperature: 2350°F • 4 ½" thick firebrick walls, roof and floor • 3” firebrick plus 1” ceramic fiber door • 15.18 cubic foot interior:

27" wide x 27" deep x 36" tall • Long-lasting, quiet mercury relays • Sentry 2.0 micro processor controller • 240 v., 1ø model: 90 amps, 21,600 watts • Available in 200, 208, 220, 1 & 3 phase at no extra charge; 3 phase 480 volts add $225. No extra charge for 50 hertz. • Shipping weight: 1500 lb.

The door opens wide with an “L” shaped hinge for easy access.

Easy to Load

Extra Insulation

Heavy Duty

Ceramists who struggle bending into top-loading kilns will enjoy the ease of Paragon’s front-loading Super Dragon. The door swings open wide on a heavy steel rod with sealed bearings. Spring loaded latches press the door tightly closed.

The walls, roof, and floor have 4 ½” of insulation; the door has 4”. The extra insulation not only saves energy but also cools the kiln slowly without having to turn the elements back on. Cool slowly to achieve dramatic shifts in glaze color such as iron reds. Create breathtaking pottery in this exciting kiln.

The Super Dragon has a floating door system with four spring door latches. The door hinge is fastened to a 2” tubular steel frame that extends from the floor to the top of the kiln. Long-lasting mercury relays power the elements. The life of the quiet, reliable mercury relay has been measured in millions of on/off cycles. A bank of built-in NEC/UL compliant high-amperage fuses protects the kiln and circuit wiring.

Plenty of Power

The cone-10 Super Dragon kiln has Digital Accuracy The Sentry 2.0 digital controller is power to spare. This results in long element life, because the elements do not standard on the Paragon Super Dragon. “struggle” to reach high temperatures. Results are repeatable from one firing to Dropped, recessed grooves protect in- the next with astounding accuracy. dustrial-gauge elements for long life. Do you ever wonder how much electricity your kiln uses? The digital controlTuned Elements ler will figure this for you; merely The heavy-duty elements are “tuned,” program the kiln’s wattage and your cost which means hotter elements are placed of electricity into the controller. Learn to in areas of the firing chamber that need conserve energy by experimenting with more heat. This results in superior heat firing speed, load density, etc. distribution. The Type-K thermocouple, hermetiThe inner door is recessed. Because the Super Dragon stores heat so effi- cally sealed for accuracy, is standard. But we recommend the optional Type-S for ciently, elements last longer. stoneware and porcelain.

Paragon kilns are made in America to exacting standards. For more information on these reliable kilns, please see your local Paragon distributor. Call us or visit our website for a free catalog and the name of your local distributor. Sign up for our Kiln Pointers email newsletter.

2011 South Town East Blvd., Mesquite, Texas 75149-1122 800-876-4328 / 972-288-7557 Toll Free Fax 888-222-6450 www.paragonweb.com [email protected]

special report | glass

Advanced Flat Glass

Outlook

➤ The U.S. demand for advanced flat glass products is projected to reach $7 billion by 2014.

U

.S. demand for advanced flat glass products is projected to increase 9.1% annually from a weak 2009 base to 745 million square feet by 2014 (valued at $7 billion). This growth represents a significant improvement over the 2004-2009 period, when advanced flat glass consumption suffered from the combination of a weak economy, crises in financial markets, the bursting of the housing bubble, and a sharp downturn in motor vehicle production. As a result, demand for advanced flat glass in 2009 was at its lowest level in more than a decade. Going forward, a rebound in residential construction and motor vehicle production from low 2009 levels will spark strong growth in the demand for advanced flat glass products. Consumption will also benefit from increasing market penetration for a number of advanced flat glass products, including low-emissivity (low-e) glass, heads-up display and other advanced windshields, electrochromic mirrors, and smart glass products. Safety and security glass accounted for nearly three-fifths of demand in value terms in 2009, reflecting the widespread use of these products in motor vehicles (laminated windshields and tempered window glass) and in nonresidential construction (laminated security glass and tempered fire-rated glass). Demand for safety and security glass is projected to increase 11.9% annually to $4.2 billion in 2014. Growth in demand will be paced by safety glass used in vehicular markets and laminated hurricane glass, although the latter will remain a regional product.

Table 1. U.S. advanced flat glass demand (million $).

Safety and security glass Solar control glass Other advanced glass Total advanced flat glass demand

2004 3407 1215 445 5067

Consumption of solar control products is forecast to increase more than 12% annually from a weak 2009 base to $2.1 billion in 2014. Low-e glass has emerged as the most widely used product in manufactured window units, particularly in the double-pane units that now dominate residential window applications. The recovery in new residential construction through 2014 will boost demand for low-e windows, coupled with continued market penetration at the expense of plain annealed glass. Electrochromic mirrors comprise the largest smart glass product category and will post outsized growth due to a strong recovery in vehicle production and growing market penetration. Other smart glass products, such as electrochromic windows, suspended particle device windows and liquid crystal display windows, will make some market inroads, although demand will remain relatively small through 2014.

2009 2389 1142 514 4045

2014 4195 2060 745 7000

% Annual Growth 2004-2009 2009-2014 -6.9 11.9 -1.2 12.5 2.9 7.7 -4.4 11.6

Demand for other advanced flat glass products is projected to increase 7.7% annually to $745 million in 2014. The largest single product, heads-up display glass, will post strong growth as advanced display systems become more widely used in vehicular markets. Self-cleaning glass will also record very strong gains through 2014, albeit from a relatively small 2009 base. Other products, including ultraclear and colorless glass, anti-reflective glass, leaded glass, and electronic glass, will post below-average gains. While hundreds of companies compete in the U.S. advanced flat glass industry, a relatively small number supplied the majority of demand in 2009. The top five companies accounted for nearly 60% of total 2009 sales.  This article is based on information from Advanced Flat Glass (published December 2010, $4800) from The Freedonia Group, Inc. For additional information, visit www.freedoniagroup.com. CERAMIC INDUSTRY ³ March 2011

17

special report | refractories

High-Temperature

Fiber Products

Fiber-based insulation products offer superior thermal efficiency for high-temperature kilns.

by Brian Bradley, Engineering Manager, Unifrax I LLC, Niagara Falls, N.Y.

➤ Fiber-based insulation is an attractive option for many ceramic industry refractory users.

S

ince its invention and commercialization by The Carborundum Co. in the 1950s, ceramic fiber insulation has been used in many industrial applications. Over the years, extensive research and development has resulted in the introduction of different fiber chemistries and product forms into the refractory market. Examples of advances include soluble fiber and high-temperature polycrystalline mullite fiber materials. These technical developments have expanded the market for fiber-based products into applications where more traditional refractory products (such as bricks or castables) have historically been used. In many cases, fiber-based insulation is now the industry standard for high-temperature thermal management.

Benefits By nature, fiber-based refractory products have a very low density compared to traditional refractory products. This char18

acteristic results in reduced energy consumption when the materials are used in high-temperature industrial applications such as batch-type kilns. Fiber-based refractory materials decrease the energy wasted due to refractory heat loss and heat storage. Typically expressed as btu/sf-hr, heat loss is the amount of energy per unit of time that is lost through the kiln walls and roof. Heat storage is the amount of energy required to bring the kiln to equilibrium during heat-up. Since heat storage does not include a time component, it is typically expressed in terms of btu/sf. Additional benefits of a fiber-based refractory lining system include: • Reduced weight, which requires less steel furnace support structures • Faster heat-up and cool-down times, which result in potentially decreased firing times • Immunity to thermal shock, thereby reducing required maintenance

March 2011 ³ WWW.CERAMICINDUSTRY.COM

Manufacturing Traditional ceramic or soluble fiber products are manufactured through a hightemperature furnacing process during which oxide powders are blended and melted. A molten stream of this blend is then fiberized, either through a blowing or spinning process. The end product is fiberized material, as well as very small, glasslike beads called shot particles that are a manufacturing byproduct. The bulk fiber material is then processed into different product forms, such as blankets, modules, papers, boards, textiles and wet mixes. The maximum temperature use limit of fiber products manufactured via this method is approximately 2600°F (1426°C). Another class of refractory fiber products includes those manufactured via a sol-gel process. For this process, liquid raw materials are batched and chilled. Fibers are produced when the liquid-saturated solution is processed through spinning cups. These fibers are then collected, dried and calcined to chemically stabilize the mullite fiber chemistry.

Left: Custom shapes and designs are commonly engineered for high-temperature applications. Below: Polycrystalline mullite fibers can be processed and fabricated into a variety of product forms.

The basic composition of these fibers is alumina and silica; alumina percentages range from 72-95% (thee chemistry range for mullite materi-als). The high alumina content off these fiber products allows them to o be used in potentially harmful fluxing applications where products with higher silica concentrations may fail. Since the fiberization process occurs at ambient temperatures, virtually no shot is associated with polycrystalline mullite fibers, which minimizes potential product contamination. The maximum temperature use limit of fiber products manufactured via the sol-gel method is approximately 3000°F 0°F (1650°C). The higher temperature capabilities of these fibers make them well-suited for many processes within the industrial ceramic market, which generally uses higher operating temperatures compared to other industries.

Polycrystalline Mullite Fibers Similar to furnaced fibers, polycrystalline mullite fibers are additionally processed into various product forms, including blankets, modules, and vacuum-formed boards and shapes. Blankets are used as consumable wraps or covers for high-temperature applications and as a component for module fabrication. Modules are typically used to insulate large, batch-type kilns that process and sinter a variety of ceramic products.

When used in high-temperature tunnel kiln appliccations,, p polycrystalline y y mullite fiber modules can help aachieve a low-mass kiln car design. Vacuum-formed boards d aand shapes are manufactured tthrough a wet process by adding organic and inorganic binders. o These products are commonly T used u as insulation for smaller, laboratory-type furnaces and as la setter tiles to support product as se it is thermally processed through a batch or tunnel kiln. b

Multiple Options Fiber-based insulation is an attractive option for many ceramic industry refractory users who need to evaluate their heat management requirements. Polycrystalline mullite fiber products extend the temperature use limit to such a point that end users can recognize the thermal performance benefits of a low-density, fiber-based product that is able to withstand the high operating temperatures common to the ceramic industry.  For more information, contact Unifrax I LLC at 2351 Whirlpool St., Niagara Falls, NY 14305; call (716) 278-3800; e-mail [email protected]; or visit www.unifrax.com.

TOKUYAMA Aluminum Nitride Powder & Granule

The world’s largest supplier can support your business needs 100um

Granule

A stable supply, having the world’s largest supply capacity. High quality, low metallic impurity. Long shelf life, excellent product stability. USA

Tokuyama America Inc. 121 S. Wilke Road, Suite 300 Arlington Heights, IL 60005 Tel: +1-847-385-2195 e-mail: [email protected]

Europe

Tokuyama Europe GmbH Oststrasse 10,40211 Dusseldorf Germany Tel: +49-211-1754480

Japan

Tokuyama Corporation Shapal Sales Department, Specialty products Business Division Shibuya Konno Bldg. 3-1, Shibuya 3-chome, Shibuya-ku, Tokyo 150-8383 Tel: +81-3-3597-5135 e-mail: [email protected] URL http://www.shapal.jp/index.html

CERAMIC INDUSTRY ³ March 2011

19

³ BUYERS’

CONNECTION

³ WHAT’SNEW MORGAN THERMAL CERAMICS

The BYK-Gardner catalog is a source of innovative, reliable, customer-oriented instruments to objectively control and improve your products. Find instruments to measure appearance, color, and physical properties. BYK-Gardner USA 9104 Guilford Road | Columbia, MD 21046 P 800-343-7721 | F 800-394-8215 | www.byk.com

International Decal •

Offering a wide range of decals for application on to ceramic, glass, porcelain enamel, stainlesss steel, acrylic, plastic and wood products. Specializing in FULL COLOR PROCESS decal reproductions for gift, table top & promotional markets. Water slide & pressure sensitive decals that can be applied as follows: HIGH FIRE 1,500 F LOW FIRE 1,150 F BAKE ON 300 F NON FIRE Room temperature curing

•

•

See video for more information: http://www.internationaldecalcorp.com/ CONTACT US TODAY: INTERNATIONAL DECAL 847-498-5820 Ext. 11 • [email protected]

Make the Commerce Connection! CI BUYERS’ CONNECTION Reinforce your sales message and showcase your • Literature • Home page • Product sheets • New products • Specialty products and accessories Economical, 1/9 page color mini-ad. Space still available in June, Sept, Oct, Nov, Dec Contact Ginny Reisinger 614-760-4220 • [email protected]

20

Co-Fired PZT Bimorph Elements This company’s ElectroCeramics business recently announced that it designs and manufactures co-fired piezo lead zirconate titanate (PZT) bimorph elements for use in aerospace, medical, automotive, and general industrial sensor and actuator applications. The co-fired PZT bimorph elements offer increased mechanical stability compared to conventional bimorphs and can be used in harsh environments. They are increasingly being used in critical aerospace applications, where mechanical and electrical stability are key performance attributes. Visit www.morgantechnicalceramics.com.

block for energy efficiency. Easyto-replace radiant panels on both side walls and floor provide heat to the work load, which is insulated from the elements by a RA330 alloy muffle supporting an argon atmosphere. The muffle design can reduce scale, achieve lower dew points and reduce atmosphere consumption. A silicon carbide hearth plate supports the muffled work chamber while allowing thermal transfer from the floor heating elements. Call (800) 378-0095 or visit www.luciferfurnaces.com.

UNION PROCESS Custom Mill

PANALYTICAL

This company recently announced it has manufactured a custom DMQ-80 mill for a customer producing materials for lithium-ion battery technology. The mill’s design reportedly allows for the fast, efficient grinding of submicron materials with the cost-effective advantages of a circulation mill. Circulation grinding offers benefits such as a narrow particle size distribution, the ability to continuously monitor the product and make formulation adjustments on the fly, and excellent product temperature control. Visit www.unionprocess.com.

Spectrometers A new range of Epsilon 3 benchtop energy dispersive X-ray fluorescence (EDXRF) spectrometers can reportedly deliver accurate, precise and reliable results. The Epsilon 3 and Epsilon 3 XL versions match and can sometimes surpass the analytical performance of larger, more powerful spectrometers, according to the company. The new instruments can provide cost-effective and capable alternatives for a variety of applications and industries. Visit www.panalytical.com/epsilon3. 

LUCIFER FURNACES Muffle Box Furnace This company has supplied a leading U.S.-based analytical testing facility with a model 7000 AM box furnace for stress relieving. The 7 x 7 x 18-in. chamber is powered with 8 KW and heats to 2050°F. The heavy-gauge reinforced steel shell is insulated with 6½ in. of multilayered insulating firebrick and mineral wool

March 2011 ³ WWW.CERAMICINDUSTRY.COM

Have Product News to Share with the Industry? E-mail news releases to Teresa McPherson at [email protected].

³ SERVICESMARKETPLACE ³CONSULTING & ENGINEERING SERVICES

³MAINTENANCE/SERVICES

Brinks Hofer Gilson & Lione . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Ceramics Maintenance Service . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Ceralink, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Ceramics Consulting Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

³PROCESSING SERVICES

Jonathan Kaplan Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

AVEKA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Ragan Technologies, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

CCE Technologies, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Richard E. Mistler, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Powder Processing and Technology, LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Ruark Engineering, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Powder Technology, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Semler Materials Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Union Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

³CONTRACT MANUFACTURING SERVICES

³RECYCLING SERVICES

Coalition Technology Co., Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

A-Ten-C, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

CoorsTek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Stratamet Advanced Materials. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

³REFRACTORY SERVICES

Superior Technical Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Fuse Tech/Hot Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Nth Degree Products . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

³FINISHING & MACHINING SERVICES Advanced Ceramic Technology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

³CONSULTING & ENGINEERING SERVICES

Bullen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 EBL Products, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Ferro-Ceramic Grinding, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Machined Ceramics, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 O’Keefe Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 PremaTech Advanced Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

³FIRING & DRYING SERVICES Allied Kiln Service Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 American Isostatic Presses. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Experts in Ceramic Engineering & Materials Science • Microwave & RF Process Development • Scale-up • Equipment Design

• Materials Engineering Ceramics, Glass, Composites

• Research and Innovation • Prototyping

Centorr/Vacuum Industries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Harrop Industries, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

518-283-7733 * Fax: 518-283-9134 * [email protected] * www.ceralink.com

Ipsen Ceramics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 I Squared R Element Co., Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Prairie Ceramics Corp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 SBL Kiln Services, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 TevTech, LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

³GLASS SERVICES Fuse Tech/Hot Tech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Glass Inc. International . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 SEM-COM Co., Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Specialty Glass, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Viox Corp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Phone: 480-895-9830 FAX: 480-895-9831 e-Mail: [email protected]

Dr. Charles E. Semler President/Consultant SEMLER MATERIALS SERVICES 10153 E. Elmwood Dr. Chandler, AZ 85248

³INDEPENDENT AGENTS Tape Casting Warehouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Taylor Tunnicliff Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

³LABORATORY & TESTING SERVICES Geller Microanalytical Laboratory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Harrop Industries, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Micromeritics Analytical Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Micron Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Netzsch Instruments NA LLC . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 NSL Analytical Services Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Quantachrome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 West Penn, Spectrochemical Labs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

CERAMIC INDUSTRY ³ March 2011

21

³CONSULTING & ENGINEERING SERVICES / CONTRACT MANUFACTURING SERVICES ³CONTRACT MANUFACTURING SERVICES

High Shear Compaction— Superior Tape Forming Process • Full thickness single layer tapes: • HSC efficient high-volume 0.1 mm to greater than 13 mm process compatible with any powder: ceramic, glass, metal • Aqueous binder systems— extreme thickness control or plastic Ragan Technologies Inc. • Improvement over roll compac- • Tape Development > Toll 978-297-9805 Manufacturing > Turnkey tion —Isotropic tapes are [email protected] Installations never brittle & fire flat www.ragantech.com

INNOVATIVE SOLUTIONS FROM CONCEPT TO PRODUCTION • • • •

Delivering solutions for diverse applications & industries Extrude, dry press, iso press, precision machine AS9100 & ISO9001:2008 Certified Plantwide Customer-Focused Culture

802-527-7726 • [email protected] • www.ceramics.net

Alumina • Zirconia • ZTA • Steatite • Cordierite • BN • Macor

Jeff Zamek Ceramics Consulting Services

6 Glendale Woods Drive Southampton, MA 01073

Telephone 413 527 7337 Fax 413 529 2674 [email protected] www.fixpots.com

Ceramic Product Design and Development Whitewares and Tabletop Custom Molds and Models 3520 Brighton Blvd., Denver CO 80216 (303) 909-5488 www.plinthgallery.com [email protected]

Michael S. Gzybowski Intellectual Property Attorney 734.302.6046 [email protected]

Precision Ceramic Components fj^X`"ijgc egdidine^c\

Suite 200 | 524 South Main Street | Ann Arbor, MI 48104 usebrinks.com

]^\]"kdajbZ bVcj[VXijgZg

Ruark Engineering, Inc. Customer Oriented Expert Kiln Assistance • • • •

Ralph Ruark, PE 10506 Cypress Point Drive Bradenton, FL 34202

22

Veea^XVi^dc Zc\^cZZg^c\

CONTINUOUS IMPROVEMENT OF KILN OPERATIONS KILN UPGRADE AND MODIFICATIONS NEW KILN PROCUREMENT SPECIALIZED TRAINING ON SITE P: 941-730-2253 F: 941-360-3211 [email protected] http://www.ruarkengineering.com

March 2011 ³ WWW.CERAMICINDUSTRY.COM

CoorsTek is the largest US-owned technical ceramics manufacturer in the world. Call 303-271-7006 or email [email protected] for expert assistance on your next project. Visit us on the web www.coorstek.com

³CONTRACT MANUFACTURING SERVICES / FINISHING & MACHINING SERVICES

SERVICESMARKETPLACE

³CONTRACT MANUFACTURING SERVICES

WORLD LEADER IN PRECISION CERAMICS

Over a Quarter Century of Precision Ceramic Machining Process Development, has resulted in hundreds of satisfied customers. Put our experience and knowledge to work for you and become one of our satisfied customers.

719-687-0888 • [email protected] • www.okeefeceramics.com

³FINISHING & MACHINING SERVICES

YOUR OU U ULTRASOURCE SOU C FOR MACHINING HARD & BRITTLE MATERIALS

www.bullentech.com 1301 Miller Williams Rd. Eaton, Ohio 54320 USA Phone: (937) 456-7133 • Fax: (937) 456-2779 Email: [email protected]

EBL PRODUCTS, INC.

28 Years of Precision Ceramic Grinding

PIEZOCERAMICS

• Custom forming of technical ceramics * Built to customer print * • Prototype, short run and high volume production quantities • Multiple C.N.C. Capabilities

Serving our customers for over 50 years PRECISION CUSTOM DESIGN for:

• • • •

piezoceramic tubes piezo composites lead zirconate titanates matching layers & wearplates

EBL Products, Inc. 22 Prestige Park Circle, E Hartford CT 06108 Phone: 860-291-2537 • Fax: 860-291-2533 www.eblproducts.com [email protected]

Phone: 714-538-2524 Fax: 714-538-2589 Email: [email protected] Website: www.advancedceramictech.com

CERAMIC INDUSTRY ³ March 2011

23

³FINISHING & MACHINING SERVICES / FIRING & DRYING SERVICES

TOLL FIRING

Contract Machining Company and Ceramic Component Supplier • ISO 9001:2000 & AS9100B • CAD/CAM CNC Machining • Extensive Material Inventory • Material/Technical Support • Over 40 Years of Service

SERVICES

• Sintering, calcining, heat treating to 1700°C • Bulk materials and shapes • R&D, pilot production • One-time or ongoing

Specializing in BN, SiC, Macor, Si N , Al O , ZrO , Quartz, Ferrites and other related materials 3

4

2

3

2

EQUIPMENT

in d n

ri G f C ion Machining & era ials

Pre o cis

mic

r s & Advanced Mate

PremaTech Advanced Ceramics is a highly respected, world leader in advanced custom machining and grinding for the Semiconductor, Aerospace & Defense, Research, Life Sciences and Commercial industries. For all your ceramic needs, please call 508.791.9549 NEW Lapping & Polishing Capabilities Advanced Ceramic Machining & Components Engineering and Design Support Grinding of Hard and Ultrahard Materials: Alumina, Boron Nitride, Ferrite, Quartz, Silicon Carbide, Silicon Nitrides and Zirconia

ISO 9001-2000 Certified ITAR & CCR Registered WBENC Certified

www.prematechac.com

³FIRING & DRYING SERVICES

ISOSTATIC PRESSING Specializing in

HIP, CIP, Service and Equipment Visit us on the Web: www.aiphip.com Call toll free: 800-375-7108

American Isostatic Presses 1205 S. Columbus Airport Rd. Columbus, Ohio 43207 Phone (614) 497-3148 Fax (614) 497-3407

TEVTECH, LLC MATERIALS PROCESSING SOLUTIONS Custom Vacuum Furnaces & Hot Zone Refurbishment for Sintering • CVD • Purification • Brazing 100 Billerica Ave., N. Billerica MA 01862 Tel. (978) 667-4557 • Fax. (978) 667-4554 www.tevtechllc.com

24

March 2011 ³ WWW.CERAMICINDUSTRY.COM

g

• Atmosphere electric batch kilns to 27 cu. ft. • Gas batch kilns to Columbus, Ohio • 614-231-3621 57 cu. ft. www.harropusa.com e-mail: [email protected]

SERVICESMARKETPLACE

³FIRING & DRYING SERVICES / GLASS SERVICES

Electronic and Specialty Glass Frits & Powders • • • • • • • • • •

Standard compositions Custom melt capacity Glass development Calcinations Toll processing Test sample availability Production volumes Tailored particle sizes Press-ready granulation ISO 9001:2008 registered

BUS.: (608) 783-4455 ALLIED FAX: (608) 783-4420 KILN EMAIL: [email protected] SERVICE INC. TIMOTHY J. TOBIN

New Kiln Design and Manufacturing Roller Hearth - Shuttle - Car Bottom - Tunnel • Installations • Combustion

• Refractory/Fiber • Electrical

• Instrumentation • Profile/Balancing

6701 Sixth Ave. S. Seattle, WA 98108 (206) 763-2170 E-mail: [email protected] www.viox.com

GLASS TECHNOLOGY Design • Development • Manufacturing

www.alliedkilnservice.com 1349 Moorings Dr. • La Crosse, WI 54603

TOLL FIRING and CERAMIC REFRACTORIES

• Multiple kilns and furnaces for optimal firing options • Screening, surface area, and bulk density testing available • Custom and standard ceramic refractories • Alumina and Fused Silica formulas • Shapes include saggers, tiles, crucibles, kiln furniture

SEM•COM

COMPANY, INC.

SPECIALTY & ELECTRONIC GLASS MANUFACTURING We provide the following services:

Q GLASS MELTING Q GLASS FABRICATION Q COMPOSITION DEVELOPMENT Q CONSULTING Contact us for further information:

[email protected] • (815)239-2385 ext. 105 www.ipsenceramics.com

I SQUARED R ELEMENT CO., INC. AKRON, NY USA

• Custom Designed Silicon Carbide & Molybdenum Disilicide Heating Elements for Your Application • Engineering Assistance & Trouble Shooting • Customized Accessories

Visit our Web Site: www.isquaredrelement.com Phone: (716) 542-5511 • Fax: (716) 542-2100

Ph: 419-537-8813 Fax: 419-537-7054 E-mail: [email protected] www.sem-com.com

Refractory Repair Specialists • Ceramic Welding & Periscope Surveys • Port & Checker Cleaning • Hot Refractory Sawing & Drilling • Furnace Overcoating • Hot & Cold Refractory Repair

³GLASS SERVICES

ALBERT LEWIS PRESIDENT

GLASS

INCORPORATED INTERNATIONAL 14055 LAURELWOOD PL • CHINO, CA 91710 email: [email protected] website: www.glassint.com Phone 909-628-4212

Fax 909-628-2771

• Standard, Custom, Proprietary Glass and Glass-Ceramic compositions • Available in frit, powder (wet/dry milling), rod, or will develop a process to custom form • Fused Silica crucibles and Refractory lined tanks • Electric & Gas melting up to 1650°C • Research & Development • Pounds to Tons Phone (813) 855-5779 • Fax (813) 855-1584 Website: www.sgiglass.com • E-mail: [email protected]

CERAMIC INDUSTRY ³ March 2011

25

³INDEPENDENT AGENTS / LABORATORY & TESTING SERVICES GELLER USA McCuen & Associates Ph: 330 482-1074 Fax: 330 482-4560 Email: [email protected] www.davemccuen.com

BULLERS RINGS • Improve Kiln Yields • Reduce Loss • Improve Production Profits • Guarantee Consistent Firings

UK Taylor Tunnicliff Limited. Normacot Road Longton Stoke-on-Trent ST3 1PA

w w w.t ay l o r tu n ni clif f.c o m

M I C ROA NA LY T I C A L

LABORATORY Analytical Services & NIST Traceable Magnification Standards SEM/X-ray, Electron Mircoprobe, Surface Analysis (Auger), Metallography, Particle Size Counting, and Optical Microscopy for Ceramics and Composite Materials Specializing in quantitative analysis of boron, carbon, nitrogen, oxygen, etc. in micrometer sized areas. Elemental mapping, diffusion studies, failure analysis, reverse engineering and phase area determinations. I S O 9 0 0 1 & 1 7 0 2 5 C e r t i fi e d Put our years of experience to work on your specimens! 426 Boston St. Topsfield, MA 01983 Tel: 978-887-7000 Fax: 978-887-6671 www. gellermicro.com Email: [email protected]

YOUR DEDICATED PARTNER FOR THERMAL ANALYSIS Leading worldwide with highest quality and performance in: ) Thermal Analysis ) TGA-DSC/DTA from -150 to +2400ºC ) Thermal Conductivity

) ) ) )

Laser Flash Diffusivity Dilatometers Specific Heat Contract Testing Services

Please visit our website for more details: www.e-Thermal.com NETZSCH Instruments N.A. LLC )37 North Ave )Burlington MA 01803 Email: [email protected] )Ph: 781-272-5353

NETZSCH’s PHILOSOPHY is TOTAL CUSTOMER CARE ³LABORATORY & TESTING SERVICES

Your Partner in Ceramics Analysis Experiennced analysis of Advanced Experienced Advaanceed ceramic cerramicc m materials atterialss in including ncluudin ing alumina, magnesia, zirconia, carbides, nitrides, and oxides. Specialized Testing Capabilities

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NSL Analytical Services, Inc. 4450 Cranwood Parkway, Cleveland, Ohio 44128 4OLL&REEsMRJS$RWPEREP]XMGEPGSQ

Trust

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Particle Size • Particle Shape BET Surface Area • Pore Size Analysis • Density

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Compositional Analysis Elemental and Chemical Analysis Microscopy and SEM Thermal Analysis Trace Level Analysis Bulk Composition Thermal Conductivity Contaminants Inclusions Failure Analysis

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Holding off on capital purchases? Union Process still has several low cost options for you to get the job done economically and efficiently using the finest size reduction equipment on the market.

TOLL MILLING Save on capital equipment, personnel and space. Let Union Process toll grind your product in our Pilot Plant.

REBUILDING Got a used Attritor in need of an update? Talk to Union Process about our 8-step refurbishing process using all OEM parts.

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SPARE PARTS Make sure your Attritor is performing at peak efficiency. Order critical OEM spare parts today. Union Process stocks many parts ready for immediate shipping.

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Partner with Union Process.

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PRINT, DIGITAL & ONLINE! TRIPLE EXPOSURE! CI’s Services Marketplace ads keep your services accessible in the customer’s preferred format 24/7 for 12 full months.

2011 RATES $950/unit . . . . . . . . . .black and white $1325/unit . . . . . . . . .4-color

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Contact Ginny Reisinger with questions: 614-760-4220 or [email protected]

CERAMIC INDUSTRY ³ March 2011

27

³PROCESSING SERVICES / RECYCLING SERVICES

Custom Grinding & Sizing CCE Technologies, Inc. 7555 95th Street South Cottage Grove, MN 55016 Phone: 651-688-2656 Fax: 651-688-8989 Toll Free: 1-800-707-7719 www.ccetechnologies.com

• High Efficiency Fluid Energy Milling • Centrifugal Air Classification • Precise Sizing of Abrasives and Ceramics

ENGINEERED PARTICLES Custom Particle Processing featuring: • • • • •

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[email protected] ISO 9001: 2008 Registered 2045 Wooddale Drive Woodbury, MN 55125 For more information visit: www.aveka.com 651-730-1729 | FAX 651-730-1826 or Call Toll Free: 1-888-317-3700

Your Source for Powder Processing We specialize in: • Spray Drying • Wet and Dry Milling • Calcining and Sintering Typical Applications: • Catalysts • Electronics • Ceramics • Fuel Cells For more information, please contact Alan Sukovich at 219-462-4141 x224 or [email protected] 5103 Evans Avenue | Valparaiso, IN 46383

www.pptechnology.com ³ RECYCLING SERVICES

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28

RECYCLE!

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March 2011 ³ WWW.CERAMICINDUSTRY.COM

A-TEN-C, INC.

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Refractory Repair Specialists • Ceramic Welding & Periscope Surveys • Port & Checker Cleaning • Hot Refractory Sawing & Drilling • Furnace Overcoating • Hot & Cold Refractory Repair

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PRINT, DIGITAL & ONLINE! TRIPLE EXPOSURE! CI’s Services Marketplace ads keep your services accessible in the customer’s preferred format 24/7 for 12 full months.

2011 RATES $950/unit . . . . . . . . . .black and white $1325/unit . . . . . . . . .4-color Contact Ginny Reisinger with questions: 614-760-4220 or [email protected]

We want to understand your current process and manufacturing needs. Our knowledgeable team will match your operating requirements with the right materials to meet your goals. We redesign and provide free samples to test concepts that provide better product quality, longer refractory life, and significant cost savings that will impact your overall bottom line. Higher quality and longer life refractories lead to smoother plant operating conditions, reduced scrap rates and improved end product quality.

9SPECIALIZING IN 9 CORDIERITE PRODUCTS Call us today: 609-518-9447 • Fax: 609-518-9445 [email protected] • www.nthdegreeproducts.com

Continuing to introduce innovative products to help improve your bottom line.

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SPECIALISTS IN HIGH VISCOSITY MIXING • Planetary & Planetary/Disperser Mixers • Capacities 1/2 pt. to 500 gal. • Viscosities up to 10 million cps • Controls & turnkey systems

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Quality & Service First BUY & SELL MACHINERY 586-790-1717 • [email protected] WWW.AADVANCEDMACH.COM

BUY & SELL MACHINERY Detroit Process Machinery TOM SUHY: 586-469-0323 www.detroitprocessmachinery.com

CERAMIC INDUSTRY ³ March 2011

29

³POSITIONS AVAILABLE CERAMIC DEVELOPMENT ENGINEER Rubicon Technology, Inc. is a world leader in the manufacture of high quality sapphire. We are a highly successful and publicly traded company (NASDAQ symbol RBCN). Demand for Rubicon sapphire is growing rapidly and is driven by HB LED, Silicon-on-Sapphire, and other optical applications. Rubicon offers an exciting opportunity for career growth, at our Chicago area facility. Job Description This function is primarily focused on oxide ceramic processing and growth of sapphire and other oxide single crystals. Rubicon uses a modified form of Kyropolous technique for manufacturing our superior sapphire single crystals. Relevant experience in ceramic engineering or materials science is therefore required. Duties and Responsibilities 1. Design, maintain, and operate high temperature, high vacuum, and high pressure production equipment. 2. Optimize ceramic and crystal growth process for quality, yield, and throughput improvement. 3. Stay current with industry trends and technology. Knowledge, Skills, and Abilities Required 1. B.S. or M.S. in ceramic, materials science, or mechanical engineering. 2. Hands on experience in bulk ceramic processing techniques. 3. Hands on experience in ceramic production equipment design and construction. 4. Hands on experience in bulk crystal growth techniques would be a plus. 5. Hands on experience in mechanical high pressure equipment. 6. Familiar with metrology tools – XRD, Electron microscopy, AFM, etc. 7. Knowledge of statistical methods for process characterization. 8. Provide consultation to other departments and customers, as needed.

³ ADVERTISERINDEX ADVERTISER

LINK

PAGE NO.

* Active Minerals International, LLC . . . . . . . www.activeminerals.com . . . . . . . . . . . . . . 7

* Bracker’s Good Earth Clays . . . . . . . . . . . . . www.brackers.com. . . . . . . . . . . . . . . PPP 14

Clear Seas Research. . . . . . . . . . . . . . . . . . . www.clearseasresearch.com . . . . . . . . . IBC

Continental Clay Co. . . . . . . . . . . . . . . . . . . . www.continentalclay.com . . . . . . . . . . . . IFC

* Harrop Industries . . . . . . . . . . . . . . . . . . . . . [email protected]. . . . . . . . . . . . . . . . . 4

* L&L Kiln Mfg. . . . . . . . . . . . . . . . . . . . . . . . . . www.hotkilns.com . . . . . . . . . . . . . . . PPP 13

* Mason Color Works Inc. . . . . . . . . . . . . . . . . www.masoncolor.com . . . . . . . . . . . . . . . . . 8

* Mohr Corp. . . . . . . . . . . . . . . . . . . . . . . . . . . . www.mohrcorp.com. . . . . . . . . . . . . . . . . . 29

We offer a competitive salary, excellent benefits including 401k, relocation and an exciting work environment. Please submit resume and cover letter including salary requirements to [email protected] include “Ceramic Development Engineer-CI” in the subject line or fax to 847-233-0932.

* Paragon Industries . . . . . . . . . . . . . . . . . . . . www.paragonweb.com . . . . . . . . . . . . . . .BC

* Peter Pugger . . . . . . . . . . . . . . . . . . . . . . . . . www.peterpugger.com . . . . . . . . . . . . PPP 3

Rubicon is an equal opportunity employer

Pottery Production Practices HotSpot. . . . www.potteryproductionpractices.com . IBC

www.rubicon-es2.com

place d a r u yo here!

CONTACT GINNY REISINGER @ 614/760.4220 or reisingerg@ bnpmedia.com to place yours today. 30

March 2011 ³ WWW.CERAMICINDUSTRY.COM

SACMI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . www.sacmi.com . . . . . . . . . . . . . . . . . . . . IFC

* Saint-Gobain Ceramics Systems . . . . . . . . www.refractories.saint-gobain.com . PPP 8

* Saint-Gobain Ceramics Systems . . . . . . . . www.refractories.saint-gobain.com . . . . . 9

Skutt Ceramics Products . . . . . . . . . . . . . . . www.skutt.com . . . . . . . . . . . . . . . . . . . PPP 7

* Smith-Sharpe Fire Brick Supply . . . . . . . . . www.kilnshelf.com. . . . . . . . . . . . . . . . PPP 8

Standard Ceramic Supply . . . . . . . . . . . . . . www.standardceramic.com . . . . . . . PPP 13

* Tokuyama America Inc. . . . . . . . . . . . . . . . . [email protected] . . . . . . . . . . . . 19

* Unifrax Corp. . . . . . . . . . . . . . . . . . . . . . . . . . www.unifrax.com . . . . . . . . . . . . . . . . . . . . . 3

* Unimin Corp. . . . . . . . . . . . . . . . . . . . . . . . . . [email protected] . . . . . .BC

* U.S. Electrofused Minerals Inc. . . . . . . . . . www.elfusa.com.br . . . . . . . . . . . . . . . . . . 15

* Wesbond Corp. . . . . . . . . . . . . . . . . . . . . . . . www.wesbond.com . . . . . . . . . . . . . . . . . . . 8 * See our ad in the 2010-2011 Ceramic Industry Data Book & Buyers’ Guide. This index is a feature maintained for the convenience of the advertiser. It is not part of the advertiser’s contract, and Ceramic Industry assumes no responsibility for its accuracy.

Plot Your Course for Real

SUCCESS Working with Clear Seas Research allows you to competitively position your business within the industry market and ultimately guides your company to make successful and informed decisions, establish a plan for the future and reach its overall objectives.

At Clear Seas Research we develop customized market research solutions.

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Find out how we can customize a research solution to help your bottom line. BETH SUROWIEC | 248.786.1619 [email protected] www.clearseasresearch.com

As a CASRO member, we subscribe to the Code of Standards and Ethics for Survey Research established by the Council of American Survey Research Organizations.

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