i~ ¸ · ravin ceramics SUPPLIES Manufacturers Distributors of the FOSTER POTTER'S WHEEL PUGMILLED...

~ i ~ ~ :

~1967

i! ̧ i ~ .....

~.

60¢

q ~

o

! ~ ~ ~i~ ̧

. . . a new C M H a n d b o o k

~ ,~ - i

with eiay, siJp g aze by E Carlton Ball

y

The techniques for decorating pottery

presented in this new handbook are

intended for use by those potters, either

beginning or advanced, who want to explore the possibilities of surface enrichment but lack skill or confidence

in drawing and painting. These methods

were especially devised for such persons

in order to give them some simple means

of decorating with clay, slip and glaze. Beautifully illustrated. Only $3 p e r c o p y . . . o r d e r n o w !

order these other famous

THROWING ON THE POTTER'S W H E E L

by Thomas Sellers

Here's a complete manual on how to use the 1)otter's wheel.

Covers a]I basic steps from wedging clay to making specific

shapes. 80 pages $4.00

CERAMIC P R O J E C T S

e d i t e d by Thomas Sellers

Outs tanding group of projects for the classroom, home anti

studio. Fountains, planters, jeweh'y, bottles, and bowls are

included. 64 pages $2.00

UNDERGLAZE DECORATION

by Marc Bellaire

This complete handbook has alI the answers on materials.

tools and technique. Step-by-step projects are profusely

illustrated. 64 pages $3.00

COPPER ENAMELING

by J o Rebert and Jean O 'Hara

Recognized as the best in basic instruction, this elaborate

handbook has over 200 photographs. Invaluable to teachers

and students alike. 64 pages $2.00

BRUSH DECORATION FOR CERAMICS

by M a r c Bellaire

A fascinat ing book with easy-to-follow instruction on the

use and care of brushes. Excellent for beginners. 64 pages $3.00

CM Handbooks j . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

WE PAY POSTAGE

CERAMICS MONTHLY Book Department

4175 N. High St., Columbus, Ohio 43214

Please send me the following:

--] DECORATING POTTERY @ $3

--] POTTER'S WHEEL @ $4

[ ] CERAMIC PROJECTS @ $2

Z UNDERGLAZE DECORATION @ $3

-7 COPPER ENAMELING @ $2

[ ] BRUSH DECORATION @ $3

Name _ _

Address

C i t y _ State__ Zip_

I enclose [ ] C h e c k ~] Money Order

(Ohio R e s i d e n t s add 3'.~ s a l e s tax.)

Dealer Inquiries Invited

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . t

Something Different...

]

i

NATURE AS This unusual and stimulating book presents a treasured collection of plant life which demonstrates in a unique

and very effective way the beauty of form in nature.

The illustrations are of seed pods, lichens, grasses, mosses

and other fascinating items of the woods and fields that

the author has collected in walks through the countryside.

The designs and "collectible" forms of beauty assembled here will suggest an infinite number of shapes and textures

for pottery. All of the photographs selected for use in this

volume are of exceptional quality, and those potters who

share an interest in photography or nature will find this book of special interest. Every potter will find an astonish-

ing new vocabulary of forms in this introduction to the obvious in nature which often escapes our attention.

This superbly illustrated volume was originally published in Sweden and has met with great success abroad among artists, designers and craftsmen (particularly potters). An

DESIGNER Bertel Boger

English edition of NATURE AS DESIGNER is now publish-

ed by Reinhold PuBlishing Corporation of New York City,

and we are happy to have this new title to offer to our readers through our Book Department.

This book would make a wonderful gift for a potter friend.

Be sure to treat yourself to a copy, too! Price: $12.50

I-'--CE~"-MICS MONTHLY Book Department q 4175 North H;qh Street, Columbus, Ohio 43214

I Please send me ~ copies of NATURE AS DESIGNER @ $12.50

Name

I Address

I City

L

State Zip.

Ohio residents add 38c per copy sales tax. I enclose [ ] Check [ ] Money Order

We Pay Postage b Sold on our Usual Money-Back Guarantee

.*l/.-i l lP~7 :~

• ELECTRIC KILNS School.Home.Studio A m a c o - - l e a d e r in electric kilns for schools and craf tsmen-- in 1933 designed the first school-quality kiln" ever manufactured. Now 21 models are available for any ceramic need• Amaco kilns r a n g e in fi~ng chamber size from 331/2 cubic inches to 8z/3 ' cubic feet, many firing to cone 10 (2350°F.) Top- loading, front-loading, metal enameling, pottery--:-

' " . all Amaco-manufactured kilns a r e listed with Un- • derwriter 's Laboratory as complete firing units. And

it is possible to secure replacement parts for any kiln Amaco ever built. Fof.qua!ity, durability, safety and ease of operati6n, Amaco electric kilns have no equal. Wri te ' today for free Ceramic Catalog.

I~ , AMERICAN ART CLAY CO., IN "~ ~ D I A N A P O L I S t I N D I A N A

5

REWARD-HART Problems with your present glazes7 Through re- search, Reward and Hart has eliminated the diffi- culties most frequently encountered in application and firing of ceramic glazes. Reward, the most duplicated llne of quali ty controlled glazes, is your assurance of the finest glazes avai lable anywhere. Reward - - first in color, textures and finishes.

R E W A R D C E R A M I C COLOR MFRS. INC. 6811 W A S H I N G T O N B L V D . ELKRIDGE 27 , M A R Y L A N D

4 Ceramics Monthly

ravin ceramics SUPPLIES

Manufacturers & Distributors of the

FOSTER POTTER'S WHEEL P U G M I L L E D & D E - A I R E D C L A Y

• O H A U S SCALES • R A W M A T E R I A L S - - Oxides, Clays, eft • O R T O N - - Cones • U. S. S T O N E W A R E - - Mi,s, Jars, e*c. • N O R T O N - - X.n shelves

All pugrnilled and de-aired clay is packed in poly bags, 25 Ibs. per carton. RO-10 Gray Stoneware . . . . . . . . . Cone 8-11 RO-72 Stoneware . . . . . . . . . . . . . . 08-2 RO-20 Temmoku Stoneware . . . . . . 8-11 RO-81 Porcelain . . . . . . . . . . . . . . " 8-11 RO-62 Red Sculpture . . . . . . . . . . " 08-2

The best/or the Artist-Potter and Sculptor WRITE FOR HEW BROCHURE

rovin ceramics 7456 Fenton St. Dearborn Heighfs, Michigan 48127

Phone: LOgan 3-2906

M O N T H L Y

V o l u m e 15, N u m b e r 4 A p r i l , 1 9 6 7

A n s w e r s to Ques t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Le t t e r s to the Ed i to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Sugges t i ons f rom Our Reade r s . . . . . . . . . . . . . . . . . . . . . . . . 10

Lucie Rie by J . W a n d r e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Teapo t Hand le s by Ange lo C. Garzio . . . . . . . . . . . . . . . . . . 15

Padd led Decora t ion by F. Car l ton Ball . . . . . . . . . . . . . . . . . 18

G r a v e y a r d Po t s by Bennie Lee and Don Lewis . . . . . . . . . . 20

Tips on F i r i n g E n a m e l s by Polly R o t h e n b e r g . . . . . . . . . . . 22

Show Time: C o n t e m p o r a r y C r a f t s Exh ib i t i on . . . . . . . . . . 25

Direc t ions in Ceramics by Gail K r i s t e n s e n . . . . . . . . . . . . . . 26

Decora t ions f rom Doodles by Mare Bel la i re . . . . . . . . . . . . . 28

Alka l ine Glazes for Cone 06 by Richard Behrens . . . . . . . . 31

S u m m e r W o r k s h o p s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Ce ramAc t iv i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Index to A d v e r t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

On Our Cover

L u c i e R i e is p i c t u r e d a t w o r k a t o n e of h e r c o n t i n e n t a l - s t y l e k i ck whee l s . A f e a t u r e s t o r y o n th i s f a m e d E n g l i s h p o t t e r b y J . W a n d r e s s t a r t s o n p a g e 12 of th i s issue. P h o t o b y t h e a u t h o r .

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAOER

Business Manager: SPENCER L. DAVIS

Circulation Manager: MARY RUSHLEY

Advisers and Special Contributors: F. C a r l t o n B a l l ; R i c h a r d B e h r e n s ; M a r c B e l l a i r e ; K a t h e B e r l ; E d r i s E c k h a r d t ; Z e n a H o i s t ; J o h n K e n n y ; K a r l M a r t z ; K e n S m i t h ; D o n W o o d .

Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: T R 7-7556, Area Code 213.

Copyright 1967 Professional Publications, Inc.

CERAMICS MONTHLY Apri l 1967, Vol 15 - - No. 4. Published monthly except Ju ly and Augus t by Professional Publicat ions, I n c . - - S. L. Davis, Pres . , P. S. Emery , Sec.; a t 4175 N. High Street, Columbus, Ohio 43214. Entered as second class ma t t e r a t the post ofice a t Athens, Ohio, U.S.A. Subscript ions: One Year $6; Two Years $10: Three Years $14. Copyr ight 1967. All r igh t s reserved. Microfilm copies are available to subscribers f rom Univers i ty Microfilms, 313 N. F i r s t St. , Ann Arbor , Michigan. MANUSCRIPTS and i l lustrat ions deal ing with ceramic a r t activit ies a re welcome and will be considered for publication. Manuscr ipts should be typed double-spaced and r ange f rom 500 to 2000 words. Send manuscr ip t s and correspondence about them to the Editor , CERAMICS MONTHLY. 4175 N. High Street, Columbus. Ohio 43214.

PORCELAIN / f , ENAMEL

COLORS by Thompson Over 200 colors are featured in the "Color Guide" section of the new Thompson Catalog - - printed reproductions of opaque, transparent, opal and crackle enamel colors awaiting your selection to make your next enameling project more fun, more expressive than ever before.

Thompson, the world's largest supplier of art enamel colors for more than 70 years, offers every- thing necessary for your enameling work in this extensive catalog instruction books on enamel work and glass craft, glass aggregates, copper pieces in a wide variety of sizes and shapes, tools and materials. Whatever your needs, you'l[ find them pictured in the Thompson catalog and accurately described for your ordering convenience.

The latest Thompson Catalog with the "Color Guide" is yours absolutely free. Simply send in the coupon below. Do it today and be prepared for new ventures in enameling via Thompson!

THOMAS C. THOMPSON CO., Dept. CM 1539 Old Deerfield Rd., Highland Park, IlL 60036 Please rush my FREE catalog of complete enameling craft supplies with Color Guide today.

N A M E

ADDRESS

CITY STATE Z I P _ _

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . J

April 1967 5

Answers to

qUESTIONS C o n d u c t e d by the C M T e c h n i c a l S t a l l

q Can copper screen be used [or lamination between two pieces o[ glass? I[ so, can it be protected in any way [rom oxidizing

and turning dark? I would like to use some pieces o[ screen [or texture and as design elements in a glass "collage," but would appreciate some advice be[ore I start experimenting. - -L .G .

Copper screen can be laminated successfully, and it is particularly successful if small patches are used instead of large areas between pieces of glass. I f it is fired just once, the design will be stronger than if it undergoes several firings, because the copper tends to disintegrate. In all probabil i ty it will turn dark, but this can be minimized if a lower firing is used. Some brands of screen are coated with preservatives, and these tend to hold the copper appearance bet ter than others.

q Is there anything that can be added to a glaze that has gum tragacanth added as a binder in order to keep it [rom

spoiling? --C.C.S.

Try adding a few drops of carbolic acid to the glaze solution that contains a gum binder. This should prevent decom- position.

In looking through back copies o[ CM, 1 read several articles on Majolica decoration that is done on un[ired glaze. This

process seems rather similar to overglaze decoration, except that overglaze is done on a [ired glaze. Is there any advantage to either method?--Mrs. A. A.-

Majol ica decoration, being done on an unfired glaze, be-

comes a par t of the glaze itself, not an addit ion to it, and therefore it is as pe rmanen t when fired as the glaze itself. Overglaze, which is added to the fired glaze and matured at a very low temperature in an extra firing, does not become a truly integral e lement of the surface and may wear off in time. The par t icular advantage of overglaze is that metals and strong bright colors can be used because of the low firing temperatures involved in this technique.

q We haz'e [ound a source o[ clay on our land and would like to use it /or potter),. However. the processed clay is very

short, and has a tendency to crumble. Can anything be added to, or subtracted [rom, the clay to giz'e us a better material [or hand building?--Mrs. A.L.

If there is much very fine sand in the clay, it may be necessary to pass the liquid slip through a very fine mesh screen; if this doesn' t give bet ter results, it will be necessary to add bentoni te or a ball clay for greater plasticity. Either one should be added to the clay in its dry state. Addit ions of bentonite may be at one or two percent ; a ball clay addit ion may be as high as ten percent.

All ~ubscriber inquirie.~ are giz'en indiL'idual attention at CM; and, out o[ the many received, those o[ general interest are selected [or answer in this column. Direct your inquiries to the Questions Editor, CM 4175 N. High St., Columbus, Ohio 43214. Please enclose a ~tamped, sel[-addressed envelope.

Something New in MODELING CLA Y N E W ! ! EX-CEL WHITE MOIST MODELING CLAY (same as our EX-CEL SLIP) N E W ! I MEMPHIS B R A N D B U F F MOIST MODELING CLAY

NOTE: We now manufacture FOUR different MOIST MODELING CLAYS m When ordering, please specify exact kind - - ALL four may be combined to secure quantity price! 1. MEMPHIS B R A N D WHITE MOIST MODELING CLAY 2. MEMPHIS B R A N D RED MOIST MODELING CLAY 3. MEMPHIS B R A N D B U F F MOIST MODELING CLAY 4. EX-CEL B R A N D WHITE MOIST MODELING CLAY

NOTE: JACKSONVILLE CARRIES MEMPHIS B R A N D WHITE A N D RED ONLY

PACKED IN 12½ Pound Plastic bags Ex-Cel and Buff Red Wldte

25 Lbs. 8c per Lb. 12c per Lb. 8c per Lb. 5 0 L b s . 7 ½ c per Lb. 10c per Lb. 7c per Lb.

1 0 0 L b s . 6 ½ c per Lb. 9c per Lb. 6c per Lb. 500 L b s . 5 ½ c per Lb. 7c per Lb. 5c per Lb.

1000 Lbs. 4 ½ c per Lb. 6c per Lb. 4c per Lb. 2000 Lbs. 4c per Lb. 5c per Lb. 3 ½ c per Lb.

ALL PRICES PLUS 5% PACKING CHARGE ( P r i c e s a r e F .O.B. M e m p h i s o r J a c k s o n v i l l e )

HOUSE OF CERAMICS, INC.- FLORIDA HOUSE OF CERAMICS 1011 N. Hollywood St. 5350 W. Beaver St. Memphis, Tennessee Mai l Al l Orders to Memphis Jacksonville, Florida

6 C e r a m i c s M o n t h l y

Shore you~ thought* with other CM readers -be the)' quip, query, comment or advice. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, 4175 North High St., Columbus, Ohio 43214.

ARTICLES IN DEPTH Although I enjoy any material related

to potting, most articles are of limited interest: However, the articles in depth about professional potters are wonderful. Every so often a most useful bit of information crops up in these that helps me move along in the direction I am aiming.

Sibyl Conn Ginkgo Pottery

Jenkintown. Pa.

MORE ON BATES Congratulations to CERAMICS MONTHLY for the fine and most inspiring article by Roger D. Bonham on Kenneth F. Bates

(February 1967 CM), who is truly the "Dean of American Enamelists." I am looking forward to Mr. Bates' new book since I now own all his books and highly recommend them to my enameling students. Many thanks to Mr. Bates for showing each of the steps involved in full detail. I hope to see more articles on Mr. Bates. Donald B. Andrick

Enameling Instructor. Craft Center Worcester, Mass.

I enjoyed the article about Mr. Bates in your last issue and was grateful for the photos showing some of his working techniques. For years I have wanted to study with this man, but the only opportunity I had to do this happened to be a term when he wasn't teaching. The article has made up for this disappointment a little lilt, and now I hope that you will have more by or about Mr. Bates in CM. The cover for that issue was quite handsome, by the way. I only wish it could have been in full color. Mrs. N.D. Rile)'

Knoxville, Tenn. INTERESTING AND STIMULATING

Many times I have intended writing to let you know how useful, interesting and stimulating CERAMICS MONTHLY is. Hav- ing been a subscriber for quite a few years now. I have made use of much of the material found in its pages . . . . I want to give you a change of address so that I will not miss a single copy. Look- ing forward to many more of your most satisfactory publications. Mrs. E. Cailes

Saskatoon. Sask. KEEP IT COMING

Your magazine is splendid. Just keep it coming as it is, including Marc Bellaire and Mary Lou Stribling. L. Hawkins Cortez, Colo.

HELPFUL HINTS WANTED Your magazine is most helpful to me, the rankest amateur potter alive? I would like to see more helpful hints, either sent in by contributors or compiled by the editorial staff. I bless the lady who sent

LETTERS in the suggestion about making plaster rolling pins in cardboard tubes. I went a step further and made a set ranging in size from six to fifteen inches. E. Smith

Ottawa, Ont.

STRUGGLING ALONG NICELY May I say that I have enjoyed your

magazine for years. I have been learning to throw on the wheel through books and very little visual instruction, and am struggling along nicely. I would like to

see some articles . n applying glazes, since I seem to have difficulty in that area. Your past series of articles on glaze was wonderful. E. Chiavarini Royal Oak, Mich.

EXPERIMENTAL WORK INTERESTING Mr. Behrens' articles on his exper-

imental work in glazes are the most interesting to me. More like these would be valuable. Stanley E. Kerr

Princeton. N.J.

. . . . . . . . . . . . . . . . !

We

~ . - ~ . ~ ' ~ . * ~ l ~ ~ ..... , , ~ ~ ~

l i k e P e o p l e w h o l i k e to m a k e P o t s !

Because of this we handle a complete line of clays, glazes, tools, chemicals and accessories (Mayer Shacter, of the Venice Pottery Gallery, depends upon us for his materials). Send for our free Catalogue and see what we have that will help you get potted.

Westwood Ceramic Supply Co. 610 Venice Blvd. Venice, Calif.

Apri l 1967 7

You can depend upon these distributors for

needs . . . Contact them for the Duncan

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8 Ceramics Monthly

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Send your show announcements early: "Where to Show," three months ahead o[ entry date; "Where to Go," at least six weeks be[ore the opening.

WHERE TO SHOW

INDIANA, INDIANAPOLIS May 13-14 The 12th Annual Talbot Street Art Fair, sponsored by Indiana Artist-Craftsmen, Inc. Open to residents of Indiana; Original work in all media. For entry blank, write: Sally Gallaway, 251 East 47th St., Indianapolis 46205.

MASSACHUSETTS, FALL RIVER April 30-May 14 Eleventh Annual Na- tional of the Greater Fall River Art Asso- ciation is open to all craftsmen for work in all crafts media and small sculpture. Entry fee; Jury; Prizes. Work due by April 14. Write: Mr. Paul Flanigan, 80

Belmont St., Fall River. NEW YORK, NEW ROCHELLE

April 9-14 The 53rd Anniversary Juried Sculpture and Ceramic Forms Exhibition, sponsored by the New Rochelle Art As- sociation, is open to all sculptors. Jury; Prizes; Entry fee; Work due April 8. For information, write: Martha Ganzel, 10 Winslow Place, Larchmont, N.Y. 10538. OHIO, TOLEDO

May 7-28 The 49th Annual Exhibition (,f Art by Toledo Area Artists will be held at the Toledo Museum of Art. Entries due April 6-8. For information, write: Toledo Museum of Art, Toledo 43601.

TENNESSEE, MEMPHIS May 5-31 Mississippi River Craft Show, sponsored by the Memphis Branch of the American Association of University Wom- en, will be held at Brooks Memorial Art Gallery and is open to craftsmen residing in states bordering the Mississippi River. Media include ceramics, enamels, glass and mosaic. Entry fee; Jury; Prizes. Deadline for entries is April 1. For entry information, write: Brooks Memorial Art Gal- lery, Overton Park, Memphis 38112.

TEXAS, CORPUS CHRISTI May 1-30 First Annual Drawing and Small Sculpture Show, at Del Mar Col- lege, is open to all artists. Entry fee; Jury; Purchase awards. For information, write; Joseph A. Cain, Department of Art, Del Mar College, Corpus Christi

78404.

SPECIAL FOR HOBBYISTS

ALABAMA, MOBILE April 30 The Seventh Annual Ceramic Show of the Azalea City Ceramic Associ- ation will be held at Murphy High School. For information, contact: Mrs. Ann Shi- rah, 4207 Winchester Dr., Mobile.

ILLINOIS, CHICAGO ]uly 20-22 Trade Show of the Na-

ITINERARY tional Ceramic Manufacturers Association, open to teachers, studio owners and distributors, will be held at the Sherman Hotel. Featured will be exhibits by manufacturers, demonstrations, teachers educa- tional programs and business seminars. No invitation required. Show Chairman is Olevia Higgs. For information, write: N.C.M.A., P.O. Box 381, Ridgewood, N.J. 07451.

ILLINOIS, CHICAGO July 13-16 The Chicago Show will be held at the Edgewater Beach Hotel. For information, contact: E. Kane, Box 115,

Wilmette, Ill. 60091.

ILLINOIS~ MOLINE April 8-9 Annual Ceramic Show, sponsored by the Mississippi Valley Ceramic Association, will be held at the Wharton Field House. Competitive classes in hobby, professional, and children's divisions. For

information, write: Mrs. Forrest Furniss, 1700 3rd Ave., Rock Island, Ill. 61201. KANSAS, SALINA

April 28-30 The 1967 Ceramic Show is sponsored by the Salina Ceramic Art Society. Write: Mrs. Marshall Hanson, 920 S. Ninth, Salina.

MICHIGAN, BAY CITY April 29-30 "Ceramic and Hobby Fes- tival," sponsored by the Michigan Profes- sional Ceramic Association, will be held at Bangor Hall. There will be a display of student work, hobby booths, and demonstrations. For information, write: Car- rolton Ceramics, 3565 Madison St., Car-

rollton, Mich. 48724.

NEVADA, LAS VEGAS April 29-30 First Annual Ceramic

Show, sponsored by the Las Vegas Ce- Continued on Page 11

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Apri l 1967 9

CERAMICS a p o t t e r ' s h a n d b o o k

b y G L E N N C. N E L S O N

This de f in i t ive book on ceramics h a s been b r o u g h t com-

p le te ly up- to-date , expanded, and f u r t h e r i l l u s t r a t ed fo r

the use of a m a t e u r s , p rofess iona ls , t e a c h e r s - - a l l who

form, k i ln-dry , decora te and glaze clay.

As in i ts p rev ious edit ion, C E R A M I C S covers in a

p rac t i ca l m a n n e r v i r t u a l l y e v e r y t h i n g abou t i t s sub j ec t :

h i s to r i ca l and c o n t e m p o r a r y ceramics , des ign concepts,

f o r m i n g techniques , clay, glazes, ce ramic chemicals , decora-

t ion, and sources of m a t e r m l s and e m men ,, • . q "p t. Not mere ly

a_ 'howqto g r a d e , the book includes sect ions (specia l equip-

, ,end, ~ne cnemm~ry oz ceramics , and s imi l a r soph is t i ca ted

topics) f o r the advanced s t u d e n t or the profess iona l .

One of the a u t h o r ' s a ims is to reduce the in i t i a l d i sappo in t -

m e n t of the b e g i n n e r ; fo r th i s reason , each procedure ,

f rom the lump of wet c lay to the fired object , is care-

ful ly described. A n o t h e r of h i s a ims is to p r e s e n t the

aes thet ic , as well as t he t echn ica l possibi l i t ies of p o t t e r y

m a k i n g ; for th i s end, the i l l u s t r a t i ons ( t h e r e a re more

t h a n 300, w i th 8 pages in fu l l color) a r e as use fu l as they

a r e handsome.

New to th i s edi t ion is a c h a p t e r on basic design. In

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new c h a p t e r on the cons t ruc t ion and opera t ion of kilns,

and a new c h a p t e r on m a s s p roduc t ion methods.

F r o m ch i ld ren ' s camps to college un ivers i t i e s , CE-

R A M I C S con t inues to be the mos t complete and expe r t aid

ava i l ab le to the e n j o y m e n t and m a s t e r y of ceramics .

$7.50 pe r copy.

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the University of Wisconsin at Milwaukee and the State

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study abroad and his own commercial workshop experiences

have greatly enriched his background in and knowledge of ceramics.

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10 Ceramics Mon th l y

SUGGESTIONS / r u m o u r r e a d e r s

BALLOON SUPPORTS

Balloons can be used as molds for shaping pieces made from

slabs or coils, as has been noted before in CM. Balloons also

can be used to support oval or round clay shapes that show a

tendency to sag as they are being built or as they are stiffen-

ing to the leather-hard stage. A blown-up balloon can be eased

inside, or it can be partially inflated, placed inside, and then be

inflated to the needed size. As soon as the clay can hold its

shape, the balloon can be deflated and removed. This is a

useful technique for hand building; perhaps it would work for

wheel-thrown shapes also. --Mrs. C.]. Lucas, Fresno, Call[.

OXIDE SPRINKLER

For a "different" glaze effect, I combine one teaspoon each

of dry copper oxide, cobalt, and iron and place the mix in a

salt shaker. I use this to sprinkle over any light-colored glaze

for an unusual effect of small dots of green, blue and dark red.

The "mix" must be applied on vertical pieces while the glaze

still is wet, but it can go on dry glaze on horizontal shapes such

as plates, trays and tiles. - -R . Zerman, Melbourne, Australia

USING THE NOODLES

There seems to be quite some vogue in contemporary

ceramic exhibitions for pottery decorated with verses or quo-

tations, and from what I have seen it appears that the letters

were cut by hand in the clay or were printed with some kind

of type. Now I have come upon a perfect method for im-

printing clay with le t ters--alphabet noodles, the kind used for

making alphabet soup. They can be used on soft clay very

easily for printing names, dates, or anything one wants to say

on clay! If they are pressed into the clay until they are even

with the surface, they can be left in through the first firing.

They will burn away, leaving a perfect impression. The de-

pressions can be accented with stain, colored slip, or a con-

trasting color of glaze. - -M.M. Fuller, Springfield, Ill.

AVOID CLOGGED DRAINS

Ceramists working in their homes are likely to have trouble

with clogged drains unless some system is devised for getting

rid of water that has been used for clean-up. The clay settles

out and can cause trouble and plumbing bills! My solution is

to keep a bucket of water near the sink and do all of my

washing up, both of hands and tools, in this water. The clay

settles to the bottom of the container over-night, then I pour

off the clear water into the sink, and scrape the clay residue

into a clay bat for stiffening to the stage where it can be used

over again. If the clay has been contaminated with glaze or

plaster, I scrape it onto papers and throw it out with the gar-

bage. --L.L. Wol[, Albany, N.Y.

BOLD BRUSH STROKES

A bold, spontaneous decoration can be created on a pot

by using a very large brush instead of the smaller ones com-

monly recommended for decorating. I have used an old shav-

ing brush effectively on both utilitarian wheel-thrown shapes

and on hand-built slab structures. This brush gives strong

strokes that can be controlled for conventional work or used

freely for spontaneous marks, stippling and dry-brush effects.

Glazes can be applied very nicely with this brush, as can under-

glaze and overglaze colors. Experiments with such a brush help

tremendously in breaking away from tight working habits and

for loosening up one's technique. --J.P., Gary, Ind.

DOLLARS FOR YOUR IDEAS

Ceramics Monthly pays up to $5 /or each item used in this

column. Send your suggestions to CM, 4175 North High St.,

Columbus, Ohio 43214. Sorry, but we can't acknowledge or re-

turn unused items.

I T I N E R A R Y Continued [ro,n Page 9

ramie Crafts Society. will be held at the Stardust Hotel Auditorium. Write: Joy Hartung. 6332 Hobart Ave., Las Vegas 89107.

NEw JERSEY, ASBURY PARK May 18-21 The 15th Annual Eastern

Ceramic Hobby Show, to be held at Con- vention Hall, features exhibits, an amateur competition, and the "Pageant of Tech- niques." Write: Jerry Gasque, Convention Hill , Asbury Park 07712. For entry forms for the amateur exhibit, write: Grace Carini, 8 Drake Lane, Upper Saddle River, N.J.

NEW YORK. HAMILTON July 28-30 " E x p a n d o r e e Ceramic

Show," a benefit for the expanding communi ty Memorial Hospital, will be held at the Colgate University Campus. N.C.A. categories and special categories for fine arts and glass: Amateur and professional: Over $1,000 in cash awards. For prize list, write: Jamboree Ceramic Show, Box 111, Hamilton 13446.

NEW YORK, KENMORE April 29-30 The 17th Annual Exhi-

bition of the Kenniore Ceramic Guild will he held at the Buffalo Savings Bank. Chairman is Miss Rita Dellapenta: co- chairman is Mrs. Albert Loxterman. For information, write: Mrs. Joseph Naab. 226 Parkhurst Blvd.. Kenmore 14223.

OHIO, CINCINNATI April 28-30 The Ninth Annual Ce-

ramic Show, sponsored by the Midwest Ceramic Association, will be held at the Armory. For information, contact: Ruth Durham, 196 Caldwell Dr., Cincinnati 45216.

PENNSYLVANIA. PITTSBURGH April 29-30 The Western Pennsylvania

Ceramic Show will be presented at Me- morial Hall on Route :~88, Castle Shan- non. Direct inquiries to Thelma Sherman, 3727 Poplar Ave., Pittsburgh 15234.

RHODE ISLAND, PROVIDENCE April 7-9 The Sixth Annual Rhode

Island Ceramic Show will be held at the Cranston St. Armory. There will be competitive exhibitions with professional, hob- hy and school divisions; Demonstrations: Door prizes. For information, write: John M. Carpenter, Rte. 102, Coventry, R.I.

TENNESSEE. CHATTANOOGA April 22-23 Third Annual Ceramic

Show of the Greater Chattanooga Ceram- ics Associations will be held at Eastridge Town Hall. Tombras Avenue. Competi- tive exhibitions and demonstrations by teachers and studio owners who are members of the association. Entries accepted April 21. from 10 to 12 and 6 to 9. Write: Mrs. W. C. Reece, Show Chair- man, 702 Oaktree Dr.. Chattanooga.

TENNESSEE. KNOXVILLE April 14-23 Fourth Annual Dogwood

Arts Ceramic Competition, sponsored by the Y.W.C.A. Mud Hens, will be held at the Central Y.W.C.A. Competition is open to all ceramists, hobbyist or professional, with classes for both. Jury; Ribbon awards. The entire exhibit will be on display from April 14-18; winning entries will be exhibited from April 19-23. For entry forms and additional information, write: Mrs. John A. Croes, Y.W.C.A., 420 Clinch Ave., Knoxville.

TEXAS, DALLAS April 21-23 Southwest Ceramic Show.

For information, write: Arden Shorter, Show Chairman, 4826 W. Hanover St., Dallas 75209.

WEST VIRGINIA, PARKERSBURG June 16-17 Fifth Annual Competitive

Ceramic Exhibit and Show of the Parkers- burg Ceramic Art Association will be held at the Y.W.C.A. Building. For information, write: Jesse A. Davis, 3309 Clement Ave., Parkersburg 26101.

Continued on Page 36

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April 1967 11

l

.,.,,,,,,imA

LUCIE RIE by J. ~VANDRES

Above: Partially completed stoneware

pieces, ready [or glazing and final firing.

Opposite page: Stoneware vase with

limestone glaze.; 18 inches high; 1964. All photos by ]. Wandres.

12 Ceramics Monthly

Lucxv. RIE is a smallish woman in her early sixties.

There is a quiet, controlled manner about iaer.

And although she has lived in London nearly thirty

years, a little of her native Vienna accent

still lingers in her voice.

At the Vienna Arts and Crafts School, she

studied with Michael Powolny, a well-known sculptor,

potter, and designer of ceramics for industrial use.

In 1938 Lucie Rie came to London. There,

in the quiet Bayswater section, she established the

studio at which she still works. It was during her first

)ears in London that she met Bernard Leach. About

her association with Leach, Lucie Rie says,

"He is a most generous person. He showed me how

I might appreciate the finest in English potter)-."

Muriel Rose, in her book Artist-Potters in England

(London; Faber & Faber; 1955) wrote,

"' . . . as a result of the talks with Bernard Leach,

Lucie Rie began to develop a fresh style, using

subtle shapes and decoration "

For domestic ware, which'£1akes up about half

the output of the Lucie Rie Potter)', stoneware

is always used. It is usually white, and dark brown

pigments are used for contrast. These two colors appear

in practically all of the domestic work. However, on

the inside of bowls or beakers, yellows, pale blues

and dark blues appear.

There are several recurrent themes. Her teapots

usually are cylindrical, with pouring spouts beginning

near the top. The), curve gently upward and outward,

diminishing slightly in diameter at the pouring end.

Cups are related to the teapots in shape, and their

handles are designed to be held securely and com-

fortably. One may get the feeling of sturdiness in the

pots, but without the attributes of weight or bulkiness.

For her single pieces, either porcelain or stone-

ware with rough glazes are used; again, white and

: :~: ~ ~ : ~ i i ~ T i i ~ < i ~ ~ I ~ : .~ ~

J

i ! !~ , ~ ̧~

~ ~, ~,,~,~,~!~i~!!i! ~,~II ~ ~i~i~i~~ !!~i~i ~

i~Y+~i~%~i~iiii~iii~!iii!~iii~] !~!!i~%~!~i~i!~ !!i! ~ ~

Flower vases; 1960-1964

dark brown are the predominant colors, with occa- sional blues, greens, and yellows. In her stoneware vases there is a tendency toward heavy, massive bases with long, stem-like necks culminating in flattened, slightly uplifted flanges. Some vases begin in this manner, but conclude with stem and flange tilted rakishly to one side in a somewhat whimsical manner. Lucie Rie describes these simply as accidents in firing.

Bowls develop out of small bases, flaring out sharply in a straight line. Only seldom do the rims curl back on themselves. The bowls are made in various sizes.

The fine, linear crosshatching, which is most characteristic of later pots, is as important to the piece as the color and shape itself. The particular design is motivated by the shape of the piece, and is intended to enhance its shape.

In the Lucie Rie Pottery are two kick wheels of the continental type. One, which is motorized, is used mostly for throwing; the other is used for turning. Because they are more responsive and less fatiguing to use, Miss Rie prefers them to the kick-bar wheel. Her kiln, built after the war, is a top-loader. It is electric, in compliance with London's anti-smog regulations.

In 1947, Hans Coper came to work at the Lucie Rie Pottery'. By 1947, however, the studio was not large enough to contain the work of both potters, so Mr. Coper left to establish a studio of his o~aa.

In addition to her work at her studio, I,ucie Rie teaches at the Camberwell School of Arts & Crafts.

14 Ceramics Monthly

Porcelain bowl with white band; sgra[[ito decoration; 1963

.q't~m,':~'arc co[.[~c ,ct with white ~Iaze; 1964

TEAPOT HANDLES by ANOELO C. GARZIO

In PART ONE Of this two-part series dealing with teapots (March 1967 CM), some views, suggestions and illustrations were offered as possible approaches to the making of this pottery form. As the emphasis was on the container portion, this article will deal exclusively with the part that is used for lifting and tilting the pot, namely the handle. Reed, bamboo and pulled clay handles present peculiar problems that call for some particular tools that are not necessarily expensive or hard to come by, and familiarization with a few simple techniques.

The simplest handle to begin with is a single round reed strand, ~- inch thick. The basic materials and tools needed for starting this first project are a good sharp knife for cutting and paring the reed, two double- looped metal rings, synthetic leather lacing (not absolutely necessary), a ruler and enough reed length of the desired thickness.

A simple rule of thumb which may be used for ascertaining the approximate length of reed needed is to multiply the distance between the clay lugs by three. Assuming the lugs are five inches apart, the total length of reed needed would be about fifteen inches. It should be pointed out that some forms which are squat may very well look and function more effectively with a shallower curved handle; taller forms would operate better and be more pleasing in appearance if the handles had a higher loop. These variations necessitate some adjustment in adding or subtracting from the general rule suggested above. Since reeds are compara- tively inexpensive, the beginner need not be hampered by fear of ruining a length or two because of its being too short or of inadvertently cracking it. A few mistakes will quickly sharpen the judgment of the handle-maker.

After the proper length of round reed has been arrived at, it needs to be soaked for shaping. For this, a low, wide skillet or pan partially filled with water is heated to the boiling point. While the water is heating,

~ ~ both ends of the reed are ~: pared with a sharp knife.

! Ordinarily, three inches from both ends is sufficient. Each

~:~ of these thinned ends is soaked from 2 to 3 minutes

~(i ~ i , = : ~ ~i while holding it in the boil- ~ ~ ing water. It is advisable to

~ gently coax the soaked end around a small rounded object, such as a dowel stick, to prevent too narrow a curve and perhaps incur a crack. When the end has been bent, one of the metal

rings is slipped around the looped reed so as to hold it in place.

The main part of the reed that will be grasped for lifting can either loop on the outside or on the inside of the lug. Appearance once again would dictate the choice. Should the main reed handle loop from the inside, obviously, the pared reed would have to be looped opposite from that illustrated in Figure 3.

When both ends have been soaked, looped and fastened with the metal rings, the main part of the handle is shaped by immersing the reed in the boiling water, holding one end out of the water. When the reed begins to feel soft, it can be removed from the pan and gently coaxed into whatever shape is desired. This soaking may have to be repeated several times; each time, the other end of the handle is immersed so as to equalize the softness of the total reed length.

Often a structural and a decorative effect can be achieved by wrapping the reed with either synthetic leather lacing or the grass or rush used for caning chairs. Starting with a length of synthetic leather lacing, one end can be locked in place by wrapping four or five loops over it. When the end strand has been covered by the parallel looped lacing, different decorative pat- terns can be woven across the handle.

For bamboo or extremely stiff reeds, it is almost imperative to use some device such as a Bunsen burner or a small portable propane fuel tank and torch that is capable of producing a long, bushy flame. This con- centration of intense heat softens the fibers in the reed

April 1967 15

1. Materials m'cdcd [or makil~g a rccd /retail, iJtclud~' 3 /8- inch round reed, a kni[e, two metal rings, a ruler, and perhaps a smaU propane torch.

3. One bent end has been shaj,cd and i~ held itz place by a metal ring while the other end is prepared in exactly the same manner.

5. Grass-type lacing is used here only [o~ the part o[ the handle where the fingers grasp. Note scorched areas where [lame was used to ben.4 the reed handles.

16 Ceramics Month ly

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2. The ends o[ the reed are thinned with a kni[e, soaked in boiling water, then gently bent around a length o[ dowel stick or a small kni[e han.41e.

4. The reed can be wrapped witll ru~h, g~a.~s, or ~),t~thctic lacing to achieue a structural and decorative effect. Start- ing end is locked in place.

or bamboo, enabling either material to be slowly and gently bent to the desired shape without cracking.

When the proper curvature has been achieved, a small hole is drilled through both ends of the bamboo. The hole size will depend on tile wire thickness to be used for at tachment of the handle around the lugs. In most cases it is advisable to use a double strand of wire for greater strength and rigidity. Lacing can be wrapped around this doubled wire for a neater appearance. The lacing begins at the looped wire end with the beginning portion of the lacing inserted underneath the parallel wrappings so as to lock it in place. This looping con- tinues up to the drilled hole in the bamboo. The end of this lacing can be tucked between the last two or three loops and made permanent with a touch of glue.

The use of a ceranfic handle will only be mentioned in passing since this variety was discussed and illustrated in a previous article (November 1961 CM, "'Pull Your Handles") . The pulled handle illustrated here shows

6. Stiff rccd ,~r bamboo i.~ so[tened by heat, then the material is w'ry gently and very slowly bent to the dc- sircd .¢hape so that it won't crack.

7. Holes are drilh d through each end o[ the bamboo and a doubled wire is threaded through to be used [or attaching the handle to clay lugs.

ft. A neatcr appcara~cr is giz,r~l th, a'ins by lacing/ tom the loose looped ends up to the drilled holes at the point o[ contact with the bamboo.

the fluid feeling this particular kind can impart to a teapot. There is an essence of greater integration and structural relationship in many instances, as contrasted with the reed or bamboo handles. On the other hand, a certain beauty is brought about by the very nature of juxtaposing two or three different materials on the same pot form.

It is hoped that these illustrated discussions on the designing and throwing of a teapot form with its close counterpart, the handle, will prove helpful to those for whom the availability of reed or bamboo handles has been a stumbling block in making teapots.

The following are suggested sources for materials mentioned in this article: Round reeds, strands and caning, and bamboo are available from Louis S. Furman, Inc., 213 Water Street, New York, New York 10038. Caning is available from Crafters, Inc., Cascade, Wis- consin. Metal rings can be had from Worth Manufac- turing Company, Stevens Point, Wisconsin.

Teapot set by Charles Almack has an overhea,d reed handle that was stained with leather antiquing liquid. Rust red matt glaze.

Teapot set by A~tg~'lo Garzio with bamboo handh:. Tea- pot was [ormed by paddling a thrown bottle [orm; wax resist and sgra[[ito decoration.

April 1967 17

PADDLE DECORATION by F. CARLTON BALL

So/t clay form was pushed and pinched to create two sections and a divided neck, then a paddle was used to emphasize the form an.d give it a decorative texture.

This article is based on material from the new C M Handbook by F. Carlton Ball,

"'Decorating Pottery with Clay, Slip and Glaze"

18 Ceramics Monthly

1. The base o/ a [~shly-throa,, l)ot i.~ .~queezed between the hands to give it a new shape before final [orming and tex- turing are done with the paddle.

3. The end of the stick i~ u~cd to lmddl~' a compI~tely di/- ferent vertical texture pattern into the unbeaten end sections of the reshaped vase [orm.

2. When the clay has s t iHcmd enough so that it can bc handled, the edge o[ a square stick is repeatedly hammered into two sides to create a vertical pattern.

4. A/tc~ bi,qu~ l'irMg, tl,~ im, l , m , d a~,a, o] t/i, , ; a l ~a, were stained with a dilute Barnard clay slip, then covered with Waxy White Glaze be[ore the final [iring.

.~'fANY EXCITING CHANGES can be made on the form and surface of a clay shape simply by beating it with the edge or side of a square stick. A wooden paddle may be notched with a knife, studded with upholstery tacks, or wrapped with cord and used by the adventurous and creative craftsman to produce unusual shapes and surface treatment on soft clay pots.

A large firebrick stamp, a piece of split or broken wood, or the heavily textured bark on a stick of fire- wood can also be used effectively to paddle and reshape a pot while it is being textured. No matter how the piece is formed or what tools are used for paddling, a strong, rugged, and ve D" individual statement in clay will be the result. The process of beating clay in this manner is excellent for adding texture and character.

The basic shape of a pot influences the way in which it can be altered successfully by paddling. A paddle effect that looks good on a simple bottle shape may not be at all attractive on a double gourd form. The form as thrown on the wheel may even need to be squeezed and reshaped in the hands before the surface is paddled for texture and refinement of form.

The condition of the clay is extremely important for success with the paddling technique. The clay shape should be stiff enough to handle but still be soft enough to be deformed by firm pressure. When the clay is at the proper consistency for paddling, it is very tough and it will withstand an amazing amount of paddling.

If the clay is too stiff, the paddling action will crack the wall. If the top edge becomes too dry, as it very well may, this area may crack when the form is altered. To prevent this, the rim can be immersed in water as often as is needed in order to keep its consistency the same as the rest of the pot.

Paddling the clay is a good way to change a round wheel-thrown shape into a squared one. The lower portion of a tall bottle might be flattened and textured with a large piece of insulating firebrick or a broken stick to produce a squared bottle with a round shoulder and neck. Other materials that might be used to alter the shape and provide similar surface textures include a stout roll of corrugated cardboard, a squashed tin can, or a wooden dowel rod.

The potter has many choices for finishing a piece that has been altered and textured by the paddling technique. The bisque-fired pot might simply be glazed to produce a very handsome result. Thin Barnard clay slip might be sponged on the surface, then wiped off the high areas with a clean, dampened sponge. A similar effect can be obtained by using a thin slip of red iron oxide instead of the Barnard clay slip. If the glaze firing is to be in an oxidation atmosphere, a thin mixture of manganese dioxide and water could be used to stain the depressions in the surface of the bisque-fired pot.

A light-colored translucent matt glaze can be used effectively over the stain because the colorant will bleed through the glaze just enough to provide a rich and "unusual effect. The potter may decide to glaze just the inside of the pot and leave the textured outside surface decorated with the slip alone.

April. 1967 19

GRAVEYARD POTS by BENNIE LEE AND DON LEWIS

20 Ceramics Monthly

Above: Five pots, representing the work of five

potters and as many clays, adorn a forgotten grave.

These pots, typical of the thirty that survive, show

a variety in interpretation, decoration, and form.

Right: An exceptionally fine pot, the good, subtle

form of this vase would make it a museum-piece

even if it did not represent one of America extant

potting traditions. The decoration is perfectly suited to the form.

Far le[t: The tall loot- ed urn, eighteen inches high, is the only two- piece pot. It is one o[ the most recent and so- phisticated o[ the graveyard pots.

Le[t: The simplest pot in both [orm and decoration is this wide [lower pot. Its [lowing decoration is well suited to the [orm.

~%rE HAD OFTEN HEARD the older potters in our area refer to the graveyard pots and markers their ancestors made, but though we had searched many old cemeteries in North and South Carolina, we could not find any surviving examples of this unique American tradition. When a neighbor told us recently that there were several .~raveyard pots in the older section of the cemetery where her family is buried, we dropped all work and drove to the graveyard. It was one that we had visited before, but the pots had eluded us--so well as several generation of passersby--because the old section of the cemetery, some distance from the new, was quite grown- up in weeds and shrubs. There, adorning forgotten graves dating from the 1830s to 1900, were more than thirty fine examples of traditional graveyard pots. None of these had escaped the ravages of time, for they were cracked and chipped, and some were badly broken. But the presence of hundreds of shards was a nmte testament to the number of pots that once were there. The urns, vases, and flower pots which had survived, however, were whole enough to have preserved their simple form and beauty.

This section of South Carolina is rich in potting legend, but few examples by the dozen or more potters who kept shop up until the early 1900s have survived. The fields are covered with shards, but only a few

churns and pitchers remain to tell of the work of such men as Brown, Fullbright, Clayton, Belcher. Atkins. Williams, Van Patton and Johnson, all of whom had potteries within a ten-mile radius. Their community was called "Jugtown" (not to be confused with the well- known Jugtown, North Carolina). There is no way to tell now which of these potters made the surviving graveyard pots, for it was never the custom for the potters to sign their work, but the pots do represent the skills of at least a half-dozen different potters.

Only one badly-damaged grave marker (illustrated) has survived, but old-timers in the area remember when they were many. It was reportedly the custom for potters' own graves, and those of their families, to be dis- tinguished by such markers.

These graveyard pots are a testament to the ability and imagination of nineteenth century American potters. The same potters who took extra time to make the painstaking decoration on these graveyard pots were content to make perfectly plain vessels for everyday use. The pots were often the only adornment for graves marked with a fieldstone or crudely-lettered tombstone. Since it was the custom, until recent years, for rural churches and families to take constant interest in the appearance of their graveyards, it is probable that the vases were often filled with fresh flowers.

. . . . " April :1967 21

TIPS ON FIRING ENAMELS by POLLY RO'rHENBERG

THERE ARE MANY KINDS of stilts, trivets, and firing

tools for enamel work and each serves its special func-

tion. Small trivets are very versatile; sometimes two

or three can be positioned on a firing rack to support an

enameled sculpture. There is a pleated type of trivet

which is useful for firing several jewelry shapes simul-

taneously to save time. In this procedure it is w.;se to

fire pieces together which all have the same kind of

enamel; otherwise, some pieces may still be underfired when others are ready to come out of the kiln.

Ceramic star stilts with metal prongs and button-

sized ceramic stilts which have one metal prong are valu-

able for firing bowls and trays right-side-up. Three or

more can be positioned on a wire-mesh firing rack to

support free-form shapes. After a piece is withdrawn

from the kiln and cooled, these small stilts can be gently

tapped loose. They leave scarcely any stilt marks. Some

very capable enamelers prefer leaving an unenameled

circular area on the base of a bowl so they may set it on

a clay disk for the second firing. Although I prefer

enameling the entire exterior, it is a mat te r of personal

choice; either method is acceptable. Each craf tsman

combines what he learns f rom others with his own ex-

perience to develop a suitable working system for his own purposes.

I find the best order of procedure for firing a

bowl or tray is to enamel the exterior first and fire

the shape upside-down. This first layer of fired enamel

on the outside of a bowl seems to brace the metal so

that it does not flex so abrupt ly during the second firing

and jar the enamel loose in patches. A very useful rack for firing inverted bowls can be assembled by wiring

ceramic "plate pins" to a wire mesh rack with nichrome wire, as illustrated. The plate pins are available at ceram-

ic supply shops. Enough room should be left between them to permif the firing fork ~ to slide freely underneath the bowl when it is t ime to remove it f rom the rack.

After the bowl has been fired and cooled, the exterior base enamel can be roughened with an abrasive stone (under running water) to remove its gloss. Then it will be less likely to slide off the stilt during the next

22 Ceramics Monthly

firing. When enamel has been applied to the bowl's in-

terior, the piece is placed right-side-up on a ceramic star

stilt with metal prongs. The star stilt is positioned on a wire-mesh firing-rack for the firing.

I f several firings are planned, the piece can be

alternately fired right-side-up and upside-down. This will

prevent the formation of a thickened enamel rim around

the top of the piece, which is often the result of too

many firings in an inverted position. Whenever it is possible, a final firing of trays and bowls should be made

in an inverted position in order to allow stilt marks to

melt away. A light sifting of enamel over these marks

before the last firing will obliterate them entirely. Backs

of bowls and trays can be as attractive as tops both in color and finish.

After an inverted piece has been removed from the

trivet, and while it is still red hot, a flatiron or weight

of some sort should be placed carefully on its base to

straighten out any rim warpage. I t is impor tant to avoid

pressing on it too firmly while the metal is still red hot lest the base be pushed in.

I t is advisable to have both narrow and wide firing

forks which are equipped with heat shields. T h e narrow

one is essential for transporting small trivets to and

from the kiln. The wide one is vital to adequately support

a wide trivet or firing rack. Many a fine large piece

has become unbalanced during removal from the kiln

and flipped over, landing in a flattened hot mass on the f loor--al l for lack of a wide firing fork.

Unfired pieces should dry slowly; fired pieces should cool slowly. By following these two principles many fail-

ures can be averted. I f unfired pieces are thrust into

and out of the kiln to speed the drying process, steam

rises and loosens some of the enamel. When the piece is subsequently fired, enamel may fall off the sides in large

patches, leaving ugly firescale areas. Sometimes firescale is intentionally used to create exciting designs, but the

accidental patches I refer to create only problems. Fast- cooling a hot, fired piece under water causes hairline cracks which cannot be seen but which will encourage

water to seep in. Some water may become t rapped in

1. Plate pins are wired to a mesh rack in order to support an inverted bowl [or firing.

2. Ceramic star stilts are used beneath bowls [or [iring them rlght-side-up.

3. Three or more ceramic stilts can be used on a wire rack to support free-form shapes.

4. An old [latiron or some other weight can be used on cooling pieces to prevent rim warpage.

l 2

3 4

• April 1967 23

1 It is advisable to have both narrow and wide [iring [orks [or moving [iring racks in and out o[ the kiln.

these tiny cracks and form steam during the next firing; this can cause small pieces of enamel to fly loose in the kiln. More time will be lost in mending the piece than the time "saved ' '~by fast-cooling.

Modern electric kilns are efficient and convenient. Perhaps the most important firing accessory is a pyrometer for the kiln. Experienced enamelers can sometimes judge by the red color of the kiln's interior whether it has reached the correct temperature to successfully fire a piece. This may work for standard procedures. But when one becomes involved with more intricate techniques, such as cloisonn6 and the application of gold and silver foils, art glass, lusters and overglazes, fifty degrees luore or less than the correct firing temperature becomes extremely important. A pyrometer can be checked occasionally for approximate accuracy by using a pyrometric clay cone. By noting the temperature reading when the cone bends with its tip at "three o'clock," the accuracy can be partially verified. Because the speed with which the kiln heats also affects the temperature at which a cone bends, this is not a fool- proof method; several testings should be made if the pyrometer seems to be inaccurate. A slnall set screw located on the front heat-indicator panel can be turned to adjust it correctly.

It is advantageous to heat the kiln to at least 100 degrees higher than the specified temperature for any project in order to allow for cooling when the kiln door is opened. Very large pieces on large trivets can lower the temperature as much as 200 degrees while they are heating up. Clay stilts with metal points use up less heat even when they are placed on mesh firing racks. I t is important to use the ones with metal tips rather than the all-clay ones. These all-clay ones leave ugly fragments of clay stuck to the enamel when they are tapped loose.

As an enameler becomes more experienced, the urge to try a wider variety of color combinations seems to require the assembling of color samples. Just recently

I have undertaken to remake my collection of fired samples. The standard procedure has been to nlake a sample showing one-third of the area as it appears when a transparent is fired directly on copper, one-third as it appears when fired over a base coat of white, and the final third as it appears when it is fired over a base coat of transparent flux. My revised method is to make individual samples for each of the three effects. There is a separate board with examples of transparents fired over flux, one for those fired over white opaque, and another for transparents fired directly on copper. There also w!ll be separate samples for opalescents. The reason I prefer this system is that in matching or harmonizing color schemes it is far less confusing to assemble only those colors which will be used for a certain project, without the distraction of including the unused combinations on a multi-color sample. For those enamelers who.have yet to make a sample collection, this tip may be of assistance. On the back of each fired sample there is the number of the enamel and the appropriate letter desig- nating its type - - 'F' for a flux base, 'W' for a white base and so on. Letters and numbers are in overglaze.

Metallic lusters, overglazes, brushed-on fine enamels, and gum used in applying art glass shapes must be thoroughly dry before they are subjected to high heat. Lusters especially are best dried overnight or on top of the kiln for several hours. They should be fired just long enough to fuse them to the enamel. When gold luster first turns to a gold color in the kiln, it is not yet fused. I t should be left in the kiln about ten seconds longer to make it permanent. When art glass pieces are applied to enamels or base copper, it is vital to make this the final firing. I f they are retired, the glass may crack and no subsequent firing will heal the crack completely. The necessary coat of counter-enamel must be fired first.

Careful attention to details may sometimes seem almost to change a pattern of failures to one of success when correct firing procedures are studied and followed.

24 Cerarnics Monthly

Contemporary Crafts Exhibition

THE TENTH ANrquAr. Contemporary Crafts for Christmas Giving Exhibi- tion was held at the Delaware Art Center, Wilmington, during Novem- ber and December. The show was the largest to date, with 75 craftsmen submitting work. In addition, 11 invited craftsmen sent work which was not juried. Members of the sponsoring craft committee handled the jury- ing for the show.

Invited craftsmen who submitted to the exhibition included potters To- shiko Takaezu, Byron Temple and Ronald Burke, and enamelists Hilda Kraus and Donald Andrick. Sixteen local craftsmen had work accepted, the largest number ever in this show.

According to Marion F. T. John- son, Education Director of the Dela- ware Art Center, "We had n i o r e

exhibitors, a larger show, and a better show than ever before. The interest is higher all the time for good crafts and this is very gratifying." The Center has instituted a continuous display of crafts for sale, and has a rapidly-growing permanent collection of contemporary crafts which it circulates in the community. By these means the Center is better able to promote sales and, at the same time, educate the public for better enjoy- ment of good design in the crafts of our day.

Free/orm Vase by Sophia and John Fenton has blue and brown glaze on Jordan and Barnard clay.

Brown and White Stoneware Bottle is by Mary Nyburg.

View o[ part o[ the installation at the Delaware Art Center [or the' 1966 Contemporary Cra[ts For Christmas Exhibition.

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"

April 1967 25

DIRECTIONS IN CERAMICS by (~IAIL KRISTENSEN

CLAY" IS AN EARTHY, REALISTIC PART o f o u r physical w o r l d . Its presence and natural properties suggested creativity to the most primitive man; it responded to his touch and satisfied his need to create for functional and aesthetic purposes. Children play in it as naturally as they breathe, with no greater creative aspirations than the satisfaction they feel as the clay responds to their touch. Clay sug- gests creation; therefore, pieces created from clay should keep their natural properties alive and bare the marks of human hands.

Regardless of how much glitter and pretense our surroundings are crowded with, the presence of an earthy, handmade ceramic piece is an association with reality. It is neither a substitute nor an imitation stamped out by a machine.

Present technology has furthered our understanding of the various properties and characteristics of many clays and glazes. Because of this understanding we are able to change clay characteristics to meet our needs, and develop more and better glazes. The clay used for making tableware cannot be as rough as that used for an outside garden piece. An earthy, heavily-textured ceramic mural demands the addition of coarse materials that would be out of place in a delicate porcelain. A glaze can add color and aesthetic value to an earthy body. I t can make the tableware piece easier to dean. Over-emphasized, glazes also can cover up and destroy all the natural earthy qualities of the clay. I t is important that we make use of the technology available to us that primitive man did not have, that we experiment with new materials, methods and ideas. I t is also important that we do not become so carried away with experiments, special glaze effects and the "unusual" that we lose the natural inherent qualities of the raw material we are working with.

Anyone working with clay is doing so because he finds a satisfaction within this medium as a means of creation and expression; it also is important that he have a personal direction and purpose. Perfection of craftsmanship is important, but it must be combined with a well-thought-out aesthetic direction. We must

26 Ceramics Monthly

understand ourselves, understand our medium and give as much thought to developing a personal direction as we give to the working process. Nothing is accomplished by just snatching at any new idea that comes along or by producing simply for the sake of producing and reproducing. Machines can accomplish the latter. I believe that this applies to the hobbyist as well as the most accomplished artist-craftsman.

For my own purpose, developing a number of glazes I can depend upon is a necessity for functional pieces, for aesthetic accents, for contrasts, and for particular effects; however, my primary involvement is with clay as a statement of form. I care about the surface treatment of the clay; I do not care to cover it with glaze that might distract from the form. The same applies to decoration. The individual structure of the piece is most important. The completed piece should not find itself too far removed from the material from which it was created.

I believe it is the clay that is responsible for sug- gesting the most successful and satisfying forms and textures, not the artist's preconceived idea of producing a particular piece. Just as a painter does not feel complete satisfaction with every painting he executes, the ceramist is not completely satisfied with every piece he creates, but by continual involvement with the medium, new forms, ideas, textures and means of expression develop. The form grows in the working process, then one form leads to another. For this reason, I prefer hand building rather than working on the wheel.

Hand building is a slower process; therefore, the clay has more time to suggest natural formations inherent to its own characteristics. The completed piece should give the impression of having come about through a natural process of growth.

A good ceramic piece should be able to stand on its own merit just as a sculpture is complete unto itself. By the same token, if it is a functional piece, its function should be obvious and comfortable without distracting from the aesthetic value.

The pieces I produce must fit a need in today's

~i: ¸ !~ ! 5:~ ~,:

Stoneware planter is slab construction, 14 inches high. Upper parts lilts o/[ to insert candle in base.

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]

• f

t

Branch bottle is 21 inches high; stoneware, slab construction. Glazed inside only.

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r

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Ston~u,a~c bratzct~ b~,ltl~ i~ ~lab built, 22 iltchcr kigh. 7'l~ pi,'~, is glazed on the inside, unglazed on the outside.

world. They cannot be crude because I am not a cave

man but am living at a civilized time when man has

passed his crude beginnings. Still, they must reflect a

primitive quality because they come from a soil that

is just as primitive today as it was thousands of years

ago. Because present day technology makes it possible

for just about anything to be duplicated and mass pro-

duced, it is all the more important that my ceramic pieces

fill a need by reflecting an earthy, handmade, individual

quality. I t is essential that I be aware of today;s needs.

If my pieces are to be of any value, they must fulfill a

need beyond my own personal desires to create and produce.

The artist-craftsman has many challenges to meet,

but most important is knowing his medium and his

direction, remaining true to these and, at the same time, fulfilling a need.

G A l L K R I S T E N S E N was trained in the fine arts with particular emphasis on painting and sculpture. She has worked as a commercial artist and a teacher (in Des Moines and Duluth). She also worked in the ceramic department at the Wurkunst School in Wiesbaden, Germany. For the past 12 years

~ ~ , she has operated her own studio in St. Paul, Minnesota. Mrs. Kristensen's work is represented

in a number o[ private collections; she sells through galleries, interior decorators and art shows. In 1966 she received a National Merit Award in Ceramics [rom the American Cra[tsmen's Council.

April 1967 27

DECORATIONS

FROM

DOODLES demonstrated by ,'~[ARC BELLAIRE

28 Ceramics Monthly

MOST OF US have the habit of picking up a pencil or pen and drawing almost anything that comes to mind when we are in certain circumstances. It might be while listening to a speech, talking on the phone, or waiting for someone. We refer to th's habit as "doodling." The decorator frequently can make use of some of his doodles as designs on pottery shapes. Although these line drawings might seem childlike, primitive, or otherwise in- appropriate for use as pottery decoration, they can be made to appear most attractive.

The doodle designs are best when they are made with continuous lines of the pencil or pen. Once it is put down on paper, the pencil is not lifted at all until the motif or design is finished. To do this, of course, it may be necessary to "'backtrack" on some of the existing lines. The advantage of this technique is that it gives the possibility of a more unified design; it also creates closed shapes that make excellent color areas for deco-. rating.

From a page of drawings of birds, Marc Bellaire selects one for transferring to a greenware bowl and tears it from the l)age. The greenware is cleaned and dampened and the paper is held against the inner surface and the design is traced. This is done without a carbon because the greenware is slightly damp and an impression is left in the clay from the pencil mark. The greenware should not be dampened too much, however, because there is a chance of causing it to crack. If the paper won' t lie flat enough for easy transferring to the inside of a bowl shape, the paper can be torn toward the center of the design so that it will fold and overlap just enough for easy tracing.

There are many ways that a doodle decoration may be executed on a greenware shape. One of the simplest of these would be to use a dark underglaze color for making a line drawing. Another would be to use areas of black and white for a contrast decoration. Still an- o ther - - the one used for Marc's demonstration here-- is the selection of a series of the so-called "earth colors" to paint the different areas.

One of these series--blue, green and brown-- is used here. It is also suggested that analogous colors nfight be handsome on this piece, and the artist recommends a series selected from yellow, yellow-brown, brown, and red-brown.

Up to th's point the decoration has appeared as a line design; as the first color goes in, however, the decorator will start thinking in terms of nlass. As the decoration begins to take shape there is the possibility that some changes might be made in the use of certain colors for any particular areas.

The other colors are painted in to form a decoration executed in light and dark blue-green and brown. The decoration might be considered finished at this time, or the design might be outlined in brown or black or even be given some other accent treatment.

Some of the accent lines might be made as hesitation lines. These are made by pausing in a line, applying a little pressure, then continuing. A rim or border might even be added to the plate to give the decoration a frame effect, if this is eonsidei~ed desirable.

1. From a page o[ "doodles," Marc Bellaire selects ore"

that he [.eels will center properly in a small bowl. 2. The design is torn / tom the paper and traced onto a

slightly damp greenware bowl with a p~'ncil.

3. A pencil is used to go ow'r the dcntcd lines on the

greenware to make them a little easier to [ollou'.

Y i ii i

4. The [irst color is paint~'d in on all design areas that

have been planned .for the aqua-colored underglaze.

5. A darker blue-green underglaze color is added [or

wings, tail [cathers, comb, spurs and bill. 6. Dark brown accents are made as outlines; hesitation

lines add a decorative character to the work.

April 1967 29

recommended books on ceramics

7 g gi Itlic

, t l

W E P A Y P O S T A G E

CREATIVE CLAY DESIGN by Ernst Roftger Shows molding of all kinds of elaborate shapes from slabs, strips and rolls of clay. Over 250 examples of work by children and students. $4.95

MOSAIC TECHNIgUES by Mary Lou Stribling. This unique book gwes a glimpse of the tremendous potential of mosaics as a medium for personal expression, and will stimulate the curios- ity of beginner and professional craftsman alike. 465 how-to photos and examples.

$6.95

CERAMIC SCULPTURE by Betty Davenport Ford The author leads the render to a high level of profession- alism in the design and technique of an ancient craft. Animal, human, plant and abstract forms are shown.

$5.5O

DESIGNS AND HOW TO USE THEM by Joan B. Priolo Top-notch decorating can be achieved by following the simple motifs which may be enlarged or transferred. A complete llst of subjects: birds, fish. etc. $6.95

CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes Two complete books in one! Fundamental details on both CLAY and GLAZES make this book a "must" for every hobby - craftsman, student, teacher and potter. $7.50

DESIGN MOTIFS OF ANCIENT MEXICO bl; ~Jorge Enciso A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, human figures, etc. 170 pages. $1.85

ENAMELING ON METAL by Oppi Untracht Step-by-Step photos are used to describe fundamentals on through to newly developed experimental styles. This complete guide is a major con- tribution to Enameling. $7.50

DESIGN FOR ARTISTS AND CRAFTSMEN by Louis Wolchonok One of the best books on design. it will prove to be invaluable to pottery and sculpture enthusiasts as well as decorators. Geometric, flower, bird and animal forms are shown in detail. $2.50

CERAMIC GLAZES by Cullen W. Parmelee This i n v a l u a b l e reference book completely covers glaze making. Includes formulas and batch recipes for glazes. 314 pages of technical information. $8.00

POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders A new, thoroughly revised edition of Mr. Sanders' best seller. Ceramics Book. Com- pletely up-dated with new material, including section on how to build a potter's wheel. Excellent for beginners. $1.95

MAKING POTTERY WITHOUT A WHEEL by F. Carlton Ball and Janice Lovoos This comprehensive and richly illustrated book covers every phase of hand-building and decorating clay pieces. No book has ever covered the subject of texture and form re.re effectively. $9.95

CERAMICS by Glenn C. Nelson A new, revised and enlarged edition of a favorite title. An outstanding handbook for potters and teachers. 331 pages, hardcover. $7.50

CERAMIC SCULPTURE by John B. Kennv Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. Large format (7"x10") , 302 pages. $9.95

THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the pottery - making techniques. Clays, glazes, firing, plaster, etc. 242 pages. $7.50

CERAMICS FOR THE ARTIST POTTER by F. H. Norton The most complete book on the subject, from choosing the proper clay to putt ing the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.50

I I I I

BOOK DEPARTMENT PLEASE lEND ME TIlE FOLLOWING lOOKS

[ ] Rottger--Clay Designs $4.95 [ ] Sfribling--Mosaic $6.95 [ ] Ford--Sculpture $5.50 [ ] Priolo--Deslgns $6.95 [ ] Rhodes--Clay & Glazes $7.50 [ ] Encis~Design $1.85 [ ] Untracht--Enameling $7.50 [ ] Wolchonok--Design $2.50 [ ] Parmelee--Glazes $8.00 [ ] Sanders--Pottery $1.95 [ ] Ball & Lovoos--Pottery $9.95

NAME

CERAMIC DESIGN by John B. Kenny Complete instructions for methods of forming and decorating ware are given, with step-by-step photos to guide the designer along the way. Contains appendix, list of materials, tables, recipes. and glossary. $9.95

FREE BRUSH DESIGNING by Egbert and Barnet The authors' exciting ap- proach to painting and designing develops confidence in the new artist. Extremely well adapted to ceramic decoration. $3.95

STONEWARE AND PORCELAIN by Daniel Rhodes Describes techniques and materials used in high-fire pottery. Includes sections on cl.,y bodies, glazes, colors, textures and decoration. $7.5(]

GLASS CRAFT by Kay Kinney The complete book on fusing. laminating and bending glass. Basic techniques, step-by-step projects and a "Glass Clinic" to help solve problems. Hard covers, 200 pages. $7.50

A POTTERY SKETCHBOOK by Aaron Bohrod Bohrod. one of America's dis- tinguished painters, is well known in the pottery field for his decoration of p-uery thrown by Carlton B:dl. Thousands of sketches. $7.50

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornuncj Over 1800 sketches of basic designs and variations including the circle, line. scroll, fret, shield, snow crystals and many more useful symbols.

$2.00

CERAMICS AND HOW TO DECORATE THEM by Joan B. PrioIo Mrs. Priolo gives detailed de- scriptions and illustrations of dozens of decorating techniques and shows exactly how to go about using them. Starts where other books leave off. $6.95

I I I I

4175 North High St Columbus, Ohio 43214

[ ] Nelson--Ceramics $7.50 [ ] Kenny--Sculpture $9.95 [ ] Kenny--Pottery $7.50 [ ] Norton--Artist Potter $7.50 [ ] Kenny--Design $9.95 [ ] Egbert & Barnet--Brush $3.95 [ ] Rhodes--Stoneware $7.50 [ ] Kinney--Glass Craft $7.50 [ ] BohrodiSketchbook $7.50 [ ] Hornung--Tpeslqns $2.00 I-- I Prlolo--Ceramlcs $6.95

ADDRESS . . . . . . . .

CITY STATE ZIP I enclose [ ] Check F] Money Order (Ohio residents: 3% Soles Tax)

mmmm I I I I I I I

30 Ceramics Monthly

Alkaline Glazes for Cone 06 by RICHARD BEHRENS

THE LO~A ~ TEMPERATURE alkal ine glaze seems to be the first pottery glaze for

which historical records exist. Such

glazes were first used x~th silica-

paste and other stony vessels made in the middle-east and in E~,pt as

early as 4000 B.C. Since these highly

siliceous vessels could be most success-

full), glazed with high alkali-silica

glazes, these have been extensively

found in the characteristic brilliant

colorations produced with glaze color-

ants such as iron, copper, manganese,

cobalt and chromium.

Alkaline glazes are generally those

containing singly, or in combinations,

from 0.3 to 0.7 molecular equivalents

of sodiuln, potassium or lithium. In

these proportions the alkaline metals

serve as the major flux. Brilliant

coloration and glassy surfaces char-

acterize these glazes unless they are

matted. Alkaline glazes tend to be

soft and easily scratched; in addition,

they usually craze badly. They also

have low resistance to weathering and

chenfical attack on excavated pieces.

Low-temperature-nta tur ing alkaline

glazes often are difficult to com-

pound due to the difficulty of finding

insoluble simple compounds of sodi-

um and potassiunt which do not

carry an excess of alumina and silica.

Soda ash, niter, and pearl ash

sometimes are used as sources of the

alkali metals, but these are highly

soluble in water and may cause

trouble in firing because pots absorb

much of the soluble material during

the application of the glaze. This

absorption may be somewhat reduced

by bisquing the body at a higher cone

level to cut down the absorption of

liquids by the body and by using high levels of gum in the glaze to com-

pensate for tim reduced body absorption capacity.

Another device for cutting the

body absorption is to substitute rub-

bing alcohol for the water vehicle in the glaze. In place of the alcohol,

a mixture of 60 ml of methanol (wood alcohol), ethanol (denatured alcohol), or isopropanol with 40 ml

of water may be used as the vehicle.

The alcohol solution reduces the

solubility of the soluble soda or

potash salts to a very low level. Lithium, a member of the chem-

ical family which includes sodium

and potassium, behaves much like the

others in fluxing and coloring reac-

tions. It also has the advantage of

reducing the crazing tendencies of

alkaline glazes, as well as increasing

the hardness and chemical resistance

of glazes containing it. Frits with high alkaline metal con-

tent can be effectively used in alka-

line glazes. These often contain sig-

nificant amounts of boron, which

inay serve to improve the crazing

tendencies of the high expansion alkaline glaze.

Crazing over the average clay body

is common where soda and potash

form a substantial part of glaze me-

tallic content. Some improvement in

this trend can be secured when a

clay body can be modified to re-

semble more closely in composition

that of the glaze. Such a body, with

adequate workability on the wheel,

may be made by mixing dry:

CLAY BODY Kentucky Old Mine #4 Clay 30% Nepheline Syenite 64 Bentonite 6

100%

To this dr), mix, about 50 ml of

water to each 100 gm of the mix

may be added and the whole soaked

for a week or more. After thorough

wedging this body may be worked on

the wheel or in hand building. A

stout plastic bag may be effectively

used to mix, soak, and store this body.

A matt glaze with orange-peel surface may be made from:

MATT GI,AZE (Cone 06) Frit P-54 (Pemco) 10.5~A Whiting 12.9 Lithium Carbonate 7.1 Kaolin 21.7 Silica 17.8

100.0%

With 5% of red iron oxide, 3% cop-

per carbonate, I % of cobalt carbon-

ate, or 3% manganese carbonate,

rather saturated colorations may be

obtained. With a 7c,+ addition of

titanium oxide, a warm white opaque

is produced. A good white opaqt~e

can be produced by the addition of

7c4 tin oxide to the glaze. Additions

of other colorants to the titanium

and tin glazes can produce pleasant tints.

Here is a bright glaze formula:

BRIGHT GLAZE I (Cone 06) Frit P-25 (Pemco) 46.4% Lithium Carbonate 8.0 Whiting 11.0 Kaolin 21.0 Silica 13.6

1 O0.0%

The resuhs of adding the colorants

and opaquing agents mentioned

above are substantially the same in both glazes.

A clear and bright glaze may be prepared from :

CLEAR GLAZE (Cone 06) Soda Ash 30.0% Lithium Carbonate 9.0 Kaolin 22.0 Silica 39.0

100.0%

This glaze contains tile very soluble

soda ash and should be applied to

the pot with plenty of gum addi-

tion. Bisquing the pot to a higher

cone than is normally carried out

cuts the absorption of the soluble

soda into the body and reduces fir-

ing risks. Use of the rubbing alcohol

or alcohol solutions may be used to

keep the alkalies out of solution. Bright colors may be obtained

with this glaze and a nice satiny matt

results when 10% of tin oxide is added to the glaze.

A bright glaze can be produced f roln :

BRIGHT GLAZE II (C~,ne 06) Frit P-54 (Pemco) 40.7% Lithium Carbonate 7.7

Kaolin 24.5 Silica 27.1

100.0%

This glaze can be effectively used with the colorants and opaquing

agents listed under the first glaze.

April 1967 31

SCULPTORS - POTTERS - CERAMISTS ATTENTION?

KEMPER TOOLS Choose from Kemper's complete lines of American made tools for Sculptors. Potters and Ceramists.

• All-Wood Tools • Wood and Wire Tools • Double Wire-End Tools

Available in 6", 8" and 10" sizes. Made out of select imported South American and African Hardwoods.

Complete line of ceramic hobby tools.

Write for complete Kemper Catalog enclosing 25c (coin or stamps) for postage and handling. Please include your Zip Code Number with address.

Kemper Manufacturing Co. P. O. Box 545, Dept. CM-4

Chino, Calif. 91710

The Famous KLOPFENSTEIN

POTTER'S WHEEL Write for FREE Information

H. B. KLOPFENSTEIN & SONS RFD. #2 Dept. A Cresfllne, Ohio

For the TIFFANY TOUCH our New "GLASS-LUCENTS" 12 colors including white - - Send stamped self-addressed envelope for description and prices. Catalog: $1 postpaid within U.S.A.

(Canada add $1)

KAY KINNEY -- CONTOURED GLASS 72S llroadway. Laguno Ihmlb, Calif. 92&$1

SUMMER WORKSHOPS Summer Workshops give you that wonder- [ul opportunity to combine vacation travel with hobby fun. Whether you are tripping east or west or only a little u,ays from home, you'll find a workshop in ceramics to give you that fresh inspiration. Our list to date:

ALBERTA, BANFF July 3-August 12

The Banff School of Fine Arts offers a 6-week ceramic course: fundamentals of pottery, preparation of clay, ceramic sculpture, glazing, etc. Instructor: Steve Repa. Write: Banff School of Fine Arts, Banff, Alberta, Canada.

B.C., VICTORIA June, July, August

The Gilmar Pottery offers 1-week sessions in wheel work, slab building, glaze making and copper enameling. Instruc- tor: Margarete Nehl McLennan. Write: Gilmar Pottery, 1700 Kings Rd., Vic- toria, B.C., Canada.

B.C., VICTORIA July 3-28

The Osborne Pottery Studio is offering I- to 4-week sessions in wheel-thrown pottery, form and decoration. Instruc- tor: L.F. Osborne. Write: Osborne Pottery Studio. 5757 West Saanich Rd., R.R. 7, Victoria, B.C., Canada.

CALIFORNIA, GUERN EVII.LE June 26-August 25

Pond Farm Pottery offers nine weeks of instruction in throwing, hand building and design. Instructor: Mar- guerite Wildenhain. Write: M. Wilden- hain, Pond Farm Pottery, Box 322, Guerneville 95446.

CALIFORNIA, IDYI.LM;II.D June 25-August 4

The University of Southern California, Idyllwild School of Music and the Arts, offers a ceramic workshop of three 2- week sessions in hand-building and throwing, glazing, and firing. Second 2- week session is for advanced work only. Instructor: Susan Peterson. Write: U S C - - - ISOMATA, Idyllwild 92349.

CALIFORNIA. LOS ANGEI.ES May, ]une, July

Mary Sharp Enameling Workshop offers 30-day sessions in enameling on copper, silver and gold. Write: Mary Sharp, 6219 Alviso Ave., Los Angeles 90043.

D. C., WASHINGTON June 12-August 4

The Corcoran School of Art offers 8- week summer sessions in beginning and advanced ceramics. Instructors: to be announced. Courses for Corcoran Art Diploma Program or George Washing- ton University Program. Write: Regis- trar, Corcoran School of Art, 17th St. & New York Ave. N.W., Wa,~hington.

l LLINOIS. CHICAGO June 26-August 18

The School of the Art Institute of Chicago offers beginning and advanced ceramic workshops. Instructors: Mr. Borch (beginning) and Viola Frey and Peter Leyton (advanced). Write: John R. Duncan, Chairman of Admissions, The School of the Art Institute of Chicago, Michigan Ave. at Adams St., Chicago 60603.

INDIANA, INDIANAPOLIS June 12-August 25

Amaco Ceramic Workshops offer four 2-week sessions in ceramics and two 1- week sessions in metal enameling at the John Herron Art School. Instructors: Justin M. Brady, William Gehl, Ken Smith and Carl Jensen. Write: Amer- ican Art Clay Co., 4717 West 16th St., Indianapolis 46222.

KENTUCKY, LEXINGTON June 12-August 14

University of Kentucky Summer Ce- ramic Workshop is open to beginning and advanced students and consists of two 4-week sessions in problems in clay and glazes, handbuilding, throwing and structural problems. Instructor: John Tuska. Write: Mr. Tuska, Art Depart- ment. University of Kentucky, Lexing- ton 40506.

MAINE, DEER Isl,v June 26-September 15

Haystack Mountain School of Crafts offers four 3-week quarters in the study of the elements and characteristics of clay and glazes, shop instruction in handbuilding, slab construction, and throwing on the wheel. Instructors: Warren MacKenzie, Bob Arneson, Fred Bauer and William Wyman. Write: Haystack Mountain School of Crafts, Deer Isle 04627.

MICHIGAN, MOUNT PI.EASANT June 19-August 11

Central Michigan University Art De- partment offers a regular 6-week terln (June 19-July 28) and Post Session I (July 31-August 11). Beginning and advanced ceramics each session. In- structor: Mrs. Esther Kraus. Write: Victor P. Croftchik, Chairman, Art De- partment, Central Michigan University, Mount Pleasant 48858.

NEW HAMPSHIRE, DURHAM June 26-August 4

Paul Creative Arts Center, University of New Hampshire, offers a 6-week session in ceramics conducted by Charles Chamberlin. Instruction in- eludes wheel, coil and slab. Write: Office of Registrar, Summer Session 1967, Thompson Hall, University of New Hampshire, Durham 03824.

NEW MEXICO, RUIDOSO July 17-September 2

Carrizo Lodge offers a 2-week course

32 Ceramics Monthly

in copper enameling (July 28-August 2). Instructor: Dr. Emilio Caballero. Also offered (July 17-28) is a course in jewelry and metal, under Dr. Marion Galvan. Write: Mrs. Pauline Gregger- son, Carrizo Lodge, Drawer A, Ruidoso 88345.

NEW YORK, ALFRED July 3-August 11

Alfred University offers 6-week terms in ceramic design and pottery production at four different levels. Instructors: Daniel Rhodes, Wallace Higgins and William Parry. Write: Fred H. Gertz, Summer Sessions, Alfred University, Box 805, Alfred 14802.

NEW YORK, CHAUTAUQUA July 3-August 18

Chautauqua Institution Summer School is offering l- to 8-week courses in ceramics and ceramic sculpture. Instruc- tors: James T. Achuff and H. Richard Duhme, Jr. Write: Joseph C. Clarke, Chautauqua Institution, Chautauqua 14722.

NEW YORK, CLAYTON June 26-August 26

The Thousand Islands Museum at Clay- ton announces summer workshops in ceramics and enamel. Instructors: Or- sini (enamel), Vally Possony (ceramics) and Jean Holt. For information, write: Emily Post, Director, 90 Westcott Rd., Princeton, New Jersey 08540.

NEw YORK, NEW YORK June 5-August I

Craft Students League, West Side Branch YWCA, offers 8-week workshops in ceramics and sculpture. Instructors: Roberta Leber and Gertrud Englander. Write: Helen T. Warner, Director, Craft Students League, 840 Eighth Ave., New York, 10019.

NEW YORK, ROCHESTER June 26-August 4

The School for American Craftsmen, Rochester Institute of Technology, offers a 6-week summer course in ceramics for both graduate and undergraduate credit. Instructors: Frans Wilden- hain and James Seerest, visiting lectur- er. Write: Director of the Summer Session, Rochester Institute of Tech- nology, 65 Plymouth Ave. South, Ro- chester 14608.

NEw YORK, WHITE PLAINS June 26-August 5

Westchester Art Workshop is offering

guide & guard your firing with

Orton standard pyrometric

Cones

FIRING CONE

By pointing the way to more uniform firing, Orton Pyrometric Cones will give you better, more consistent quality in your ware. These same Orton cones are the recognized standard throughout the ceramic industry, and

they bring this same standard of excellence to the hobbyist and studio potter.., at very low cost. Ask your dealer for a FREE copy of Orton's helpful booklet, "ORTON PYROMETRIC CONES AND THEIR IMPORTANCE TO THE HOBBY POTTER."

Especially prepared for the hobbyist and studio potter, it covers in detail the subject of cones and their proper use for better ware!

The Edward ORTON Jr. Ceramic FOUNDATION _ 1 4 4 5 Summit St. , Columbus, Ohio 4 3 2 0 1

MAKING POTTERY without a wheel by F. Car l ton Ball and Janlce Lovoos

: / I

This comprehensive and richly illustrated book, published by Reinhold, covers every phase of hand-building and decorating clay pieces. No book has ever covered the subject of texture and form more effectively.

The techniques illustrated in the book start with simple projects suitable for elementary school children and progress to those of considerable difficulty. The author, working with tools usually found in the home, points out that no special workshop or studio is required to produce the beautiful pieces of pot- t e r y - a table in a kitchen, garage or back porch will do.

Potters at all levels of achievement will find this new book informative and inspirational. I t is a book every

teacher should have. Price: $9.95.

WE PAY POSTAGE o

- -

I" q vanced ceramics and enameling. In- - - - - - -C~MI~S M ~ r ~ |.~k t - -

structors: Estelle Halper, W a l t e r 4175 North High St.. Columbus. Ohio 43214

Yovalsh, Constance Kimble and Mil- dred Downey. Write: John Ruddley, Director, Westchester Workshop, Coun- ty Center, White Plains 10606.

NORTH CAROLINA, PENL,AND May 29-September 22

Penland School of Crafts offers seven sessions of 2 and 3 weeks in ceramics,


I Please send me copies of MAKING POTTERY WITHOUT A WHEEL at $9.95 each. I

I Name I

I Address I

I City . . . . . . . . . . . State . . . . . . . . . . . . Zip . . . . . I

Oh|o rasldents add 30c per copy sales tax. I enclose [ ] Check [ ] Money Order

I__ SOLD ON OUR USUAL MONEY.BACK GUARANT£E I

Apri l 1967 33

now ava i lab le

our NEW C A T A L O G #8 This new 64-page cata log lists eve ry th ing you n e e d - - a complete line of kilns, glazes, tools plus g e n e r a l supplies and equipment, with many new i tems added. Hobbyists, teachers and studio pot ters will find the catalog invaluable. You'll want a copy of this all new cata log at hand the very next t ime you need ceramic, mosaic or m e t a l enamel ing supplies for your home, studio or school. Send for your copy now !

OHIO CERAMIC SUPPLY, INC. BOX 6 3 0 KENT, OHIO 4 4 2 4 0

Send S0c for New C a t a l o g ~ 8

TEACHERS NOTE: This new catalog is sent FREE to schools, institutions and craft shops.

Van Howe C e r a m i c S u p p l y

118S S. CHEROKEE, DENVER 23, COLO.

L ,L K ILNS • . . the most complete line! The only kilns with patented UYNA.GLOW element holders. Write for information. L and L MANUFACTURING CO., Box 348 144 Conchester Rd., Twin Oaks, Pa. 19104

A subscription to CERAMICS MONTHLY makes an ideal gift for any occasionl Simply fill in the subscription blank in this issue, mark it "glft," and tell us how you want it signed. We'll an- nounce your present with • handsome gift card in your name.

If the recipient of your gift is already a subscriber to CERAMICS MONTHLY, we will extend the current subscription.

0SCAR-PAUL Professional

POTTER'S WHEEL

~rwo Models . Ught weight, yet rugged enough for classroom or production use. Noiseless. Write for information:

O S C A R - PAUL C O R P O R A T I O N 522 West 182nd St., Gardena, Calif. 90247

SUMMER WORKSHOPS Continued from Page 33

metal, jewelry, enameling, glass, sculpture and other crafts. Facuhy to be announced. Write: Registrar, Penland School of Crafts, Penland 28765.

O NTARIO~ ORANGEVILLE July 9-August 4

Hockley Valley School offers I- to 4- week terms in ceramics, combined materials and sculpture. I n s t r u c t o r s : Arthur Handy and Robert Hedrick. Write: Hockley Valley School, Toronto office, 602A Markham St., Toronto, Ontario. Canada.

OREGON, CORVAI,LI S June, July, August

"Experiment A Prograln" workshops at Corvallis and Bend, Oregon; McCall. Idaho); and Jerome, Arizona consist of ,me-week field trips of situation encoun- ters with primitive ceramics. Instruc- tors: Hal Riegger and Bob Winston (metals). Write: Hal Riegger Work- shops, 469 Panoramic Hwy., Mill Val- ley, Calif. 94941.

QUEBEC, NORTH HATLEY June 26-August 26

"The Pottery" offers three 3-week sessions in pottery. Instructors: Dean Mullavey, Gaetan Beaudin, and others to be announced. Write: The Pottery, Box 181, North Hatley, P.Q., Canada.

QUEBEC, ST. PIE DE BAGOT ]uly l-September 4

Le Vieux Moulin Art Center offers all phases of ceramics, including turning, glazing and firing. Instructors: Leon Plumteux. Eric Wesselow and Marianne Suda, For information, write: Mr. Homer Dufresne. Le Vieux Moulin Art Center, St. Pie de Bagot, Quebec, Can- ada.

QUEBEC, WAY'S MILLS June 26-September 2

The Rozynska Pottery offers five 2-week sessions in ceramics, including individual instruction in hand building, throwing, glazing, decorating, kiln stacking and firing. Instructors: Wanda Rozynska and guest teacher Graeme Storm, from New Zealand. Write: Rozynska Pottery, Way's Mills, Quebec, Canada.

TENNESSEE, GATLINBURG June 12-July 21

Craft Workshop in the Smokies offers full and half sessions in beginning and advanced ceramics and enameling, and a short session (July 17-21) in advanced enameling. Write: Craft Workshop, Gat- linburg.

VERMONT, LUDLOW July 3-August 25

Fletcher Farm Craft School offers four 2-week sessions in ceramics, enameling and other crafts. Instructors: David Green and Ralph Parente (ceramics) and Mrs. Bachraek and Mrs. Goodrich


CLAYS GLAZES

TOOLS KILNS

Schools and ;nstltutions write for FREE I;÷erature.

ANDERSON CERAMICS COMPANY, INC.

1950 S. McDuffie St. Anderson, South Carolina

Complete Ceramic Supplies

POTTER'S TOOLS BAMBOO TEAPOT HANDLES

GLAZES CLAYS KILNS

3410 E. aSth St. Minneq~b, Minn.

A r t - C r a f t s Suppl ies, Inc. 23S N.E. 67111 St. Miami, Florida

Distributor for: PARAGON Kilns • DUNCAN, SYMPHONY, C E R A M I C H R O M E and DRAKENFELD MARX Brushes • JAC~)UELYN Stales

NOPEI We didn't raise our mold prices in our new catalog lust released. Send S0c for catalog. Schools are sent catalogs free upon request.

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34 Ceramics Monthl~,

CERAMACTIVITIES

NATIONAL COUNCIL FORMED

The National Council on Education [or the Ceramic Arts was formed May 8, 1966, out of the Design Section, Edu- cational Council of the American Ceramic Society. According to Joel Philip Myers, publicity chairman, " I t is the most recent development in a series of moves that have brought together potters who are teaching ceramics. Out of the many professional organizations whose objectives impinge upon or are tangential to ours, the mem- bership has separated itself in a quiet way to maintain contact with the particulari- ties of teaching ceramics." The purpose of the group is to stimulate, promote and improve ceramic art. design and craft by: providing a forum for the exchange of thoughts and feelings about ceramics; gathering information vital to the artist and teacher: and by spreading this thought, feeling and information throughout the creative studies community.

The new group is headed by William Parry, president: Robert Turner, vice president: William Farrell, secretary: Donald Frith, treasurer: and Charles Lako[sky, publications. President-elect is Norman Schulman. A meeting will be held it) East Lansing, Michigan, April 14-16. For information about the meeting, contact Louis Mendez, Fine Arts Department, The Ohio State University, Columbus. Ohio 43210.

FINLAND DESIGN SHOW

The Designer-Cra[t~men (;uild of Fort Wayne, Indiana, is presenting a design forum, "Fin land--Des ign Today." at Con- cordia Senior College, the Saarinen-designed campus in Fort Wayne. Mr. Mikko lmmonen, Consul of Public Relations and Information in New York, will speak on Finland. its arts, crafts, and culture on April 15 to celebrate the opening of the exhibit, which will remain through May 14. The exhibition itself will include mass- designed objects from Arabia, as well as individual pieces by Rut Bryk, Toini Mu- ona, Birger Kaipianen, and others.

The Guild has operated for the past four years. Its purpose is to acquaint, and thereby enrich, the community with the value and role contemporary crafts play in our daily life. It does this by sponsoring exhibitions and activities designed to promote good design and craftsmanship. In- quiries about the Guild and the Finland Design exhibition may be addressed to Mrs. Richard Peterson, 2515 Sherborne Blvd.. Fort Wayne, Ind. 46805.

MICHIGAN OFFICERS NAMED

New officers for the Michigan Pro[es- sional Ceramic Association have been announced by Teresa Maynard. Fern Cum- mins, Bay City is the new president; Wil- ma Wynes, Bridgeport, is the secretary; Ann Dollhop[, Saginaw, is the treasurer: and Allaseba Premo, Saginaw, is the show chairman.

The group will sponsor a "Ceramic and

people, places and things Hobby Festival" on April 29-30 at Bangor Hall, Wheeler Road at State Park Drive, in Bay City. There will be demonstrations, booths, and a display of student work.

POTTERS, SCULPTORS EXHIBIT

The Greenwich House Potters and Sculptors have scheduled their Spring Show April 14-May 3, at Greenwich House Potter)', New York. The five mem-

bers taking part in the show are Blanche Hell, Plaisantville; Ann Lawrence, New York; Liliane Loe[fel, Princeton, N.J.; Trudy Mueller, Larchmont; and Dimitry Varley, Bronxville. Work by members of the group has been exhibited at the Museum o[ Contemporary Cra[ts, Green- wich House Pottery, and in shows at Westchester. Long Island. Wooster and Wichita.

amic Hobby Show May 18th-21st, 1967 NVENTION HALL, ASBURY PARK, N. J.

O,~ r Dedicated to the Advance o/ the

Buyers Cards to be honored at the Eastem Chicago, and Southeastern States Ceramic Shows now available . . . Write for yours t o d a y . . . Wholesale Hours: 12 to 1 P.M. daily.

SPECIAL CLASSES

Hobbyists and Beginners are invited to attend the fabulous "Pageant of Tech- niques" from 9 A.M. to 12 Noon d a i l y . . . free admission.

NATIONAL CERAMIC AMATEUR EXHIBIT EASTERN CERAMIC SHOW.OF 1967 CONVENTION HALL I ASBURY PARK, N. J.

Please send teaching schedule for Pro- I Registered Classes to be conducted at the 1967 Eastern Ceramic Hobby S h o w . . . [ I wish to make a reservation.

NAME ....................................................................... I (PLI [A I I | PRINT)

STREET ................................................................... I

CITY & STATE ....................................................... I

GRACE CARINI 8 DRAKE LANE UPPER SADDLE RIVER, N. J.

Please send ........................ Entry Forms. I plan to exhibit in the: National Amateur Exhibit ................ (check) Professional Exhibit .......................... (check)

NAME ....................................................................... ( PI.EAIIE PRINT)

STREET ...................................................................

CITY & STATE ....................................................... C U T O N D O T T E D L I N E

PRODUCED BY: CERAMIC EXPOSITIONS, INC. C O N V E N T I O N HALL ASBURY PARK, N. J.

JERRY GASOUE, D,rector PRospect 6 - 6 2 6 0

April 1967 35

MFG. OF SCULPTURE A N D WHEEL CLAYS

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~ ~,: LOW TEMP. , / ~ . ~ ~ i cone 06-04

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J RED SLIP

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N E W - EQUIPMENT- USED Wheels " Pug Mills " Tile Presses " Slip Blungers • Gas & Electric Kilns * Spray Guns • Compressors • Screens

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the LOCKERBIE Potter's Wheel ~ FINEST KICK WHEEL MADE

Used by colleges, schools and studio potters $175 .00 . Wri te for new circular to Perfex Co. - - 7 8 1 2 Boulder Ave. , Highland, Culif. 9 2 3 4 6

Please Mention CM when writing our advertisers

The I n t e r m o u n t a i n A r e a ' s Larges t C e r a m i c Supply C e n t e r

Special attention to the needs of schools and institutions

Capital Ceramics, Dept. CM 2174 S. Main St., Salt Lake City, Utah 84115

C E R A M I C CLAYS

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36 Ceramics Monthly

ITINERARY Continued [rom Page l l

WHERE TO GO

Because listings are subject to change, dates can be verified by writing to the sponsoring groups or galleries.

CALIFORNIA, OAKLAND

through April 9 "People Pots" and other ceramics by Kenneth Dierck; at Kennedy Art Gallery, College of the Holy Names.

CALIFORNIA, SACRAMENTO

through April 23 "California Crafts V 1967" exhibition, fifth statewide bien- nial sponsored by the Creative Crafts League, shows work by craftsmen who are residents of California. At the Crocker Art Gallery.

D. C., WASHINGTON

April 4-May l Pottery by Grace Knowlton, at Craft House, Georgetown.

FLORIDA, CORAL GABLI~S

April 2-May I Ceramics by Juanita May; at the Lowe Art Gallery.

FLORIDA, JACKSONVILLE

April 21-23 North Florida Arts and Crafts Show, for the benefit of the Jack- sonville Art Museum; at the Jacksonville Woman's Club.

FLORIDA, MIAMI April 14-16 Annual Spring Meeting

of the Florida Craftsmen, at the Ceramic League of Miami.

FLORIDA, MIAMI April 21-May 1 The 1967 "Members

Exhibition" of the Ceramic League of Miami, Inc., at the Jordan Marsh Audi- torium.

GEORGIA, ATLANTA

through April 5 Glass by Frances and Michael Higgins, Riverside, Ill., and Earl McCutcheon, Athens, Ga.; at the Signa- ture Shop.

GEORGIA, ATLANTA

April 12-May 17 Ceramics by Charles Brown; at the Signature Shop.

ILLINOIS~ CHICAGO Continuing Chinese Pottery of the T'ang

Dynasty, at the Art Institute of Chicago.

ILLINOIS, CHICAGO April 24-May 5 "Ceramic Arts - -

U.S.A.," Smithsonian Institution Travel- ing Exhibition, at the Chicago Illini Union Building of the University of Illi- nois Medical Center, 828 S. Wood St.

ILLINOIS. URBANA through April 9 "American Craftsmen

- - 1967," a selection of National Merit Award winners from the ACC exhibition. Included are 112 items in ceramics, metal, fabric, wood and glass. At Krannert Art Museum, University of Illinois.


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CERAMICS - MOSAICS COPPER ENAMELING

Huge Stocks ~t~ Fast Service "k Quality Merchandise ~r Write now for FREE literature

ILLINI CERAMIC SERVICE 439 North Wells. Chicago 10, Illinois

and taking subscriptions on o commisslon~ basis. WRITE to: Circulorlon Dept i

C e r a m i c s M o n t h l y | 417S N. H igh S t . . Columbus, Ohio •

]__1_ " "" IIII

F R A N C O I S E C E R A M I C S DISTRIBUTOR FOR: Duncan's Molds, EZ Flow Glazes and Eisq-Wax • Ceramichrome Products n Aflantic-ArneI-Holland and Schmid Molds n Porcelain Slip-Ceramic Supplies • Large selection of quality Greenwaro • Mack's China Paints • Brushes, Tools, Kilns, Art Books, Slip, and Clay • WHOLESALE and RETAIL 113 49th St. South St. Petersburg, Florida

J E A N LEONARD CERAMICS 96-24 Corona Ave. Corona, L. i., N. Y. MAGIC GREENWARE RELEASE i8 oz.)..Sl.S0 Save yourself aggravation. Releases groan- ware in half the time, will not stick. KILN SURFACE BRICK HARDENER

t l6 oz.) . . . . . . . . . . . . . . . . . . . . . . . . . . . $2.00 Will harden and prolong life of your kiln. Stops kiln brick from shedding and flaking.

CERAMIC PROBLEMS? Let us help .you. Our staff has had many

years of experience in ceramics. We have a complete line of supplies and equipment. Send $1 for our new enlarged catalogs general catalog and mold catalog. FREE to schools and instihrtlons.

SEELEY'S CERAMIC SERVICE, INC. 9 River St., Oneonta. New York 13820

Please Mention CM when writing our advertisers

Europe's Finest

THE LEACH WHEEL New American made - - $169.00 f.o.b.

St. Paul, Minn. WRITE FOR FREE BROCHURE

D. M. VARS 825 W. Minnehaha, St. Paul. Minn. 55104

1965 revision Catalog of 6 0 0 0 molds from 45 companies . . . . . . . . . . $1 .25

New Mold Supplement only . . . . . . 50c (to bring 196S catalog up-ta-data)

Large Supply Catalog . . . . . . . . . $ 1 . 5 0 (Refundable on S1S Order)

"Oo's & Don'ts of C e r a m i c s " . . . $ 1 . 5 0

Midwest Ceramic Center 722 Southwest Blvd. Kansas City, Me. 64108

I T I N E R A R Y Continued [rom Page 36

INDIANA, FORT WAYNE April 15-May 14 "Finland Design

Today," a selection of work by Rut Bryk, Toini Muona, Birger Kaipianen and others. At the Saarinen-designed campus of Concordia Senior College.

MASSACHUSETTS, LEXINGTON April 22-23 The Annual Spring Open

House and Exhibition of the Lexington Arts and Crafts Society, Inc., will be held at 130 Waltham St., from 1-6 P.M. Dens- onstrations in all crafts.

MICHIGAN, EAST LAXSlNC

April 14-16 Annual meeting of the National Council on Education for the Ceramic Arts: at Inn America.

MIssissiPPi, OXFORD

through April 7 "Glass from Czech- oslovakia," Smithsonian Traveling Exhi- bition, at Mary Buie Museum.

NEW JERSEY, MONTCLAIR through April 30 An invitational ex-

hibition of work by New Jersey Designer- Craftsmen includes items in ceramics, enamels, jewelry, silver and glass. At the Montclair Art Museum.

NEW JERSEY, NEWARK through mid-August "Hour Glasses and

Art Nouveau," at the Newark Museum.

NEW YORK, NEW ROCHELLE

April 6-23 The 53rd Anniversary Juried Sculpture and Ceramic Forms Ex- hibit, sponsored by the New Rochelle Art Association; at the First Westchester Na- tional Bank.

NEW YORK, NEW YORK

April Exhibit of work by members of the Southern Highland Handicraft Guild; at Georg Jensen.

NEW YORK, NEW YORK

April 7-9 Greenwich House Pottery holds its first annual Flower and Ceram- ics Show; at Greenwich House. 27 Bar- row St.

NEW YORK, NEW YORK

April 14-May 3 Spring Show of pottery and sculpture by Blanche Helf, Ann Lawrence, Liliane Loeffel, Trudy Mueller, and Dimitry Varley; at Greenwich House Potter),.

NEW YORK, NEW YORK

Continuing "The Enduring Art of China," an exhibition of 150 works that include ceramics, sculpture and frescoes. At the Metropolitan Museum of Art.

NEW YORK, ROCHESTER

April 14-23 Ninth Annual "Rochester Festival of Religious Arts" will be held at the Central Presbyterian Church.

NEW YORK, SYRACUSE

through April 16 The 15th Syracuse Continued on Page 38

OF SEATTLE

f

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Commercial Kiln Kit, 24"x24"x27" deep . . . . . . $195.00

Studio Kiln Kit, 18"x18"x18" deep . . . . . . 99.50

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Send for free detail sheets.

POTTERY by D O T Dept. C M

408 N.E. 72nd St. Seattle, Wash. 98115

April 1967 37

CRAFT WORKSHOP

In The SMOKIES PI BETA PHI - UNIVERSITY OF TENNESSEE

• jewelry • enameling • pottery • design • weaving • stitchery • textile design • recreational crafts

GRADUATE - UNDERGRADUATE - NON-CREDIT FULL SESSIONS . . . . . . . . . . . . . . . June 12 - July 14 HALF SESSIONS . . . . . . . . . . . . . . June 12 - June 26

June 28 - July 14 SHORT SESSION . . . . . . . . . . . . . . . July 17 - July 21

FOR FOLDER WRITE

C R A F T W O R K S H O P GATL!NBURG, TENNESSEE

THE THOUSAND ISLANDS MUSEUM at CLAYTON, NEW YORK announces

SUMMER WORKSHOPS in Ceramics, Early Amer- ican Decoration, Enamelincj (Orslei), Painting, Pottery (rally Possony), Reverse jpaintincj on Gloss, Rug-hooking and Weaving. For intorma- tion write to: Emily Post, Director, 90 Westcoff Road, Princeton, New Jersey 08540. After June 1, Clayton, N. Y. 13624.

C h a n g e o f A d d r e s s

U.S. Post Offices will no longer forward magazines, even if they have your new address. Your magazines will be returned to the publisher at a charge of IOc each. If you move please notify us at least 4 weeks in advance giving both new and old addresses, and s;md addressed portion of your ma ng envelope to Ceramics Monthly, 4175 N. High St., Columbus Ohio 4~1214. (Don't forget to include you;" ZiP number on new address.)

PFNLAND SCHOOL OF CRAFTS

PENLAND, N. CAROLINA MAY 2*-SEPT. 23

An opportunity for serious study of crafts. Courses for credit recognized by ell ac- credited colleges through East Tennessee State College. WEAVING CERAMICS METALWORK JLrWELRY ENAMELING GRAPHICS DESIGN WOOD WORKING SCULPTURE LECTURES DEMONSTRATIONS EXHIBITIONS Both 2 and 3 week sessions. Excellent food, well equipped studios. Recreational activities, hiking, golf, and swimming.

For catalog, write PENLAND SCHOOL OF CRAFTS

Box M , Penland, North Carol ina 28765

38 Ceramics Monthly

ITINERARY Continued [rom Page 37

Regional Art Exhibition includes work in crafts. At the Everson Museum of Art.

O m o , ADA

April 9-May 6 The 24th C e r a m i c National Circuit Exhibition, at Nor thern Art Center, Ohio Nor thern University.

OHIO, DAYTON

March 31-April 4 First Animal Salem Mall Craft Show.

PENNSYLVANIA, BELLEVUE

through April 4 Fifth Annual "New Horizons in Art," sponsored by the North Boroughs Junior Woman 's Club.

PEN NSYLVANIA~ PHILADELPHIA

April 7-May 7 "Regional Craftsmen %7," at the Museum of the Philadelphia Civic Center.

RHODE ISLAND, PAWTUCKET

through April 30 Students ' Art Show" by the Pawtucket Public School Children.

SOUTH CAROLINA, COLUMBIA

through April 16 The Second An- nual South Carolina Craftsmen Exhibi- tion, at the Columbia Museum of Art.

TEXAS. AUSTIN

through April 16 "Craf tsmen of the City," Sinithsonian Travel ing Exhibition, at the University of Texas Union.

WASHINGTON, SEATTLE

April 20-June 4 "Art Treasures of Turkey," 279 rare treasures from 8,000 years of history in ancient Anatolia and Turkey: at the Seattle Art Museum.

WASHINGTON, SEATTI,E

April 25-May 14 The 22nd Annual High School Exhibit, juried work by junior and senior high school students of King County; at the Seattle Art Museum Pavilion. Seattle Center.

SUMMER WORKSHOPS Continued [rom Page 34

(enamels) . Write: Mrs. Harriet C. Turnquist , Fletcher Farm School, Chel- sea, Vermont 05038.

WISCONSIN~ MADISON June 19-August 12

The Depar tment of Art at the Univer- sity of Wisconsin offers an 8-week session in pottery. Instructors: Michael Cardew and Wayne Taylor. Write: University of Wisconsin, Summer Ses- sions Office, 602 State St., Madison 53703.

WISCONSIN, MENOMONIE June 18-August 1l

Stout State University offers hand- building, throwing, glazing and firing. Instructors: John Perri and Robb Wil- son. Write: Art Depar tment , Stout State College, Menomonie 54151.

Advertisers Index

April 1967 American Art Clay Company . . . . . . . 4 Anderson Ceramics Co . . . . . . . . . . . . . . 34 Art-Crafts Supplies, Inc . . . . . . . . . . . . . 34

B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . 8 Bergen Arts & Crafts . . . . . . . . . . . . . . 37

Campbell , Gi lmour . . . . . . . . 34, Cover 4 Capital Ceramics . . . . . . . . . . . . . . . . . . 36 Central Ceramic Art Supply . . . . . . . . 34 Ceramic Expositions, Inc . . . . . . . . . . . 35 Craft Workshop in the Smokies . . . . . . 38 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 36

Dawson, W. P . . . . . . . . . . . . . . . . . . . . . 36 Duncan 's Ceramic Products . . . . . . . . . 8

Francoise Ceramics . . . . . . . . . . . . . . . . . 36

Gare Ceranfic Supply Co . . . . . . . . . . . . 34

House of Ceranfics . . . . . . . . . . . . . . . . . 6

Illini Ceramic Service . . . . . . . . . . . . . . 36

Kemper Mfg. Co . . . . . . . . . . . . . . . . . . 32 Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . 32 Klopfenstein, H.B. & Sons . . . . . . . . . . 32 Kraft Korner . . . . . . . . . . . . . . . . . . . . . . 34

L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 34 Leonard, Jean, Ceramics . . . . . . . . . . . . 36

Mayco Colors . . . . . . . . . . . . . . . . . . . . . 11 Midwest Ceramic Center . . . . . . . . . . . . 37 Minnesota Clay Co . . . . . . . . . . . . . . . . . 34

National Ceramic Manufacturers Assn. 9

Ohio Ceramic Supply . . . . . . . . . . . . . . 34 Or ion Ceramic Foundation . . . . . . . . . . 33 Oscar-Paul Corp . . . . . . . . . . . . . . . . . . . 34

Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 36 Penland School of Crafts . . . . . . . . . . . 38 Pottery by Dot . . . . . . . . . . . . . . . . . . . . 37

Quinlby & Co . . . . . . . . . . . . . . . . . . . . . 36

Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Rovin Cerainics . . . . . . . . . . . . . . . . . . . . 4

Seeley's Ceramic Service . . . . . . . . . . . . 37

Tepping Studio Supply Co . . . . . . . . . . . 32 Thompson, Thomas C., Co . . . . . . . . . . 5 Thousand Islands Museum . . . . . . . . . . 38 Trini ty Ceramic Supply . . . . . . . . . . . . 36

Unique Kilns . . . . . . . . . . . . . . . . . . . . . . 36

Van Howe Ceramic Supply . . . . . . . . . . 34 Vars, D.M . . . . . . . . . . . . . . . . . . . . . . . . 37

Westwood Ceramic Supply . . . . . . . . . . 7

Back Issues The [ollowing back issues o[ Ceramics Monthly are still available at sixty c e n t s per copy (Ohio residents pay 3% sales tax). We pay postage.

1954 March, July, December 1955 December 1957 August 1958 April. May 1960 December 1961 January, November. December 1962 January (9-year Index issue). Fehruary,

April. May. June 1963 June. November 1964 June. September. November, December

Please 5end remittance (check or money order) with list o[ issues desired.

CERAMICS MONTIiLY 4175 N. High St. Columbus, Ohio 4,~214

Newest Selections from the CM Book Department

MOSAIC TECHNIQUES New Aspects of Fragmented Design by Mary Lou Stribling

Whatever your creative intent, whether it is directed toward functional objects for everyday use or ambitious works of great size and profundity, this book on mosaics is designed to help you achieve your purpose. It is filled with inspiring examples by contemporary craftsmen to provide you with a i glimpse of the tremendous potential of mosaics as a medium for personal expression. I

There are chapters on how to work with clay, polyester resin, fused glass: and instructions for specific projects. These include jewelry and small functional objects, mosaic clocks, tables, wall inserts, pavings, pools, windows, translucent screens, lighted panels, light fixtures, and lamp bases. Many fascinating processes are outlined in chapters on sliced bottles, sand casting, kiln-fired glass, metal-bound fragments, and lighted frames.

This beautiful volume contains 4.56 "how-to" photographs, diagrams, and mosaic examples in black-and-whlte and full color. Price: $6.95.

~ POTTERY STEP-BY-STEP ~ ~ by Henry Trevor

This unique pottery book is a superb inlroduction to the basic methods of making pottery, as well as a valuable source of reference material on schools, museums, craft associations, and suppliers. In addition, it contains an inspiring gallery of modern pottery masterpieces. Step-by-step, with the aid of detailed demonstration photos, the

V author instructs the reader on every stage of pottery making, from clay to finished pot.

The author describes the characteristics of clay and ways of preparing clay for use, including wedging, knead- ing, etc. He then explains various ways of making pottery without a wheel - - slab, pinch, coil, and smiliar methods. He demonstrates how to throw a pot on a wheel: how to trim, handle, and decorate the finished pot: how to glaze and fire the pot. Mr. Trevor also advises the reader on how to set up a pottery workshop with a minTmum of investment.

In addition to detailed picture stories, the illustrations include beautiful photographs of pottery masterpieces from America, Europe, and Asia.

Pottery Step-By-Step is an authoritative guide for amateurs, students, teachers, and all craftsmen who may be trying pottery for the first time. The reference material makes this book particularly suitable for library, school, and institutional use. Contains over 200 illustrations. Price: $7.50.

SIMPLE POTTERY by Kenneth Drake

Pottery need not be a compli- cated business involving a lot of expensive apparatus, for a wide range of attractive pots, tiles, plates and dishes can be made with or- dinary household equipment. Ken- neth Drake takes the beginner through each stage of simple pot-

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useful obiects in exciting shapes. He covers coiled, slab and pinch pottery, and also deals with making plaster molds, exploring decorative techniques, and glazing and firing. Over 100 black-and-white photographs, 4 pages of full color, and numerous diagrams provide a step-by- step commentary which tells the beginner all he needs to know. This small (S" x 71/2" ) but valuable book comes in a hard cover, only $1.9S. i i im ~ ~ ~ n ~ ~ ~ n n n I 1~ ~1 n

WE PAY POSTAGE CERAMICS MONTHLY Book Department 4175 N. High St., Columbus, Ohio 43214 Please send me the following books: [ ] Mosaic Techniques @ $6.95 [ ] Pottery Step-By-Step @ $7.50 [ ] Simple Pottery @ $1.95

NAME ADDRESS. CITY. STATE ZIP

I enclose [] Check [] Money Order (Ohio residents add 3% Sales Tax)

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KINGSPIN Kinolite Turntable New 12-inch model with many uses • A 12-inch wheel for the price of an 8-inch n Made of KINOLITE - - latest sinktop material used in newest homes n Heavy Kinalloy round base n Just the thing to use on those lace dolls.

Model T-T2 $6.95 With 12-1nch Aluminum Table {Model A-12 . . . . . . . . . . $14.95

KING~;PIN Potter's Hand Wheel

With Height Trimmer Rest tools and brushes on the height t r immer - - results wil l • maze you.

Wheel only .......... ~6o00 (7" Aluminum Model K-71

Wheel with Trimmer Model KT-7 . . . . . . . . . . . . . . $7.00 With 7" heavy KinaHoy table Model KH-7 . . . . . . . $8.00 With 8" heavy Kinalfoy table Model KH-8 . . . . . . . $9.25 Bats recessed for 7 " . . . . . . 8Sc Bats for 7" & 8" . . . . . . . . $1.00

KINGSPIN Wheel

NEW with Wagon Wheel Base • Tap and base are cast K in• l l •y • Top measures 6w/4" n Shipping weight 3 Ibs.

Model w.6 only $3.95

KING,PIN Lowboy Steel Wheel • Our Economy Model • Kin- alloy Bearing • Easy Spinning • Zinc Plated-Rustproof • 7 " Steel Top & Bottom n Highest Qualify n Low Price

Model S-L only $ 2 . 9 5

This new model may be used as a mold stand, for clay modeling or as a decorating wheel in spray booth.

Prices F.O.B. Detroit

See y o u r D e a l e r o r D i s t r i b u t o r o r w r i t e :

G I L M O U R C A M P B E L L ~ 2 5 8 M a i d e n , D e t r o i t , M i c h i g a n 4 8 2 1 3

In Canada write:

. I N S T I T U T I O N S

Jack Wolfe, our N.Y. distributor shows how to throw pots bigger than the machine.

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Whale's Arts & Ceramics i ~ 638 ~ueens Ave., Victoria, B.C.

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Village Ceramic Studio 4943 Dundas St., West, Islingfon, Ont.

i~ ¸ · ravin ceramics SUPPLIES Manufacturers Distributors of the FOSTER POTTER'S WHEEL PUGMILLED...

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