FEBRUARY 1958 * 50c
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A New CM Series-TEACHING TECHNIQUES A TTEND THE GREATLAKES
CERAMICHOBBY EXHIBITION A Wonderful and WORKSHOP Ceramic Experience . A CHALLENGE-NEWEST TECHNIQUES April Z4-2.5-2.6-Z7, 1958
. AN INSPIRATION-NEW IDEAS
. AN EDUCATION-AN EXCITING GROUP OF TEACHERS
. AN OUTSTANDING MATERIAL AND SUPPLY EXHIBIT
S. HOBBY COMPETITION AND PRIZES
A Special Great Lakes Travel Plan
. TRAVEL Ah~D HOTEL ARRANGE- MENTS MADE FOR YOU
. ENJOY YOUR TRIP WITH CON- GENIAL CERAMISTS
. STUDIOS ARE ENCOURAGED TO Conrad Hilton, Chicago PARTICIPATE
. WRITE SPECIAL TRAVEL DIRECTOR- LA VERNE WOOD
ARTHUR HIGGS, MANAGING DIRECTOR 414 N. Jefferson. Bay City, Michigan -- Phone: TW 3.9492
MRS. LA VERNE WOOD 13885 McDougoll, Detroit 12, Michigan m Phone: FO 6-$787 teeduci. 9 cCOTCH PRIMER" 69 Wa,'4
5ave 1 firing when glazing!
Now you can apply any glaze on greenware
A, Priceless Discovery for You • • • History is being made by Re-Ward. For years, ceram- You simply brush, spray or dip greenware piece with ists have had to "bisque-fire" greenware before glazing SCOTCH PRIMER ~, allow to dry for 3 minutes, to assure prevention of pin holes, bubbling or crawling. then apply glaze or glazes in normal fashion and fire. Now, a revolutionary new product has been developed Presto, a per[ect piece ever), time. All the benefits of which eliminates the necessity of bisque firing of green- ware before glazing. The name of this miracle product two firings are retained and you only fire once! You is SCOTCH PRIMER (trade mark applied for). save money and time with SCOTCH PRIMER e'. "Scotch Primer" does the following: 1. Eliminates pin hales 6. Reduces running tendencies 2. Prevents bubbling 7. Brings out true color brilliance 3. Increases resistance to crazing 8. Makes application of glazes easier 4. Prevents crawling 5. Makes every glaze a greenware glaze 9. Saves costs of one firing (except reds) 10. Can be brushed, sprayed or dipped. ON BISQUE PIECES, "Scotch Primer" is double insurance for perfect results.
We sincerely believe SCOTCH PRIMER will prove to be the most outstanding discovery of 1958 and will benefit all ceramics. Available in 4 oz., pints and gallons. Ask your dealer to reserve a supply for you.
1987 Firestone Blvd. Los Angeles 1, Calif. *Trade Mark applied for See your Re-Ward Dealer or Distributor NOWi
FEBRUARY, 1958 I UL APPROVED FUK lrUUK I'KUII:t. IIUPl Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not!
TOP LOADERS 20 quality built, feature packed models from which to choose• DYNAKILNS feature the patented DYNA- ~~~ GLOW porcelain element holders . . . 4-way switches l~! ~ • . . 2 peep holes . . . pilot lights . . . and they are designed with your safety in mind. MODEL Um
ENAMELING KILNS Price includes Pyrometer, TEMPERATURE HOLDING . Input Control Switch, Gravity Door, ENAMELING KILN Pilot Light, and Patented Dyna-GIow Can Also Do Ceramics! Porcelain Element Holders. Attractive . . . Plugs in anywhere! ,..,so-- ,'u.,,.OO.rot..,..ham... B'-Ir Chamber size: 4" x 81/z'' x 81/z'' MODEL E49
~ ~ WRITE FOR LITERATURE • MANUFACTURING COMPANY CHESTER 11, PENNA. DEALER INQUIRIES INVITED 2 CERAMICS MONTHLY ,iiiiiiiii ii beautiful ..... ;ili;!i:i:ii!iiiiiiii:! • ~ Volume 6, Number 2 February • 1958 :!iiiii!:iiiiiiiiiii! uniform " 50 cents per copy ...... finish i!;!ii::i!iiiili[~i~; ...... use HAR ,ii:i!iiii::ii~: in this issue of ...... easy to , i=ir~:!iiii:ilr, ~i~i'i:ilili~i'i~i!ii:;:ii= Brush-on
:::::::;:::::::::::::::i!i:~il;;2:ili;i~i!~!~}~!Z: GLAZE On Our Cover: "End of the Line," a prize sculpture by Edris i!:!!i!ililiiiii;:i~i::~ Eckhardt, is 10" tall and 11" long. The donkey is gray with ~i:i:i,ii~iii:i~i!:!~i:ii:: New... ready a blue star on its head and orange-pink inside its ears, i~:~!~iii~iiiiiiii:;ii~:i: mixed, brush- mouth and nostrils. Children are dressed in white. iliiii~ii~i!i!i!i!ii;:~iiii~:~ on glaze ~i:i::::S::::i:ii~i~:i::; specially M!iii!i:ii;i!iii:~:~ compounded Letters ...... 6 i:~i~i:!!i!i!iW:ii ~=~'~'~'~'~;~=~ for smooth, Pic of the Month ...... 8 quick applicat__ _ ~i!i!i!i!ii!!!iiiiiliiiiii~i~ Over 80 modern, decorative colors in the Suggestions ...... 9 full range of opaque, transparent, semi- mat, crackle and fancy art finishes. Answers to Questions ...... 11 :: All types fire at cone 06... flow well... produce a beautiful uniform finish. Teaching Techniques by Edrls Eckhard÷ ...... 12
Enameling: Plique.a.jour (part 2} by Kenne÷h F. Bates . .16
MAKE HARROP ...... ~,~i!:~:~i~:~ Celadons at Cone 04 by Tom Sellers ...... 18 YOUR ONE RELIABLE ...... SOURCE FOR ALL CERAMIC NEEDS Much Ado About Mosaics by Jeanne Smith ...... 19 Colors, finishes, clays and plasters. Modelling tools, kiln furniture and supplies, painting and air-brush Centerpieces the Easy Way by Betse Lewis ...... 20 equipment. Send for catalog. Underglaze: A Repeat Motif demonstrated by Marc Bellaire ...... 22 :=i~ii}iiiii{i}i~i:N Efficient... ~iiiiiiiiiiiiiii~iiii~i; Stoneware: Stoneware Clay Bodies (part 3) Economical ELECTRIKILNS by F. Carlton BaH ...... 24 ji~:~ii:::iiiiiii: Save time.., make your fir- jiiii:i)ili New Age of Experiment by Jerry Ro~hman ...... 25 ing fast.., easy.., accurate iii~!iii~ii!ii: ...with a Harrop Electri- ii"iii:iliiii::ii! Itinerary ...... 26 Kiln designed to the needs ~i~iiiiiiiik'iiiiliiii!i~i of the hobbyist, teacher or Ceram-Activities ...... 30 art studio. Scientific design and low-input heating ele- ments provide uniform Enameler's Column by Kathe Berl ...... 33 firing and economical oper- ation. SIZES TO MEET Overglaze: How to Use Lusfres (part 4)byZena Hoist . .35 ANY NEED... Top Loader or Side Loader in bench or Index to Advertisers ...... 36 floor models. Capacities to 4860 cu. in., maximum fir- :i(i:iJ ing 2300 °. Mail coupon for catalog. Editor Louis G. Farber Business Manager Spencer L. Davis Managing Editor Shirley Abrahamson Art Director Robert L. Creager Editorial Associates Thomas Sellers Mary Elliott Circulation Thana Clay ELECTRIKILN DIVISION 3.170 E. 5th Ave. Dept. E Columbus 19, Ohio Please send me your complele catalog o~ ElectriKilns and Ceramic Supplies. Advisers and Special Contributors: Carlton Atherton; F. Carlton Ball; Marc Bellaire ; Kathe Berl; Edris Eckhardt; John Kenny ; Zena Holst: Dorothy Perkins; Ken Smith ; Don Wood. ~,m,. Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis, Pres. and Treas. ; L. G. Farber, V. Pres. ; P. S. Emery, Secy. !iiiiiiiiiiiii!i!2i iFi!iu...... SUBSCRIPTION PRICE in U.S.A. and Possessions: one year, $5; two years, 9 ; three years, $12. Canada and Pan Am. add 50 cents a i?iiii!iiii:iiii~iiiii: year; foreign, add $1 a year. Current issues, 50c ; back issues, 60c. :i~i!i!ilihiljlilili~i!i~i~ii...... ~ ~uy I am a Hobbyist D, Art Studio..... Owner D, iiiili~iiiii!iii!iiii ALL CORRESPONDENCE (advertising, subscriptions, editorial) i:ii::;i:i;i:iZ:iii i~ii~i!iiiiili[~!i~i should be sent to the editorial offices at 4175 N. High St., Columbus ~i~!ili!iiiiiiii~ii:i:i~i~!~i~!~i~:~i~i.i~i~i~ii: Public School Teacher [i], Private Class ~i!~!~:~i~i~i~i~i~iii:iiiiiiiiW!i!ii 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under Authority of the Act of March 3, 1879. Copyright 1958 by Professional Publications, Inc. All rights reserved. current book sei(
A POTTER'S BOOK by Bernard Leach These books on ceramics may be ordered The famed Mr.
from the CM Book Department on a money outcomeLeach's bookof 25 is years the : ...... ~:~i~,~ work in the Far ...... ~ and England. back guarantee basis. Each title has been ItEast deals with the carefully reviewed to assure you the best tery:four typesJapanese of pot- ~ raku, English slip- ~ reading in the field of ceramics, ware,andconsiderableOriental stoneware,porcelain.ba s i c i information is be- ENAMELING: PRINCIPLES & PRACTICE A POTTER'S PORTFOLIO tween these covers by Kenneth F. Bates by Bernard Leach as well. Illustrated, some in color, 94 The author, who has An elaborate (111t~ " x 14" cloth-bound) pages. $7.25 won many prizes for edition in which Mr. Leach discusses his enamels, has approximately 60 examples of great penned a practical pottery from the primitive to the con- DESIGN FOR ARTISTS AND CRAFTS- guide for the begin- temporary. Full page illustrations, some MEN by Louis Wolchonok ning student and an of which are in color, are suitable One of the best authoritative refer- for framing. $17.50 books on design, it ence for the crafts- will prove invalu- man. Covers all able to pottery and phases of the art of THE COMPLETE sculpture e n t h u s i- enameling. Profuse- BOOK OF asts as well as dec- ly illustrated, includ- POTTERY MAKING orators. Geometric ing plates in color. by John B. Kenny form, flower and 208 pages. $3.95 All of the most pop- plant form, bird and ular pottery making animal form, hu- techniques. Step-by- man form, and man- POTTERY MAKING by Wren and Wren step photo lessons. made forms are cov- The authors, potters of Oxshott, Eng- Clays, glazes, bodies, ered in careful de- land, cover all the basic phases of firing, plaster, etc. tail. The 1280 illu- pottery making. In addition, they pre- Large (7" x 10") strations include about 400 flower and sent information on gas kilns and format, 242 pages, animal motifs readily adaptable to pot- building a small coke kiln. Illustrated, more than 500 photos and drawings. tery. Oversize format, 207 pages, cloth 140 pages. $3.50 $7.50 bound. $4.95
CERAMICS MOSAICS, FOR THE HOBBY ARTIST POTTER AND ART
by F. H. Norton by Edwin Hendrickson
The most complete book on ceramics! From This pioneer book on mosaics features popu- choosing the proper clay to putting the final lar patterns at well-known mosaic craftsmen touches on a piece ol pottery, each operation as well as step-by-step instruction on 12 basic i~ explained clearly and simply with photo- projects. There is profusely-illustrated informa- graphs and diagrams. The firsl half of the tion on tesseraemhow to cut, shape and use book tells how-to-do-lt; the second goes into madhesives, cements, dyes, backing and more advanced discussions of clays, molds, edglngs besl suited for mosaics. A handbook glazing, etc. 320 pages, 471 illustrations, for the beginner as well as the advanced (7" x 10" format). $7.50 hobbyist. 111 pages. S3.s0
& CERAMICS MONTHLY t,ons FROM BOOK DEPARTMENT
.- MARIA: CERAMICS BOOK HANDBOOK OF DESIGNS AND DEVICES THE POTTER OF by Herbert Sanders by Clarence Hornuncj SAN ILDEFONSO Complete step-by-step instructions on Basic designs and by Alice Marriott making specific pieces. Examples of variations include The story of Maria pottery by well-known ceramists. Over- the circle, line, Martinex, who re- size format (8" x 11;~"); 96 pages. s c r o 1 l, curvilinear, vived the ancient Paper bound $1.75; Hard bound $3.00 fret, shield, snow Pueblo craft of pot- crystals, angular in- tery making and has terlacement, and become a legend in many other equally her own lifetime. A useful symbols. More u n i q u e biography, than 1800 sketches skillfully told. Many are packed into 240 accurate drawings of actual pieces of WE PAY POSTAGE p ages of informa- pottery. Contains 294 pages; 25 illu- tive text. 5" x 8" strations. $3.75 format, paper bound. $1.90 THE POTTER'S CRAFT by Charles F. Binns DECORATIVE [ CERAMICS FOR THE POTTER Written by the man who, since his DESIGNS FOR by Ruth M. Home death, has been called the "Father of CRAFT AND The chemistry, geology, history of ce- Ceramics." The book discusses the var- HOBBY ramics presented in non-technical lan- ious origins of pottery, the nature of by Frances Johnson guage. Since the author began her clay-working materials and tools, and study of ceramics "at the beginning," careful instructions for a variety of A designer and pot- ; ~ ter, the author pre- she is able to say in the preface, "Only projects. For the amateur as well as an amateur can appreciate the prob- the student. $3.50 sents 350 designs, many in full size, lems of an amateur." $4.50 with suggestions for ~ | CERAMIC SCULPTURE proper colors. Many ~°~ CERAMIC GLAZES by John B. Kenny Pennsylvania Dutch .... :...... J by Cullen W. Parmelee This latest book by d e s i g n s included. Mr. Kenny promises Oversize format (10" x 13") 72 pages, The 314 pages of technical text in this to be as valuable as paper bound. $3.00 volume cover glaze making completely, his "Pottery Mak- beginning with a careful discussion of ing." Mr. Kenny raw materials. In addition to the DESIGN MOTIFS OF ANCIENT MEXICO theoretical and technical contents, the uses the same step- by Jorge Enclso by-step pictorial text includes specific empirical formu- technique and an A compilation of 766 examples divided las and batch recipes for glazes. It is identical format. into geometric, natural and artificial an invaluable reference for advanced Containing over a forms. Includes designs based on flow- hobby potters, serious students, teach- thousand photos and ers, birds, fish, human figures and ers and professional potters. Hand- sketches it covers all many others. Cloth cover, 8" x 11" somely bound, this book contains eight phases of the sculp- format, 170 pages. $3.95 pages of cross-referenced index. $8.00 tor's art from be- ginning essentials to advanced projects, including animals, chessmen, figures, and many others. FILL OUT... MAIL TODAY Large format (7" x 10"), 302 pages $7.50 Order Form Ceramics Monthly BOOK DEPARTMENT 4175 N. High St. Columbus, Ohlo Please send me the following books: We Pay Postage All Books Sold With Money-Back Guarantee
...... • ...... CHINA DECORATION Name by Kathleen Mann ~t This book is a !~ simple guide to the Address china decorating art. ! ; Many illustrated ex- ~.~ , amples of modern City Zn__State designs. A very helpful book for the I enclose $ .... Send remittance with order. Ohio residents add 3% Soles Tax. china painter. Hard bound. $2.50
FEBRUARY, 1958 TEACHER'S FRIEND finitely pots set in the form of a traditional creche. Why not name it so? Dear Editor : LUCIA COMINS . . . I wrote you a fan letter the last time Wassaic, N. Y. I renewed (my subscription to CM). Please consider this the same. I still think your magazine the finest ever. I've used CM GOES TO SCHOOL it in my work as an occupational therapist, for private instruction in my Dear Editor: COMINS GETS COMPLIMENTS own studio, and as a teaching aid in an I have been very pleased with nay own Dear Editor: "in service" credit course I teach in personal subscription to your fine maga- • . . We were so glad to note that, ceramics at our local museum plus for zine and, as a result, I have made it through you, Lucia Comins is receiving that extra nudge I sometimes need in my an alternate choice for a required text in the national recognition she so deeply own personal work. my major art class in ceramics . . . deserves. And thc December issue of CM Thanks so very much for doing an All of our ceramic students are art is displayed in our showrooms with the excellent job. majors and within a year they will be greatest pride . . . Right now, we just ALICE McCOBB, 0. T. certified art teachers. want to compliment you on Anne Dye's U.S.P.H. Hospital, Manhattan Beach DAVID E. CRESPI presentation of one facet of Miss Comins' Brooklyn, N. Y. New Haven State Teachers College extraordinary talent. New Haven, Conn. MARION WALKER MORE ON GLAZES, PLEASE Donya Pottery Studio Brookfield, Conn. Dear Editor: AD LIBS FROM READERS I have been waiting for further articles "Kathe Berl's articles on copper enamel- Dear Editor: on glazes which can be used between cones ing are most helpful. She is a marvelous I enjoyed the article on "Christmas 4 and 6, the maximum to which my kiln instructor." Sculpture" by Anne Dye in your December can be fired. The article Ball did on C. E. S. issue. The Three Kings, by the way, made Albany slip glazes, G.S. matt and Tizzie Los Angeles, Calif. a particularly handsome cover. Lucia white glaze has literally been my bible. Comins' work interests me--it has strength I also found his suggestions on engobes "How about some articles on the fun- and forthright honesty. Her Christmas very helpful . . . damentals of body and glaze composi- figures are a pleasant change from the ELEANOR HELLER tion ?" saccharine contrived trivia so commonly Kerhonkson, N. Y. MRS. M. E. displayed at this time of year. Appleton, Wis. Last summer you published an article FLIGHT OF IMAGINATION "Why don't you print more articles of hers on molding on stones (August on the ceramic chemistry of glazes and 1957), and now one on tools (December Dear Editor: bodies for the studio potter; also metals, 1957)• I like this versatility, particularly ... May I express myself regarding the other than copper and silver, which can since her approach is clearly that of an article entitled "A Modern Representation be used in enameling . . . ?" artist. Frankly, I get a little bored with of the Creche" in your December issue? L. G. K. the sameness of [some of your other au- The photography is excellent, the thought Sacramento, Calif. thors]. Let's have more of her articles! sweet, but it is from such flights of RUTH MORGAN imagination that the layman thinks the • See Kathe Berl's article, "Metals other Groton, Mass. artist a little balmy. The forms are de- than Copper", May, 1957. --Ed.
COVER COAT • GLAZES • E-Z STROKE The Underglaze so ideal its almost miracu- The finest of Ceramic Glazes. Always ster- • YOU the hobbyist helped Duncans' farmu- Ious. Available in a large variety of beau- • ling, consistent quality regardless of quan- late this quality Translucent Underglaze. tiful colors. With PG-16 its application is a • tlty. Duncan's famous E-Z to use feature. • It is the result of your requests and exten- dream. Positive results. A Masterpiece of • Available in a tremendous variety of • slve testing. Terrific color selection. quality and formula by Duncans'. • exotic colors with limitless combinations. • Consistency perfect for 1-stroke brushing, • Always results you can be sure of. Now • spraying, stippling, etc. better than ever with PG-16. CERAMIC PRODUCTS, Inc. 4030 N. alackstone Fresno 3, Calif.
6 CERAMICS MONTHLY White Drape... for Exciting New Glaze Beauty
Combinations of WHITE DRAPE and almost any other glaze will give you your most exotic ceramics. Your ceramics will be new, always different -- no two pieces are ever the same.
Put new life ... new beauty.., new glamour into your ceramics ... try WHITE DRAPE.
Available at your nearest Studio.
Dealerships in WHITE DRAPE and MAYCO glazes available. Ask your nearest MAYCO distributor or write us.
THE NEW IMPROVED KLOPFENSTEIN WHEEL
All seven points of action now precision ball bearings. First of a series of ads suggesting ~-~ hmv YOU might combine molds to A full size, quality con- win the BEE BASCH Creative Mold Contest. structed, all metal treadle wheel for the potter. This wheel has No. 66~Deep Casserole Boffom~$6.S0 (10¾" x 3") been designed and en- gineered incorporating No. 67--Deep Casserole Top--SS.S0 (10" x 11/2'') features recommended T No. 83--Lobster Handles--$4.S0 (4 per mord--41/2 '', by a group of ceramic 4% 3V2, 3") instructors at one of our leading universities. A--shows closed casserole decorated with lobster handles.
B--shows how lobster handles may be used as STANDARD HiP REST INCLUDED IN ABOVE PRICE. feet on inverted casserole cover. SPECIAL NIP REST PICTURED AVAILABLE AT $9.25 CHECK THESE FEATURES! 13" throwing head * 100 lb. flywheel * Pan 30" x 30" x 5" * Wheel Send for our two FREE Catalogs height 36 pp * Precision ball bearings * Handsome grey finish on pan with black stand * Trim bar for foot rimming included * Custom made and Contest Entry Blank today ./ accessories available for wheel. OPTIONAL EQUIPMENT AVAILABLE Reversible Throwing Head -- for making bats. Has a locating and ejector slug for removing and re-centering bats. A special metal band to form the sides of the bats is included. PRICE: $14.75. Sarasota, Fla. Add 10% Wedging Wire and Board -- a handy piece of extra equipment for your wheel. Wedging board removable for throwing. PRIC~: $14.75. ~ for packing, 50c mini- Adjustable Legs -- PRICE: $4.50
mum. No COD's, please. WRITE TO FACTORY & SHOWROOM: 2124 Bee Ridge Rd., Sarasofa, Fla. MAIL ADDRESS: S. Englewood Beach St., Englewood, Fla. H. B. Klopfenstein & Sons R.F.D. .~ 2 m Rt. 61 Crestline, Ohio
FEBRUARY, 1958 7 iii:ililiiiiiiiii!i!iii!!ii!iii!i!i!i!i!i!i!iiiiiiiiiiiiii~~
CM's Pie of the Month: This stoneware covered jar by Robert Turner of Alfred Station, N.Y., received the second prize in ceramics at the Tenth National Decorative- Arts-Ceramic Exhibition of the Wichita (Kansas) Art Association in 19SS. The iar, 9" tall and 71/2PP wide, now is in a private collection, tt is decorated with Waren gray glaze with a brushing of "copper reduction red" glaze.
8 CERAMICS MONTHLY from our readers Sheeting for Props Often I get customers who do not know how to prop up the edges of free-form or rolled shapes when making ash trays, etc. Generally, as pictured in books, this is done with small balls of clay. However, I usually advise the following method. It is very easy and gives an even lift to the pieces. Take a soft cloth, such as old sheeting, and twist it into a roll. The size of the roll will depend upon the height wanted for the edge. Then slide the roll under the edge EVERYTHING FOR ENAMELING of the piece and drape it around the base until you obtain the desired shape• I usually twist it rather loosely. If cloth is not at hand, paper towels, slightly dampened, also do a LOW COST KILN nice job. • . . for beginner or professional. Fires pieces up to ---Peg Townsend, Tucson, Ariz. 43~" diameter and 11/2" high. It reaches enameling tem- perature quickly and maintains if constantly. All parts are For Perfect Color Matches easily replaced at nominal cost. For a raised effect when enameling on copper, it is easier to use small mounds of ground enamel of the desired color in place of lumps. This makes it possible to match NEW BY THOMPSON the colors perfectly. However, you will find you cannot fire these mounds as long as the lumps as they melt faster and ENAMEL GLAZE PAINTS will flow and level out. A superior decorating medium for painting designs --Madeline R. Carothers, Cleveland, Ohio over enamel base coats. Supplied in kits and bulk torm. Portable Pyrometer A portable pyrometer is a good investment, especially if you have more than one kiln, because it can be made to serve any number of kilns. Merely solder an aligator clip ENAMELS to the end of each of the wire leads. The pyrometer then Complete llne of enamel colors including opalescents.
METALS All shapes and sizes in copper and the new silver plated steel which requires no pre-cleaning. may be clipped to the thermoeouple of any kiln to get its temperature reading. FINDINGS Ineidently, it is a good idea to have a thermocouple For cuff links, ear rings, brooches etc., and all types of chain for each kiln. By leaving it in the kiln permanently, thermo- in copper and brass. couples will enjoy a longer life than if repeatedly stuck in and out of kilns, being subjected to rapid changes of tem- perature. ILLUSTRATED CATALOG --Lee and Irving Levy, Levittown, N.Y. Write for your copy of our new catalog illustrating our com- plete llne. Includes helpful hints and projects on enameling. For Better Flowers Having enjoyed the Bea Matney article on flower jewelry (Nov. 1957), I have a few ideas which might cure some of the common ailments. Buy a cheap remnant of oilcloth and roll the flower clay on the canvas side. This gives a rough texture to the little base which helps the cement hold the findings se- curely. Also no spatula is needed to remove petals and (More Suggestions on page 29)
FEBRUARY, 1958 V I- - - 7ow-% E 7ou;'o - - -i WifAT IS TIlE fl.C.A.? MOSAIC Tile TABLES and Murals I The N.C.A. (National Ceramic Association) is an association formed by forward thinking ceram- ics people who realize that the ceramics industry must, sooner or later, have such an organization if it is to reach its full potential. If you earn all or any part of your living from ceramics, either as a teacher, studio, dealer, dis- tributor or manufacturer, then YOU SHOULD JOIN THE N.C.A.! You can become a Charter Member for ONLY $5.00. If a membership of 1000 is not attained, • We carry everything for mosaic work. Imported Italian and" I French mosaic tiles and tessarrae, brass and wrought iron I your money will be returned. All funds collected table frames, legs, mastics, tools and grout. Wood Legs will be held in a Trust Bank Account until 1000 | Wrought Iron Table Frames Brass Finish (Brass Tipped) ijj Legs---set of 4 set of 4 members are signed up. Then, a convention will II I Eec.tangular [ Circular I e-____ 6.95 6,,____ 8.95 | be called, to decide how this money and all future | J12~x12X~ J 5.50 J 18- dia. J 7.50[ 11"-~__ 8.95 12" .... 4.50 J18~/~x18~/~ J 8.50 J 24" dia. I 9.~0J 14" .... 9.95 16" .... 5.50 | money will be used to benefit the members. Also, I J18~x48~ I 19.95 ] 30" dia. J 12.50] 16"____11.95 22" .... 6.50 an Official Professional Directory of the Ceramic
J [ 36" dia. J 13.50[ 22"____12.95 28" .... 7.50 gg | TILES ...... $1.45 per sheet and up (approx. 1 sq. ft.) | Hobby Field will be published and every member SOLID BRASS I" STRIP ...... 70e ft., drilled w/screw SPECIAL CUTTERS ...... $1.50-$2.45 each[ of the N.C.A. will be listed and will receive a FREE I MOSAIC MASTIC ...... 95e tube, $1.35 pint, $2.25 quart II MOSAIC TILE GROUT ...... 40c lb. copy. Invest In Your Future JOIN THE N.C.A.! !' illini 111M I?1 I Im l"d service' ! ".~UALIT"[ CERAMIC, SUPPLIES '~ 300 members have signed up-what about L~ 39N' mlWells'mChicag°--ram10' mmlJJ' ------Ph°nell M~-3367 ~ you?
MAKE CHECKS PAYABLE TO N.C.A. AND SEND $5.00 TO YOUR NEAREST N.C.A. REPRESENTATIVE TODAY!
TEMPORARY TREASURER MIDWEST Bill Martin John Cummins Ceramic Creations Ohio Ceramic Supply 4115 W. Lawrence Ave. P.O. Box 134 Chicago 30, III Kent, Ohio EAST COAST MIDWEST John Kappeler Bill Thrasher Bergen Brush Supplies Model Ceramics 110-112 Stuyvesant Ave. 772 N. Main Street Lyndhursf, N. J. Akron, Ohio FLORIDA IOWA Bee Basoh Phyllis Gericke Bee Basch Designs Art Craft Studio South Englewood Beach 1620 Commercial Englewood, Florida Waterloo, Iowa GREAT CENTRAL AREA TEXAS Ed King Louise Womack Castle Ceramic Studio Womack Ceramics H-784 Clock $6.90 4025 North 50÷h St. 3717 Broadway Size: 71/2"x 9". Use Milwaukee 16, Wisc. Houston 17, Texas Standard Size Clocks, KANSAS SALT LAKE AREA SESSIONS OR Edna FIorenz Mueller Merle Peratis LANSHIRE FIo-Vern CeramicG Capital Ceramics 4421 E. Second 1151 S. State St. Wichita, Kansas Salt Lake City, Utah WEST COAST EASTERN CENTRAL Les Aikman Olevia Higgs Re-Ward Ceramic Colors Olevia's Ceramics 1985 Firestone Blvd. 152 Conklin Ave. Los Angeles, Calif. Binghamfon, N. Y. Roy Swayne PACIFIC Hollywood Ceramics NORTHWEST 6063 N.E. Gllsan Portland 13, Oregon
10 CERAMICS MONTHLY Acclaimed Everywhere by Teachers uestlons and Professionals Conducted by the CM Technical Staff for Performance.I Where e~tu ..lll,,ny slip eht// he oht~tine,l?
The old Albany slip clay is no longer obtainable. Sad- This Nationally let clay, mined by United Clay Mines of Trenton, N.J., Recognized is similar to Albany slip clay except it requires a cone or Power-Drlven Precision Wheel two higher heat. Large ceramic supply houses frequently only $57.50 send Sadler clay automatically when Albany slip clay is (Shipped complete, ordered. Sadler clay is river silt from the Hudson River Less Motor) near Albany, N.Y. Many river silts act in a way similar to this slip clay.--F. CARLTON BALL Ideal for school, studio, home use . . . The famous B & I Q Pottery Maker, first in the field, is s+ill first in value and in Is the white gl¢~ze in powder form that is used ./o~" price! Simple operation, rugged construction, with all the dry dusting the s~zme Combustible material such as you describe can be saw- dust or moth flakes or others. These are mixed with the dry clay; or wedged into plastic clay, before the piece is formed. They burn out in the kiln. HoWever, these materi- als do not take the place of an armature. Many ceramics books on pottery and sculpture descrihe different types of armatures. For example, you can use a sand bag and, after the sculpture has become leather-hard, l)uncture the bag to let the sand out. It really is best to build ceramic sculp- ture hollow, such as with heavy coils of clay or with a web-type of inner structure, so the entire piece can be fired.--KEN SMITtl Q ('ouhl you, tell me where 1 c~tn get rhty in pl¢tstic qwLAZk GOLOK5 that h¢~gs which wouhl be suitable for phy.~ic~d ther¢tpy--hand fire on everything from soft body ceramics to e.rereises .for p(tralyzed fingers, ere? hard porcelain china You probably will find plastilene or some similar • SAME RELIABLE (~UALITY as our powder colors used by china painters since 1900 material more helpful to you than clay. Plastilene can be packaged in plastic bags and it will retain its plasticity N E W JEWELRY AND DESSERT PAINTING SETS. where clay would dry out in time.--CM STAFF" 11 jars of liquid color, brushes, palette knife, designs, instructions AND complete matching set of porcelain • Cttn ~ reduction firing be doHe in an electric t,iln jewelry or 4 71/2,, imported china dessert plates. The without injury to the element? How long does one go perfect gift! PER SET $12.95 cdwut producing a redueiug cttmosphere i~ an electric kiln? Largest importers of fine white china. Everything When, and )'or how long, should this reduetiou tetke place? for the china painter. Over 4.000 items! Must one use specific glazes or is any ghzze eM~eneed by reduction? And, is a reduction glr~ze considered more he~lu- Write for free new 1958 catalog ti.ful? Reduction firing cannot be done well in an electric kiln. To reduce, it is necessary to produce smoke and car- (Continued on page 27) ~FBRUARY, 1958 l~ TEACHING TECHNIQUES In her new series o[ articles, Edris Eckhardt draws upon her working with small children, the teacher should wear vast background and teaching experience to bring to CM readers friendly, informal clothes and maintain a friendly. the success[ul potter)' and sculpture techniques which she has informal voice and facial expression. I keep detail to a developed through the )'ears. Beginning this month, Miss Eckhardt explains her philosophy o[ teaching in the ceramic minimum to avoid influencing their choice of subjects. area and the basic materials and equipment needed [or work- With older students, I go into more lengthy discussions ing with clay. Her ideas are applicable to children as young and demonstrations and also research. as [our as well as to octogenarians. Whether you are a teacher, By research, I mean either picture material or other student or hobbyist, we are sure you will en)oy "studying" under this [amous sculptor and teacher. Ed. reference material which is related to the subject. Look- ing at another piece of sculpture always is a good idea. O ME, TEACHING is a most rewarding art experi- I encourage anything that urges people to see and to T ence. The satisfied look on the face of a student grow. The fact that they might copy another pot or is more gratifying to me than winning the top prize in piece of sculpture doesn't concern me. Once a thing is a big art show. But successful teaching isn't easy. You understood thoroughly by seeing or reading, it is impos- may develop some techniques that work beautifully with sible for a person to copy because they put something of one or more groups, only to find that a new class doesn't themselves into what they are doing. The job of the respond to them. This points up a major axiom: Al- teacher is to help hook up the feelings and emotions of ways be alert and learn to know the students as indivi- the individual to what he sees. The big, important things duals as quickly as possible. must be seen first. Although some teachers take a rather firm and force- My methods have quite a flexible age range. I have ful approach with a class, I prefer a more subtle method. used them with children as young as four, and with For example, I do not like to lay down rules and reg- people as old as 80. I think, though, that we have to learn ulations on what good taste is, stress behavior or state to distinguish between the perfection that you expect what will be made in nay class. If a student has been ex- from a finished art-school student or college student, posed to bad taste all his life, you can't hope to wipe it and the expressive, rather rough but very creative, re- out simply by saying, "This is bad and we won't have sults of children. any of that here." That's not teaching; it's dictatorship! At age six, children are highly imaginative. They do There are many ways of getting your ideas across with- not want a ve~, long demonstration. About 10 minutes is out coersion. Teaching is encouraging individual growth, all the}, will sit through before they want to work with understanding and appreciation, rather than just pro- the clay themselves. From ages six through nine, demon- ducing a product. strations have to be short and sweet. I encourage ques- A teacher must work constantly--every class min- tions while I demonstrate; thev create active participa- ute-if he is to make full use of the class time. And he tion all the way. must use every device available (and make up many of For research material, I have pictures either hung his own) to serve as teaching aids. up on the wall or arranged in stacks that the students Ahhough teaching is a deep personal experience can leaf through. I am not too obvious or heavy-handed between student and teacher, there are many generali- about introducing research. Sometimes, in the summer. zations which will hold in most situations. And some we go out to the zoo to look at the animals. While we practices of one teacher can be adapted to other class- are there, we talk about their textures and forms and room situations. the way the}, move. In the winter, we may rely on books It is important to distinguish teaching methods for for our research; or we might visit the art museum to various age levels. The younger the age group, the shorter see how other artists have expressed animals. By other and more simple the demonstration should be. When artists, I mean not only our contemporary artists, but 12 CERAMICS MONTHLY also the Chinese. for example, or the Eskimo. We observe a toe walker. The bear, for example, has an entirely how they carved an animal and try to discovm" what different kind of sit and walk than the horse heeause lhese people were looking for: in other w~wds, to learn the bear walks on his entire foot. whereas the horse walks to see the essentials. ~m one toe. In using pictures, I usually have cplite a file nl Modeling is kepl simph- to the point of crudity at portfolio of them wherever I teach. They are just in a first, as recognition of large forms without detail is stack, and arc "'dog-eared'" from frequent use. My basic to this technique. Keep the basic shape in mind. students don't ask permission to look through the stack. Avoid too much polishing and finishing. A form can They just get up from their seats and leaf through it. lose sponteneity and life by overwork. It can become Sometimes, after I give a demonstration, I see that boring and cluttered. Remember to work for a stron,,, look in a child's eye that says, "i don't know what i simple statement. should do." If a child has a new kitten or puppy oi" some- Our art today leaves a great deal of leeway for thing else he is terribly excited about, he knows im- free expression. Different people see different things mediately what he is going to do. But they are not all about a given subject. At professional levels, for instance, that way. About half of them think. "'Well, gee. what you can think of sculptures which have taken top am I going to do now?" awards where you can barely identify the kind of animal So they leaf through these pictures until, finally. portrayed. You might be able to say it is a grazing animal something hits them. They won't do that particular or, perhaps, just a four-footed creature in the animal picture; but it will give them a spring-board, motivation kingdom. It might be just an impression of an animal. or inspiration (whatever you want to call it) to have an However, the one thing I do stress is this: If you are art experience. My file consists of pictures of works by going to do detail ears, nose, eyes etc. and be quite famous sculptors, pictures of modern things, pictures that accurate, then the entire piece should be accurate all are quite detailed, pictures that are very simple, and the way through, not just in part. The piece must be things that are cute or whimsical (although I shy away consistent throughout in detail and form. However, I from what I call "greeting-card art" because I try to always point out to my students--adults and children encourage better taste and judgment from the very alike that no matter how hard they work, they can't beginning). produce a flesh-and-blood horse. There is no use trying. The file is designed to be used. It should not be Another thing a teacher must know is that each art regarded as a precious thing. The children should not be medium is different and has different properties. You afraid to thumb through it. That is why I have pictures must have a respect for the medium itself. We shouldn't rather than books, because a good book cannot be handled "At age six, children are highly imaginative. They do not want with hands covered with clay. Some of my photos are a very long demonstration. About 10 minutes is all they so gobbed up that now will sit through . . . they want to work with the clay themselves." and then I have to sponge them off. I always try to get good material for expect to do as much detail on a ceramic as we would my file. If I know a sculpture is really bad, it is not in on a drawing. We must stav within the limitations of the group, even if it is a sculpture. I have heads and the material itself. Learn to know and love the plastic animals and people doing things--maybe nice photo- quality of clay. For instance, you may have to sculpture graphs of people at the beach. There might be pictures thin-legged things a little thicker in the legs than they from newspapers, zoo pictures, or photographs of animals actually are in order for them to be good ceramic. Or. that I have taken myself. However, all my material is in order to be good ceramic, it might be necessary for you simple, clear and instructive. to make the legs shorter than they are. That is why, in this I usually try to have a back. side and front view series of demonstrations, I will use very soft clay so you of all animals so my students can get what I call the can learn about the properties of soft clay and its bulk of the creature. For example, a tiger looks like a malleability. I think it is important to stress modeling very huge animal when seen from the side. But, if you projects where the clay must bend, and where the look at it from the back or front, it is a pretty lean student adds to it. The other concept of using clay animal. This must be known before you can make a for sculpture is taking away the clay from solid blocks. tiger, yet you can't see the tiger's leanness from the as in carving. I believe that it is very important- side-view picture. I also try to get a top view of each whether the object is a figure or an animal or a potter> animal, as well as pictures of it lying down o1" moving. dish--to be able to approach it from the modeling, or- And that brings us to the point that anyone. the soft and malleable state, to the leather-hard, carved. child or adult, who wants to do a work of art not only or subtracted state. I find that students divide into two has to know what a thing looks like, but he also must classes. As a rule, men and boys prefer to carve rather know how it differs from any other thing that i~ similar. than model. On the other hand, girls like to model better For instance, what is the difference between the cow and than they like to do carved projects. In other words, the horse? The differences lie in how an animal holds its girls like to use their fingers to push and pull and add head, how it uses its legs, whether it is a foot walker or (Please turn the page) FEBRUARY. 1958 13 wants a lot of help and wants to ask a lot of questions. You get to know whether these questions are necessary o1" whether they are merely attention getters; and you g have to learn how to deal with them. Sometimes I get all the work together. Then we sit in a circle and discuss the interestin-, things about each piece. Such group to the clay; while a man takes a structural attitude discussion teaches a child how to analyse and appreciate toward it almost from the beginning. They are the his own efforts and those of others. builders. To help younger children select a subject, I usually Encourage your students (or yourself) to fearlessly include a number of drawings in my demonstration, l stress what they (or you) see and feel about an object. try to get them to see that any animal prehistoric Learn to respect this right in yourself and others. In animals, bears, apes, horses, foxes, cats, dogs, etc.-- order to tell a story, you might exaggerate by making can evolve from a particular project and working a donkey's ears longer than they really are. I am speak- technique. However, every once in awhile, you will find ing about the language of exaggeration that all artists a little boy or girl who, after you have demonstrated a use. I always mention this to my classes--even to the four-legged standing animal, will make a turtle. This isn't exactly the problem and "In criticizing a child's work, I find the good things about it the technique that is used for a standing animal isn't first because.., most students are as confused about the suitable for a turtle. Never- theless, if he is set on mak- strong points as they are about the weak ones." ing a turtle, I usually help five and six-year-olds. But, of course, they know what him individually to make one. If you ask him, you I'm talking about. Perhaps it is unnecessary to tell them probably will find that he has just acquired a turtle for because, until they are about nine or 10 years old, a pet. children just naturally exaggerate the things that impress Because it is very important for the artist (young them. But, on the other hand, with adults--people in or old) to express the things that interest him at the time. their middle years and even college students--I have to I ne~er try to impose my own interests on my students. work very hard to get them to recognize the importance Respect the individual in an art class, and remember of the language of exaggeration. that we all have uncreative days. It is a thrilling experi- In teaching, it is important that you discover the ence to form with one's own hands an object that personality of each of your students. Children vary a embodies one's ideas and emotional experiences. It is great deal. Some children, if you touch their work to the ultimate in satisfaction to have this self expression change it or criticize it, won't go back to it. They are recognized. through with it. They are offended and they start Another important thing for a clay-working class something new. They consider their work entirely their to have is a room that the students feel is a workshop own result. They are having an experience between the rather than a classroom. By that I mean they must feel clay and themselves and they resent interference. There free to move about. They just can't sit in one seat. They will be other children in the same class that, if you don't might wish to stand up while working instead of sitting come over and say or do something about their work, down all the time. During some phases of their work, will feel neglected and give up. they might want to get down on their knees to look up at In criticizing a child's work, I find the good things it. They should feel free to be able to do it. News- about it first because I have discovered that most papers put across the desk and around the floor will students are as confused about the strong points as they save a great deal of cleaning, and will allow the students are about the weak ones, especially in the beginning stage. to get a little messy and untidy if they need to while So I say--this part is good . . . this is strong . . . this is working fast. sculptural . . . and this has a great deal of feeling to it. At this point, I feel I must mention something Then I slide into---if you want to enhance this feeling, about minimum equipment. I think it should be kept you might simplify it here or strengthen it there. That is as simple and inexpensive as possible. A helpful hint for the kind of positive criticism I like to give. teachers who are over anxious about how much modern And, I watch the child's face. Usually I do it by equipment is necessary for teaching ceramics is this: saying words, such as simplifying. But if a child says, Remember that our primitive ancestors worked with no "Well, I just can't get the ear on. It keeps dropping commercial tools at all. I usually tell my students to bring off;" then I show him how I weld the clay together a dull lead pencil which is very good for engraving and so the ear does not drop off. drawing on clay, a piece of broken hack-saw blade, a nail I get to know the student. In order to do this, I file which is the very best thing for cutting clay (I use prefer to have my groups small--no more than 25. it in my own work), and perhaps a wire-end modeling Small groups also permit the child to get physically close tool which might be just a loop of wire fastened to a to the demonstration and establish a friendly, personal stick by means of a thinner wire wrapped around it. relationship with the teacher. The dependent child Some inexpensive equipment for the workshop 14- CERAMICS MONTHLY should include a cutting wire for carving or cutting clay. cover a table top with canvas if there is room for a This is especially handy for cutting up a big bag of clay permanent place to wedge clay. quickly. It is made by attaching two pieces of half-inch When it comes to more expensive equipment, a dowel to an end of a 12-inch piece of nylon cord, such kiln is necessary if you are going to do the firing. But as fishing leader. The dowels, of course, are used as much satisfactory work is done, particularly at the handles. lower age levels, where children just make the clay Pointed tools arc necessary too, for a variety object. At these ages, they will keep their work for of processes such as incising designs on pottery or doing about a week, and after that they are not too interested sgraffito decorations scratching designs through slip. in the piece. Their interests shift to something else. It Such a tool can be made from a 3/8-inch wooden dowel, is the older child and adult who wishes to preserve about six inches long. with a nail inserted into one end. his work indefinitely. So, for the first three grades, perhaps However, you also can buy a sgraffito tool which can be it is just enough to have the experience of actually mak- stuck in the end of an old-fashioned pen holder. These ing a three-dimensional form without firing it if you are quite inexpensive. An old-fashioned lead pencil also don't have a kiln. But, if you can, fire and glaze by all does a good job. lileans ! Another useful thing is an elephant-ear sponge, or There are so many inexpensive electric kilns on the potter's sponge. This is a flat, thin, fine-grained natural market that surely almost any school could afford such sponge. It is similar in shape to an elephant's ear. I a small kiln. It is worth the expense just for the delight believe in ahvays using a natural sponge since the cellulose vou have of seeing the clay turn into ave W permanent-- sponges usually tear up the clav and wear out ve W perhaps the most permanent material known to man- easilv. I don't think they are worth the money. How- fired clay. ever, you can't beat a moist cotton glove on your work- Turn tables and other special tools and special ing hand for polishing edges and rough spots easily and equipment are not necessaIT. If you want a little turn quickly. table, it can be made easily from a tin can, and you The workshop also must have a wedging board of can turn the can instead of your work. Usually, I ask some kind. I never use plaster for wedging clay because my students to bring a small work board, about five or the plaster, when it gets old, sometimes lodges in the six inches square, or a little larger. They work on these clay and causes considerable trouble. To make a wedging boards which are very useful when the clay is put board. 1 cover a wooden board (a baking or drawing away at the end of the session. These boards should be board) with canvas. This can be moistened if I need treated with either wax or oil to keep them from warp- more water in the clay. If the clav is just right, I use it ing and also to prevent them from drying out the clay. dry. Such a wedging board is inexpensive to make and Some of the new plastic materials, or anything that can be carried easily from place to place. One also can (Continued on page 34) MEET THE AUTHOR Edris Eckhardt, long a contributor to CM, is a well-known Cleveland sculptor and teacher. She has won 26 awards in na- tional shows and other exhibits /or her ceramic and gold-glass sculpture. Her work is represented in the permanent collection~ o[ /ire museums as well as those o[ numerous schools, libraries I and private collectors. She teaches at the Cleveland Institute o[ Art, Cleveland College and Western Reserve University, and also appears [requently on television. In 1955, Miss Eckhardt rediscovered the ancient art o/ making gold glass, a process which had been lost [or more than [i[teen hundred ),ears. She re[ined the process until she wa~ able to produce translucent sculpture in which the color o/ the glass comes through gold or sih'er [oil. Built up o[ 10 or more layers o[ paper-thin sheets o/ glass with intervening layers o[ drawings on thin gold or silver, Miss Eckhardt's pieces are fired many times until the layers [use into a solid between and y4-inch thick. Her pieces are radiant and have a strong three-dimensional e[[ect. She has been invited to allow her three-dimensional gold- glas~ ~culpture at the Brus~el, (Belgium) lt'orld'~ Fair which will be held later this year. In March, Miss Eckhardt has been invited to show 12 pieces o[ gold glass wulpture at the "Religious Art o[ the Wes- tern World" exhibit at the Dallas (Texas) Museum o[ Fine Art~. ~i~D~l~iD~Qo~Q~I~g~i~IlI~IQI~I~I~II~6it~I~ggt~i~IIIIa~ FEBRUARY, 1958 IS ENAMELING TECHNIQUES by KENNETH F. BATES "NAVAJO LADY," is an example ot plique-a-iour enamel on copper screening. Ruby, blue and gold are combined with flux in this 10"x10" framed window picture. Glowing, transparent enamels--suspended without backing in small openings in metal--give the effect of miniature stained-glass windows SKETCH shows detail of swivel-joint mounting, allowing picture to be viewed from bath sides. •'.:?,j:~l~lPlaques at right are suitable far such framing. 16 CERAMICS MONTHLY PLIQUE-A-JOUR (part 2) Last month, Mr. Batea outlined the in place during firing and then re- fected by nitric acid are fastened ~au,ed-out method [or making plique-a- moved when the i~lique-a-jour is cool. in place on the copper with heavv )our. Now he de~cribe~ ieceral additional It is possible to use the wire method gum solution. The cloissons thus ways to incorporate this technique. In pre- also in this wav. formed are filled with enamel in tilt" ;'ious articles on enameling, he recommend- usual wax. After the firings have been ed basic procedures (May 1957) and Copper Screening completed, the copper backing is re- deacribed his technique [or doing cloisonne There is another method for moved by immersing in a dilute solu- (June-July 1957). In [orthcoming articles. plique-a-jour which might be con- tion of nitric acid (about l-part ,14r. Bate~ will discu~ hi~ tech~dque /or sidered as more flexible because it nitric acid to 2-parts water/. Before doing champlece.-Ed. allows for making the windows or immersing the piece, cover all parts openings any size desired. This com- except the copper with asphaltum bines the pierced method with copper varnish. Take the piece from the acid NSTEAD OF CREATING the window screening or copper-wire as soon as the copper is completely I filigree by sawing holes in a piece mesh. dissolved and remove the asphahum of metal, as was discussed in the fore- After enameling the pierced metal with turpentine. The gold wires and going article, it is quite possible and on the front side, counterenamel in the enamel will not show any effects sometimes more practical merely to the usual manner. Place it, counter- from the acid. but we know that lay a network of fine-silver or gold enamel-side down, on a sheet of cop- nitric acid eats copper in a very short cloisonne wire (30-gauge wide by 18- per screening (avoid bronze or steel- time. gauge high) on a sheet of mica. This wire mesh) and fire. The screening The plique-a-jour technique is one network in turn is framed by a single will attach to the enameled surface of the most elaborate of the enameling strip of heavier gauge silver. Concen- and you will have large openings techniques. It has not been developed trated gum tragacanth solution holds backect with small square holes of the to an}" great extent in this country. the wires in place. They also may be screening. Fill the holes in the except possibly in the realm of soldered to the frame first with hard screening with enamel and fire on jewelry. This is due largely to the IT solder for a more secure job. The mica. (You will find the wire mesh limitation of size in regard to ttw enamel can be placed in the openings not too conspicuous when viewed at a pierced holes. However. the larger in exactly the same way as in the short distance, i areas of color obtainable by the cop- pierced method of doing plique-a- per-wire screening method, described jour. Temporary Copper Backing above, offers unlimited possibilities Without the precaution of solder- Still another method of doing for the contempormw." craftsman. Here. ing there is little danger of the wires plique-a-jour is sometimes employed as in other expernnents with old conring apart because they are sur- when a more elaborate form is re- techniques, the field is wide open for rounded with enamel on both sides. quired. First, a shape is made up of the contempora W artist to apply new The "wire" type of plique-a-jour has thin sheet copper. Then wires--and directions and original conceptions of only the disavantage of being slightly these must be of gold. which is not af- design. • less strong than the pierced type. A combination of both techniques, the wire and sawed method, or--small wires held within pierced or sawed- out openings--can be a most success- fid arrangement. Curved Surface It has been assumed that the piece being worked on is a flat shape. Doing a curved surface in the plique- a-jour technique is more involved. A duplicate of the shape, formed or spun of faMv heavv metal, is required. This serves as a mold which fits close- h inside the outer shape. The mold's stu-face may be enameled thinly and have small pieces of mica fired into it: or the mica may be held in place with thick gum solution. (Herbert Maryon, in his book "Metalwork and Enameling," speaks of a metal to which enamel will not stick--namely aluminum-bronze. The inner shell could be made of such a metal and when its support is no longer needed. Ihe work could be removed by lightly tapping the mold. l The pierced shell which is to receive the enamel is placed over the mold prize- and the enameling process proceeds -iour as usual from there. The mold is left FEBRUARY, 1958 17 CELADONS at CONE 04 Lovely colors formerly believed possible only at high temperatures now c an be obtained at cone 04. Here are details and recipes. by TOM SELLERS the body and glazes were fired at the a reducing atmosphere in the kiln. same time. the glaze also had to be In other words, the air in the kiln HE PRESENCE OF IRON in refractor}'. A local feldspathic rock. (containing oxygen, of course) is re- T a glaze, fired under ordinary petunse, rich in iron impurities, was placed with a gas o1" smoke free of (oxidizing) conditions, will produce used in the glaze. oxygen. colors ranging from light yellow, The result was a creamy thick glaze The reduction process used for the through red-brown and brown, to of a soft green color. When it was low-fire celadons is called local reduc- what appears to be black. The color discovered that the iron-bearing clay tion. Developed by Arthur Baggs and varies according to the glaze composi- in the glaze was responsible for this Edgar Littlefield at The Ohio State tion and the amount of colorant in- desirable green color, it was adopted University it involves introducing a troduced. as a necessary part of the glaze for- reducing agent, silicon carbide, inlo When iron is present in its ferrous mula. the glaze, rather than the air in the or reduced state, this range of colors More than 70 varieties of celadon kiln. Local reduction is an easier is extended to include light green, glazes were produced in the Sung method: It gives the potter more yellow-green, blue-green, and dark period. Most were green or bluish- control over his ware: and allows him green. These latter colors constitute green in color, translucently heavv to fire both oxidation and reduction the range of iron glazes known as the due to minute bubbles in tl{e glaze. glazes in tile same kiln load. celadons. The name is derived from and with a soft waxy quality that ap- The o-lazes used here mature at a character, named Celadon, in a 17th pealed to the touch as well as the eve. cone 04. and arc fluid so that car- century French l)lay. He wore a green Celadon glazes generally are con- bon gases formed may escape. The costumc of a hue typical of some of sidered to be available only at high presence, of some lead in the. glaze' the glazes colored by ferrous iron. temperatures. But these colors also appears to be necessary to produce Celadon glazes probably were pro- can be produced at low-fire tempera- the celadon colors. And a long fMng duced first in China. where potters of tures. While they don't have the thick time. ranging from eight hours to as the T'ang dynasty attempted to body and full'waxy characteristics long as 20 hours, seems to produce the translate the feeling of jade into their of their high-fire counterparts, tllcsc best colors. glazes. It wasn't until the end of that glazes still retain the typical resmvvd The cla~ body can b~: either whiu, period, and in the following Sung subtle color and texture of the Chinese or near-white. Or, you can use a red- dynast}', that the best celadons were celadons. firing body covered with a white produced. Since the clay body the In reduction, oxygen is taken away engobe. Tit{' glazes, which range from Chinese used was highly refractory a from the metal oxide in this case. transparent to semi-opaque, iutlsl porcelaneous stoneware and since iron. One way this is done is through (Continued on page 28) 18 CERAMICS MONTHLY .... ~ -? much ado about g~ mosaics by JEANNE SMITH MOSAIC FEVER is spl~eadillg ov make a design which calls for tile. strips, then cut these into smaller just about as fast as tne flu. of specific shapes. pieces• but it's lots more fun to catch. Articles The process for making the tiles i~ Brushing ~laze on hundreds of tiny made from mosaic tiles are not only not difficult, and you will find thai tiles is tedious, and spraying is virtual- beautiful, but they also are strong, putting them together to form a use- lv impossible, so dipping the tiles is durable, and resistant to moisture and ful and colorful object is equally advisable. The tiles should be thor- stains• Design-wise, the possibilities are simple. Just follow the step-by-step oughly dry and preferably bisque endless since a sin-le,-'2" design inav be instructions below and you, too, will fired. You will find that the glaze interpreted in a variety of ways. These soon find you have mosaic fever. will build u 1) more quickly on soft small bits of colored tile also lend MAKING THE TILES bisque than on green ware. themselves to hundreds of ideas, rang- Be sure to test the glazes you plan ing from tiny insets in clay or wood. Roll out a slab of clay and allow to use. Textured glazes especially to table tops and huge murals. it to reach the advanced leather-hard sometimes take on an entirely differ- The tiles themselves are available stage. Then use a ruler or other ent effect when fired on a flat piece commercially from most local ceramic straight edge to guide you as you cut instead of on the vertical sides of supply sheiks in a wide variety of the tiles. If the clay is too soft, you vases and bowls. colors and color combinations. And, will get distorted pieces with rough With practice you will be able to of course: yotl call lnake VOLIF own edges as you pull the knife through. dip the tiles so onh" the top surface This procedure is recommended if If you wish to make a variety of is glazed, and the sides remain clean. you wish to duplicate a special color angular shapes, first cut a series of Should glaze run down the sides. wipe it off imtnediately. After the tiles are dipped in glaze. set them on a thin slab of fire-brick immediately. These slabs, filled with nlosai('s, can then b(' loaded in the kiln without further handling of the tinv tiles. Be sure to set the tiles far enough (about ¼-inchl apart, so they will not touch. MOSAIC TABLES, llke ASSEMBLING THE TABLE this one are strong, dur- able, moisture and stain Using a design-as-you-go approach, resistant ~ and beaufitul. building from the outside in is the And the design possibili- best method. It assures a straight out- ties are exciting and limit- side ed0¢'. Watch the spacing between less. (Continued on page 28) FEBRUARY, 1958 19 CENTERPIECES the by BETSE LEWIS LTHOUGH not a piece de resistance itself, this The completed frog may be left as bisque, or it can A ceramic project is a boon because of its "hidden be glazed. Use vour own judgment. Since this type talents." It's designed especially for frustrated centerpiece frog seldom shows, decorative effect is not required. arrangers--those people who struggle and juggle, striving The second basic type of frog is designed for larger, to combine flowers and candles successfully. deeper bowls. It is a more versatile holder than the first. The holders shown on these pages are merely basic since vou can change the number of candles, their posi- ideas, one allowing for more flexibility than the other. tions and heights. Generally, this type of holder is too As you work, you will discover many variations and ways big to make from a solid piece of clay. Its domed top and to make this general idea fit into your own plans. But flat bottom suggest a hollow piece instead. The bottom here are two to get you started. of this holder is unique. It has "matching holes," lined up The first is a simple, rather typical-type "frog," with the holes in the dome, which hold the bottom ends except that it holds both candles and flowers. It works of the stems securely so the flowers stay put. best in the smaller, more shallow type, containers. Al- The dome can be made in any number of ways. though the photograph is self explanatory, keep this in The easiest is to use a forming aid or a hump mold of mind: The thinner the clay walls, the less clay in the some sort. Here are a few ideas--a light bulb, orange. center of the piece, the fewer the drying and firing grapefruit, or any round object--depending on size. problems. So work out a procedure aimed at eliminating Incidentally, the waxy surface of the fruit aids in releasing thick, heavy masses of clay. the clay. You also can use the rounded insides of shapes. You may wish to make a "pinch pot" for your basic such as salad bowls, for forming the dome. shape, but remember to leave extra clay in the bottom to Relatively thick walls make grogged clay desirable support the flowers. When the piece becomes hard in this type of frog. enough to hold its shape, invert it and put in the holes. The "sticks" for the candles have no holes. The The position and angle of the holes will determine the candles are attached to them with melted wax. This position of the flowers in the final arrangement, so keep gives a decided advantage since it enables you to use this in mind when making the holes. Holes can be made candles of any diameter--from short, stubby candles to by inserting a stick in the clay and twisting it: or if the long, slender tapers--in your arrangements. For even clay is too hard for this. "drill" the holes with a thin- more versatility, make several sets of sticks of different bladed knife. The holes should be deep enough to lend lengths, and different colors. support for the stems of the flowers. Then make two or You probably will want to glaze this type of holder more large holes for the candles. since it will be visable in the final floral arrangement. You could, of course, work with a solid mass of clay Now that you see how it's done, you probably have too. When the piece is leather hard, carve out the under- dozens of your own ideas. So get out your flower con- side; then make holes for the flowers and candles. When tainers--all shapes, sizes, and colors--and plan various using a solid mass, you may wish to add grog to the clay combination frogs for them. When the first flowers to cut down on drying and firing hazards. appear this spring, you'll be read)'. • THIS TYPE OF FROG works best in smaller, more sha Jaw containers. To cut down on drying and firing problems, try to eliminate thick, heavy masses of clay. The photograph above shows how fhis type frog is made. 20 CERAMICS MONTHLY way Frustrated centerpiece arrangers will welcome this idea for a ceramic "frog" designed to hold both flowers and candles A MORE VERSATILE FROG, this type is designed for larger, deeper bowls. The number of candles, their positions and heights can be changed. Notice, in the photo at far left, haw the bottom section of the holder has "matching holes" lined up with the holes in the dome. These hold the flowers securely so they stay where they are placed. The picture opposite shows haw the candlehalders are held in position. FEBRUARY, 1958 21 The~ UNDERGLAZE Series demonstrated by MARC BI:::LLAIRE Y THREE COLORS--brown, light ]nd black--were used in unusual repeat design. The background left white. A matt glaze was on the finished piece. ,fully dividing the shape to be rated into equal sections ,~ key to successful repeat motifs. DECORATE with UNDERGLAZES A Repeat Motif REPEAT DESIGNS always are pop- sections. Using the short vertical lines at the base of the ular, and this month Marc Bellaire piece for guides, sketch in the design lightly with a blunt demonstrates a rather unique repeat pencil. Be careful not to press too heavily on the pencil motif xxhicl~ breaks away from the usual geometric pat- since you will gouge the green ware, and the lines will terns ancl "'borders" usually associated with this type of show up in the finished piece. design. Only three colors were used on this piece--brown. The demonstration piece is a jardiniere, or "pot light tan and black. Touches of sgraffito were used to jacket," which is designed to fit over an ordinary flower decorate the clothing of the figures, and the background pot. It serves two functions since it not only protects the was left white. First the heads of the figures were brush- surface on which it stands, but it also plays an important ed on, using brown and light tan undergla×es alternateh. role in "dressing up" an otherwise plain flower pot. The clothing was put in next with black underglaze, as were the hats and hair. Black also was used to band the It is important when executing a repeat design that bottom and top of the jardiniere to help contain the you, plan the number of "repeats" beforehand, especially design within the shape. Then the inside of the jardiniere in an alternating motif like this one. Otherwise, you was sponged with black underglaze. Facial details were might find, on COml~h'ting the design, that you have two put in with black and, as a finishing touch, the sgralt'ito identical figures adjacent to each other. To prevent this. tool was used to spark up the clothing. it is best to divide the shape in much the same manner as you would cut a pie. First, mark the bottom of the The piece then was bisque fired and later glazed jardiniere with pencil, then extend the lines so they will with a matt glaze and retired. For step-by-step in- be visible at the base of the pot. Now, instead of having structions, follow the how-to-do-it photographs on the one massive surface to decorate, you have eight smaller facing page. • 22 CERAMICS MONTHLY ~,,~.~ ~ ~ ~!~k ~ ~ ~:~::!:. ~ : .: : I. Divide the bottom of the green 2. Next, sketch in the design lightly 3. With brown and light tan under- ware shape into equal parts. Then ex- with pencil, using the lines for guides glaze, put in the oval-shaped heads, tend the lines around the base. in placing the figures. alternating the colors. 4. Black underglaze is used for cloth- 5. Hats and hair are put in with 6. The base of the pot is banded in ing. Notice how the guide lines de- black underglaze. Hats go on the black. A black border on top also termine where figures are placed. brown heads, hair on the tan ones. helps contain the design in the shape. i i In this series o[ articles, no specific brand of under.elaze is either ~u~e.~ted or implied. The national brands are highly competitiz'c in quality and price. Mr. Bellaire'., adz'ice is to use those brand.~ you [.eel ~i~'e you the best results. 7. A sponge, dipped in black under- 8. Black facial details and sgraffito glaze, is used to cover the inside of decorations on the clothing add the the jardiniere. finishing touches to the piece. FEBRUARY, 1958 23 Strictly Stoneware . . . stoneware clay bodies: part three by F. CARLTON BALL Continuing his series (:lay Body F pottery plants, or old abandoned clay from where he le/t off per cent mines so it is quite easy for a potter last month, Mr. Ball Flint 1(I to locate a good source of supply. gives some suggested reci- Grog 15 The clays available to a potter pes [or stoneware clay Feldspar 10 commercially number in the hund- bodies for the Middle A.P. Green Flint Fire Clay 10 reds. I am acquainted with only a West and Eastern sections A.P. Green Mortar Mix 40 few of the most easily available ones. o[ the country. He also Kentucky Ball Clay 15 I wish I could mention more kinds lists the sources o[ supply of clay. [or some o/ the materials It would be possible to use from 1 Here are some stoneware bodies mentioned in the reci- to 5% Bentonite in the clay. Bentonite designed for the Eastern United pes. Ne~t m~,dh, Mr. Ball will continue increases the plasticity of a clay a States: his current series and his column will [ea- great deal. It also increases shrinkage ture recipes [or clay bodies designed [or and warping and is rather difficult Clay Body #1 the Pacific Northwest.--Ed. to mix into a body. It should be per cent screened into other clays, dry, before Perine Stoneware Clay 40 If a potter wants a body rather fine it is moistened with water. XX Sagger Clay 30 in texture, but one that would throw There are some natural stoneware English Ball Clay 8 extremely better than either, a good clays that are excellent as they are. Flint 10 plastic fire clay or a ball clay would They can be improved upon, of Feldspar 12 be his starting point. course, by adding some other materi- Some suggested mixtures for the als. For the Middle Western States, Clay Body #2 Middle West: the stoneware clay known as "Mon- per cent mouth Clay" is excellent for cone 6 Jordan Clay 20 Clay Body A to 11 firing. This clay, also called Kentucky Ball Clay 24 Dalton Clay (Red) 10 per cent Wentko Clay, comes from the West- No. American Fire Clay 14 Monmouth Clay 40 ern Stoneware Co., Monmouth, Illi- Flint 16 XX Sagger Clay 50 nois. Grog 16 Flint lO Another excellent stoneware clay, very much like the Monmouth clay, Clay Body #3 Clay Body B is Buff Stoneware Clay from the American Art Clay Co., Indianapolis, per cent per cent Jordan Clay 40 Monmouth Clay Indiana. 30 Kentucky Ball Clay 15 XX Sagger Clay 30 Further east, the buff stoneware No. American Fire Clay 25 Flint 15 clay similar to the two just mentioned Flint 10 E.P.K. Clay 25 is Jordan clay. This is an old reliable Feldspar 10 stoneware clay of excellent quality. Clay Body C In the South, a very good light Clay Body #4 per cent buff stoneware clay, moist or dry, per cent Monmouth Clay 40 now is available. Called St. Hedwig Jordan Clay 20 Flint 10 Stoneware Modeling Clay, it is avail- Kentucky Ball Clay 5 Cedar Heights Red Clay 15 able from Hood Warehouse Co. San Dalton Clay (Red) 30 Grog 15 Antonio, Texas. This is the clay used No. American Fire Clay 20 Feldspar 5 by the great Texas potter, Harding Flint 15 A.P. Green Flint Fire Clay 15 Black. Grog 10 The A.P. Green fire clay that is Clay Body D used as a mortar mix is available in Clay Body #5 per cent many building supply stores. It is a per cent Monmouth Clay 35 good clay upon which to build a Perine Stoneware Clay 40 Flint 10 stoneware body. This clay is easily Kentucky Ball Clay 15 E.P.K. Clay 10 available to Midwestern a.nd Western No. American Fire Clay 25 Grog 15 potters. Flint 15 Feldspar 10 The Lincoln Fire Clay, "'Green Feldspar 5 A.P. Green Flint Fire Clay 20 Stripe," is a good California plastic fire clay mined by Gladding McBean Clay Body #6 Clay Body E Co., Los Angeles, Calif. It also is per cent per cent used as a mortar mix and is easily Jordan Clay 20 Flint 15 available in building supply stores in Kentucky Ball Clay 15 Grog 15 the Western and Northwestern United Dalton Clay (Red) 90 A.P. Green Flint Fire Clay 20 States. No. American Fire Clay 30 Flint 1.5 A.P. Green Mortar Mix 10 The Southeastern part of the cottn- Kentucky Ball Clay 40 try has many clay mines, brick and (To be continued) 24 CERAMICS MONTHLY Three potters subiect clay to stresses of sharply changing form and demands of powerful dimension in a New age of EXPERIMENT by JERRY ROTHMAN I N THE YEAR 1958, we live in an age of expanding research and experiment into heretofore unknown reahns. In arts like painting and sculpture the search and experiment has been in the direction of new materials and techniques and much more important in the direc- tion of more powerful self-communication. Why is this intense drive for self-expression not prevalent in that branch of the arts designated as the crafts? In this country manv of the crafts including ceramics are guihy of ancestor worship. Tradition and dexterity have become ends in themselves. That this need not be so was evident at the Ferus Gallery in Los Angeles last summer where three potters, John Mason, Jerry Rothman and Paul Soldner demonstrated that the traditions of ceramics can be the basis of new forms that relate to the world in which we live. Their handling of clay is force- ful and direct. Strong feeling is expressed through hands which subject the clay to stresses of sharply changing form and the demands of powerful dimensions. Brush work is bold and vigorous, yet it is an integral part of the sculptural form. TREE-LIKE shapes on metal t'Continued on page 32) rods by Jerry Rothrnan. END POTS by Paul Soldner; center pot by John Mason: others by Jerry Rothman. i FEBRUARY, 1958 ?fl its and sculpture included in media. Jury, prizes, l?ee: $5. Entry cards and IF SPUTNIKAND work due April 25-26. For details, write Edith Brandenberg, chairman, Art League of Long Island. Inc., 44-21 HUTTNIK GET YOUR Douglaston Pkwy., Douglaston. L. I. NEW YORK, SYRACUSE Send show announcements early~WHERE March 15-April 6 GOATNIK... RELAX TO SHOW: three months ahead of entry The 6th Regional Art Exhibit at the date: WHERE TO GO: at least six weeks Syracuse Museum of Fine Arts. Spon- WITH A HOBBY before opening. sored by the museum, the exhibit is open to artists residing within a 90-mile radius Get all supplies for: WHERE TO SHOW of Syracuse. Sculpture and ('rafts are in- "knational cmnpetitirm cluded in the media. Entry cards and CERAMICS work are due in February. Contact John CONNECTICIJT~ NORWICII Rutter. Syracuse Museum. 4/)7 .lames COPPER ENAMELING or March 9-23 St.. Syracuse 3. The 15th Annual Exhibit for Connecti- "~VASH ING'I'ON~ SEATTLE MOSAICS by TYLART cut artists at the Converse Art Gallery. March 9-April 9 Sculpture included in media. Jury, Craftsmen of Washington, Oregon, Mon- prizes. Fee: $3. Work due March 1-2. tana, Idaho, British Columbia and Alas- at For additional information, contact Jos- ka are eligible for the Sixth Annual eph P. Gualtieri, 120 Platt Ave., Nor- Northwest Craftsmen's Exhibition to be wich. held at the Henry Gallery, University FLORIDA, CORAL GABLES of Washington. Separate juries will s..... select entries for exhibition and award March 20-April 20 .prizes in four classes, including ceram- (the house of glazes ~"Sixth Annual Miami National Ceramic ics, ceramic sculpture, enamels and the usual and unusual) Exhibition," sponsored by the Ceramic mosaics. Local work due February 7-8: League of Miami, at the Joe and Emil)" out-of-town work, February 8. Detailed 8744 W. McNichols, Detroit 21, Mich. Lowe Art Gallery, University of Miami, Phone UNiversity 2-9222 rules and entry blanks available from Coral Gables. Fee: $3. Deadline: Febru- the Henry Gallery, University of Wasb- Manufacturers of: ary 24. For further information and entry ington. Seattle 5. blanks, write to the Lowe Gallery. Select- VELVA-PLY ~ the best ceramic ed pieces will be circulated by the Smith- glaze. sonian Institute. WHERE TO GO SWISH ~ the non-smoking binder for copper enameling that elimi- KANSASj WICHITA FLORIDA, PENSACOLA nates all pre-cleaning. April 12-May 19 January 5-February t-> Write Dept. CM-2 for prices and list ~r"Thirteenth Decorative Arts-Ceramic "Italian Arts and Crafts," a Smithsonian of other products. Exhibition" of the Wichita Art Associa- Institution Traveling Exhibition, at the tion. Open to all American craftsmen Pensacola Art Center. in ceramics, ceramic sculpture, enamel, KANSAS, TOPFKA and mosaics as well as textiles, silver- smithing, jewelry and metalry, wood February 2-23 sculpture, garden sculpture and hand "American Craftsmen, 1957/' circulated by the Smithsonian Institution Traveling Whether you're an wrought glass. $2,000 in cash prizes, purchase and special awards. Jury, $3 Exhibition Service, at the Mulvane Art amateur or an ex- entrance fee. For details, contact Maude Center. SUBSCRIPTION pert you'll find CM G. Sehollenberger, Wichita Art Associa- OHIO, YELLOW SPRINGS tion, 401 North Belmont Ave. to be a valuable through February 9 LOUISIANA, NEW ORLEANS "Midwest Designer-Craftsmen," at the ORDER source for ideas and March 9-30 Kettering Library of Antioch College. A information on pot- The 57th Annual Spring Competition Smithsonian Institution Traveling Ex- hibition. tery and enamels. for members of the Art Association of FORM New Orleans at the Isaac Delgado Mu- PENNSYLVANIA~ PHILADELPHIA Order your own per- seum of Art. Sculpture included in February 6-March 2 sonal copies now!! media. Fee: $5 membership. Jury, cash An exhibition of the work of three con- prizes. Work due February 20. For de- temporary Chinese potters at the Phila- tails, write to the museum, Lelong Ave., delphia Art Alliance, 251 South 18th St. City Park, New Orleans 19. PENNSYLVANIA~ PHILADELPHIA .~AS SACHU SETTS~ SPRINGFIELD March 6-30 SEND TODAY Vlarch 9-April 6 An exhibition of enamels by Oppi Un- CERAMICS ~The 39th Annual Exhibit of the tracht, Karl Drerup. Doris Hall. and Ceramics Monthly MONTHLY Springfield Art League at the George Kalman Kubinyi at the Philadelphia Art 417S N. High St. Walter Vincent Smith Art Museum. Alliance, 251 South 18th St. MAGAZINE Open to all American artists, media in- Columbus 14, Ohio cludes sculpture. Jury, prizes. Fee: $4. TENNESSEE, CHATTANOOGA Entry cards and work due February 26. February 23-March 16 For additional details, write Harriet "Tweh,e Scandinavian Designers," pre- Richard, 109 Caseland St., Springfield. sented in cooperation with the Smith- Name MASSACHUSETTS, SPRINGFIELD sonian Institution Traveling Exhibition Service, at the George Thomas Hunter March 16-April 13 Gallery of Art. Address "kNational Exhibition of the Academic Artists Association at the Springfield TENNESSEE, KNOXVILLE City Museum of Fine Arts. All living tradi- March 9-27 tional artists eligible. Sculpture included "Italian Arts and Crafts," circulated by Zn. State in media. Jury, prizes. Fee: $4. Entry the Smithsonian Institution Traveling cards and work due March 4. Details Exhibition Service, at the University of obtainable from Mrs. Mary L. Keefe. Tennessee. [] 1 yr. $5 [] 2 yrs. $9 [] 3 yrs. $12 75 Berkshire St., Indian Orchard, Mass. TEXAS, ABILENE Canada and Pan America add 50e per year for postage and ser- NEW YORK, DOUGLASTON February 23-March 16 vice. Foreign add $1.00 per year. May 17-31 "Midwest Designer-Craftsmen," a Smith- [] Remittance enclosed [] Please bill me "k'l;he 28th Annual Spring Exhibition of sonian Institution Traveling Exhibition, the Art League of Long Island. Ceram- at the Abilene Fine Arts Museum. 26 CERAMICS MONTHLY • . Q uestlons (Continued/tom page 11) boa so some material (such as asphaltum) must be burned in the kiln. The smallest period of time that this smoke must be present is between cones 3 and 5. If there is enough smoke to be effective, the soot or carbon builds up a layer on the inside of the kiln. This carbon is a conductor of electricity so it sets up a short between the elements. The elements will burn out and burn a small hole partially into the face of the refractory brick. Small quantities of smoke can be used in an electric m' tASTER POTTER'S i~(:,!ii!ii kiln for the development of lustres. Exclusive fully enclosed, safe design -- no exposed mechanism i:.i:i::!!i::::i::i! Perhaps glazes are enhanced by a reduction atmos- phere. I feel that a reduction atmosphere enhances the operation . . . ease of control m the BIG, all,steel precision built MASTER POTTER'S WHEEL enables you to originate beautiful, dis- i::::(i:~iiiiiii quality of the clay, and the glazes appear better over clay tinctive pottery excelling anything you've ever done before. which is fired in reduction. It depends upon what you want Massive steel construction completely encloses mechanism to exclude clay :::::::::::::::::::::::::: and moist ...... p ...... fety and provides vibration-free !~i!iiii::iii:~::!i:!!~!.i~i and what you think is beautiful. This is the same as asking include: pro,lubricated bronze bearings for quiet, long service, con- whether I think earthenware or stoneware is superior. venicnt arm rests, adjustable wedging wire, large 18" throwing table Each has its inherent qualities; each can be beautiful. with plenty of working space and a removable water cup. 10" throwing head has joggles for easy centering, underside reverses for casting ...... It depends upon what your idea of beauty is and it depends plasterYou have bats. complete hand freedom at all times . . . smooth instant iilil upon what your objective is. change of speed from 30 to 150 rpm is controlled by a foot pedal. A glaze cannot be beautiful by itself. When a good Easy to use even for handicapped persons. Use any 1/4 HP motor. Standard V4 HP motor $16.95 ,.,,-hen purchased w th Master Potter's glaze is put on the right clay, shaped correctly for the Wheel. function of the piece, and the right type of clay and glaze Floor Model. Item 47b, Wt. 90 lbs. Lists at ~::ili:~iiiiiii~ $175.00--Factory Price ...... $94.50 i!ilii :.iiii!iii!ii~i is used (the right color, thickness, finish, etc.); the more Bench Model. Item 47a, Wt. 45 lbs. Lists at '~!ii~::~!i~ perfect the balance of elements, the more beautiful the $125.O0----Factory Price ...... -~:!!i!i::~ finished piece will be. It can stand on its own merits, and 10 DAY MONEY BACK GUARANTEE it won't matter whether it was fired in reduction, low fire or high fire. 4ASTER MECHANIC Mfg. Co. $69.95 If you wish to fire glazes in a reduction atmosphere, Dept. Y-28 Burlington, Wis. then feldspathic glazes are best. I know of only four or five of these glazes that fire as low as cone 5. It's best to fire to cone 7 for a reduction atmosphere, and feldspathic glazes firing to cone 7, 8, 9 or 10 will work well. Glazes with a high lead content will not work well.--F. CARL- QUESTIONS TON BALL for the Q One of the questions in the August, 1957 issue stated that findings were being torn off the clapt body, taking the body with them, instead of the glue failing. Thi.~ sounds TEACHER like a fantastic glue. Do you know its nan~e? The glue used, according to the user (from Toledo), • DO THE CERAMIC COLORS YOU was All Purpose Adhesive--Jewelry Adhesive. This was USE OFFER STUDENT COMPLETION obtained from Bergen Arts and Crafts, 300 S.W. 17th Ave., OF EVERY CERAMIC PROJECT? Miami, Fla.--CM STAFF • DO THEY INCLUDE "ART POTTER" GLAZES WHICH PROVIDE PROFES- SIONAL EFFECTS? Q What colorant is available to darken a stoneware slip to eithe.r gray or light brown? How much of it should • DO THEY OFFER COLOR HARMONY, CONSISTENCY AND WIDE ONE FIRE I use? Am I right in saying that Barnazrd, Dalton, iron RANGE? oxide and manganese are out because they are of n~ineral extraction (or contain iron) which would destroy the de- IF NOT, then write to us (on school or offi- floccnlant quality of sodium silicate or other deflocculants? cial letterhead) for complete information on Ceramichrome's prepared liquid ceramic Any of the materials you mentioned will be satisfac- underglazes and glazes that offer the above qualities and morel tory for darkening a stoneware clay. None of them will destroy the deflocculant. Excess iron may cause a slip to gel, although you wouldn't be adding enough as a color- • @ ant to create any problem.--KEN SMITH All subscriber inquiries are given individual attention at CM; and, CERAMICHROME LABORATORIES out of the many received, those of general interest are selected 2111 W. Slauson Los Angeles 47, Calif. for answer in this column. Direct your inquiries to the Questions Editor; please enclose a stamped sell-addressed envelope. FEBRUARY, 1958 27 Celadons Glaze C-4E--Dull green, senti- (Continued [rom page 18) opaque, slightly mottled Ceramic per cent Materials and Equipment have a colorless background to em- Frit: Ferro 3134 or SPECIAL PREPARED BODIES phasize the celadon colors. Hommel 242 ...... 40.6 Our business has been expanded to in- Frit: Ferro 3396 or clude all types of clay bodies--varied col- For best results in these glazes, the ors for slip-casting, throwing and sculpture. colorant, reducing agent and bone Hommel 648 ...... 9.4 Cones 06 to 8 (art ware and sJoneware). ash (which also contributes to the Kaolin ...... 31.3 Write ior special clay sheet. color and opacity) are milled together Flint ...... 18.7 OUR AIM IS QUALITY wet in a ball mill for several hours JACK D. WOLFE CO., INC. and then dried. (The mix also can be 100.0 62 Horatio St. N.Y.C., N.Y. hand ground with a mortar and Reduction Mix ...... 3.3 (WA 4-6019) pestle, but the results are not as fine Wholesale and Retail as by the longer method.) This mix- Glaze C-8--Opaque light blue, ture, which I refer to as reduction striations ot glossy green mix, is added to the glaze batch and per cent SEELEY'S CERAMIC SERVICE the entire mixture is screened. The Frit: Ferro 3134 or Let us help you with your ceramic needs. glaze is applied heavily to bisque pots. We have a complete line of school supplies O. Hommel 242 .... 57.07 and equipment: slips, clays, colors, kilns, For convenience, a larger batch of Frit: Ferro 3396 or wheels, tools, brushes, sprayers, pens, and the reduction mix can be milled in books. Free catalogues to schools and ce- O. Hommel 648 .... 9.4 ramic teachers: Ceramic-Molds Enameling'. advance, then dried and saved for use Kaolin ...... 25.35 7 ELM STREET, ONEONTA, NEW YORK at any time. The reduction mix has Flint ...... 13.83 the following recipe: Reduction Mix 100.00 ART-CRAFTS SUPPLIES, INC. per cent Reduction Mix ...... 3.3 Distributor for Silicon carbide (very fine grit)* 9.1 Paragon--Duncan--Drakenteld Ferro-ferric oxide (Fe304) .... 45.5 Craffool--Bergen Brush--Hotpack Kilns Glaze 1-Zn--Soft olive green Perma-stain--Bee Basch and Lauer Molds Bone ash ...... 45.4 per cent General Ceramic Supplies *The silicon carbide used should be of White Lead ...... 5.9 180 NW. 62nd St. Miami, Florida fine grain size. That designated as Frit: Ferro 3191 or FFF is sufficiently fine. It is sold O. Hommel 542 ...... 49.5 in hardware stores as an abrasive Whiting ...... 9 powder. Zinc oxide ...... 4.7 The glaze recipes below mature at Kaolin ...... 25.5 | | cone 04. The resulting colors are Flint ...... 13.5 based on an eight-hour firing schedule L II P l°wne rsj in an electric kiln. For the clay, it is 100.0 suggested you try any kaolin or china Reduction Mix .... 3.3 ...... , ..... i IL r clay. The glazes should be applied ~Yo..... oke extra dolJors by sel'in'~g quite heavily. VatTing effects may be obtained by using lighter and heavier coats of the I single copies of CERAMICS MONTHLY Glaze C-3 Soft green over glaze, by using one celadon glaze over t and taking subscriptions on a commission. striations of opalescent blue baals. WRITE to: Circulation Dept. another (all combinations are good), L Ceramics Monthly per cent by varying the type of kiln (gas or 4175 N. High St.. Columbus, Ohio~ Frit: Ferro 3134 or electric), the firing time or the ~. " " "' ~r [___ O. Hommel 242 ...... 49.57 amount of heat. Many of the decora- Frit: Ferro 3396 or tion techniques work very well with O. Hommel 648 ..... 11.25 MOLDS ONLY the celadon glazes. Kaolin ...... 25.35 You may wish to prepare a batch New Retail Price List & Flint ...... 13.83 of the reduction mix to try with the Catalog 50c. New Molds glazes you now are using, to see PIEPER POTTERY 100.0 whether or not they will make celadon Reduction Mix ...... 3.3 324 Passaic Ave., West Caldwell, N.J. glazes. • Mosaics mastic on the surface of the table In FLORIDA it's is the first step. Marine plywood, SUNNY'S CUSTOM CERAMICS (Continued [rom page 19) Manufacturer's Representative for about 5~" thick, generally is consider- CERAMICHROME PRODUCTS the tiles. Try to keep it uniform. ed best for the base. It is particularly Dealer Inquiries Invited Don't be too generous with the space, durable, especially if the table is to Complete line of ceramic supplies or not generous enough. If you are, be used outdoors. If you are apply- Wholesale-Retail. Air Conditioned Studio 4403-5 N.W. 7th Ave. Miami, Fla. you'll have a space problem when ing mosaics to an old or marred table, PL 4-5401 the final pieces are set in. be sure to make it moisture resistant To avoid difficulties, it is wise to first by applying two coats of water sketch the exact size and shape of proofing. NORWEST NOVELTY your table top on paper. Next, set The amount of surface you cover 32480 NORTHWESTERN HWY. with mastic depends upon how quick- FARMINGTON, MICH. in the tiles. Then you can work out MA. 6-6003 color arrangements, spacing, and ly you can work, and how fast the Distributor for Re-Ward Products make sure you have enough tiles to mastic sets. A rather slow-setting mas- tic, such as a four-hour type ceramic Open Sunday--Closed on Monday complete the job. Spreading a level application of (Continued on page 36) 28 CERAMICS MONTHLY ... (CoT~tinued Iron7 page 9) leaves. Slip one hand under the oilcloth and the clay pieces peel off easily. CERAMIC HOBBYISTS from all areas are If you use white clay, a dark green underglaze on the promised an EXCITING EXPERIENCE, underside of the leaves eliminates the need for glazing when 85 CERAMIC EXPERTS from many there, making stilting unnecessary and resulting in less states demonstrate the very newest tech- breakage of leaves. niques from 115 exhibit booths reserved by When veining leaves in wet clay, a sharp-pointed tool cuts the clay leaving" sharp crumbly edges which weaken the nation's leading Manufacturers, in the SIXTH ANNUAL EASTERN CERAMIC HOBBY SHOW OF 1958, in Asbury Park, N. J., from May 8-11. LIVE DEMONSTRATIONS will be conduc- the leaves and cause a sharp edge after glazing. To elimi- ted in the exhibit booths, and the latest pro- nate these faults, try a sgraffito tool used upside down, and ducts and materials will be featured on dis- drag it along the veins. It will produce a good dent without any raw edges. play. SPECIAL CLASSES for the HOB- Transparent colored glazes are not heavy-looking and BYIST will be conducted by RENOWNED produce beautiful life-like flowers. Green rutile glaze on TEACHERS by advanced reservation only. leaves and pale-pink transparent glaze on roses are a good THE AMATEUR HOBBYIST COMPETI- combination. Green transparent glaze settles in veins, TIVE EXHIBIT will be conducted by the giving a nice shaded effect on leaves. --Mrs. E. Ql~il/an, Anacortes, Wash. Ceramic Leagues for HOBBYISTS to test their skill. HOBBYISTS--enter at least For a Golden Effect one piece--an award may be yours'. Many enamelists who have used silver foil also desire to use gold foil which, in addition to being more expensive, COURTESY DISCOUNT TICKETS, allowing is not too easily found. I have found that tea-rose-pink enamel, over silver a 70c admission, will be available through foil gives a golden effect. This is especially attractive if a Exhibitors or League Members; and SPE- black background coat is used. The silver foil design is CIAL FOUR-DA Y PASSES will be issued at fired in, then the transparent tea-rose-pink enamel is used reduced rates at the box office. SHOW as the final coat. HOURS will be from 1 PM to 9 PM every --Peg Townsend, T~icso~, A~'iz. day. Ample parking space and a wide vari- Center Finder ety of Motel and Hotel accommodations are Here is a gadget that has been quite helpful in my available close by at reasonable rates. classes. Take two metal strips between six and nine inches long and 5~-inch wide, and rivet them together at the exact Send for information. HOBBYISTS are center. This device, when opened to form a cross, helps me urged to PLAN NOW TO ATTEND. Take to find the exact center of lids, etc. I have found this advantage of this ONCE A YEAR OPPOR- TUNITY! Take home some NEW and RE- FRESHING IDEAS! DEALERS AND STUDIO OWNERS will be able to contact most leading Manufacturers especially useful when my students do not make perfectly at the show, and also will be able to discuss round lids or bowls. It also is collapsable and can be easily business under private, favorable circum- stored with other tools. stances. It is anticipated that a record- --Anita Nel.~on, New York, N.Y. breaking number of new Ceramic Products Mosaic Tile Press Mold and Materials, as well as many Ceramic Spe- I find one of the most tedious parts of making mosaic cialties will be revealed at this show for the tiles is marking off the tiny squares in the clay. I have first time, since the Exhibitor List composes solved this problem for myself, and think others might the most comprehensive representation of also benefit from this idea. prominent Manufacturers. On a damp piece of heavy cloth (sheeting), I roll out a ball of clay to a rectangle about 9"x12"x5/16." I mark this off very carefully in %" squares, using a blunt tool FOR EXHIBIT SPACE RESERVATIONS CONTACT so smooth lines are formed. After an hour, when the body is a little stiffer, I retrace all the lines to a depth of %." Next, after making a dam completely around the form, I pour plaster into it (about 1" deep). When the form is (Continued on page 31) FEBRUARY, 1958 29 people, places & things AMONG OUR AUTHORS: ly, too few pieces of art today reflect the conviction, individuality and in- tegrity of the dedicated artist. There is too little tough, personal evaluation. Art, like politics, can also grow fat and soft. There are too few examples of Send f zealous investigation and too little evi- dence of originality. There are too FREE copy of the latest many occurrences of the novel, that is, CRAFTOOLS CATALOG of being different to be different. There ceramic equipment and tools. are too many examples of the trite, CRAFTOOLS, Inc. the cute and meaningless. There is Dept. CM. 401 Broadway. New York 13, N. Y. too much of the imitative which shows a lack of conviction to be oneself." ATTENTION For a number of years, John Mason Wesf©hesternUpstate New York has been combining the duel roles of in- We have just opened a complete ceramic dustrial designer and studio potter. supply center in Westchester. We carry His ceramic de- Tru-Fyre, Gloss Matlc, Zirco, Draken- reid Glazes ond Molds. Stop in and say signs include din- "Hello." Inquire about our quantity dis- nerware, 1 a m p counts. bases, ash trays ,lEAN LEONARD and planters. Al- 15 E. Harfsdole Ave., Hartsdale, N.Y. though his din- Jerry Rothman, a newcomer to the nerware designs pages of CM, is a cabinetmaker by may be seen Glazes and Undercjlazes: Duncan, trade. He was bol~ in Brooklyn, N.Y. throughout the Mayco, Fiesta, Galaxy, Tru-Fyre in 1933, and attended Brooklyn public United States, his Copper Enameling Supplies pottery is rela- Kilns Tools Greenware schools until he was 12. Then he mov- Distributor: MacEs China Paints ed to Los Angeles. When he was 16, tively unknown Thurston Studio he began working as a cabinetmaker's outside the West Coast. There it has 3327 N. High St. Columbus2, Ohio apprentice and, at 20, he became a been seen in one-man shows in San cabinetmaker. He attended Los Angeles Francisco, Portland and Los Angeles. City College and took two units of In speaking of his work, Mr. Mason ceramics in his last semester. Then he says that it "has been characterized attended the Art Center School at by a searching interest in the sculp- Los Angeles and also the Los Angeles tural possibilities of pottery. The ori- County Art Institute. ginal forms have been altered and the His show honors include honorable resulting shapes present new chal- mentions at the Miami National Cera- lenges in decoration. This three-year- mic Exhibition in 1956, and the 1956 old direction has met opposing reac- Scripps College Invitational. Last tions. Some feel that the pots' original year, his work, together with that of form has been violated and that it John Mason and Paul Soldner, was should have retained its symmetrical part of a three-man show at the Ferus shape. Others see new forms, another Gallery in Los Angeles. concept of pottery and the possible re- HART SUPERFIRE COLORS lease from the limitations of the pot- "America's Best Ceramic Colors" "An artist must find himself as an ter's wheel." Colors to Fit YOUR every Need individual, then lose himself in work, Flows on with ease. In 1957, Mr. Mason won the first UNDERGLAZE, GLAZES (Gloss, Matt, dedication and ideals larger and more prize in ceramics at the Fifth Miami Satin) SHADETONE U.G., CLEAR GLAZE, enduring then he,"' says Paul Soldner, National Ceramic Exhibition. SLIP MARBLIZER, CHINESE PASTE, CRY- assistant professor of ceramics at STALS, NUGGETS, SEAFOAM, and Scripps College, Claremont, Calif. "This STUDENT SHOW: The recent an- HART'S BRUSHES. See your nearest Superfire Dealer today, desire to be an individual in an age of nual student show at the Greenwich or write for Free Literature. Studio's conformity is not easily understood by House Pottery in New York City re- please give license number. all people, yet the artist-potter has cognized the work of several students "Experience Makes Color--We Have It" chosen his arduous, simple life simply by presenting them with honorary Hart Ceramic Supply because he believes it to be better than awards. The students honored were P.O. Box 920, 371 E. Beach Avenue that which offers only material com- Alice Gundelfinger, New York City, Inglewood, California fort and popular approval." best stoneware pot; Thea Petschek, Mr. Soldner, who won the Beaux Scarsdale, N. Y., best earthenware pot; Arts Purchase Award, the top prize Mae Nixon, New York City, best hand- the New I FREE! CMwr,,o Booklist Today! j in the Fifth Miami National Ceramic built pot; Hilda Niedelman, New York Exhibition, also stated, "Unfortunate- (Continued olz page 32) 30 CERAMICS MONTHLY . . . (Continued /rom pa.¢e 29) hot, it is removed and trued further. This I use as an up- side down press mold. I find when I use a damp cloth to roll out the clay, I can move it more easily to a plaster bat (cloth against bat}. And, when I tuck the sides underneath, it holds the clay flat while drying. I then press the mold into the clay. If pressed too hard, the tiles will have a rounded surface. They may be lightly rolled to correct this. These slabs may be glazed and fired in one piece. Later they can be easily broken with nippers as needed. --Mrs. Harlan A. Johnson, Reno, Nevada TWO TEXTURES TWO COLORS FOR ONE COAT ONE FIRE Glazing Short Cut 12 EXQUISITE COMBINATIONS OF FLEECY WHITE AND COLOR When glazing the inside of a piece by pouring the AQUAMARINE • BRIARWOOD • CHRISTMAS ROSE • CORAL glaze in and out of the ware, so much moisture is absorbed FOREST GREEN • HARVEST YELLOW o HELIOTROPE • ONYX PETAL PINK " SMOKE ° SNOWFALL • SPRING GREEN into the bisque that it isn't possible to glaze the outside of YOU'LL BE A SUCCESS WITH DUET! ORDER NOW! the piece immediately without danger of "water-logging" the piece. ~4-LARGE 2oz. JARS ~2~--~ During a class period, the necessary waiting can be ADD 35c HANDLING CHARGE NO COD'S OHIO RESIDENTS ADD 3% TAX inconvenient, so I allow my students to glaze the inside of ware in the green ware stage. For more than two years, we have had no loss due to breakage while using this method. 2811 WOODBURN AVE. CINCINNATI 6, OHIO The moisture, impurities and gases escape through the unglazed side of the ware during the bisque firing. The outside of the ware can be glazed with a minimum of lost time. Another advantage of this system is that the piece can be tested to see if bare spots and pinholes EACHF_Rb on the inside prevent it from being waterproof. If defects are present, they can be remedied, avoiding the necessity , PET for a third, corrective, firing. --Magda A. Larson, Davenport, [a. EVERY TEACHER has one--a pet IDEA, that is Soldering Aid -- and yours can be worth $10 if you will share it.= Customers who own hobby-type enameling kilns con- JUST SEND a "Letter to the Editor" describing tinually ask how to solder cuff links or other findings to one of your favorite techniques when working with the copper pieces after they have been enameled. Sheet children of elementary and hlgh-school age. Your asbestos or small stove pads which have a handle on one letter can be el a broad nature, telling abou! your side are very handy for this purpose. They are available general approach to o class; or it can be a step-by- in most hardware stores. step description of a specific project, tf the CM edi- Set the asbestos over the open element kiln. Then tors feel it will be helpful to other teachers, you will place the cleaned copper pieces--enameled side down--with receive $10 immediately and your letter will be pub- solder and finding in the correct place on the asbestos pad. lished as a special feature in CM (see page 16, January 1958, issue). SPECIFICALLY, your "letter" should be between c~ two and three pages long, typed double spaced. And it should be illustrated--at least one or two photos c~ or sketches should be included for it to qualify as a C~c~ "Teacher's Pet." Snapshots are fine--provlding they o When the solder has melted, remove the pad from the c~ kiln and set it aside to cool. This idea also may be used are crisp and clear and tell the story, o with the closed element kilns, or with any kiln where the C~ SO REVIEW some of the classroom capers you c~ heat source is at the bottom only. C~ now take for granted and plan to share them with c~ --Peg Townsend, Tucson, Ariz. others. As Longfellow once said: "Give what you have. To someone it may mean more than you dare o Dollars for your Thoughts think." What he didn't add (but we will), "You can CM pays $1 to $5 for each item used in this column. Send your earn $10 while you're at it!" c~ brlghf |deas to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio. Sorry, but we can't acknowledge or return unused items. FEBRUARY, 1958 31 WHEEL THROWN as a bowl, the sides 300 S.W. 17th AVE. MIAMI,FLA. CM 2 o{ Alice Gundelfinger's 5" pot were bent in and welded together. COLUMBUS, OHIO Greenware -- Slip -- Glazes -- Underglazes Sub-Distributor : American Beauty Glazes NEW WING TO OPEN: The Cleveland Dealer: Ez-Flo and Galaxy glazes; Fiesta Mi-glaze and Wrought Iron Stains ; Tru- Museum of Art, according to Director Fyre Underglazes Custom Firing (porcelain and ceramic) William M. Milliken, will officially open Instructions in Glazing, Underglazing, Hand Building its nine million dollar new wing with a GRA-ZLE CERAMICS ribbon cutting ceremony for Museum 348 Yarmouth Lane TR 8-3274 members on March 4. The addition will ABOUT 41/2 FEET TALL, this roughly tex- more than double the Museum's present tured sculpture by Hilda Niedelman is made MOLDS MOLDS MOLDS MOLDS size and will afford a much greater Molds by: A1 Schoellko|)f, JM Treasures, ttouse from brown grogged clay, decorated with exhibition area and educational capa- of Art, Holland, Sehmid, White Horse, Creek- colored oxMes. Turn, Coulton, Pieper, IIobby Heaven, Bell, and city. Dolly's. MAYCO • SYMPHONY • DUNCAN PRODUCTS The exterior of the Museum, even X-ACTO CERAMIC TOOLS give added skill. Ceram-Activities the planting in its essential features, GAY GLAZE- it ends costly failures. (Continued from page 30) Send for literature. practically is completed. And the in- DABBLER'S CERAMIC SUPPLIES 740 Kearny Ave. Kearny. New Jersey City, and Margaret Chohany-Scully, terior of the new wing is almost ready Long Island City, N. Y., best sculp- with installations already underway. NEW 81~" x 11" Monthly Magazine ture. The CHINA DECORATOR The purpose of the awards was to SOUTH AMERICAN REPORT: An "Keramic Studio" style, designs, articles stimulate student partieipation and de- for China Decorating. Beginners; Advanced; exhibition representing the work of 35 Studios. Studio discounts. Advertising bring- velop standards of eraftsmanship and ing wonderful results. $3.75 yr., $7.00 two young women, students of the School yr. P.O. Box C-36, Pasadena, Calif. originality. No cash awards were giv- of Ceramics of El Colegio Mayor de Also CHINA PAINTING BOOK $4.25 en. The show was open to all stu- NETTIE E. PILLET Cundinamarea, recently has attracted 825 N. Michigan Pasadena, California dents and former students and mem- throngs of visitors in Bogota, Colom- bers of the Greenwich House Potters bia. group. Although 80 persons exhibited examples of their work, only the stu- Included in the current exhibition dents' pieces were judged. (Continued on page 34) Experiment his interest in structural organization and mechanical forms. It is obvious (Continued /rom page 25) that he is as interested in the mechan- JOHN MASON uses the wheel only ical interrelationship of objects as well to arrive at a form of desired volume. as in their structure and aesthetic ef- Ceramic & Porcelain Green Ware forts. The work of this comparative Instructions & Supplies--Lacing Figurines He then pushes, cuts and scrapes the China Painting & Glazing. Distributor: clay into a completely new pottery newcomer to the field of ceramics Harrop Ceramics~Mayco Colors. form. The plastic quality of the clay ran.ges from sculptures and pots, small Ceramic Service & Gift Shop records the feelings of the artist as m sxze to sculptures and pots of monu- 308 McCorkle Ave. on Rt. 60 intensely as the classical pot of T'ang mental size. He strongly prefers forms South Charleston 3, W. Va. Dynasty reveals its static beauty. Per- that stand self-contained and una- haps one of the most striking aspects dorned. Decorated ceramic "pot- of Mason's work is the way in which structures" are rarely found in his CERAMASTONE he integrates glaze with form and work. JEWELRY MIX A Self-Glazing Clay clay. Bright glazes contrast with areas His pot forms are derived origin- Mix With Water--Fire At Cone 0b of exposed clay to create surfaces ally from the wheel. Then while they Turquoise, Dare Blue, Chartreuse, Gun- are still wet, he works into the fresh metal, White, Beige Pink, Purple, Spring which become an essential part of his Yellow & Brown. spatial forms. clay, textures and overall patterns I/2-1b. portion--S1.00; instructions included Mason's large architectural murals which give the pot a strong organic NEW--HandbooE of Jewelry Making & employ glazes and underglazes to quality. For the most part the sculp- Design teaturing CERAMASTONE--$1.00 ture Rothman shows, displays the SPEClAL~Handbook Free With $5.00 create a sensitive, subtle blending of Order. Please Specify Colors. Zen calm and western expressionism same organic quality together with a (Postpaid Cont. U.S.--Colo. Res. odd 20/0 In his bas reliefs, he achieves forms~ very strong structural or architectural Soles Tax) and shadows possible only with clay. character that seems to relate closely They are at the same time sculptureg to plant or tree-like shapes. The large The Pottery Workshop structures are a combination of ceram- CHIPITA PARK, COLORADO and paintings. JERRY ROTitMAN'S work differs in (Continued on page 34) 32 CERAMICS MONTHLY POODLE ~423 $11.00 LIGHT GAUGE COPPER FOR ENAMELING Molds for Twenty new What gauge copper should be used tings); but much lighter, paper thin, items from original Lud- for enameling? This is a question [ copper can be used for enamels that wig Schmid Models in am often asked. Usually the answer l are to be set in metal or other settings give is 18 to 20 gauge for larger that hold the enamel and prevent stock. utility objects, such as trays and box it from being bent by accident. I have tops and such, and 24 to 26 gauge also done, and successfully too, three Complete catalogue ,and for jewelry. When it comes to 26, 1 dimensional figures in the round from see some expressions of surprise. that foil-like copper. They are hold- Price List, $1.00, refund- "Doesn't the enamel chip on such ing their own and, if they are not thin metal?" I am asked. Actually, to meet with a terrible accident and ed with first mold order. the enamel does not chip more, bu die, they will live on ever after (not much less than on the 18 gauge cop- that I think that the world could not per which most enamelists use. go on without them). The 18 gauge idea comes from the Thin, paper thin, copper bases commercial blanks which are used have to be domed and shaped prop- so widely. They are heavy gauge and erly before they are enameled. This model and m01d shop are not made for counterenameling. type copper does not need nmch 838 Genesee St. Cor. Dayton Enamel jewelry should really be hammering. We can shape it on a Trenton I0, New Jersey jewelry. Not only is it supposed to be semi-soft surface--for example, the Open daily 8 A.M. to 5 P.M., carefully done to the best of our now notorious telephone book--with (except Sunday). Phone: EX 3-4.363 ability and a piece one can treasure the help of the grip of a pair of for its artistic quality; but it also has scissors. I described this technique in to have a certain physical quality. my article on how to make lettering Counterenameled and all, it cannot for signs (April 1957) or whatever weigh a ton. It has to be light weight. the title of that column was. Doming A pin should not be so heavy that gives the piece strength. 3/o... it pulls holes in delicate fabrics. Ear- There also are other ways to CERAMIC STUDIO rings of any size should not feel achieve strength and, at the same 543 Boulevard, Kenilworth, N.J. heavy, even when worn for long time, get a nice and novel effect. hours. Neither are they to pull down With a dull-pointed instrument, press Distributor the ear lobes of a fair lady. out -- on the famous semi-hard sur- • Tru-Fyre Enamel is glass, and glass is heavy face-raised designs, sort of a line • Gloss-Matic by itself. The copper base should not drawing repousse. If the field between • Willoughby add too much to the heaviness of the the line is wet inlaid with other • Creek-Turn enamel. Luckily, we can avoid heavy enamel colors, the effect is cloisonne- • Renaissance metal bases. Have you ever held a dis-adventure • Specialized Ceramics like without the of the • Fine Art Brushes piece of antique jewelry in your effect of a fake cloisonne. It is a • Double B Wood Novelties hand? Or have you ever held an old technique of its own. • ,lane Snead Publications Limoge plaque? If you have, you In case you want to make a three • Gold Erasers probably were surprised about the • Silk Sponges dimensional figure, and . . . By the • Amoco Pan Paints light weight of these objects, and way, I want to tell you that I saw • Podeszwa Designs wondered how it came about. a little angel in the home of one of • L & L Dyna Kilns Before enamel became more or less my acquaintences that was made by ...... a novelty--a gift shop article--people a reader of this column from the idea knew the requirements for fine ar- given in these pages with a few new ticles. They also realized that enamel ideas added. It was very nice and I Florence Cox does not chip more on light weight was pleased, indeed, to see it. Well copper. The opposite is true. My to come back to the three dimensional experience is, with all the expansions figure, give it some stratigically placed Greenware & Firing and contractions constantly going on bends to give it strength. For ex- in temperature changes, the enamel ample, if it is to be a cone-shaped Price List stays fused to light metal much better something, press out a line around than to a heavy base. the base; and, if the object is to be The 24 to 26 gauge copper works tall, also some lines or bends from 1957 Editi0n... $2.00 fine for all enamel jewelry and all the base up to the point. Or, if it is enamel and metal combinations (set- (Continued on pa~e ,36) FEBRUARY. 1958 33 Ceram-Activities Experiment TOOLS. CLAYS (Continued from page 32) (Continued /tom page 32) are sculptures, lamps, ornamental ic shapes and metal rods. They at(' a most complete selecton ~:! ceramic-- plates, plaques, masks, pitchers, ewers, planned so that the entire assembly sculpture--casting tools and materials far beginners -- students -- professionals. -- ash trays and centerpieces. Represent- moves easily and gracefully with the and our own famous ing both classic and modern design in breeze. form and decoration, the works in the :)ELLA ROBBIA CLA'~ PAUL SOLDNER, now teaching at exhibit also reflect the influence of the Claremont Colleges, employs --bakes ceramlc-hard in your kitchen oven the art of the Chibcha Indian culture in a few minutes; cuts costs to pennies. Send of Colombia. for complete kit CM600, only $5.95, and free 0~111@' catalogue CM3 The college, which is l~an by the Na- tional Ministry of Education, is a 304 West 42rid St., New York 36, N. Y. women's school which ranks somewhere between senior high and junior col- lege. The creators of the 350 objects KINGSPIN Steel Wheel in the exhibit range in age from 14 Steel Top and Bottom to the early twenties. Kinalloy Bearing" Knurled Stem The curriculum of the school in- Zinc Plated Rust Proof cludes the history of art, drawing and O N L Y $2.95 design, modeling, wheel throwing, ena- Liberal Dealers Discounts meling, making molds, and the techni- que of operating a kiln. The first two Also a~ailable wilh Cast Aluminum Head $3.95 years of the ceramics course is devot- See your Dealer or Distributor or write Gilmour Campbell 14258 Maiden ed to classroom work; the last year en- Detroit 13, Michigan tirely to practice. TILE BY MASON achieves farms and shadows CERAMIC DECALS MADE-TO-ORDER. For possible only with clay. firing on any ceramic surface---includlng enam- eled copper. Drawings, poems, prayers, sayings, emblems, trade marks, signatures, etc. etc. AnytMng that can be photographed, including height. His pots, which are up to portraits, buildings or scenes. One color rendi- tion. One or many decals. Send for our free seven feet tall, develop concepts of booklet which gives full details. volume relationship which have star- BATTJES PItOTOCERAMIC DECALS tling originality and freshness. His 1453 Lyon St. N.E. Grand Rapids 3, Mich. pots unlike those of Mason and Rothman retain the symmetry created by the wheel. Soldner uses a broad, flat brush with bold, free feeling to enhance the strong forms contained in his work. For Mosaics and Tile Mason, Rothman and Soldner ILLINI CERAMIC SERVICE demonstrate that building on the 439 N. Wells, Chicago I0, III. wisdom of the past but expressing honestly and directly their own per- sonality in their work is an answer i[ CRAFT Bookbinding. Cabinet Making, C .... ics, De- to the challenge of to-day's world. • STUDENTS sign, Enameling, Jew- Scuip- LEAGUE Lure,el,-,, SilkPainting, Screen, SiN V.W.C.A. versmithing, Weaving. Request Catalog C. CARMEN INEZ MENDOZA holds her 840 8th Av. Men, Women. Day, Eve. Chlbcha indian mask, one ol the major Eckhardt at 51 st, N.Y. l~roll now Circle 6-3700 pieces from the recent South American (Continued from page 15) exhibit. won't warp, may be used in place PITCHER of the board. -#906- Since the invention of the plastic Size8" x 5" Price $7.50 bag, storage is a cinch. We used to have quite a time storing an entire GLASSES roomful of objects. Old-fashioned ice --#'906A-- boxes, garbage cans (new ones, of Size 4" x 21/2" course), zinc-lined boxes, and large Price $2.00 biscuit tins were used in the past. Fre,.ght coJle,::--IO°C, r~ndling But now we just plop them into a Catalog $1.00. refunded on Ist order. Distributor of: Creek-Turn molds and plastic bag (each student brings his glazes ; Re-Ward colors; Norman kilns ; Paashe air brushes; Mosaic tiles and ta- own) and that is it. If the plastic bag bles. (Dealerships Invited.} is stored in a covered tin can or box, Ceramic Studio Workshop the clay stays soft indefinitely.@ 8027 FRANKFORD AVE. PHILADELPHIA 36, PA. PHONE: DE 2.2294 la her next article in this series, Miss Eckhardt will discuss clays, drying and fir- JANA ALLINA exhibits three of her ceramics ing. She will reveal some o/ the methods and techniques she has developed to insure When writing to advertisers which show the influence of the modern trend Please mention CM safe drying and firing--even for loosely- in design. built children's work.--Ed. 34 CERAMICS MONTHLY THE OVERGLAZE PAGE STUDIOS! How to Use LUSTRES If you want to LEAD FOLLOW TRENDS part 4 by CREEK-TURN by ZENA HOLST FIRST with Jumbo Lighters & Inserts Picking up where she le/t o1[ laat mo,~th, which is available specifically for that Mrs. Holst continues her discu.~don o[ purpose. Do not confuse evtender FIRST with lustres. - -Ed. with essence. The latter (lavender Swivel Pens & Molds oil) is used merely for thinning the Techniques of Coverage consistency and does not change the I. CONSISTENCY: You have to work color itself. The extender modifies a now ANOTHER FIRST with quite fast when applying lustres. The), color in degree, depending on the PEPPERMILLS & MOLDS dry quickly, and ugly streaks are apt proportions used--from rose to pink, to show in the covering of a large for instance. White lustre also is good Be our DISTRIBUTOR space unless the lustre is exactly the for modifying a color. Be our DEALER right consistency. It often is necessary 2. LIGHT COLORS: "Tint" colors to thin the lustre, but not always. which have iridescence (pearl, opal, Get the FEEL of being Lustres of highest viscosity (a state and marble) need an individual tech- FIRST with of non-fluidity) need more thinning nique in handling. Patting, with a than those which are more fluid. silk pad, removes much of the life and The darkest colors usually are of the variable quality of these colors. There CREEK-TURN greatest viscosity. should be a display of changeableness The degree of thinning needed de- --a sort of ethereal quality. We see PRODUCTS pends on the method of application too much lustre decoration that is Hainesporf, New Jersey and the technique of finishing. Lus- "'dead" looking because of improper tres which are syrupy in consistency application. These colors should not definilely need thinning. There is a be brushed on in long strokes if you special essence for thinning. However, want to bring out the play of colors if the lustre does not need much in the iridescence. The mixture of the thinning, particularly for small con- pigments is pulled together too much fined areas, a few drops of pure if applied in this manner. For in- (not svnthetic l oil of lavender does stance, mother of pearl will show just as well. Too much thinning will heavv streaks of yellow, a tone that really is not a part of it. The best For sgrafflto, incising, slab work, tem- cause the lustre to spread. Thinning plate making, shaping, modeling, trim- , should not be necessary for fine-line way'is to "stipple" it on. Do not get ming and clean-up. the idea that you use a stippling designs and banding. QUALITY: Finest preclsion-made scraper Lustres have a tendency to crawl, brush. I am speaking of the motion points and surgically-sharp knife blades. so allow for it. Two shades of lustre onh. You use a camel's hair brush VERSATILITY: Slim all-metal handle takes placed side hv side will not run to- for the application. any of 6 scrapers as well as blades. Do a small area at a time, working ECONOMY: Points and blades quickly gether if you allow a thin dividing and easily interchanged or replaced. line for "'creeping." Do not overlap outward in a circle from the center colors if two or more are to be blend- ef the area to be covered. It should ed together with a silk pad. be mottled in appearance. It does not Learning the proper consistency is matter if the space is not thoroughly ,2 a matter of experience and getting covered for the first firing; uncovered acquainted with the colors to know areas can be covered for the second beforehand which need to be patted. firing. If you cannot use the stippling Some colors are prettier if they are motion, then use very short, wax'y - 6 patted smoothly with a silk pad: brush strokes. A most haphazard ap- others should not be patted. Patting proach and the coarsest looking ap- ,8 II removes nmch of the iridescent plication will resuh in the greatest quality in a lustre and should be show of iridescence. avoided with the light colors as much A few of the light colors are not as possible. Never pat iridescent tint durable unless covered with a final colors. These usually are the right coating of pearl or opal. Orange is not durable under most conditions. consistency for application as is. No. 63 Double Set: 2 handles. 6 points, 2 It needs a protective covering. This Small designs are not patted either. knife blades . . . $2.75. Other sets at 75c also is true of certain brands of yellow but are painted on smoothly with a and $1.50. Refills available separately. brush, regardless of the color- light and pink. Try to buy these with the or dark. pearl or marble properties which are SEND FOR FLIER--FREE: CATALOG--25c A color that seems too intense in more durable. 4B.6g VAN DAM ST.. k. I. C. I. N.Y. tone can be softened with an evtender (To be cmltinued) FEBRUARY, 1958 35 Mosaics Contact Trinity (Continued from page 28) tile cement, generally is recommend- for Superior ed. This usually is available from your local ceramic supplier (if he carries mosaic materials) or from tile February 1958 CERAMIC and PORCELAIN shops. A slow setting mastic also per- mits you to remove pieces or move Art-Crafts Supplies ...... 28 CLAYS them around if you find the design is not coming out as you planned. B & I Mfg. Co ...... 11 Basch, Bee, Designs ...... 7 The final step is grouting, filling Baffles Decals ...... 34 the spaces between the tiles. Use a Bergen Arts & Crafts ...... 32 tough, water-proof grout cement for Buffalo Ceramic Supply Center ..... 36 this. To use this powder, mix it with Special Discounts! water to the consistency of rather Campana Art Co.. D.M ...... 11 Campbell, Gilmour ...... 34 If you teach ceramics, you are entitled thin slurry. Sponge down the mosaic to teaching discounts. Write us on your and pour water between the tiles. Cerami-Cenfer ...... 3] school or studio stationery for special Excess water can be drained off by Ceramic Expositions, Inc ...... 29 Teacher's Price Lists. Enclose 3c stamp. tilting the table. Then pour grout Ceramichrome Laboratories ...... 27 Buffalo Ceramic Supply Center Ceramic Service & Gift Shop . .32 437M Franklin St., BuFFalo 2, N.Y. on the surface, one area at a time. Ceramic Studio Workshop ...... 34 To make sure the grout penetrates, Cox, Florence, Studio ...... 33 work it in with a stiff-bristled brush. Craft Students League ...... 34 CERAMICS If it runs off the outside, wrap the Instruction--Supplies~Firing Finished andI Craffools, Inc ...... 30 Greenware. Distributor REWARD • DOBE table edges with adhesive or masking Creek-Turn Pottery ...... 35 GLO & WILLOUGHBY PRODUCTS. tape. When the grout has been work- HAZEL HURLEY STUDIO ¢ ed into all the spaces, wipe the excess Dabbler's Ceramic Supplies ...... 32 830 Warren Ave. Downers Grove, Ill. 4• from the surface with a squeegee or Duncan Ceramic Products ...... 6 Call WO B-0719 4 a rubber kidney. When the grout has Gra-zle ...... 32 hardened slightly, wash the tiles Great Lakes Exhibition ...... Cover 2 Mary Grohs Ceramic Decals P.O. Box 34 West Orange. New Jersey clean. Grohs, Mary, Decals ...... 36 One of the largest decal houses in the East Designing possibilities are not limit- Harrison, the Kay, Studios ...... 26 Decals & Jewelry Decal Illustrated catalog S0c ed to the design-as-you-go approach Harrop Ceramic Service Co ...... 3 Jewelry Finding & medallion catalog 25c which we have discussed. You also Hart Ceramic Supply ...... 30 Gold & Lustre instruction Book $1.00 may work out your entire design on Holland Mold Shop ...... 10 SPECIAL: paper first, then number the tiles to House of Ceramics ...... Cover 4 Madonna & Baby decal 21/4-21/4, 10 for $1.00 correspond to your sketch. Specific Hurley, Hazel, Studio ...... 36 designs can be created by grouping Illini Ceramic Service ...... t0, 34 odd-shaped mosaics according to Model Ceramics color; or entire shapes (leaves, ani- Klopfenstein Wheels ...... 7 mals, flowers, etc.) can be cut from L & L Mfg. Co ...... 2 MANUFACTURERS OF: the original clay slab. As you work Leonard, Jean ...... 30 with these bits of colorful tile, you Kilns will discover many more additional Master Mechanic Mfg. Co ...... 27 ways to convert them into unusual, Mayco Colors ...... 7 Clay inexpensive and beautiful designs. • Model Ceramics ...... 36 Slip N.C.A ...... 9 Norwest Novelty ...... 28 Wrile to, Catalog--Wholesale & Retail Pieper Pottery ...... 28 764 N. MAIN ST. AKRON, OHIO Enameler's Column Re-Ward Distributor Pillet, Nettle E...... 32 (Continued from page 33) Pottery Workshop, the ...... 32 to be a four-footed animal, give each Re-Ward ...... I leg a line from the foot up to the Schmid, Ludwig, Molds ...... 33 hip so it has good legs to stand on. Sculpture House ...... 34 You can also ball the copper up a Seeley's Ceramic Service ...... 28 little, like the folds in the drapes of The following back issues of Ceramics Sunny's Custom Ceramics ...... 28 Monthly are still available at sixty cents per copy (Ohio residents add 3% sales baroque figures. The effect of copper tax). We pay postage. used this way is surprising to the on- Tepplng Studio Supply Co ...... 30 1953 July. August, October, December looker who is accustomed to seeing Thompson, Thomas C., Co ...... 9 1954 Thurston Studio ...... 30 February, March, July, August, Sep- enamel on heavy, plane surfaces only. tember, November, December Trinlfy Ceramic Supply ...... 36 1955 It is a pleasure for the craftsman May, July, August, October, November, December to work with light gauge copper. It Wolfe, Jack D., Co. Inc ...... 28 1956 is so easy to cut. A pair of ordinary May, June, July, August, October, X-acto ...... 35 December scissors does the job perfectly. It's so 1957 April, May, June, July. August, Sep- noiseless too. Little or no hammering tember, October, November, December. is involved. And such a beautiful re- Please send remittance (check or money order) with list of back issues desired. suh! That is the main thing, so go CERAMICS MONTIILY ahead and try it out. You'll love it, 4175 N. High St. Columbus, Ohio I am sure. • 36 CERAMICS MONTHLY HANDBOOKS Approved and recommended by teachers everywhere. Used by hobby groups, schools, art and craft centers. Three-color covers; profusely illustrated step- by- step photo technique. ('opper Enamelin Twenty-one of the articles on copper enameling by Jean O'Hara and Jo Rebert, which have appeared in CERn~ncs MONTHLY, have been combined in book form and carefully indexed. Proclaimed the best in basic instruction, this hand- book includes basic fundamentals as well as illustrated how- to-do-its on jewelry. The publishers are proud to present this material under one cover as a service to teachers, hobby- ists, and students. The step-by-step projects in this volume: make it an excellent working handbook; the text and detail- ed index make it a valuable source of reference. $2.00 Underglaze Decoration The sure-fire CERAMICS MONTHLY photo tech- nique catches Marc Bellaire as he creates a startling variety of new designs before your eyes--teaching the ultimate in I quality underglaze decorating. Thirty-seven step-by-step de-~ sign projects, 86 original motifs, 101 finished (glazed and fir-: ed) pieces and 286 lively illustrations in all. Marc Bellaire personally guides you from the basic skills of underglazing to the final how-to instruction for specific designs. This' handbook shows you how to create your own interesting and exciting designs by learning to recognize basic shapes. $3.00 CERAMICS MONTHLY Book D~portmcn~ 64 pages of instruction 4175 N Hiqh St Co!~mbu~. C)h~e Please send me the following CM HANDBOOKS: Full-size 8V2" x 11" format ___copies of COPPER ENAMELING @ $2 a copy...... copies of UNDERGLAZE DECORATION @ $3 a copy. Profusely illustrated (CM pays postage) Step-by-step photos Name ...... ' ~ ~?' -- ...... Order from your dealer-or Address City Zn.___State Ohio Residents add 3~o~sales Tax: I enclose [] Check [] Money order items of interest to you . from house of ceram:cs Io ZO The original Prepared "one-fire" Ceramic Colors Ceramic Products These positively will not run or bleed when ap- Liquid Ready-to-Use Tru-Fyre's New plied next to each other. Send for complete UNDERGLAZE COLORS CHAMOIS SO viv;d, useful hues. the new dull matt finish list of colors. in 13 -- practical colors. SPECKLED UNDER- HI-TINT GLOSS-MATIC GLAZE COLORS 24 vibrant colors for 6 new pastel tints decorating pottery, stone- "One Fire" Ceramic Glazes ware and porcelain. Art Pattern ~ Flowing Glazes Lava Matt Raised Texture Glazes . . . and a complete series of glazes Transparent Glaze ~ Spill Base Glaze the better glaze for every purpose Antique Exotic Texture Glazes 0 Our popular EX-CEL Casting Slip If reorders are the proof of the product, we have Select raw materials and our modern, efficient them m from the length and breadth of these control measures assure you of unequalled, uni- United States. The reason for this increasing form quality casting slip in every batch. demand is not hard to explain EX-CEL fires out -- PURE WHITE EX-CEL is Absolutely and Unconditionally Guar- • . . not cream or ivory. anteed to be non-crazing when used with any EX-CEL is HIGHLY PLASTIC ... SMOOTH CASTING of the glazes (except crackles) in our catalog EX-CEL has an EXCEPTIONALLY STRONG and when fired to cone 0S bisque and cone 06 body . . . both before and after firing. glaze fire. Have you seen our new complete 68 page Catalog filled with hundreds of brand-name items? This descriptive catalog is only 50c to individuals- (deductable From your firs+ order of $5.00). FREE TO SCHOOLS, INSTITUTIONS ETC. house of ceramics Note New Address: 2481 MATTHEWSAVE. i ilnmlI tmJNI I~ A qLmlmlkI l, I