~L ¸ ~ ii - Ceramic Arts Network · Now in its tenth American edition • . . a must for every...

M ~ ( 3 ~ b l T H ~

BACK-TO-WORK ISSUE

SEPTEMBER, 1967 60c

~ L ¸ ~ i i

I) ~ ~ ~ii~ ~

JUST PUBLISHED!

THE WORLD OF O/:

JAPANESE CERAMICS by Herbert Sanders with the collaboration of Kenkichi Tomimoto

The first broad coverage in text and photos of the modern and historical ceramic techniques of Japan . . . a notable addition to the CM Book Department

1,1,/105

This handsome new book contains over 200 black-and- white photographs, forty-two superb color plates and thirteen diagrams illustrating in detail the forming and decorating processes and the many unique tools used by the potters of Japan. There is also a fascinating selection of Japanese ware presented in the book; many pieces are shown in full color. The text provides a flowing documentary and informative overview of the historical and modern world of Japanese ceramics. The technical information for the potter, including glaze formulas, glaze color charts, firing temperatures and

American equivalents oF Japanese glaze composi icns, makes this a unique and outstanding book. Introductory statements by Shoji Hamada and Bernard Leach are both interesting and informative. Every potter will find this new book an invaluable source of inspiration and reference. The book is beautifullly bound and comes protected in a sturdy slipcase. Order your copy now - - $12.50 postpaid.

Comes with this at- t ract ive s l i p c a s e . Makes an ideal gif t .

A Potter's Book

:: B E R N A R D L E A C H

i

I ....

A V A I L A B L E O N C E A G A I N from the CM Book Department!

A POTTER'S BOOK by Bernard Leach

Now in its tenth American edition • . . a must for every potter and student of ceramics!

This is the first treatise by a potter on the workshop traditions which have been handed down by Koreans and Japanese from the greatest period of Chinese ceramics, the Sung dynasty. It deals with Japanese raku, English slipware, stoneware, and Oriental porcelain. The student of pottery learns how to adapt color and glaze recipes and designs of kilns to local conditions• A vivid workshop picture is given of the making of a kiln-load of pots from start to finish, and the position of the individual or artist-potter in an industrialized age is touched upon. Mr. Leach worked for a quarter of a century in the Far East and for an even longer period in England and his output combines the best qualities of both worlds. 294- pages; illustrated with color plates, halftones and line drawings. Introductions by Soyetsu Yanag; and Michael Cardew. $8.75 postpaid.

NEW MAKING CERAMICS by Lis and Hans Lundkvist This new book from the Reinhold Scandinavian Craft Series discusses and demonstrates some of the simplest

methods of handling and shaping the clay, as well as several professional techniques which are simple enough to be used by the hobbyist. Contents include forming pieces by hand and with the potter's wheel, decorating with glazes, recipes for glazes, making plaster molds, casting, firing, constructing a wheel, and directions for building a primitive raku kiln in your own backyard. $4-.50 postpaid.

WE PAY POSTAGE CERAMICS MONTHLY Book Department 4175 N. High St, Columbus, Ohio 43214 Please send me the follow:ng books:

]~ The World of .Japanese Ceramics ~. $12.50 A Potter's Book @ $8.7S .~ Making Ceramics @ $4.50

NAME . . . . ADDRESS CITY. STATE ZIP . . . . . . .

I enclose ~ " Check I ~ Money Order (Ohio residents add 3% Sales Tax)

ELECTRIC KILNS

Select the type and size kiln you need, then compare all the features. . , you'll

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MODEL R-18-H $130.50 ($167.50 with automatic shut-

off installed.) Fires to 2250°F.; 230 volts, 22 amperes. Inside dimen- sions: 171/2 " opening x 18" depth. Stainless steel iacket. Listed by Underwriters Labo- ratories, Inc.

MODEL B-23-H $ 1 4 6 . 5 0

{$183.50 with automatic shut- off installed.)

Fires to 2250°F.; 230 volts, 2S amperes. Inside dimen- sions: 171/2 '' opening x 221/2" depth. Stainless steel jacket. Listed by Underwriters Labo- rotorles, Inc.

MODEL C-26-H $395.00 Fires to 2300°F.: 230 volts, 34 amperes. Inside dimen- sions: 20" x 20" x 25". Has ¢ou nter-weig hted lid.

MODEL C-8-H $595.00 Fires to 2300°F.; 230 volts, 40 amperes, inside dimen- sions: 24" x 24" x 24". Eight cubic-foot capacity.

~ l l l .

n

\ MODEL O I 4 $99.50 Fires to 2000°F.; 120 volts, 15 amperes. Inside dimen- sions: i l " x 11" x 131/2 ". Listed by Underwriters Labo- ratories, Inc.

lira

MODEL C.~7 $ 2 0 9 . 5 0

Fires to 2300°F.; 230 volts, 19 amperes• Inside dimen- sions: 171/2 " x 171/2" x 15". Stainless steel jacket. Listed by Underwriters Laboratories.

i ~ i q : ii

MODEL A-lS-H $142.50 Fires to 2300°F.: 230 volts, 19 amperes. Inside dlmen- sions. 15" x IS" x 15". Listed by Underwriters Labo- ratories, Inc.

MODEL A-22-H $184 .50 Fires to 2300°F.; 230 volts, 22 amperes. Inside dimen. sions: 15" x 15" x 221/2 ".

, • j SCHOOLS - INSTITUTIONS HOBBYISTS . . . write for

free catalog illustrating our full line of quality constructed kilns for ceramics, glass and enameling.

J. J. CRESS COMPANY, INC. 1718 F lo rada le Ave. , South El Monte, Ca l i f o rn ia 91733

September 1967 3

E l e c t r i c K i l n s

P o t t e r s W h e e l s

C l a y s

G l a z e s

D e c o r a t i n g C o l o r s

M e t a l E n a m e l s b y

gmKo" Write for free 60 page Amaco Pottery and Metal Enameling Supplies & Equipment

A M E R I C A N ART CLAY CO., INC.

I N D I A N A P O L I S , IND. 46222

rovin ceramics SUPPLIES

Manufacturers & Distributors of the

• FOSTER POTTER'S WHEEL • PUGMILLED & DE-AIRED CLAY

All pugmilled and de-aired clay is packed in poly bags, 25 Ibs. per carton. RO-IO 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

• RAW MATERIALS - - Ox ides. C lays , etc Distributors of

• OHAUS SCALES • ORTON -- Cones • U. S. STONEWARE - - Mi l ls . Ja rs , etc. • NORTON - - Ki ln she lves

WRITE FOR NEW BROCHURE

r o v i n ceramics 74S6 Fenton St. D e a r b o r n He igh ts , M i c h i g a n 48127

Phone: LOgan 3-2906

T E A C H . . . t h e e a s y w a y

. . . U S E R E W A R D p r o d u c t s

H A R T

Teach the Easy Way! Use Reward and Hart Products. Liquid glaze and underglaze goes further and offers better results and are recommended for their high quality.

Send for free literature and price lists.

R E W A R D C E R A M I C C O L O R M F R S . , INC.

6811 Washington Blvd., Elkrldge, Md. 21227

4 Ceramics Monthly

M

V o l u m e 15, N u m b e r 7

I ) N T H L Y

S e p t e m b e r 1967

Specia l BACK-TO-WORK issue

Answer s to Ques t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

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

Sugges t ions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . . 9

I t i n e r a r y . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Nonfunc t iona l P o t t e r y by F. Car l ton Ball . . . . . . . . . . . . . 12

Mak ing H u m p Molds by Lis and H a n s Lundkv i s t . . . . . . 16

F o r m i n g a Table Garden by Robe r t F. E i l e n b e r g e r . . . . 19

Po t t e ry by Nan and J im McKinnel l . . . . . . . . . . . . . . . . . . . . 22

Mix ing Clay wi th M a t h by F r a n c e s G. A r m s t r o n g . . . . . 24

Resis t and S g r a f f i t o Decora t ion by Marc Bel la i re . . . . . . 26

The Flexib le S h a f t Machine by K a t h e Berl . . . . . . . . . . . 28

Celadon Glazes by Richard Behrens . . . . . . . . . . . . . . . . . . 29

Ce ramAct iv i t i e s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

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

On Our Cover

"Large Bowl with Handles" was one of 130 pieces displayed by Nan and Jim McKinnell in a showing at the Dubuque Art Asse- ciation Gallery in April. The piece, which is 22 inches in diameter, has a white mat t glaze and brown and black brush decoration. The complete piece is pictured on page 23, along with other pottery by the McKinnells.

Editor: THoM^s SELLERS

Art Director: ROBERT L. CREAGER

Business Manager: SPENCER L. DAvis

Circulation Manager: MAaY RVSHLEY

Editorial Assistant: CONNIE BELCHER

Advisers and Special Contributors: F. Carlton Ball; Richard Behrens; Marc Bellaire; Kathe Berl; Edris Eckhardt; Zena Holst; John Kenny; Karl Martz; Ken Smith; Don Wood.

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.

C E R A M I C S M O N T H L Y S e p t e m b e r 1967, Vol. 15 - - No. 7. Publ i shed m o n t h l y except J u l y a n d A u g u s t by P ro fe s s iona l Pub l ica t ions , Inc . - - S. L. Dav is , P re s . , P . S. E m e r y , Sec.; a t 4175 N. H i g h S t ree t , Columbus, Ohio 43214. Second class pos t age paid a t Athens , Ohio, U . S . A . Subscr ip- t i ons : One y e a r $6; Two yea r s $10; Th ree Yea r s $14. Copyr igh t 1967. All r i g h t s reserved . Mic ro f i lm Copies a re ava i lab le to subscr ibers f r o m U n i v e r s i t y Mic ro f i lms , 313 N. F i r s t St . , A n n Arbor , Mich igan . M A N U - S C R I P T S and i l lus t ra t ions dea l i ng wi th ce r amic a r t ac t iv i t i e s a r e welcome and will be considered fo r publ icat ion. M a n u s c r i p t s should be typed double-spaced and r a n g e f r o m 500 to 2000 words . Send m a n u s c r i p t s and cor respondence about t h e m to the Edi tor , C E R A M I C S M O N T H L Y . 4175 N. H i g h S t ree t , Columbus, Ohio 43214.

PORCELAIN J ENAMEL , k " ,i

" ' COLORS by Thompson

/ j ~ / ; < ~ .<i]~,. Over 200 colors are featured in the "Color G u i d e " sec t i on of the

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Thompson, the world's largest supplier of art enamel colors for more than 70 years, offers everything 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 ot sizes and shapes, tools and materials. Whatever your needs, you'll find them p;ctured 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 Deerfleld Rd., Highland Park, III. 60035

Please rush my FREE catalog of complete enameling craft supplies with Color Guide today.

NAME

ADDRESS

CITY STATE ZiP

September 1967 5

You can d t p e n d upon 8hero distr ibutor8 l o t o l l youe c* romi¢ needs . . . Contact them fo r the Duncan dea le r nearest you.

ALABAMA r .E p,R,E pOTTERY I~ Me. 5Sth P I I G I . Bl rmingNam. 35212 1 1224 madison Ave . . ~ontgome ry. 36107

ALASKA CLAY CREATIONS 2730 Tudor Rd. , Anchorage 9~502

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CAL IFORNIA GRACE ALDEN 1233 Speer A v e . , Arca ta . 85521 AyANTY CERAml E$ 987 57tN S t . . Sacram+nto, 85831 BBOVN'S CENARICS & GIFTS 1808 N. Chester Avenue. B a k e r s f i e l d , 833oa S. L. CLUTTER 13112 Ing lewood , Na. tho rne 90231 D & 6 CERAMIC SUPPLIES P O. Bo~ 585. z75r Thee . and Oaks l l v d + . T~o+sand 0*k+, 9136o NEL[N'S C[RAMI0S 1177 E. San An ton lo Street , San Jo~ . , 95~16 KeTV'S CERA. I¢S 327 Old County Road, San Car l o+ . 8No7o KIDO'S EERA. I CS )32 N. 271h* ka t i ona l C ; ty 82050 L(E 'S CEBAHIC SUPPLY 72k mwy. kO. Ve l l a j o , 94393 PASO ROBLES CERAMIC SHOP 3126 Spring Street , Pa+o R o b l e t . 83&116 STR~GS CERA, I¢ STUDI0 90~5 A lond r l I l vd . . Be l l f l owe r . 90706 STEk*ARTS OF CALIFORNIA 7340 Z. F+restone S lvd . D o . ~ a v . 902~1

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• DUNCAN CERAMIC PRODUCTS -5673 E. Shields Ave.-Fresno, Calif. 93727

Answers to

qUESTIONS Conduc ted by the C M Technica l Stale

Q Your articles on wax resist always specify the use o] wax emulsion. Is this necessarily a product that must be pur-

chased? I have read DE using pare[[in, but do not know how it would be diluted. Living in an isolated area makes it die[i- cult to purchase many ceramic products, so I Jind it necessary and interesting to improvise. Many thanks [or publishing such a help[ul magazine. ---Mrs. H.B.

As far as I know, the wax resist emulsion must be purchased. Several years ago I had in an adult class a chemist who was fascinated with the idea of making his own wax emulsion. After many attempts he produced several mixes but none of these was as good as the commercial product. The only way that paraffin can be made fluid is by keeping it hot as it is being used. Nothing need be added to it. - -T .F .S .

q Is there any way to use a crackle glaze on a container form (such as a vase [or holding water) so that the liquid won't

seep through the body?---G.W.R. If crackle glaze is used on a porous low-fire body, it must

be waterproofed by treating it with melted wax or milk; however, the best use of a crackle is on a stoneware or porcelain body which is fired to vitrification and thus is watertight by itself.

0 We have been digging a local red-]iring clay and using it [or hand building projects. It works very well and is satis-

[actory in every respect but one--after [iring, a white powdery substance appears on the bisque and this cannot be sponged o][. Can you tell us what this is and whether there is any way to eliminate it?--Mrs. N.F.

This is called "scumming" and it is caused by the presence of some soluble chemicals in the clay. The scum can be pre- vented by adding a small amount of barium carbonate (about 0.5% by weight) to the dry clay and mixing it well before adding water. Because barium carbonate is toxic, extreme care should be taken in working with it.

q I would like to try coloring my white casting slip [or some special e[[ects. Can you recommend any material that could

be used [or this?--A.A.R., Whiting, Ind. The easiest and most effective material to add for color is

a liquid underglaze, which can be dispersed in the slip simply by stirring it thoroughly. Commercially prepared dry underglaze colors and body stains can be used also, but these have to be ball milled in order to get an even color instead of a speckled effect. Any of the potter's coloring oxides and carbonates could be used, and these include copper, cobalt, iron, and manganese. These too should be milled with the slip for an even color. You will have to experiment with the amount of additions in order to get the strength of color desired.

q I have tried many kinds of atomizers [or applying gum solution [or copper enameling, but every one seems to clog so

very easily. Do you have any suggestions about what I might be doing that is wrong?----B.A.L.

If your atomizer clogs, it means that the gum solution is too thick. Blow clear water through the atomizer to rinse it clean after finishing work with the gum solution. I use and recommend a simple mouth atomizer similar to the type used to fix charcoal drawings.---K.B.

All subscriber inquires are given individual attention at CM; and, out DE the many received, those o[ general interest 'are selected [or answers in this column. Direct your inquiries to the Questions Editor, CM, 4175 N. High St., Columbus, Ohio 43214. Please enclose a stamped, sell-addressed envelope.

6 Ceramics Monthly

Share your thoughts with other CM read-

ers--be they quip, query, comment or ad-

vice. All letters must be signed, but names

will be withheld on request. Address: The

Editor, Ceramics Monthly, 4175 North

High St., Columbus, Ohio 43214.

SLYE CORRESPONDENCE

The story and accompanying photo-

graphs beginning on page 12 of the Octo-

ber '66 issue proved most interesting.

"Abuia Stoneware" by Jona than Slye was

well written and illuminating, but the most

interesting bit was completely ignored by

the writer. If you turn to the photo on pag-

13 you will see two Kani i characters--Jal~

anese--inscribed on the wall. Taken togetl~

er they translate as "black stone." Nov

how in the world did those two characteI

get there? Did writer Slye fail to see them

Didn' t their appearance stir his curiosit

just a bit? The next time you take a rul

down to Northern Nigeria, please try t~

find the answer to this mystery. Inciden

tally, the characters also can be used as ;

surname. C. E. Gallaghe:

Seattle, Wash

The following is excerpted from write~

Slye's reply to reader Gallagher.--Ed.

Their appearance did stir the curiosit)

of the writer! But the characters did not

fit into the story line and I therefore did

not even attempt to consider them. During

the course of my v:slt to Abuia in 1954.

I looked Mr. Cardew up and he showed

me around his embryo training center. I

was struck by the incongruity of the

Japanese characters and was told that they

were painted there by Michael Cardew

himself. At some time in his career he

either worked with or studied under a

Japanese potter. In our conversation,

Cardew said that the characters repre-

sented his name. and Car Dew in old

Cornish dialect is "black stone."

Jonathan Slye

OOPSI

According to the "Author 's note on

Raku" in the June 1967 Ceram'xctivities.

Hal Riegger had articles on raku in the

September, October and November 1966

Issues of CM. No articles on raku in

either. What happened? Mrs. N.W.B.

Leesville, La.

Oops/ CM was in error. The Riegger

series of articles on raku appeared in the

September, October and November issues

for the year 1965, not 1966. --Ed.

FROM 7HE DESIGNER CRAFTSMEN

As one of the members of the 12 De-

signer Craftsmen, I want to thank you and

Roger Bonham for the splendid article on

our shop which appears in the May issue

of Ceramics Monthly. We are quite proud

to receive such wonderful national cover-

age about our group. Sara Young

Clinton, Tenn.

• . . thanks any number of million for

the fine article, for the excellent presenta-

tion of our beloved shop, and for the

wonderful publicity send-off for the be-

LETTERS ginning of our fourth season.

Bernice A. Stevens Gatlinburg, Tenn.

• • . thank you for the handsome look

and fine writing of the article about our

12 Designer Craftsmen Shop in Gatlin-

burg. Because it has been my responsibility

to make some feeble attempts to tell our

"story," I am doubly appreciative of the

way Mr. Bonham said all the things that

needed to be said! Fannie Mennen

Rising Fawn, Ga.

At our business meeting in Gatlinburg,

the 12 Designer Craftsmen asked me to

write you an official letter of thanks for

the excellent coverage given to the group

in Roger Bonham's article. I t means a

great deal to all of us to see our efforts

rewarded with such understanding, and it

is our hope that the article may inspire

other crafts groups to try similar ventures.

Don Lewis, President The 12 Designer Craftsmen

Gatlinburg, Tenn.

We l i k e P e o p l e

Westwood Ceramic Supply Co.

who 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.

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September 1967 7

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DECORATING POTTERY with clay, slip and glaze by F. Carlton Ball

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 $3.00 per copy . . • order now!

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UNDERGLAZE DECORATION by Marc Beilaire I This complete handbook has all the answers on materials, tools and technique. Step-by-step projects are [ profusely illustrated. 64 pages $3.00

COPPER ENAMELING I by Jo Rebert and Jean O'Hara Recognized as the best in basic instruction, this elab- I orate handbook has over 200 photographs. Invaluable to teachers and students alike. 64 pages $2.00

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Please send me the following: [ ] DECORATING POTTERY @ $3 [ ] POTTER'S W H E E L @ $4 [ ] CERAMIC PROJECTS @ $2 [ ] UNDERGLAZE DECORATION @ $3 [ ] COPPER ENAMELING @ $2 [ ] BRUSH DECORATION @ $3

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8 Ceramics Monthly

* New Stoneware MODELING CLAY CONE 2 TO CONE 7

The clay is very plastic, and is excellent for throwing and hand modeling. The bisque

is a warm buff, peppered throughout with dark specks, and because of the natural,

warm buff color and texture, is in itself interesting.

At cone 5 total shrinkage is a little less than 10~'o, absorption 3.G~o.

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September 1967 9

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Ceramics Monthly

SUGGESTIONS [rom our rcaders

REGLAZING TIP When it is necessary to reglaze a fired pot it is often diffi-

cult to make the added coat adhere to the glossy surface. To make this easier, dip a small sponge into glaze, squeeze the sponge nearly dry, and then literally scour the glaze surface with it. Used in this manner , the glaze acts as an abrasive. When the surface dries, apply the glaze coating in the usual manner . It will adhere without difficulty.

- -Mrs . T.G. Gregory, Danville, Pa.

PUNCHING HOLES IN CLAY Many potters hang their glaze test tiles on hooks or wire

them to the glaze bottles for easy reference. Punching holes in the clay when making these tiles can be a problem, however, and here is a neat and easy method of doing this task. Place the damp cut tile on a slab of damp clay, then push the flat end of a small dowel rod through the tile. The clay slab below receives the displaced clay plug from the tile, giving a clean, tr im hole. This same technique can be used to punch holes for any slab project. - -Lawrence Estrin, Vancouver, B.C.

MANY TEST TILES IN ONE I am one of your evidently-

numerous fans; I have learned a lot from CM. Here is an idea that I hit upon last summer, one I 've found extremely helpful. I haven ' t seen it described any pb, ce, so I am sending it to your Suggestions Column, hoping and believing it

will be helpful to other ceramists. This is a satisfactory and time-saving way of making

engobe and glaze test tiles. Throw a bowl that is fairly wide, with walls slanting out a little. Apply horizontal bands of different engobes inside and out, leaving one band of the original clay. Scratch the number of the engobe into the band for labeling purposes. When bisque fired, apply to the bowl vertical bands of different glazes: use one thin and one thick coat for each glaze tested. Label the glazes under the bowl. I have tested up to 88 combinations on one piece in this way, with very good results. - - K a r l Lise Hoel, New York, N.Y.

A GOOD MENDER One of the questions most frequently asked by beginners

in ceramics concerns the mending of broken greenware pieces. My favorite formula is to add a small amount of waterglass (sodium silicate) to some clay slip, paint this on each broken edge, then quickly press the edges together. As soon as the slip is dry, the mended area can be scraped or sanded smooth. This same material can be used to mend broken bisque.

- - M . & M . , Ft. Wayne, Ind.

THAT SECOND REFRIGERATOR I 've found a good solution to my lack of a drying cabinet

and I hope this may help other "work in the basement" potters. I have an old, "second" refrigerator in the basement that is used for extra vegetable and egg storage. I t quite often is almost empty, but still running, and proves to be an ideal cabinet for slow drying of clay pieces. I t removes moisture from the clay slowly and evenly and I needn ' t bother with plastic bags. Thank you for an excellent magazine. I find the articles informative and inspiring; they urge me to do more work.

- -Mrs . D. Tweddle, Saskatoon, Sask.

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. Sort),, but we can't acknowledge or return unused items.

ITINERARY 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

CALIFORNIA, PASADENA March 31-May 12, 1968 "California

Design X," triennial exhibition of the Pasadena Art Museum, is open to Cali- fornia designers and craftsmen. Categories include one-of-a-kind and limited production (~bjects designed and made by craftsmen: and manufactured and prototype objects for mass production. Entry deadline is September 4. Write: Pasadena Art Museum. 46 North Los Robles Ave., Pas- adena 91101.

COLORADO, PUEBLO Noz'ember 11-19 The Seventh Annual

"Own Your Own" Exhibition, sponsored by Southern Colorado State College and Pueblo Service League, is open to residents of Cob~rado, Wyoming, Montana and New Mexico. Media include ceramics, sculpture, painting and textiles. Work is due November 3. Write: Chairman, Art De- p::rtment, Stmthern Colorado State Col- lege, Pueblo.

FLORIDA, PENSACOLA October 16-22 The Pensacola Inter-

State Ceramic Show will be held at the Fairgrounds. For information, write : Macquolyn Jacoby, 317 Bremen Ave., Warrington, Fla.

KANSAS, LAXVRENCE October 8-Nocember 9 The 14th An-

nual Kansas Designer Craftsman Exhibi- tion, spcmsored by the Department of De- sign, will be held at the Union Building of the University of Kansas. Media include ceramics, jewelry, enamel, sculpture and silversmithing. Open to anyone who has resided in Kansas for a minimum of one year, and residents of Greater Kansas City. Jury: Cash awards: Entry fee. Entry notice and fee due October 1. For information, write: Dana A. Liebengood, Uni- versity Extension, University of Kansas, Lawrence 66044.

MICHIGAN, DETROIT November 15-December 31 The 20th

Exhibition for Michigan Artist-Craftsmen will be held at the Detroit Institute of Arts. Michigan craftsmen may submit up to f~ur entries in categories that include ceramms, jewelry and other crafts. Entry deadline is October 14; Jury; Award and purchase prizes. For information and entry forms, write: The Detroit Institute of Arts, 5200 Woodward Ave., Detroit 48202.

NEW JERSEY, NEWARK No~'ember 17-January 2, 1968 Contem-

porary Crafts Exhibition and Sale, sponsored by the Newark Museum, will include the work of New Jersey craftsmen and outstanding craftsmen in the entire North- east. Craftsmen interested in being included are invited to write: J. Stewart Johnson, Curator of Decorative Arts, New-

ark Museum, 43 Washington St., Newark 07101.

NEW ~ITORK, SCHENECTADY November 5-29 The First Greater

Schenectady Biennial Craft Exhibition, sponsored by the Designer Craftsmen's Council, will be held at the Schenectady Museum Gallery. Open to all craftsmen within a 75-mile radius of Schenectady; work must be designed and executed within the past five years. Entry fee; Jury;

Work due October 26-28. For information, write: Schenectady Museum, 37 Steuben St., Schenectady 12307.

OHIO, YOUNGSTOWN ]anuary 1-February 25, 1968 The 20th

Annual Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute, is open to present and former residents of Ohio. Entry fee; Jury; Purchase prizes. Deadline for entries is December I0, 1967.

Continued on Page 35

ETH

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S e p t e m b e r 1967 11

NONFUNCTIONAL POTTERY

by F. CARLTON BALL

12 Ceramics Monthly

THE LINE that once separated the decorative or applied arts from the so-called fine arts has, in the eyes of many craftsmen, shifted to a position that divides functional or traditional work from the purely decorative. In ceramics particularly, there seems to be plenty of room for potters working in either style and there is a demand for both functional and nonfunctional ceramic work.

Many traditional potters tend to regard the so-called "way out" or nonfunctional pieces being made today as not worthy of any serious consideration. Some of this pottery certainly doesn't merit much attention, but many of the unique or novel pieces are well made, decorative and quite handsome.

While many traditional potters and critics assmne that the unique pot is easy to make, most potters trying this work for the first time find that it absolutely is not so. First, the potter must come up with a new idea or approach, and this is not easy. Second, he must be able to produce this nontraditional form and still imbue it with personality.

How might a potter go about the making of a new or unique pot? He may take advantage of his memory by recalling discarded techniques or glaze formulas. Perhaps there was a glaze that crawled or bubbled terribly in the kiln. Perhaps a particular firing pattern once produced some weird but remembered results in clay, glaze or decoration. Perhaps the key might lie with new throwing techniques. The potter might want to try out some "wrong methods" of working at the wheel, doing some of the things he learned not to do for correct wheel techniques. He may work with clay that is too wet; throw with the clay off-center; hold onto a cylinder a half-second too long; make the walls too thin; bump

~L

~ILW~

Above: Plastic tubing was laced in and out of holes in this piece for an amusing, novel e[[ect.

Left: Brilliant magenta feathers combined with burnt orange clay and copper blue matt glaze demands attention from the viewer.

Left, below: Rather traditional/orm is transformed to the non/unctional by the addition of plastic [lowers.

Opposite page: Stoneware bottle was given to two different treatments. With small yellow plastic [lowers (above), it makes a gay accent piece for decorative or functional use. The rusty iron nails (below) seem to com- bine much better with this pottery form. The idea is not new, but the manner of application is.

the pot; or even drop it on the floor! Any one or a com- bination of these methods will produce a pot that is unique; however, it is the potter's real job to see that the result exhibits purpose and control.

One method of creating a piece of nonfunctional or purely decorative pottery is to start with a functional piece and try incorporating into it some extraneous object or material. The addition of feathers to a pot seemed to me to a rather ridiculous but challenging idea, and from here I went on to use plastic tubing and flowers, rawhide, nails, string, wire, golf tees, wooden beads, screw eyes, and washers, adhering them to the finished pots with epoxy resin adhesives.

Designing a pot to receive any of these objects requires creative thinking and much experimenting. I t also requires about twice as much time as does a strictly functional pot. The worthwhile pot doesn't come easily in either case! An honest, prolonged effort toward creating something different quite often is very rewarding.

Making the nonfunctional pot is fun to do, and this element of humor may be evident in the end result. Some of the greatest art in the world has been created with an element of fun as the dominate creative or motivating force.

At the very least, working in this way forces the traditional potter out of a rut, and the exercise of doing something "different" may help him immeasurably when he returns to his regular work. I t certainly will give him added insight into what makes a good nonfunctional pot. In making the "ridiculous" pots pictured here, I learned a great deal about combining clay and other materials. I also had a l_ot of fun while doing it and I intend to experiment more with these just for the sheer pleasure it brings.

~ "~ ,~,~ ~ ~, ".i~: ~ , , w

~ '~z; " i i ~

I" ~" °° ~ ~ . " ~ ' , ~ : ~ r ~ r ~ . ~ ' ~ ~" .'~ r ° " ~ ~ ~ "~ ~

Making Hump Molds by Lxs AND HANS LUNDKVIST

PLASTER OF PARIS molds can be used for forming objects either by pressing or by casting in molds. These methods of production are particularly useful when you want to make several identical copies, or irregular, complex shapes.

The plaster mold, as a rule, is made over an original model in half-dry clay. The mold can be used on its outside, inside, or for casting. If you want to have simple relief decorations, you can create them by incising into the surface of the mold, which is much easier than modeling them later, in relief, on the surface of the original.

Beginners will find it easier to make use of the plaster molds with a pressing technique. The pressing can be done either on the inside, or over the outside of the mold. I n the first case the mold itself has been cast over the outside of the original. Pressing should be done as follows: Use small portions or a rolled-out pancake to press into the form, then use a damp sponge to smooth it out. After some time, free the clay from the mold and let it dry in the usual manner.

To make a low oval bowl, the original model is of formed half-dry clay of leather-hard consistency so that it may easily be pulled away from the mold, after the plaster has been cast over it, with no harm either to the mold or to the original model. This is important if you then plan to use the plaster mold for making either pressed or cast impressions.

1. Place the original on a glass plate or any level surface which has been smeared with oil or soap. Make a long, thick clay strip and place it around the model, one to two inches away from the original, depending on how thick you plan your mold to be. The clay-strip wall serves as a dam for the liquid plaster. When the plaster of Paris, which has been sprinkled on water and mixed with it, begins to thicken, pour it over the original model

16 Ceramics Monthly

and let it stand, untouched , until the plaster sets. 2. After the plaster has hardened, remove the clay

wall, then retouch the outer surface of the plaster mold with a knife. After the plaster has fused (it will feel warm during this process), turn the mold over and remove the original clay model. Be careful to remove all the clay. You may even wipe the mold with a damp sponge. Let the mold dry for several days, preferably in a rather warm place.

3. You can now proceed to pressing a clay form in the finished piaster mold. Begin by rolling a clay pancake to a suitable size. I t should be large enough for the clay to extend over the edges of the plaster mold. Use a moist sponge to press the clay pancake well into the mold, working from the center outward. Lift the ruf- fled edge of the clay now and then so it does not stick to the sharp edge of the plaster.

4. Tr im off excess clay along the edges with a cutting wire. This is a thin metal wire (piano wire is best) with small wooden grip sticks attached at each end. Round off the top inner edges with a moist sponge.

5. After 20 to 30 minutes the plaster mold will have absorbed water from the clay, and the clay piece will have shrunk a little. I t can now be removed from the mold. This is done as follows: Place a cardboard, Masonite, or plaster slab over the opening. Turn both pieces over and set the mold and slab on a flat surface. Now lift off the mold so that it separates from the clay piece. If it seems about to collapse because it is too soft, immediately turn the bowl right side up, on another board. As open pieces are apt to warp during the drying, check them frequently and help them to dry by alternately turning them upside down.

6. The demonstration bowl is decorated with slip and sgraffito while still half dry. (Continued...)

1 , 2 , 3 4 , 5 , 0

This article is based on material [rom the book, "Making Ceramics," by Lis and Hans Lundkvist, published by Reinhold Publishing Corporation

September 1967 17

I . 2 3,4

A Decorated Bowl

1. To make a decorated bowl, pour the plaster of Paris into a smooth, low bowl (or one half of a round rub- ber ball) which has been oiled or swabbed on the inside with soap sizing. Before the plaster hardens, insert a string for a handle. When the plaster has fused and is ready to be removed, it will come out more readily if water is first poured over it.

2. The plaster mold can now be decorated by scratching the design into the surface of the mold with a sharp tool. Decorations will be in relief inside the clay copies, therefore they must be planned so that it will be easy to remove future molded clay pieces. Allow

the plaster model to dry for a few days before it is used. 3. Roll out or flatten a clay pancake by hand and

lay it over the outside of the mold. Press the clay down hard, taking care to force it into all of the scooped-out decoration. Cut away any excess clay with a knife. I t the plaster mold is not wet, you will be able to remove it from the clay piece after a few minutes.

4. Free the edge of the clay all the way around with one hand, and lift the plaster mold away from the clay piece with the other. After the clay bowl has dried, retouch the edge with fine sandpaper and a sponge slightly moistened with water.

18 Ceramics Monthly

Forming a

lable Garden

by ROBERT F. EILENBEROER

SEARCH AND DISCOVERY are natural realities that have guided man since the beginning of time, and discovery is the basis of all creativity. Observing things around us brings forth many ideas that we can use for new idea- growth in our work in ceramics.

At one time I was lead on a tantalizing path of search and discovery into the past, among fragments on the shard piles of an early nineteenth century pottery. A member of my family had remodeled an old octagon- shaped landmark farmhouse near the Vermont border and opened it up to us in the summer months. After some hearsay about the location of a nearby pottery that had long ago vanished, I found the overgrown pottery site near a stream that tumbled down past the farm. I spent many days searching the shard piles and waste dumps at the site. These fascinated me, as did my talks with people who had known about the pottery. With broken bits and pieces that I found, I learned of glazes, forms, shapes and materials, and it brought about a series of discover- ies that I shall never forget.

I learned that many early potteries turned out earth- enware garden furniture, flower-pots, jars and urns for use in the yard. In many gardens years ago, kegs or barrels were punched all over with holes, then were planted with strawberry plants or a succulent called "hens and chickens" which, if left long enough, would cover the entire container. I t was through this observation that I brought to the studio the idea to make a many- holed upright pot that could be filled with soil and planted with small greens or herbs. According to size, the pot could be used as a portable table garden container indoors or on the terrace outside.

By learning a method through demonstration, and drawing from things seen in discovery, the ceramist can respond esthetically and produce fruitful works. He can use the demonstration as a point of departure, combining with it his own ideas and his own style. I used a slab technique for building and a press mold method for decoration. Another person might prefer wheel techniques for the same project.

Select a shallow bowl that will provide a mold to make the curved upright section of your piece. This can be any size, but it should not be too deep. I have a very old wooden bowl, about 12" in diameter, that I like to use because it is slightly elliptical, not perfectly round. If you want to use embossing or applique type of deco-

September 1967 19

1 ,2 ,3

I. A slab o[ clay is pressed into a bowl lined with burlap or other textured cloth. Excess clay is cut away at the top with a kni[e. 2. Straight slits are cut through the clay vertically to create the openings [or the planting. 3. The kni[e is placed under one ,'dge o[ each slit and the clay is pulled away [rom the bottom o[ the bowl and the burlap. 4. When the shaped slab is removed,

20 Ceramics Monthly

4, 5, 6

the other side of each open slit is pulled out in the opposite direction. 5. The same procedure is repeated to create another wall section. When both are leather hard, they are ready to assemble. 6. Side edges are scored and slipped, then welded together with the kni[e to seal them tightly into the new closed [orm. 7. (Opposite Page) Top and bottom sections arc constructed [rom circles

and strips that are welded together. 8. Base and top are [itted and welded to the basic [orm. A hole is cut through the pot at the top [or filling with soil. 9. Applique pieces [or decoration are made by pressing so[t clay into a plaster or bisque mold. 10. Slip is painted on the back o[ each applique piece, then it is pressed into place on the clay [orm. Finished piece is pictured on page 19.

7,8,9,10

ration as I did in the demonstration, you should make

several impressions of your design in wet clay and fire

these in advance so they will be ready for use. Embossing

or applique is made separately and then applied to the not-quite-leather-hard clay ware by scoring it and using

a clay slip or water as an adhesive. The "pressing" I

used was from a wrought iron boot-scraper I had salvaged

from the farm. Other good sources for designs are iron fencetops and gates, and door knockers.

To get started, line the bowl with a cloth. I used

burlap because it also gives a good texture. I t is necessary

to use the inside surface of the bowl since you will be

working on it while the clay is still wet. Roll out a slab

of clay to the desired thickness with your rolling pin.

Stretch it in all directions until the clay is a bit larger

than you will need. Line the bowl with this. Tr im the ex-

cess clay and make the edges horizontal with the bottom center of the bowl.

Next, cut straight slits vertically into the clay, plac-

ing them where you plan to have the planting openings.

There can be one, or several. While the clay is still wet, place your knife under the cut edge and pull it away

from the bottom of the bowl. The raised part will be the top of the finished piece.

While you are waiting for this first half of the pot to stiffen, cut two strips from a clay slab. Make these

about three by eight inches. From these, construct a top and base for the piece.

When the wall section will hold its own weight with-

out collapsing, remove it from the bowl and, with knife

or fingers, pull the other side of each open slit out in the opposite direction.

Now, start with another slab and press it into the bowl mold to create another shape so that you will have

two pieces that are just about the same. These will be the two sides of your planter•

When all sections have stiffened to the proper con-

sistency, you are ready to assemble them. With both the

curved bowl sections removed from the mold, handle them

gently so you will not mar the texture or bend the clay

out of shape. Next score and apply slip or clay to the

bowl piece edges, press them gently to each other and weld them together with your knife. Make sure your

openings are opposite each other and the right sides are

up. If you can reach in through the holes with your fingers, press and weld the seams from the inside also.

Now score and weld the bottom bowl edge to the base

piece. Then do likewise with the top. After the top is

secured in place, cut a hole through the top of the pot to

open it so that you can fill it with soil when it is completed.

Finally, attach the applique pieces you want to add

as decoration. When work has been completed, smooth

all rough areas with' a brush and water. You must be careful not to lose your texture design but you must

also be certain that all seams are secure. Be sure your

piece is completely dry before firing. Many excellent de- pendable glazes can be applied to show off the applique to good advantage. Barnard clay slip, with high areas sponged off, is good for use on textured pieces.

i ~ ¸̧

~ i , , . ~ ~ ~ ,~ •

t !̧ I

Show Time

Pottery by Nan and Jim McKinnell

POTTERY BY NAN AND JAMES McKINNELL was presented in a showing by the Dubuque (Iowa) Art Association Gallery at the Carnegie Stout Library in April. The one hundred and thirty pieces displayed by the potters offered a variety of sizes, shapes and decorating techniques and brought to the viewers a concentrated pottery con- cept. Groupings of stoneware and porcelain bowls, tea- pots, casseroles and plates were used between the larger hand-built bottles against the white display areas in the gallery. Nan McKinnell's large, full-shaped bottles, some glazed and some textured and scraped, were used effectively as accents. One of these, a two-foot bottle, had a quiet pink glaze decorated with swirling white raised lines; its plump form rose to a high belly, then turned to cuhninate quickly into a flat, blossom-like lip of a

darker color. The color on another of these bottles made a glowing change from dark brown to orange-yellow on each of the texture-scraped sides. Still another had tiny lugs above the full curve of the body; the wood-fired ash glaze was flashed by the fire toward the base.

In contrast, the heavy hand-built planters were angular and faceted. The largest of these, a tree planter, started from a trunk-like base and branched out in upward-thrusting slabs to form an irregular top edge.

Many of the bottles, plates and jars were supported on small, short legs. Some of the lips and edges were accented with sprigged-on stamp patterns. The distinctive McKinnell decoration, brush with wax resist and oxide washes, was much in evidence on the wheel-thrown pieces. - - Ed Harris

22 Ceramics Monthly

t

J

8

0

0

. o

r ~ ¸ ~ i ~ ~ ~ ~

Above: Large plate is 18 inches in diameter. White matt glaze; iron-red decoration with stamped additions on lip.

Below: Large bowl with handles is 22 inches in diameter. White matt glaze with brown and black brush decoration.

Below, right: Teapot is 10 inches in diameter, iron red to black glaze.

Opposite page: Large hand-built bottle is 22 inches in diameter; pink with raised white line decoration.

Mixing Clay With Math in the elementary classroom program

by FRANCES G. ARMSTRONG

A GOOD WAY to start the school year is with a clay project that helps create new interest in another subject. In many elementary schools, ceramics is used not just as an art project but is integrated to provide motivation in other subjects. The following is an outline for a very successful clay and math project that we used in western Montana. "Mathematics with clay, you say?" Yes, indeed! There is no better way to learn the principles of arithmetic.

In our area we are fortunate in having a good local clay. We started our project by taking a field trip to dig clay, then used the following procedures in the arithmetic project.

When you have located a good clay bed, scrape off the top soil. This may contain some undesirable debris, and it is best eliminated at the source of supply. Scoop out a box full of clay. An ordinary grocery box full will be sufficient for a classroom project.

The clay can be screened in the school yard. This step is accomplished by laying out a large piece of cloth or a sheet of plastic. An old sheet will do. Next, place a screen over the sheet and press the clay through the mesh. This will reduce the clay to an even consistency and will eliminate the bits of rocks and twigs that may be embedded in the clay. One can use an old screen from a window or door, or even sieves from the kitchen. Be sure that there is no rust on the screen which can drop in the clay. The presence of any material such as rust will cause an impurity to show up in the finished product.

After the clay is screened, place it in a crock or plastic container and cover with water. Let it stand overnight. This will result in a sticky mass. In the morn- ing of the following day, place enough clay in a plaster of Paris drying bowl to fill it. Let it stand until it becomes the consistency of dough.

At this stage the clay is ready to wedge. Wedging is a process of kneading the clay to remove air bubbles. The clay should be sliced periodically with a wire to see whether or not it is free from trapped air pockets. When this has been done, the clay is ready to store in plastic bags for use in the chosen clay project. Clay improves with aging and it can be stored for years so long as it is kept moist and pliable.

Casting clay, or "slip", can be made from local clay by adding enough water to make it the consistency of

24 Ceramics Monthly

thick cream and then adding a deflocculant to keep the clay in suspension. For one-hundred pounds of clay, one-half cup of silicate of soda and one ounce of soda ash should be sufficient to make good slip. When the slip is ready, we can proceed with our plans for an arithmetic project.

Many schools have a well-equipped art room, but I shall assume that we will need new supplies for this project. The following list will be sufficient to assure the success of almost any clay assignment:

1. Kiln: an electric one large enough for a classroom will cost in the neighborhood of $200.00, including shipping. The cost of electricity for each firing will be about 50 cents.

2. Rolling pins : these can be made from 2 inch dowel stock cut 14 inches long. Send the boys to the lumber yard to select the dowel stock. Be certain that it is smooth. Have them figure out how much to buy in order to make 10 rolling pins.

3. Oil cloth is used to roll out the clay. I t is used on the "wrong," or cloth, side so that the clay will not stick. Have the girls figure out how much oil cloth to buy in order to make 10 rolling cloths approximately 18 inches square.

4. Drying bats: these are made from plaster of Paris. The proportion is two and three-quarters pounds of plaster of Paris to one quart of water. This mixture is stirred until it becomes creamy. Then it is placed into a number of pie tins to dry and harden. Plaster of Paris

is also used to make casting molds. Complete plans for making casting molds can be found in The Complete Book o[ Pottery Making by John B. Kenny.

5. Brushes and sponges are usually furnished by the school, so we will not concern ourselves here with sources of such supplies.

Set up a table in the back of the classroom which is easily accessible to the students. Arrange the table so that there will be no confusion when students go to work on their projects during their spare time. A bag of clay, a jar of slip, and molds should be kept on the table. If a casting project is chosen by the student, he may do his casting during a time when he is caught up on his work. Casting takes approximately twenty minutes. The student can fill the mold, return to his seat, and do other work while the clay is setting up in the mold.

Then, he can go quietly and empty out the excess clay

and turn the mold up to dry. Not more than five castings

should be made from a given mold in a single day.

If local clay is not accessible, there are many good

clays available on the market. A business math project

can be set up in the following manner :

1. Set up an imaginary bank account with an origi-

nal deposit of $50.00. Get blank check books and have

the deposit entered in the book.

2. Let us assume the clay and glaze have been

ordered from a commercial firm and have just arrived.

Check the invoices and enter into the record as follows:

100 lbs. moist clay costs $3.50 Less 2% .07

$3.43

1 ctn. asst. glazes costs $10.00 Less 2% .20

$9.80

Clay cost is $3.43 Glaze cost is 9.80 Shipping fees are 5.85

Total cost: $19.08

After the materials have arrived and the cost has

been computed, the students can have an exercise in

making out checks and paying for the materials in a

business-like manner. They can then be shown how to

reconcile a check book. If one wanted to carry this

arithmetic project even further, he could set up a craft

shop idea for retail buyers. The students already k n o w

how much the pieces of pottery cost which they have

each made because the cost of materials has already

been averaged out and paid for. Now we go into the

retail business. Ordinarily, gift merchandise has a high

markup. "Markup" will be a new word for the students,

and they must be informed of the full meaning as applied

to their project. They know how much the materials

cost in making each project, but they have not figured

the cost of labor involved in the process. This will make

for a good class discussion and, when a figure for the time

spent is decided upon, it is added to the cost of the

materials. Now we are ready to mark and sell the ware.

A code letter for cost price must be used. A simple

one is BLACK H O R S E . It contains ten letters which

correspond to the numbers from 1 to 10. Now we will

mark each piece of ware that is to be sold. If an item

cost 75e to produce and we wish to double our money,

the price mark would look like this: 0 K / 1 5 0 .

The making of change can be a very trying experi-

ence for a novice, and many adults have never become

proficient in this important skill. The next step in this

project is to have the children shop in the imaginarv

gift shop and make change. Put different prices on the

articles so that each child will have a different change-

making problem.

What does all this add up to? Fun with an arithmetic

class! Here we have an opportunity to see correlation

of subject material at work as applied to a common

sense project which will carry over into adult experience.

The most important set of values which has come

to me from working with children on such classroom

projects is the ability of such an undertaking to appeal

to all of the children in the room. We have to constantly

be aware of individual differences and to adjust our pro-

grams to meet the variety of needs of our students. Here

we can have a correlation of rather difficult subject

matter with a manipulative skill and it hits all levels of

ability in the classroom. This represents a great step

forward in our educational planning. It is analogous

to the modern house in which one can slide back the

walls and see through the entire structure. We can see that

each room has been related to another. The whole effect

is one of pleasant and happy living. Cannot we do the

same in the classroom? We can certainly produce a better

informed and happier individual if we can put meaning

into our correlated program. Let us give the student

something he can use when he steps out into the highly

competitive world. Let us plan a program of knowledge

through creativity.

F R A N C E S A R M S T R O N G

taught ceramics [or in-service

teachers at the University o[

Montana in 1956, then went into

the elementary schools to set up

ceramics programs that were

aimed as aids in all subjects,

not just as art projects. She

writes: "'In 1966 I took charge

o[ a rural school and brought

ceramics into an extremely iso-

i lated area 7,000 [t. high in the

mountains near Yellowstone Park. I taught five grades

and we had a fine kiln at our disposal, not a new one but

a good, big, reconditioned kiln that served us well. I

taught an evening class to adults in the community; this

was a delight[ul experience as there was so little to do

in such a communi ty in the winter. It is big ranch coun-

try and we were snowed in [or many months.'" This past

year Mrs. Armstrong returned to the University to work

toward a degree in Special Education and she will be

teaching remedial reading this Jail. "'I am looking [orward

to a new challenge and you may be sure that somewhere

along the line I will be using ceramics."

September 1967 25

Resist and Sgraffito Decoration [rom a "doodle" design

demonstrated by MARC BELLAmE

DOODLES, the casual drawings that most of us make with pencil or pen, can become the source for some unusual designs for pottery decoration. These doodles, or line drawings, were discussed in the April issue of GM, and Marc Bellaire demonstrated in his article how they could be adapted for use as a brushed underglaze decoration on a plate shape. For this article he selects another doodle design and shows how it can be adapted for use on a vertical vase shape and executed in the wax resist and sgraffito technique.

For purposes of decorating, doodles are best when made with continuous lines of the pencil or pen. Because the pencil point is not lifted from the paper until the motif is finished, this involves a certain amount of "back- tracking" on existing lines. By so doing, however, closed shapes are created and a more unified design usually results. When several pages of these drawings have been made, one particular design is selected for use on the greenware shape that is to be decorated.

The best results usually are obtained if the doodle can be transferred intact and not changed in any way. If it is necessary to enlarge or reduce the design to fit a particular shape, its original character should not be changed. There also may be occasions when it is desirable to take out some element that you feel may not be appropriate when using a doodle for a design.

The greenware shape used for the demonstration is a flaring vase shape. I t is cleaned, and then some brown underglaze is brushed on vertically with a stiff brush to give a dry-brush effect. This color is used simply to create background areas for the owl doodles. Two shades of brown color are used here. A lighter color is used through the center area of the vase; a darker color is used to

26 Ceramics Monthly

create a "frame" effect at the top and bottom. With the background on, the design can be traced over the underglaze color. If the greenware is still damp after the color has been applied, it is easy to go over the original lines with a pencil and produce a slight dent on the surface that will act as a guide.

The completed background is next coated with a wax-resist material. The reason for this is that the line design of the owl will be cut through the wax in a sgraffito process that is much in character with the doo- dled lines; there is a marked similarity between t h e t w o techniques. After the wax has been applied, any excess is patted off the surface with an absorbent paper tissue.

The broad, strong lines of the decoration are cut through the wax and underglaze color with a loop tool to expose the greenware beneath. In this case, the owl fills in about a third of the space; the same design is repeated on two other sections of the pot to fill the space. Placement is staggered in order to give additional interest and avoid monotony.

With the lines cut, the work can be considered finished or an additional color may be. added. Marc Bellaire selects black underglaze and pats it over the sgraffito lines from a dampened sponge. The color goes just into the cut lines; the wax on the rest of the surface resists most of this color. The piece is now ready for bisque firing.

After bisque firing, any little beads of black color that adhered to the waxed surface can be wiped off before the piece is glazed. The glaze recommended for this piece is a transparent matt, one which will give a soft surface, yet allow the decoration to show through clearly.

1. Several pages o[ "doodles" are made with continuous

lines o[ the pen; one design is selected [or use. 2 . . 4 dry-brush e[[ect is used in applying brown under-

glaze as a background [or the owl decoration.

3. A darker brown color is added, then the exterior sur-

[ace is covered with a wax-resist emulsion. 4. A loop tool is used to scratch through wax and under-

glaze and expose the greenware beneath.

iiii 5. Black underglaze is patted [rom a sponge to [ill the

sgra[[ito lines; the wax protects the background.

• i . . . . : , ; ] ' _ . . . . . . . . .

6. Any beads o[ black color are wiped o[[ alter bisque

[iring; then the piece is glazed and/ ired once more.

September I967 27

The Flexible Shaft Machine A useful new tool for the enamelist

by KATHE BERL

FOR MANY YEARS I have marve l led at the ever-so-handy tool the dentist uses to drill, polish and carve into teeth, meanwhile wishing that it could be used for something more pleasurable than dental work. I definitely saw the possibilities that it could have to make life easier for the enamelist, and therefore made a point to find out its correct name from the dentist. I t is called "the flexible shaft machine," a rather formi- dable name!

I t turned out that other craftsmen must have seen the possibilities in this unique tool, for a version of it is available in some of the craft shops. I t is not especially expensive and it is a very worthwhile investment for the enamelist because it saves so much precious time. In addition, this electric tool works on ordinary house current.

The flexible shaft machine is not much bigger than a fist and it can be hung from overhead pipes (if you have a basement studio), from an improvised stand, or from a stand that can be purchased with the unit. From the central housing comes the hose-like flexible shaft and the hand piece, to which various accessories can be attached, as well as the wire for a foot pedal rheostat for turning the power on and off. Naturally, the advantage that this portable machine has over bench motors is that it can be used in any position in the hand and therefore can be regulated quite easily.

Any one of an endless variety of accessories--bits, wheels and brushes, points, and rotary fi les--can be inserted in the hand piece. I think it would be a good idea to invest in the so-called "introductory set" because it gives a selection of tools for the craftsman while he is getting ac- quainted with this new studio aid.

Now, just what can this tool do for the enamelist? We must assume first of all that a dentist's drill will drill holes, and it does. All sizes of drill bits can be inserted in the hand piece for

drilling through metals, and enameled metals, too! For drilling through enameled metal, and preventing the drill from sliding on the glossy sur-

face, it is best to drill a hole of the desired size into a small piece of sheet metal first. Hold this firmly over the spot where the hole is needed, insert the drill in the hole, step

on the foot pedal, and start drilling. The drills can be lubricated during work with water, oil, tripoli or rouge; you may decide not to lubricate them at all, because they soon become dull anyway.

The machine can be used to polish and buff with great ease. There are muslin and chamois buffs, r u b b e r and felt wheels and points, and bristle, brass and steel brushes. What would take an hour by hand work can be done in a minute with these handy gadgets. The emery wheels work most effectively. Excess solder, either hard or soft, can be removed in no time. A rough-cut edge of metal can be smoothed with a few strokes of the grinder.

I t is no longer necessary to leave areas bare of enameling for soldering on findings if you have this electrical wonder. You can counter enamel and fire, then grind away the spot of enamel with an emery wheel or point.

Another use is to grind away enamels that have become fused to trivets. Rotary files and disks with

knife edges are fine for cutting slots of all lengths. If they are used with a metal guide, they can be made as straight as possible. Blisters in enameled surfaces can be ground over to open them, then these can be enameled again, and fired to correct them. Overtired enamel, which has flowed down where it isn't wanted and formed a puddle or rim, can be ground off in no time.

These are just a few of the basic chores for which the flexible shaft can be used. I t also can be put to much more sophisticated uses, and these will be discussed later.

28 Ceramics Monthly

CELADON GLAZES by RICHARD BEHRENS

THE CELADON GLAZE has long been

prized for its cool beauty. Its existence

as early as 900 A.D. has been well es-

tablished and it may well be that it

was made in China even earlier. The

antiquity of celadon in ceramic tech-

nology can be premised since the nat-

urally reducing wood-fueled kiln at-

niosphere would convert any iron, so

universally present in most ceramic

materials of that day, into the ~een-

ish celadon.

The Chinese classified their celadon

as "pea green". The name "celadon,"

as used in the western world, seems

to have been derived from D'Urfe's

popular play "Astree," in which the

shepherd Celadon was clothed in a

muted green costume.

At present celadon glazes are con-

sidered to be those containing small

percentages of iron colorant which

are reduced during firing. The colors

may vary from a gray to a brown, re-

suiting from variations in the con>

position of the glaze, time of firing

temperature of firing, the exact degree

of oxidation or reduction in firing,

the thickness of glaze application, the

time of cooling, and the nature of the

body.

Man), formulas for celadon glazes

have been publisbed. These contain

substantial amounts of the metals

sodium, potassimn or lithium as well

as major additions of calcium. Bar-

ium and magnesium in smaller

amounts are often present, as is zinc.

The alkali metals are usually added

as feldspars or lithimn minerals when

fired in the stoneware-porcelain range.

Well-fired celadons in the higher tem-

perature ware have long been con-

sidered as the acme of perfection

among the glazes. In spite of this fact,

celadons of a pleasing nature can be

produced in reducing kilns at temper-

atures as low as Cone 010.

White bodies are most effective

when celadon glazes are used. A clay

which fires to a good white and pro-

vides for good vitrification of the body

is desirable for use with celadon glazes.

Such a body can be made from:

LOW FIRE WHITE BODY Tennessee Ball Clay # 1 65.0% Frit 25 (Pemeo) 7.5 Nepheline Syenite 5.0 Whiting 5.0

Flint 16.5 Bentonite 1.0

7-;i0.0%

This is well mixed with water ;nto a

thick slip and pennitted to seamn 2

or 3 weeks before being dried to a

satisfactory wedging consistency on

a bat. This body throws well. When

bisqued to Cone 06-04 it provides a

satisfactory body for low temperature

glazes.

A celadon glaze which will provide

a good green is as follows:

CELADON GLAZE I (Cone 010) Lithium Carbonate 7.5%

Frit 14 (Hommel) 62.6

Kaolin 19.7 Flint 10.2

100.0%

This was colored with 2% of red iron

oxide. Firing was carried out in a gas

kiln in oxidation to about Cone 018,

followed by a slow and moderate re-

duction to Cone 010. The reduction

was increased and the gas flow slow-

lv cut down until the kiln cooled to

approximately 1480 ° F. The kiln was

then sealed and permitted to cool off

normally. Cones used are special re-

duction cones made by Orton.

The same procedure was carried

out with a glaze which produced a

good but rather murky celadon:

Chinese bowl with ccladon glaze

dates from the Chein Lung period.

Dark brushed areas are applications

o[ copper red over the celadon.

CELADON GLAZE II (Cone 04) Lepidolite 18.2 %

Spodumene 33.6 Frit 14 48.2

100.0%

To this was added 2% of bentonite

and 2% of red iron oxide. Cone 04

celadons were fired in oxidation to

Cone 014. Moderate reduction was

slowly carried out until Cone 04 was

reached and slowly dropped to about

Cone 010. The kiln was then sealed

and cooled normally.

Another Cone 04 celadon, fired as

above, was:

CELADON GLAZE III (Cone 04) Lepidolite 19.6%

Spodumene 36.3 Frit 14 39.2 Whiting 4.9

i00.0%

2% of bentonite and 2% of red iron

oxide were added to the batch. This

produced a rather dark celadon.

Another dark celadon can be made

from the following:

CELADON GLAZE IV (Cone 04) Gerstley Borate 70%

Kaolin 10% Flint 20%

100%

2 ~ of red iron oxide was used as col-

orant.

A clear Cone 01 green celadon has

the following fornmla:

CELADON GLAZE V (Cone 01) Frit 25 29.4% Frit 14 33.0

Whiting 30.8 Lithium Carbonate 6.8

100.0%

To this was added 2% of bentonite

and 2% of red iron oxide. Firing was

carried out in oxidation to Cone 014

and was followed with moderate re-

duction to Cone 01. The gas was re-

duced in reduction to permit cooling

to about Cone 010. The kiln was seal-

ed for normal cooling.

Another, but somewhat more

nmrky, celadon at Cone 01 can be

made from the following formula:

Continued on page 31

September 1967 29

recommended books on ceramics

THE TECHNIOUES OF PAINTED ATTIC POTTERY by Joseph Noble This lavish book unravels the methods used by the famous Athenian potters and vase painters to produce the greatest pottery in ancient Euro- pean art. Beautifully illus- t r a t e d - a n extraordinary gift selection. $17.50

MOSAIC TECHNIQUES by Mary. Lou Stribling This umque 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 reader to a high level of profession- alism in the design and technique of an ancient craft. Animal, human, plant and abstract forms are shown.

$5.50

D E S I G N S A N D H O W T O U S E T H E M b y J o a n B. P r l o l o 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

I WE PAY POSTAGE ] 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 by Jorcje 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 Untrocht 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

POTTERY & CERAMIC SCULPTURE by Herbert M. Sanders

new thoroughly revised - . . • edmon of Mr. Sanders best seller. Ceramics Book. Com- pletely up-dated with n e w 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 Loveos This comprehensive and rich- ly illustrated book covers every phase of hand-building and decorating clay pieces. No book has ever covered me subject of texture and form ~l,~re effectively. $9.95

SnKT ffn. ; ON OUR

r EY.BACK GUAIIANIE[

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. Kenny 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

BOOK DEPARTMENT PLSASB 8EHD MI THI FOLLOW/N@ lOOKS

[ ] Noble--Attic Pottery $17.50 [--I [ ] StriblinglMosaic $6.95 [ ] [ ] Ford-Sculpture $5.50 [ ] [ ] [ ] Priolo---Designs $6.95 [ ] [ ] Rhodes--Clay & Glazes $7.50 [ ] Enciso--Design $1.85 [ ] Untracht--EnameHng $7.S0 [~ Woichonok~Design $2.50

Sanders~Pottery $1.95 I El Ball & Lovoos--Poflery $9.95

CERAMIC DESIGN ] by John B. Kenny Complete instructions for methods of forming .and decorating ware are gxven, 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 approach to painting and designing develops confidence in the new artist. Extremely well adapted to ceramie dee- oration. $3.95 STONEWARE AND PORCELAIN by Daniel Rhodes Describes techniques and materials used in high-fire pottery. Includes sections on clay bodies, glazes, colors, textures and decoration. $7.50

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 CERAMIC GLAZES by C-lien 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 HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornung Over 1800 sketches of b:lsic 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. Priolo 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

4175 North High St. Columbus, Ohio 43214

Nelson--Ceramlcs $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~lass Craft $7.50 [ ] Parmelee--Glazes $8.00 [ ] Hornung~Designs $2.00 [ ] Priolo--Ceramics $6.95

NAME

ADDRESS

CITY _ _ STATE ZIP _ _ I enclose [ ] Check ~ Money Order (Ohio residents: 3 °:o Soles Taxi

30 Ceramics Monthly

CELADON GLAZES

Continued [tom Page 29

CELADON GLAZE VI (Cone 01) Gerstley Borate 65% Kaolin I 0 Flint 25

100%

To this was added 2% of red iron

oxide. Firing was conducted as above.

A dark olive Cone 01 glaze can be

made and fired as above from the following:

CELADON GLAZE VII (Cone 01) Lepidolite 20.6% Spodumene 38.2 Frit 14 33.4 Whiting 7.8

100.0%

To this was added 2% bentonite and

2% red iron oxide.

Two formulas firing to maturity at

Cone 4 provide good celadon greens.

These were fired in oxidation to Cone

010 and carried to Cone 4 with slow

moderate reduction. They were slow-

ly dropped in reduction back to Cone

010, then the kiln was sealed, and

normally cooled. The first of these

has this formula:

CELADON GLAZE VIII (Cone 4) Gerstley Borate 60% Kaolin 10 Flint 30

100%

To this was added 1.5% of red iron

oxide. A bluish, somewhat mottled

celadon resulted.

A clear celadon is produced from

the following:

CELADON GLAZE IX (Cone 4) Frit 14 33.0% Frit 25 33.5 Flint 33.5

100.6%

To this is added bentonite 2% and

red iron oxide 1.5% .

For the stoneware range of temper-

ature a white body of higher matur-

ing level is needed. Such a body may

be prepared from:

HIGH FIRE CLAY BODY Tennessee Ball Clay 45% Kaolin 19 Nepheline Syenite 10 Talc 10 Flint 15 Bentonite 1

100% To

At Cone 7, on the above body, a 1%

bluish, opaque celadon was obtained

from this formula:

CELADON GLAZE X (Cone 7) Kingman Spar 41.2% Whiting 14.8 Magnesium Carbonate 2.5 Zinc Oxide 3.6 Kaolin 3.8 Flint 34.1

100.0%

1% of red iron oxide was used

colorant. Firing was conducted

Cone 010 in oxidation, followed wi~

a slowed moderate reduction to Col

7. At this point the burners were cl

back, maintaining reduction, and tt

temperature dropped to about 2095

F and the kiln then cooled normall,

A clear celadon fired in the mar

ner described above was:

CELADON GLAZE XI (Cone 7) Lepidolite 13.8% Spodumene 25.6 Frit 14 13.8 Whiting 7.0 Barium Carbonate 17.2 Flint 22.6

100.0%

To this was added 2% of

and 1% of red iron oxide. bentonitq

Following are two Cone 9 glaze:

fired in oxidation to Cone 010, ther

in moderate reduction with a slo~

advance in temperature to Cone 9

After reaching this level the temper.

ature was dropped to about Cone

and the kiln sealed off to cool. A cleal

celadon was produced from the for-

mula :

CELADON GLAZE XII (Cone 9) Lithium Carbonate 8.0% Whiting 16.2 Kaolin 20.8 Flint 55.0

100.0%

1% of red iron oxide was used as

colorant.

A lightly matted celadon was ob-

tained from the formula:

CELADON GLAZE XIII (Cone 9) Lepidolite 13.6 % Spodumene 24.5 Frit 14 8.8 Whiting 8.1 Barium Carbonate 16.6 Flint 28.4

'100.0%

this was added 2% bentonite and

red iron oxide.

OF SEATTLE

,~.:~;:%~,~: % ,',:,E..~.; ~ : ~ . ~ ~

NOW! A Good Kiln Need Not Be

Expensive Save up to 3 7 % using a few

pleasant hours to f i t together

one of our easy-to-assemble

kiln kits. Fun to do ~ eff icient

to use. Step by step instruc.

tions for assembly and easy

beautiful firing.

These Are Kilns Made By

People Who Do Ceramics and

Know What A Kiln Has To Do.

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

Studio Kiln Kit, | 8"xl 8"xl 8" deep . . . . . 99.50

Hobby Kiln Kit, 12"xl 2"xi 3V2" deep . . . . 62.S0

Send for free detail sheets.

POTTERY by DOT Dept. CM

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

September 1967 31

KEMPER TOOLS

for Sculptors - Potters - Ceramists

Quality, Utility & Durability since 1947

Used in colleges, universities and schools all over the United States. All tools made in the U.S.A.

Wood Modeling Tools 6" & 8" • Wood & Wire End Tools • Double Wire End Tools • Texturing Wire Brushes • Many others with multiple uses. 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 Humber with address.

Kemper Manufacturing P.O. Box 545, Dept. CM-95

Chino, California 91710

Co.

A u t o m a t i c e l e c t r i c s t a c k - t y p e h i f i r e w i t h s ta in less s tee l j a c k e t s . Sizes up t o 7 c u b i c f e e t .

Be sure you get our story before you buy any kiln.

Aim for an Aim Kiln

AIM . , - o . . . . - . Ben Lomond,

KILNS 9.0 Mail address: Box 414

CERAMACTIVITIES people, places and things

ART EDUCATORS HEAR BALL F. Carlton Ball was the principal lec-

turer-demonstrator for the annual meeting of the Art Education Association o[ In- diana April 27-29 at Anderson College. His demonstrations for the art teachers and college students included building a

gas kiln and making raku pottery. In addition, Mr. Ball created 100 pieces of pottery especially for the exhibition that was held in connection with the convention at Rus- sell Olt Memorial Center. Robert Young- man, ceramics instructor at the College, was in charge of the demonstration programs for the Association.

SOUTHEASTERN HOBBY SHOW The Southeastern States Ceramic Hobby

Show will be held September 28-October 1 at the Palm Beach Towers, Palm Beach, Florida. Show Director Jerry Casque follows the general format of his successful Eastern Ceramic Hobby Show for this second annual event in Florida. There will be displays by manufacturers and suppliers, a "Pageant of Techniques," individual instruction, and a competitive amateur hobbyist exhibit. Additional in-

i formation may be had by writing to Mr. Casque at Convention Hall, Asbury Park, N.J. 07712.

MIAMI LEAGUE WINNERS

Bell; and third to Mr. Eilenberger. Awards for two-dimensional ceramics went to Lynn Glatstein (First), Chili Emerson (Second), and Norma C. Kipnis (Thi rd) . ]uanita May, Regi Yanich and Fred C. Co]ling were given awards for ceramic sculpture.

CERAMIC HOBBY WEEK PROCLAIMED The first annual observance of National

Ceramics Hobby Week, September 18-23, has been announced by George Klinetsky, President of the National Ceramic Manu- [acturers Association. Mr. Klinetsky said, "This is our initial at tempt at a national program of such scope but we are con- vinced that it can only result in exposing the world of ceramics to many new potential hobbyists. This and this alone is the purpose of the program." Ceramic distributors, dealers and studio owners are urged to write NCMA Headquarters, P.O. Box 381, Ridgewood, N.J. 07451, for the Hobby Week Promotion Kit.

FLORIDA SCHEDULES ANNOUNCED The Florida Gull Coast Art Center, at

Clearwater, Florida, has announced that classes in ceramics and metal enameling will be offered for beginners and advanced students. The Fall term begins on October 9 and continues through December 16. Winter and Spring terms start on January 2 and March 23. Instructor for both classes is Maybelle Muttart Falardeau.

KNOXVILLE WINNERS NAMED Mrs. John A. Croes, Creative Arts

Chairman for the Dogwood Arts Festival Ceramic Competition held at the Knox- ville YWCA, writes that the Fourth An- nual attracted nearly 400 individual exhibits and over 1500 visitors from throughout the country. Winner of the Best-of-

The Ceramic League o[ Miami presented its annual Members Exhibit in April at the Jordan Marsh Auditorium. Juror for the show was Philip A. Ward, University o[ Florida, Gainesville. From the 354 pieces submitted for judging by 55 of the 150 League members, 81 works were selected for the exhibit. The award for Out- standing Exhibitor went to ]uanita May for her wind chimes. First award in wheel- thrown pottery went to Eddie Weyhe; second and third place awards were taken by Mary Grabill and Eddie Weyhe. For hand-buil t ceramics, first place went to Robert F. Eilenberger; second to Audrey

Show award was MurreU Smith, pictured with his wall plaque, "Judas." Shown with him is Mrs. Wanda Nichols, who won a blue ribbon for her entry, a hand-built slab vase.

OZARKS CRAFT FAIR The 14th annual Ozarks Arts and Gra[ts

Fair, one of the nation's most popular

32 Ceramics Month ly

exhibits of hill-country handiwork, is

scheduled for October 20-22 at historic

War Eagle Mills Farm in the northwest

corner of Arkansas. A festive array of

autumn color perennially sweeps the hills

as some 175 artists and craftsmen con-

verge on the settlement from the four-

state area embracing the Ozarks. Artists

set up their own exhibits and sell directly

to the public, many of whom return year

after year. They expect, and find, unusual

items of high quality at this world-famous

bazaar of handwork. Nearby attractions

include the Pea Ridge National Military

Park, ten miles north of Rogers, and the

annual folk festival, October 19-21, at

Eureka Springs.

ALPINE IN NEW PLANT

A. D. Alpine, Inc., manufacturer of

ceramic kilns, industrial furnaces and pot-

tery equipment, has moved into spacious

new headquarters and plant at 353 Coral

Circle, E1 Segundo, a suburb a few miles

from Los Angeles. Located in one of the

newest industrial tracts, the plant is lo-

cated within two miles of the Los Angeles

International Airport. I t may also be easily

and quickly reached from any of the local freeways.

The new facility has been acclaimed as

one of the most modern of its kind provid-

ing efficiently planned space for even more

improved products and services. The com-

pletion of the new plant marks a mile-

stone in the growth of the company. The

company was founded twenty five years ago

in the Los Angeles area and is one of the

oldest kiln and furnace manufacturers in

this section of the country. The company

now serves the entire United States and in

recent years has established representation

in a number of foreign countries.

OPEN HOUSE ANNOUNCED

The Cra/t Students League o/ the New

York YWCA will hold an Open House on

September 19 from 5 to 9 P.M. in the

Fourth Floor Gallery. Included in the ac-

tivities will be demonstrations, tours, regis-

tration and an exhibition and sale of in-

structors' work. The fall term of classes

begins on September 21 and continues

through January 20.

Among the courses offered are ceramics,

jewelry and enameling, and sculpture. A

special workshop in fused and decorated

glass will be offered by Maurice Heaton

from January 22-31, 1968. The YWCA

is located at 840 Eighth Avenue, New York 10019.

TOWN-COUNTRY NEWS

The Town and Country Ceramic As- sociation will hold its 1967 Annual Show

on October 14-15 at the American Legion

Post # 3 3 0 in Calumet City, Ill. Chair-

man of the show is Wanda Lembcke; Co-

Chairman is Shirley Miller. Officers of the

association include Jim Herder, president;

A1 Hartmann, vice president; Hope John- son, recording secretary; Eleanor Hamil-

ton, corresponding secretary; and Julia Ford, treasurer.

NEW ORLEANS WINNERS

The 13th Ceramic Show sponsored by

the New Orleans Ceramic Society attrac-

ted 497 pieces by adult and children hob-

byists in an open competition. The Sweep-

stake award went to Mrs. Ethelee Morgan,

Metairie, La. Best of Show awards for

adults went to Mrs. Marie Stenger, Ken-

ner, La., and Mrs. Morgan. In the chil-

dren's division, winners were Margaret

Howard, Julia Kruse, Felicia Morgan and Allison Rose.

The New Orleans group installed new

officers in May, with Mrs. Dolores Mes-

sina turning over her duties to Mrs. Shirlee

Vale, the new President. The present Board

of Directors includes Mr. Fred Duker,

Mrs. Robert Morgan, Miss Donna Angell,

Mrs. Elmire S. Even, Mr. Leon M. Lang-

ley, and Mrs. Jack DiLorenzo. Publicity

Chairman is Ethel M. Wyatt.


STATES vJI][C

- H O W / • Amateur Hobbyist Exhibits • Special Classes Daily

• Largest Showing of All Materials • Pageant of Techniques Daily

SEPT 28 '","OCT 11967 ~HOW H O U R S ! 9 p m T H U FRI &SAT 1 T p m S U N . 12 I p m W H o [ ~ S A L E HOUR Oally

PALM BEACH TOWERS P A L M I I E A C H , F L O R I D A

Buyers Cards to be honored at the Eastern Hobbyists and Beginners are invited to

Chfcago, and Southeastern States Ceramic attend the fabulous "Pageant of Tech- Shows now available . . . Write for yours today . . . Wholesale Hours: 12 to ! P.M. niques" from g A.M. to 12 Noon d a i l y . . .

daily, free admission.

l SPECIAL CERAMIC HOBBY CLASSESI AMATEUR CERAMIC HOBBYIST

I Southeastern States Ceramic Show . EXHIBIT

I Palm Beach Towers I Southeastern States Ceramic Show

/ 44 Cocoanut Row I Palm Beach Towers

|Pa lm Beach, Florida ,44 Cocoan#t, R?oWrida

Please send Teaching Schedule l ist ingl Palm Bea

/ Teachers and courses offered, plus gen-~ Please send Entry Form

/ eral show nformation I . . . . . " .............. : ......... . s

• " I Tot the Amateur Exhfbit.

J NAME ................................................................ J NAME ' . . . . . . . . . . . ' I . . . . . . . . . . . . . i ; ; ~ , ' ; ~ ; ' ; ' ; ' / , ' , ' ; , ' ; ' ; . . . . . . . . . . . . . . . . .

/STREET ........................................................... ISTREET .

[CITY & STATE CITY & STATE

L ~ _ _ . ~ . . . . n , . . . . . . . . . . . . . . .

September 1967 33

0scar-Paul PROFESSIONAL

POTTER'S WHEEL

• Variable speed (1%155 RPM)

• Full torque "Satellite Drive"

• Quiet operation

• Compact size & light weight

• Floor space ~ 2 sq. ft.

• Optional table tops (flat or splash pans)

• Smooth & uniform drive

Potters and Dealers . . . write for more information and prices.

OSCAR-PAUL CORP. 522 W. 182 St., Gardena, Calif. 90247

NOPE! We didn't raise o u r mold prices in cur new catalog just released. Sand S0c for catalog. Schools are sent catalogs free upon request.

GARE CERAMIC SUPPLY C0., INC. 165 Rosemant St., Haverhill. Mass. 01830

@ What does

N.C.M.A. mean to you!

NCMA . . . the association of major manufacturers in the hobby ceramic field, sponsors the industry's only national promotion program, including an annual trade show, national magazine publicity, national ceramic hobby day, and visual and printed promo- tional aids. Support the manufacturers displaying this seal, and you help the ceramic industry grow.

National Ceramic Manufacturers Assoc. P. O. Box 381, Ridgewood, N. J. 07451

G E R A M A C T I V I T I E S

Continued [ram Page 33

SYMPOSIUMBEXHIBITION An unusual three-way sculpture and

ceramic symposium-exhibition was held in April by Blu[[ton (Ohio) College, Ohio Northern University at Ada, and the Allen County Museum at Lima. Demonstrations and t~lks were given at Bluffton by potter Paul Soldner, metal sculptor Harry Bertoia, wood sculptor David Hostetler, and sculptor Brent Kington. After the event at Bluff- ton, the group moved to Ada where the traveling exhibition of the 24th Ceramic National was on view. The final event, an exhibition of work by the symposium members, as well as work in epoxy-resin by Frank Gallo, was staged at L ima Pictured is Paul S~ldner as he dem-

events/-Fifteer~ colleges and other institutions were represented from various parts of Ohio, Michigan and Indiana.

MONTANA ASSOCIATION TO MEET The Montana State Ceramic Associa-

tion will hold its annual meeting on Oc- tober 5-6 in Polson, according to Blanche Quinn, president of the group. Co-hcsts for the affair are the ceramic clubs of Polson, Whitefish, Creston, Pablo, and East Lake Shore. Ceramists from Mon- tana, as well as from neighboring states, will attend the two-day meet to be held at the Cherry Valley School. In addition to a business meeting and the election of officers, the activities on Saturday will include workshops. Kaye White, Missoula, is publicity chairman for the Montana group.

Send news, and photos, i[ available, about "People--Places--Things" you think will be o[ ceramic interest. We will be happy to consider them [or use in this column.

The Toledo and Area Ceramists invite you to attend the sixth annual

CERAMIC EXHIBIT at the Sports Arena Exhibit Hall

TOLEDO - OHIO New techniques and materials.

Demonstrations by well-known artists. Hobby, Studio and Special Displays.

SATURDAY, Sept. 16 and SUNDAY, Sept. 17 TICKETS NOW ON SALE

Advance Sale: S0c At the Door: 75c For Information write: Mrs. Ila M. Periat, President, TOLEDO & AREA CERAMISTS, 2646 117th St., Toledo, Ohio 43611

Art -Craf ts Supplies, Inc. 235 N.E. 67111 St. Miami, Fla. 33138

Distributor for: PARAGON Kilns • DUNCAN. SYMPHONY, C E R A M i C H R O M E and DRAKENFELD MARX Brushes • JACQUELYN Stains

~ K~GSPIN B ".4 S ~ [ * 1 q Ik d

k i l l :|Zll lV'_.1 ;1 1 ~11 MODEL r 12 $6.95

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ONE-STOP CERAMIC SERVICE

Central New York Ceramic Supply 645 Liverpool Rd., Phone: 457-2150

LIVERPOOL, NEW YORK 13088

The Intermountain Area's Largest Ceramic Supply Center

Special attention to the needs of schools and instifufions

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

VIENNESE ENAMELS |

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I

34 Ceramics Monthly

1 tN-~TRUCTIO N-CATALOGS Hal I With beautiful color charts 1 l #7A (108 pg) Ceramic S u p p l i e s . . 5 0 o l 1 ;~TB (38 pg) Enamel Supplies . . . . . 25~ l 1 Costs refundable with coupon 1 • (FREE to Schools and Institutions) 1

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Sold only by

Authorized Dealers

I W. P. DAWSON .oo "H" Ea,, Ash Fullerton, Calif. 92631

POTTERY: FORM AND EXPRESSION by Marguerite Wildenhain

Through clear text and large beautiful photographs this impress ve volume gives excellent basic technical information about processes and materlaIs. In addition, it contains examples of pottery chosen not only for excellent artistic quafities, but also as expres- slons of ancient and contemporary cultures. An outstanding gift selection. $9.95.

CERAMICS MONTHLY Book Department 4175 N. High, Columbus, Ohio 43214

Please send _ _ copies of POTTERY: FORM

and EXPRESSION @ $9.95 each, postpaid.

Name

Address

C i t y _ _ .State____ Tip - __

, enclose [ ] check [ ] money order

- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

I T I N E R A R Y

Continued ]rom Page l l

For information and entry blanks, write: Secretary, Butler Institute of American Art, 524 Wick Ave., Youngstown 44502.

SOUTH CAROLINA, COLUMBIA October 16-21 The South Carolina

State Fair Arts Department Competition is open to residents of South Carolina. There are divisions for professionals, amateurs, juniors, and college groups. Classi- fications include ceramics, mosaics, enam-

eling and sculpture. Jury; Czsh awards. For information and entry blanks, write: Mrs. Helen F. Mendel, Superintendent, Arts Department, 4525 Reamer Ave., Columbia 29206.

WISCONSIN, MILWAUKEE October 26-November 26 The 47th

Annual Exhibition, sponsored by the Wis- consin Designer Craftsmen and the Mil-

waukee Art Center, is open to Wisconsin residents over 21. All crafts; Prizes; Jury. Entry fee. Entry cards and work due

September 15. Write: Mrs. Anne Dono- van, Milwaukee Art Center, 750 N. Lincoln Memorial Dr., Milwaukee 53202.

SPECIAL FOR HOBBYISTS

FLORIDA, PALM BEACH

September 28-October 1 The Second Annual Southeastern States Ceramic Hob- by Show will be held at the Palm Beach Towers. For information, write: Jerry Gasque, Convention Hall, Asbury Park, N.J.

FLORIDA, WINTER PARK October 19-21 The Ninth Annual Cen-

tral Florida Ceramic Show, "Ceramic Harvest," will be held at Winter Park Mall. Competitive exhibit is open to hobbyists, teachers and studio owners, professionals, children (ages 13-18), handi-

capped children, and adults. For information, write: Mrs. Bruce S. Bucher, Chair-

man, 270 W. Reading Way, Winter Park 32789.

ILLINOIS, CALUMET CITY October 14-15 The Town and Country

Ceramic Association presents its annual

show, "Ceramics of Yesteryear and To-

day," at the American Legion Post #330, Golf at Ruth Streets. For show information, contact: Wanda Lembcke, 17547 Greenbay Ave., Lansing, Ill. Competition information is available from: Judy Ford, 6738 Schneider Ave., Hammond, Ind.

MASSACHUSETTS, SWAMPSCOTT September 8-10 The 10th Annual BGs-

ton Ceramic Show, sponsored by New England Ceramic League, Inc., will be held at the New Ocean House. Show Chairman is Trudie Fridell, 36 Rossmore Rd., Lynnfield, Mass.

MISSOURI, ST. Louis October 4-7 The Sixth Annual Show,

sponsored by the Greater St. Louis Ce- ramic Hobby Association, will be held at


now avai lable

our NEW CATALOG #8 This new 64-page catalog lists everything 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 items added. Hobbyists, teachers and studio potters will find the catalog invaluable.

You'll want a copy of this all new catalog at hand the very next time you need ceramic, mosaic or m e t a l enameling supplies for your home, studio or school. Send for your copy now!

Send S0c for New Catalog # 8

TEACHERS NOTE: This new cota og is sent FREE to schoo s, institutions and craft shops.

Van Howe Ceramic Supply

1185 S. Cherokee, Denver, Colo. 80223

L I L K I L N S • . . t h e m o s t c o m p l e t e line! The only kilns with patented DYNA.GLOW element holders. Write for information.

L and L MANUFACTURING CO., Box 340 144 Conchester Rd., Twin Oaks, Pa. 19104

P l e a s e Mention CM w h e n writ ing our advertisers

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KLOPFENSTEIN POTTER'S WHEEL

Write for FREE information

H. B. KLOPFENSTEIN & SONS RFD. # 2 Dept. A Crestline, Ohio 44827

Mold Catalog Send S1.00 TODAY for fully illustrated Catalog showing a large variety of molds, including Christmas and Easter items, sports figures, ashtrays, figurines, items suitable for china painting, Vases, Lamps, decanters, cookie jars, animals, etc. Remember Alberta's for the Best Buy in Molds!

ALBERTA'S CERAMIC MOLDS 1032 Mission Street Dept. CM-i

South Pasadena, California 71030

September 1967 35

MFG. OF SCULPTURE A N D WHEEL CLAYS

M O I S T OR DRY cone 06-04

cone 4-6 cone 6-9

L O W TEMP. cone 06-04

Y E L L O W and

G R E Y S T O N E SLIP

RED SLIP

GLAZES Gloss, M a t t and Texture cone 06-04

cone 4-6 Free Brochure m Mold Catalog S0c

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~. Huge Stocks ~fr Fast Service ~, Quality Merchandise "k Write now for FREE literature

ILLINI CERAMIC SERVICE 439 North Wells, Chicago. Illinois 60610

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the LOCKERBIE Potter's Wheel ~ FINEST KICK WHEEL MADE

Used by colleges, schools and studio potters $175.00. Write for new circular to Parfex Co. -- 7812 Boulder Ave., Highland, Calif. 92346

J U S T R E A D Y - N E W SI~P]p1T,,~E C ~ , T ~ , L O G

O V E R 2 0 0 P A G E S Supply Cata log . . . . . . $1 .50 ( l~d in U. S. A. , deductab le)

I T I N E R A R Y ] Continued from Page 35

the South County Mall, South Lindberg at Lemay Ferry Road. Show Chairman is Mrs. Kay Wells, 6204 Winona Ave., St. Louis 63109.

NEW YORK, NEw CITY September 30-October 1 The Third

Annual Rockland Ceramic Show, sponsored by the Rockland County Mental Health Association, will be held at Lamp- lighters Hall on Phillips Hill Road. Dem- onstrations by potters Morgan David, Charlotte Malten and Marvin Vlosky; and by decorators Cleo Curtis, Isabel Po- deszwa, Pearl Clarklin and Grace Apgar. For information, write: Martha Rooney, 103 Gedney Place, Nyack, N.Y•

OHIO, LEAVITTSBURG October 14-15 Western Reserve Ce-

ramists present their 1967 Annual Show at Johnson Community Center. Competi- tive exhibit, demonstrations, and studio displays. For information, write: Mrs. Roger Turrell, R.D. #2, Cortland, Ohio.

PENNSYLVANIA~ PITTSBURGH September 16-17 The Ninth Annual

Ageless Art Show, sponsored by the Pitt- sylvania Ceramic Guild, has for its theme "The World's Most Fascinating Hobby for All Ages." At the Pick Roosevelt Hotel. A special feature will be an Introduction to Ceramics, where the novice may try his hand at ceramics and take home a completed piece• Write: Laura Dunn, Show Chairman, 1334 Streets Run Road, Pitts- burgh 15236.

TENNESSEE, NASHVILLE October 6-8 The Fifth Annual Ceramic

Show sponsored by the Nashville Ceramic Association will be held at the Fair Grounds Coliseum. Show Chairman is Mrs. Sadie Sykes, P.O. Box 4614, Nash-

[ ville 37216•

WHERE TO GO

CALIFORNIA, LONG BEACH through September Student Art Show

includes work in ceramics, jewelry, silversmithing, and sculpture. In the Main Gal- lery, California State College.

CALIFORNIA, POMONA September 16-October 8 "Craftsmen of

the City," Smithsonian Traveling Exhibi- tion; at the Los Angeles County Fair Association.

CONNECTICUT~ BROOKFIELD through September 15 Exhibition of

work by students and members; at the Brookfield Craft Center.

D.C., WASHINGTON through September 24 "Treasures of

the Cooper Union Museum" features high- lights from the richest assemblage of decorative arts in the United States; in the Art Hall of the Museum of Natural His- tory.


THE C E R A M I C MASTER

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immediate delivery

• Speed infinitely variable to 16S rpm with maximum torque

• Heavy steel construction • Lowest priced professional wheel

C e r a m i c M a s t e r C o m p a n y 2185-A Broadway. Laguna Beach, Calif.

.lEAN LEONARD CERAMICS 96-24 Corona Ave., Corona, L. I.. N. Y. 11368 MAGIC GREENWARE RELEASE (8 os.)..SI.S0 Save yourself aggravation. Releases greenware in half the time, will not stick. KILN SURFACE BRICK HARDENER (16 oz.) . . . . . . . . . . . . . . . . . . . . . . . . . . . $2.00 Will harden and prolong life of your kiln. Stops kiln brick from shedding and flaking.

TOOLS FOR THE POTTER Bamboo Teapot Handles • Potter's Shrinkage Ruler • Potter's Bali-Wall-Stick • Potter's Sponge- on-Stick • Potter's Trim-a-Foot Stick KILNS - CLAYS - GLAZES - TOOLS MINNESOTA CLAY COMPANY 2410 E. 38th St. Minneapolis, Minn. SS406

Hobby Molds atlantic mold

Dept. -~ 1, 1230 White Horse-Mercerville Rd., Trenton, N.J. 08619 Phone: 585-8171

C e r a m i c A r t Cente r , Inc. area representative for SKUTT KILNS

• . . the best kiln at the best price! Why settle for less?

3727 Poplar Ave., Pittsburgh, Pa. 15234

1965 revision Catalog of 6000 molds from 45 companies . . . . . . . . . . $1.25

Hew Mold Supplement only . . . . . . 50c (to bring 196S catalog up-to-date)

Large Supply Catalog . . . . . . . . . $1.50 (Refundable on SIS Order)

"Do's & Don'ts of Ceramics"...$1.50

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

36 Ceramics Monthly

CERAMIC C,AYS GLAZE

MATERIALS

Vrinitt/CERAMIC SUPPLY, INC.

9016 DIPLOMACY ROW • DALLAS, TEXAS 75235 MF.Jrose 1.0540

ANDERSON CERAMICS COMPANY, INC.

19GO S. McDuffie St.

Anderson, South Carol ina 29622

Complete Ceramic Supplies

HAZELHURST CERAMICS Hazel Green - Alabama

Wholesale and Retail k Ceramic Supplies

100 page catalogue 75c (refundable on first order)

KRAFT KORNER 5842 Mayfield Road. Mayland Annex

Cleveland, Ohio 44124 New catalogue mailed Sept Ist. $ .00 re- funded wth Ist $10.00 order). Free to Schools & institutions ~ use order form. Complete line ~ Enameling, Silver & Painting Supplies.

Phone (216) 442-1020

2363 W. Flagler Miami, Fla. 33125

Wide selection of clays, sips, cj azes and glaze chemicals AMACO supplies wheels and kilns - - also 5KUTT, PARAGON and'other kilns. Art supplies~ art and ceramic books. Custom picture rrammg. Sorry, no catalog.

F R A N C O I S E C E R A M I C S DISTRIBUTOR FOR: Duncan's Molds. EZ Flow GIc~es and Bisq-Wax u Ceramichrome Products • Atlantic-ArueI.Holland and Schmld Molds u Porcelain Slip-Ceramic Supplies • Large selec. tion of quality Graenware n Mack's China Paints n Brushes, Tools, Kilns, Art Books, Slip. and Clay n WHOLESALE and RETAIL 113 49th St. South St. Petersburg, Fla. 33707

SPAREX Pickl ing Compounds

The easy to use, SAFE replace-

ment for dangerous sulfuric acid.

Use SPAREX No. I for cleaning

iron and steel. Use SPAREX No.

2 for copper, brass, silver and

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Order from your supplier

(PU IMBY & C O M P A N Y 60 Oakdale Road, Chester, N .J . 07930

I T I N E R A R Y

Continued [rum Page 36

ILLINOIS, ROCKFORD September 17 The 19th Annual Green-

wich Village Fair at the Rockford Arl Association.

NEW HAMPSHIRE, HANOVER September 9-October 1 "Ceramic Arts,

USA," Smithsonian Traveling Exhibition; at Dartmouth College.

NEW HAMPSHIRE, SHARON September 16-October 4 Pottery by

Vivika and Otto Heino; at the Sharon Arts Center.

NEW MExxco, ALBUQUERQUE September 10-30 Ecclesiastical Arts

and Crafts Show; at the University of New Mexico.

NEW MEXICO, SANTA FE through September 24 The 1967 South-

western Craftsmen's Competition and Ex- hibition; at the Museum of International Folk Arts.

NEW YORK, CORNING through September 4 "The Toledo

Glass National," at Corning Glass Center (This show was featured in the December 1966 issue of CM.)

NEW YORK, NEW YORK through September I0 Ceramics by

Daniel Rhodes and Enamels by Paoli De Poll; at the Museum of Contemporary Crafts.

NEW YORK, NEW YORK September 19 Fall Open House at the

Craft Students League includes demonstrations, exhibits and sale; at the West Side Branch of the YWCA, 840 Eighth Ave.

NEW YORK, STONYBROOK through September 17 "Crafts Image

'67," exhibition of work by members of the Long Island Craftsmen's Guild; at the Suffolk Museum.

OHIO, COLUMBUS through September 4 The Ohio State

Fair features an arts and crafts show, in- eluding ceramics, in the Fine Arts Build-

ing; and an Ohio Ceramic Show in the Youth Center.

OHIo, MASSILLON through September 3 The 32nd Annual

Ohio Artists and Craftsmen Show; at the Massillon Museum.

ONTARIO, HAMILTON September 8-24 Exhibition of work by

the Hamilton Handicrafts Guild; at the Hamilton Art Gallery.

RHODE ISLAND, PAWTUCKET September 29-October 29 "The Treas-

ures of Ireland" is a special presentation of antique and modern china, Belleek and crystal; at the Old Slater Mill Museum.

WASHINGTON, SEATTLE through September 15 "Pottery North-

west," at the Seattle Center.

• SCHOOL KILNS

• FIRING NEEDS

• PREPARED CERAMIC COLORS

• CLAYS AND EQUIPMENT

• MOLDS AND CASTING SLIP

• BULK PRICES

Best in ceramic service. Lowest in ceramic prices.

Alberta's Ceramic Supply 5435 North Peters Street

New Orleans, Louisiana 70117

Europe's Finest

THE LEACH WHEEL Now American made - - 5169.00 f.o.b.

St. Paul, Minn. WRITE FOR FREE BROCHURE

D. M. VARS 825 W. Mlnnehaha, St. Paul, Minn. $5104

Please Mention CM when writing our advertisers

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 institutions.

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

• ~-~_ I $i ool

[11 Le, the Walker V.g MiU i lr your clay. '?iminate d~dge~, '1' --. save time for creative

""'" clfort and in~tructil~n.

September 1967 37

The School of the I Art Institute of Chicago

offers degree and student-at-large programs in

CRAFT STUDENTS

LEAGUE YWCA

840 8th Ave. at Slst, N. Y. (212) 246-37O0

CERAMICS How to Photograph

Arts and Crafts Workshops

October 14 and 21 Men, Women, Teenagers. Day, Evening, Catalog C.

Change o f Address

U.S. Post Offices will no longer forward magazine, even if they have your new address. Your magazines will be returned to the publisher at a charge of 10c each. If you move, please notify us at least 4 weeks in advance, giving both new and old addresses, and send addressed portion of your mailing envelope to Ceramics Monthly, 4175 N. High St.. Columbus Ohio 43214. (Don't forget to include your ZIP number on new address.)

CLASSES & WORKSHOPS IN CERAMICS

Instructor - - Maybelle M. Falardeau Fall term l0 weeks beginning . . . . . . Oct. 9, 1967 Winter term 12 weeks beginning . . . . Jan. 2, 1968 Spring term 8 weeks beginning . . . . . Apr. 1, 1968

Beginners ~ Tuesday mornings or afternoons. Advanced Thursday mornings or afternoons. Workshops - - Mondays and Fridays. Enameling on Metal Monday and Friday mornings.

Write: Mrs; Florence Menzies Registrar, Th¢ Florida Gulf Coast Art Center, }11 Manatee Rd. Selleair, Clearwater, Florida 33516

38 Ceramics Monthly

SHOPPER NEW TURNTABLE LINE

Gi lmour Campbe l l is offering a new line of Kingsp in turn tables for decora t ing and o ther s tudio uses. Some of these feature wagon wheel bases and others utilize heavy round bases; some of the models are avail- ~ble in e i ther base style. T h e tables are m a d e in sizes of 7, 8, 10 and 12 inches. Recessed plaster bats tha t fit the 7 and 8 inch wheel also are available f rom the manufac tu re r . Gilmour Campbell, 14258 Maiden, Detroit, Mich. 48213.

RAKU BROCHURE Amaco is offering a brochure on Raku

tha t gives a brief history of the ware and the tea ceremony for wh ich it was designed. T h e booklet describes the entire ceramic process of R a k u - - f o r m i n g , decorat ing, and firing. I n addi t ion, it provides i l lustrat ions of t radi t ional cup a n d bowl shapes, Or ien- tal hal lmarks , and new decora t ing ideas, as well as a listing of A m a c o R a k u products . Wri te for A m a c o R a k u brochure No. 69. American Art Clay Co., Indianapolis, Ind. 46222.

MODERN MOSAIC HANDBOOK Watson-Gupt i l l Publ icat ions has b rought

out a new book, " M o d e r n Mosaic Tech- n iques ," by Jan ice Lovoos and Felice Para- more. Th i s handbook explains no t only t radi t ional mosaic me thods bu t goes beyond to show how to execute the exci t ing new techniques of the m o d e r n world of mosaic. T h e au thors show how mosaic can be fused with collage, assemblage, ceramics, relief sculpture, and scu lp tu re - in - the - round in short , how mosaic can be approached in a broader , vastly creative way to open up new realms for artists, c raf t smen, s tudents , and teachers. Par t icular ly impor tan t , special t r ea tmen t is given to s t imula t ing mosaic projects for p r imary and secondary schools by showing how young people can make mosaics out of famil iar materials . 170 pages ; 150 ha l f tone i l lustrat ions; 9 pages in full color. Watson-Guptill Pub- lications, 165 West 46 St., New York, N.Y.

CERAMICS BOOK "Ceramics , " by Elizabeth Cons tan t ine

and Lewis Krevol in , is a new addi t ion to the P i tman $ I .00 Ar t Book series. Tex t and photos cover an in t roduct ion to clay work, design, mater ia ls and tools, me thods of building, decorat ion, firing, se t t ing up a working area, and tests. T h e au thors are g radua tes of Alfred Univers i ty and both are cur ren t ly t each ing ceramics in addi t ion to working in their own studio. 48 pages: black a n d white photos. Pitman Publish- ing Corporation, 20 East 46th St., New York, N.Y. 10017.

ALUMINUM JEWELRY KIT Edward Win t e r has in t roduced a glass

enamel a l u m i n u m jewelry kit, a 28-piece set of a l u m i n u m shapes with which brooches and cuff links can be made . T h e kit also includes six jars of l iquid and l ump enamels in assorted colors and textures, an appl ica tor and complete set of directions for fus ing glass on pre-c leaned a l u m i n u m . T h e enamels mel t a t 1000 ° F in a period of ten minutes , according to the artist. Edward Winter, 11020 Mag- nolia Drive, Cleveland, Ohio 44106.

Advertisers Index September 1967

A I M Kilns . . . . . . . . . . . . . . . . . . . . . . . 32 Alber ta ' s Ceramic Molds . . . . . . . . . . . . 35 Alberta 's Ceramic Supply . . . . . . . . . . . . 37 Amer i can Ar t Clay Co . . . . . . . . . . . . . . 4 Anderson Ceramics Co . . . . . . . . . . . . . . 37 Ar t -Craf t s Supplies, Inc . . . . . . . . . . . . . 34 Ar t Ins t i tu te of Chicago . . . . . . . . . . . . 38 At lan t ic Mold Corp . . . . . . . . . . . . . . . . . 36 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . 9 Campbel l , G i lmour . . . . . . . . 34, Cover 4 Capi ta l Ceramics . . . . . . . . . . . . . . . . . . 34 Cent ra l Ceramic Ar t Supply . . . . . . . . . 35 Cent ra l New York Ceramic Supply . . . 3 4 Ceramic Ar t Cen te r . . . . . . . . . . . . . . . . 36 Ceramic Expositions, Inc . . . . . . . . . . . . 33 Ceramic Mas te r Co . . . . . . . . . . . . . . . . 36 Ce ramich rome . . . . . . . . . . . . . . . . . . . . . 10 Cochran , Norber t L . . . . . . . . . . . . . . . . . 34 Craf t S tudents League Y W C A . . . . . . . 38 C r e e k - T u r n . . . . . . . . . . . . . . . . . . . . . . . 36 Cress, J. J . . . . . . . . . . . . . . . . . . . . . . . . 3 Dawson, W. P . . . . . . . . . . . . . . . . . . . . . 35 D u n c a n ' s Ceramic Products . . . . . 6, Insert Estr in Mfg. Co . . . . . . . . . . . . . . . . . . . . 35 Florida Gulf Coast Ar t Cen te r . . . . . . . 38 Francoise Ceramics . . . . . . . . . . . . . . . . 37 Gare Ceramic Supply Co . . . . . . . . . . . . 34 Haze lhurs t Ceramics . . . . . . . . . . . . . . . 37 Hood, V. R. J r . . . . . . . . . . . . . . . . . . . 9 House of Ceramics . . . . . . . . . . . . . . . . 9 Illini Ceramic Service . . . . . . . . . . . . . . 36 K e m p e r Mfg. Co . . . . . . . . . . . . . . . . . . 32 Klopfens te in , H. B. & Sons . . . . . . . . . . 35 Kra f t K o r n e r . . . . . . . . . . . . . . . . . . . . . 37 L & L Mfg. Co . . . . . . . . . . . . . . . . . . . 35 Leonard , Jean , Ceramics . . . . . . . . . . . . 36 Mayco Colors . . . . . . . . . . . . . . . . . . . . . 11 M i a m i Studio Shop . . . . . . . . . . . . . . . . 37 Midwest Ceramic Cen te r . . . . . . . . . . . 36 Minneso ta Clay Co . . . . . . . . . . . . . . . . . 36 Nat iona l Ceramic M a n u f a c t u r e r s Assn. . 34 O h i o Ceramic Supply . . . . . . . . . . . . . . 36 Osca r -Pau l Corp . . . . . . . . . . : . . . . . . . . 34 Pacifica Woodcraf t s . . . . . . . . . . . . . . . . 34 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 36 Pottery by Dot . . . . . . . . . . . . . . . . . . . . 31 Qu imb ly & Co . . . . . . . . . . . . . . . . . . . . . 37 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Rov in Ceramics . . . . . . . . . . . . . . . . . . . . 4 Seeley's Ceramic Service . . . . . . . . . . . . 37 T e p p i n g Studio Supply Co . . . . . . . . . . 35 T h o m p s o n , T h o m a s C., Co . . . . . . . . . . 5 To ledo & Area Ceramis ts . . . . . . . . . . . 34 Tr in i ty Ceramic Supply . . . . . . . . . . . . 37 U n i q u e Ki lns . . . . . . . . . . . . . . . . . . . . . 36 V a n Howe Ceramic Supply . . . . . . . . . . 35 Vars , D. M . . . . . . . . . . . . . . . . . . . . . . . 37 Walker J a m a r Co . . . . . . . . . . . . . . . . . . 37 Westwood Ceramic Supply . . . . . . . . . . 7

Back Issues The following back issues o I Ceramics Monthly are still available at sixty cents 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), February,

April. May, June 1963 June. November 1964 June, November, December Please send remittance (check or money order) with llst o[ issues desired.

CERAMICS M O N T H L Y 4175 N. H igh St. Columbus , Oh io 43214

Recent Additions to the CM Book Department

MOSAIC TECHNIQUES New Aspects o~ Fragmented Design by Mary Lou Strlbling

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 glimpse of the tremendous potential of mosaics as a medium for personal expression.

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-white and full color. Price: $6.95.

POTTERY STEP-BY-STEP by Henry Trevor

This unique pottery book is a superb introduction to the basic methods of making pottery, as well as o 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 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, kneading, 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 minimum 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.

i .

................ " ° ;

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 ordinary household equipment. Ken- neth Drake takes the beginner through each stage of simple pottery, explaining how to buy and prepare the clay, how to handle it, and how to make a variety of

useful objects 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 $1.95.

WE PAY POSTAGE CERAMICS MONTHLY Book Department 4175 N. High St., Columbus, Ohio 43214 Please send me the fallowing 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)

for H O B B Y I S T S • S C H O O L S * A R T & C R A F T CENTERS * I N S T I T U T I O N S

NEW KINGSPINNew LargeElectriCwaterP0tter'STray Wheel ~ ! ~ : ~ + _+:~i ,:+~+ A New Professional Wheel at a Price you can afford • More powerful • Easy to Use • Ball Bearings • Easy ~ ~ to Clean • Easy to Store ~ ~ ~ SPEED VARIES with foot pedal - - smooth as an automobile. PORTABLE - - carry it with you anywhere. Bats fit our hand wheels - - each student may have own bat and place on hand wheel without losing center. 110 Volt AC. DC. One years service warranty. $11950 Jack W o l f . . . . . N.Y. d i s t r l bu fo r

Model E-6 • shows how to th row pots b i g g e r than "the machine.

KINGSPIN Kinalloy Turntable

• New 8-inch table

• Made of heavy Kinalloy

• Wagon wheel base

Model W-8 $6.75

KINGSPIN Kinolite Turntable • New 12-inch model with

+~ I1~ many uses ; A 12-inch wheel for th price of an 8-inch wheel • Made of Kinolite, a sinktop material used in newest homes • Wagon wheel base • Just the thing for those lace dolls

Model W-12 only $5.95 o+o+o o eo+

round b a s e ('1"-12) . . . . $6.95

• i ~

ii! ~ ~i ~i


• New wagon wheel base

• Top & base of heavy Kinalloy

• 7-inch table

Model W-7 $4.95

KINGSPIN Aluminum Turntable • 12-inch solid aluminum

head ~ " thick

• Use for heaviest work

• Heavy Kinalloy round b a s e

Model A-12 $14.95

i~ii iii+


• New 10-inch table

• Made of heavy Kinalloy

• Wagon wheel base

Mode, w.10 $8.95

PLASTER BATS: Recessed to fT~ over 7" wheels (B-7

Prices F.O.B. Detroit ",

See your Dealer or Distributor or writo:

lisle8 O U R C A M P B E L L Maiden, Detroit, Michigan 48213

KINGSPIN Kinalloy Turntable • New 10-inch model

• Heavy Kinalloy table

• Heavy Kinalloy round base

• Easy spinning

Model KR-10 $10.50

} 85c. Recessed to fit over Both 7" and 8" wheeTs (B7-8) $I.00.

In Canada write: Village Ceramic Studio- . . . . . . . . 4943 h t d a t St., W u t , Imlingten, Ont.

~L ¸ ~ ii - Ceramic Arts Network · Now in its tenth American edition • . . a must for every...

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Transcript of ~L ¸ ~ ii - Ceramic Arts Network · Now in its tenth American edition • . . a must for every...