CERAMICS by Ernst Rattger SCULPTURE by Glenn C

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JANUARY 1966 60c

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" | • 41~ CREATIVE CLAY DESIGN POTTERY & CERAMIC CERAMICS by Ernst Rattger SCULPTURE by Glenn C. Nelson Shows molding of all kinds of by Herbert M. Sanders _\n important addition to the elaborate shapes from slabs, A new, thoroughly revised list of books for both student strips and rolls of clay. Over edition of Mr. Sanders' best and teacher. Many step-by- 250 examples of work by chil- seller, Ceramics Book. Com- step photographs of clay-form- dren and students. $4.95 pletely up-dated with new ing and decorating techniques. recommended material, including section on Review of Equipment. $6.75 POTTERY: how to build a potter's wheel. FORM Excellent AND EXPRESSION for beginners, $1.95 FREE BRUSH DESIGNING by Marguerite Wildenhain CRAFTS by Egbert and Barnet books on DESIGN "rhe Contains many large beautiful by Moseley, Jahnson & authors' exciting ap- photographs. This impressive Koenig proach to painting and de- volume gives excellent basic A wonderful introduction signing develops confidence to in ceramics technical information on proc- crafts design, this handsome the new artist. Extremely esses and materials. An out- book shows the art well adapted to ceramic dec- and tech- oration. standing gift selection. $7.75 nique of creating through $3.95 crafts. Over 1000 illustrations CERAMIC SCULPTURE of pottery, mosaics, enamel- STONEWARE AND by Betty Davenpar~ ing, etc. 436 pages. $13.00 PORCELAIN Ford by Daniel "lhe author leads the reader Rhodes to CERAMIC GLAZES Describes techniques and ma- a high level of profession- by Cullen dism W. Parmelee terials used in high-fire pot- in the design and tech- This invaluable tery. Includes nique of an ancient reference sections on clay craft. book completely covers bodies, glazes, Animal, human, glaze colors, textures plant and making. Includes formulas and decoration. abstract forms are shown. $7.50 $5.50 and batch recipes for glazes. 314 pages of technical in- GLASS CRAFT formation. $8.00 by Kay Kinney DESIGNS AND HOW The complete MOSAICS, book on fusing, TO USE THEM HOBBY & ART laminating and by Edwin Hendricksan bending glass. r by Joan B. Priolo Basic "this profusely techniques, step-by-step Top-notch decorating can be - illustrated ~rojects and a "Glass handbook for the Clinic" achieved by following the beginner to help solve problems. and advanced hobbyist in- Hard simple motifs which may be covers, 200 pages. $7.50 enlarged or transferred. A cludes step-by-step instruction complete on 12 basic projects. $3.50 list of subjects: A POTTERY SKETCHBOOK birds, fish, etc. $6.95 CERAMIC SCULPTURE by Aaron Bahrad by John B. Kenny Bohrod, one of America's dis- CLAY AND GLAZES FOR Contains over 1000 photos tinguished painters, is well THE POTTER and sketches covering all known in the pottery field by Daniel Rhodes phases of the sculptor's art. for his decoration of pottery Two complete books in oneI A valuable aid for all crafts- thrown by Carlton Ball. Fundamental details on both men. Large format (7"x10"), Thousands of sketches. $7.50 CLAY and GLAZES make 302 pages. $9.95 this book a "must" for every HANDBOOK OF DESIGNS hobby - craftsman, THE COMPLETE BOOK student, OF AND DEVICES teacher and potter. POTTERY MAKING by Clarence Hornuncj $7.50 by John B. Kenny Over 1800 sketches of basic The "best seller" in the designs DESIGN MOTIFS OF ceramic and variations includ- field ! Step-by-step ing the circle, ANCIENT MEXICO photo lessons line, scroll, fret, cover all of the shield, snow crystals by Jorge Enciso pottery - making and many A compilation techniques. more useful symbols. $1.90 of 766 exam- Clays, glazes, firing, plaster, ples divided into geometric, etc. 242 pages. $7.50 natural and artificial forms. CERAMICS AND HOW Includes designs based on CERAMICS FOR THE TO DECORATE THEM flowers, birds, fish, human ARTIST POTTER by Joan B. Prialo figures, etc. 170 pages. $1.85 by F. H. Norton Mrs. Priolo gives detailed de- The most complete book on scriptions and illustrations of the subject, from choosing dozens of decorating tech- ENAMELING ON METAL niques by Oppi Untracht the proper clay to putting and shows exactly the how to go about Step-by-step photos final touches on a piece, using them. are used all clearly Starts where other books to describe fundamentals explained. Ce- on ramics at its leave off. through to newly developed best! $7.50 $6.95 experimental styles. This complete guide is a major con- trilmtion to Enameling. $7.50 BOOK DEPARTMENT 4175 North High St. Columbus, Ohio 43214 DESIGN FOR ARTISTS PLEASE SEND ME THE FOLLOWING lOOKS AND CRAFTSMEN [] Rottqer--Clay Des|gns $4.95 [] Hendrickson--Mosaic $3.50 by Lauis Wolchonok [] W;Idenhain--Pottery $7.75 [] Kenny--Sculpfure $9.95 One of the best books on de- [] Ford--Sculpture $5.50 [] Kenny--Pottery $7.50 sign, it will prove to be in- [] Priolo--Designs $6.95 [] Norton--Art;st Potter $7.50 valuable to pottery and sculp- [] Rhodes--Clay & Glazes $7.50 [] Neison--Ceramics $6.75 ture enthusiasts as well as [] Enc;so--Deslgn $1.85 [] Egbert & Barnet--Brush $3.95 decorators. Geometric, flower, Untracht--Enameling $7.50 [] Rhodes--Stoneware $7.50 bird and animal forms are Wolchonok~Desiqn $4.95 [] Kinney~Glass Craft $7.S0 shown in detail. $4.95 [] Jenkins & Mills--Mosalcs $5.95 [] BohrodmSketchbook $7.50 [] Sanders--Pottery $1.95 [] Hornunq--Designs $1.90 [] Moseley~Crafts Design $13.00 [] Pr;olo--Ceramics $6.95 THE ART OF MAKING Parmelee--Glazes MOSAICS $8.00 by Jenkins and Mills NAME. ~lhis fascinating book shows the beginner how to make ADDRESS unusual and beautiful mosaic CITY STATE___~___ZIP__ pieces in home or workshop. I enclose ~ Check [] Money Order {Ohio residents: 3% Sales Tax] WE PAY POSTAGE Well illustrated. $5.95 Precision KILN S & CERAMIC EQUIPMENT

Used by professional potters, leading uni- versities, schools and institutions through- out the entire United States. ~ ..~,~

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GAS KILNS • Firing range up to 2500"F. on all models. ELECTRIC KILNS • Designed for both • Firing range up to con- 2350"F. trolled oxidation and on all models, reduction firing. front loading or tap leading • Sturdy all welded con- with positive struction to give years controls. of service. • Smooth durable all welded • Available in standard construction for WRITE TODAY a lifetime for COMPLETE sizes from 2 cu. ft. to of service. 00 cu. ft. • Heavy duty long llfe heating elements. • Available in standard A. D. Tnc. sizes from 1 cu. ft. to 24cu. ft. 11837 TEALE ST. CULVER CITY, CAL|F, amaco's '66 ceramic calalog ELECTRICKILNS. WHEELS. CLAYS. GLAZES DECORATINGCOLORS. METAL ENAMELS

Latest developments in equipment and supplies for pottery craft and metal enameling appear in " Amaco's Catalog No. 50. Two ~_~=-~ ;.~,,-,~:~ new color charts are included. ~oo '~ Illustrated in beautiful, accu- ~.~2~==~¢ ~--~-~e rate color are 291 glazes and ;i~!~"~ ~i~ ceramic decorating colors and 56 metal enamels. :~ ~i!i~i~ 60 PAGE CATALOGFREE ON REQUEST I NC. AMERICAN ART CLAY CO., INDIANAPOLIS, INDIANA 46222

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Manutacfurers & Distributors of the • FOSTER POTTER'S WHEEL • OHAUS SCALES efc. • RAW MATERIALS-oxides, Clays CLAY • PUGMILLED & DE-AIRED

8-11 RO-10 Gray Stoneware ...... Cone RO-72 Stoneware ...... " 08-2 8-!1 RO-20 Temmoku Stoneware... " 8-1 I RO-8! Porcelain ...... " 08-2 RO-62 Red Sculpture ...... " REWARD-HART pack- All pugmilled and de-alred ~lay is in poly bags, 25 Ibs. per carton. re- ed Problems with your present glazes? Through Reward and Hart has eliminated the diffi- best for the Artist-Potter and Sculptor search, The culties most frequently encountered in application by Rovin most is supplied and firing of ceramic glazes. Reward, the line of quality controlled glazes, is your WRITE FOR OUR BROCHURE duplicated assurance of the finest glazes available anywhere. CERAMICS Reward m first in color, textures and finishes. ROVIN INC. Heighfs, Michigan 48127 COLOR MFRS. 74S6 Fenfon St, Dearborn REWARD CERAMIC Phone: LOgan 3-2906 27, MARYLAND 6811 WASHINGTON •LVD. ELKRIDGE 4 Ceramics Monthly If You Want High Green Strength, Low Shrinkage And Good Colors M O H T H L Y IMACCO STONEWARECLAY 14, Number 1 January 1966 Volume Is The Answer Letters to the Editor ...... 6 In Suggestions from Our Readers ...... 8 Available Itinerary ...... 9 KELLY-MOOREPAINT CO. STORES CM's Picture of the Month ...... 10 5th & Junipero P. O. Box 2776 Answers to Questions ...... 12 Carmel, California 93921 (408) 624-8282 The Ceramic Reliefs of Mary Green by Jean R. Lange ___13

Making Off-Center Shapes on the Potter's Wheel 4555 Manzanita Avenue by F. Carlton Ball ...... 16 Carmlchael, Ca!ifornla (961) 482-7600 Enameled Wall Panels by Polly Rothenberg ...... 20 959 W. College Avenue When Fingers Think by Helen Young ...... 24 Santa Rosa, California 546-0863 Stoneware-Type Bodies and Glazes at Cones 04----4 (707) by Richard Behrens ...... 28 1219 South Industrial Blvd. Rookwood Pottery ...... 29 Dallas, Texas 75207 (214) 748-9041 Show Time: Miami National Ceramic Exhibition ...... 31 School Rd. Caring for Enameling Equipment by Kathe Bed ...... 32 302 West Indian Phoenix, Arizona 85013 CeramActivities ...... 34 (602) 277-4891

On Our Cover Also Unglazed terra cotta Gingcr Jar was made by the well-known woodcarver, William H. Fry, in 1887 for the Rookwood Pottery Kelly-Moore Home ImprovementCenters in Cincinnati, Ohio. The piece, along with other Rookwood examples, is on display during January at the Cincinnati Art Museum. A short account of the history of Rookwood is given issue. 901 Old County Road on page 29 of this San Carlos, California (415) 591-961 i

Editor: THOMAS SELLERS 415 E. Gutierrez St. Art Director: ROBERT L. CREAGER P. O. Box 1200 Manager: SPENCER L. DAVIS Santa Barbara, California Business (80S) 962-0041 Circulation Manager: MARY RUSHLEY Advisers and Special Contributors: F. Carlton Ball; Richard 424 Santa Barbara Ave. Behrens; Marc Bellaire; Kathe Bed; Edris Eckhardt; Zena P. O. Box 192 Holst; John Kenny; Karl Martz; Ken Smith; Don Wood. San Luis Obispo, California (805) 543-4754 Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California. Telephone: TR7-7556, Area Code 213. 700 South Miller St. P.O. Box 399 Copyright 1966 Professional Publications, Inc. Santa Maria, California 925-2543 CERAMICS MONTHLY January 1966, Vol. 14--No. 1. Published {805) monthly except July & August by Professlonal Publications, Inc. -- S. L. Davis, Pres., P. S. Emery, Sec.; at 41"/5 I~T. High Street, Colum- bus, Ohio 43214. Entered as second class matter at the post office at Athens, Ohio, U.S.A. Subscriptions: One Year $6; Two Years $10; Three Years $14. Copyright 1966. All rights reserved. Microfilm copies are available to subscribers from University Microfilms, 313 N. First St., Ann Arbor, Michigan. MANUSCRIPTS and illustrations dealing with ceramic art activities are welcome and will be considered for pub- & CHEMICAL CO. lication. Manuscripts should be typed double-spaced and range from INDUSTRIAL MINERALS 500 to 2000 words. Send manuscripts and correspondence about them 836 Gilman St. • Berkeley 10, Calif. • Phome 524-2100 • Code 415 to the Editor, CERAMICS MONTHLY, 4175 N. High Street, Columbus, Ohio 43214.

]anuary 1966 5 LETTERS

Share your thoughts with other CM read- as I have chosen to work with and teach a person that he never will relax and make ers--be they quip, query, comment or ad- raku, because of subtler meanings it has. a decent pot. Instead of discovering, this vice. All letters must be signed, but names The following observations about my person leans on outside advice and as- will be withheld on request. Address: The classes last spring at the UC Extension sumes external standards to be the only Editor, Ceramics Monthly, 4175 North illustrate part of these subtler meanings: correct ones. We must not fear to make High St., Columbus, Ohio 43214. four classes were devoted to working with mistakes, for they often are the best found and supplied materials. No "objects" teachers. We must do what we feel and SOMETHING ON RAKU were made but, rather, people mixed not be concerned with what others may Most pleased to see something begun various things together into a soft mass, think. How else can we become individuals, on Raku (CM, Sept. '65), for we in a stiff mass and other consistencies. What and how else can we make a significant Jacksonville have been fortunate in doing was the purpose of this? To become statement in clay or any other medium? some Raku through the efforts and teach- familiar with a material and, in so doing, Hal Riegger ing of Charlie Brown. to discover, each person for himself, how Mill Valley, Calif. Mrs. Mallett Schuster he could work with it. The fifth class SUPPLYING IDEAS Jacksonville, Fla. was devoted to hand building pots to be May we commend you on your excellent fired on the beach in an open The three-part series, "'Raku," by Hal fire. An magazine. Since beginning our subscrip- article I wrote several Riegger started in September "65 and was years ago told of tion, we have found it useful in supplying the rather concluded in the November issue. CM severe demands made upon ideas for both children's and adult classes. also published an earlier manuscript by construction and form that this method Alan J. Hersh Mr. Riegger on raku in ]une, 1959. Other requires. Without any instruction on tech- Council of Jewish Organizations raku articles appeared in October "56, niques of hand building (coil, strip, slab, Hamilton, Ontario February "57 and April "61.--Ed. etc.) each student did a magnificent pot, none of these was less in any dimension DUTCH-OVEN FIRING • . . my method of firing black pottery RIEGGER ON RAKU than ten inches, and all of them fired arose out of the need. I had made a In juxtaposition with other articles in with complete success. lot of small pieces of jewelry, a 5-inch CM, my three-part series on Raku Another of the subtler meanings of raku sculptured bird, and an 8-inch bowl from (September, October, November, 1965) (an attitude which can be carried over red-firing clay. With no kiln of my own may seem to lack specific instructions. It to all ceramic work) is that attention to at that time, I brought all the books home could be said, and correctly, that teeh- techniques and methods at the expense from the library having anything at all to niques as such are not emphasized. of understanding materials and processes, In reality I chose to write about raku, such as fire, will so inhibit and frighten Continued on Page 33 Presents... N EW GLAZES 16 CRYSTAL.TONES WOODTONES

Just wait until you see them .... mere words can not fully describe their unusual Truly exceptionaI "wood finish" glazes. Sorealistie, you'llhave to look twice and and exciting beautyl Most ofthem arerich, satin glazes with background tones of touch them to tell if they are ceramic or real wood. Color range is delighfful. soft blue, grey or pearl white withdelicate complimenting crystals that "feather" From deep dark polished mahogany to warm glowing birch plus a fascinating out like failing snowflakes whileothers have deep, exciting backgrounds of frosted driftwood• blues, brown, mustard and blue green with contrastingcrystals that flow out into a riot of tantalizing colors. Application is "easy as pie" So that you can actually "control" the "direction" or pattern of your "wood for the entire beauty grain", secret is all in a "single jarl " aust see them and we know you'll want them these new glazes are THICKER than Duncan's other fine glaze. The thick- RIGIIT NOWI ness actually extends the "long stroke" brushing quality that is necessary to capture a true "wood grain ' effect. For more detailed gurfacen, they can be easily thinned with a 20031 Spanish Influence 95¢ 20039 Voodoo 80¢ little water so that you can work them down into the grooves. Application is a little different than other glazes but not at all difficult. Just re- 20032 Sleepy Lagoon 80¢ 20040 Confetti Spice 80¢ member to "BRUSH OUT" each coat toaTHIN coat using pressure as you brash to create the beautiful "grained" effect. You can apply these new Duncan WOOD- 20033 Terrazzo 80¢ 20041 Paisley 80¢ TONES to greenware or bisque and fire to cone 05-06. Ask to see them TODAYI 20034 Gold Rush 80¢ 20042 Cotton Candy 80¢ 20047 WALNUT 20050 MAHOGANY 20035 Primitive Fire 95¢ 20043 Spring Meadow 80¢ 20048 FRUITWOOD 20051 REDWOOD 20036 Woodland Magic 80¢ 20044 Calypso 95¢ 20049 HICKORY 20052 BIRCH 20037 Mardi Gras 95¢ 20045 Smoky Agate 80¢ 20053 DRIFTWOOD 20038 Charade 80¢ 20046 Moon River 80¢ available in 4 oz. Jars & Pints Only available in 4 oz. Jars Only 4 oz. Jar--75¢ PINTS--2.40 NOW AVAILABLE AT YOUR NEAREST DUNCAN DISTRIBUTOR

6 Ceramics Monthly MANUFACTURING COMPANY Presents ECONO KILNS... Cro,,to, i,,

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Write for literature showing comparison costs and features, See your nearest dealer. L AND L MANUFACTURING COMPANY, Department CM, Box 348, Upland, Pennsylvania

January 1966 7 SUGGESTIONS from our readers

TRAY FOR TOOLS A plastic silverware tray makes an excellent storage container for the potter's tools. The various types of tools can be sorted out and kept together in the compartments of the tray originally meant for knives, forks and spoons. ---lean Garrett, Villa Park, IU.

IMPROVISEDSPRAY I[~)UIPMENT For spraying glazes, I have been having excellent results with a combination of a garden-type pressure sprayer and the top of a hand-operated pump sprayer. I removed the hand pump

TOP 01: SELF CLEANINe VALVE X' ~ PUMPTYPE

Teacher - Hobbyist - or Crack Professional . . . the new "Color Guide" in the latest Thompson Catalog will delight you. Select from 233 printed reproductions of opaque, transparent, opal and crackle enamel colors to enjoy a greater freedom of color expression than ever before possible. from the sprayer unit and connected the hose from the pressure In addition to enamels, the new sprayer to the place where the hand pump had been. The self- Thompson catalog offers instruc- closing valve of the garden spray hose serves for the operation tion books on enamel of this sprayer. work and To operate, don't place any glasscraft tools, liquid in the garden sprayer, copper pieces, but pump up the pressure as usual and operate shapes, materials and the valve to supplies m spray. This gives a very even coating of glaze, even if the glaze all accurately described and pic- is of a rich, creamy consistency. tured for your ordering conven- --Fred K. Van Almelo, Fairport, N.Y. ience. TO CHECK THE PYROMETER Send in today for your new Pyrometers need to be checked occasionally for accuracy. catalog and "Color Guide" The way to do this is to insert cones in the kiln and fire the offered completely free by kiln. When a particular cone deforms during the firing, check Thompson ~ the world the pyrometer to see if it corresponds to the same reading as s largest the supplier of art enamel colors cone. If it doesn't, you can adjust the pyrometer by for carefully turning more than 70 years. the small set screw on its face. --H. Good, Athens, Ga. P.S. ~ All orders are carefully and promptly filled SLATE FOR THE STUDIO and on their One way to you within of the handiest items of equipment I have is a piece hours after of smooth slate that measures receipt. 12"x12"x15", which I purchased for fifty cents. For making tiles or tesserae, I roll the clay directly on the slate as thick as I want (even less than ~"), cut my design through to the slate, lift off the excess clay, and allow the clay to rest a few hours on the slate. The tiles dry evenly with no warping or curling at the edges, and they slide off easily when they are leather THOMAS C. THOMPSON CO., hard. At this point I Dept. CM place them flat under the slate 1539 Old Deerfleld Rd,, Highland Park, IIh 60036 for a day, while starting a new batch on top. The weight of the slate Please rush my FREE oatolog of complete enameling assures even tiles, and craft I've never had to gouge supplies with Color Guide today. out the backs to keep them from warping. --Mrs. Marion Hicks, St. Louis, Mo. NAME

ADDRESS DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to $5 /or each item used in this column. Send your suggestions CITY STATE ZIp to CM, 4175 North High St., Columbus, Ohio 43214. Sorry, but we can't acknowledge or re- turn unused items.

8 Ceramics Monthly ITINERARY Send your show announcements early: NEW JERSEY, ASBURY PARK Midwest Ceramic Association, will be held "'Where to Show." three months ahead May 12-15 The 14th Annual Eastern at the Montgomery County Fair Grounds o[ entry date; "Where to Go," at least Ceramic Hobby Show, at Convention Coliseum. Show proceeds will be used for six weeks before the opening. Hail, will feature exhibits, an amateur the group's Scholarship Award. For in- competition and a "Pageant of Tech- formation, contact the Show Chairman: WHERE TO SHOW niques." For information, write: Jerry Bessie A. Baker, 6430 TaylorsviUe Rd., FLORIDA, WINTER PARK Gasque, Director, Convention Hall, Asbury Dayton 45424. The Seventh Annual March 11-13 Park. Sidewalk Art Festival includes entries TEXAS, DALLAS in crafts, sculpture and painting. Cash OHIO, DAYTON April 22-24 The Southwest Ceramic awards; Jury. For information, write: April 29-May l The Eighth Annual Show will be held at Market Hall. Show Webb Gallery, Canton Avenue, Winter Midwest Ceramic Show, sponsored by the Continued on Page 11 Park.

NEW YORK, NEw YORK • ...... Late Summer "Craftsmen U.S.A., '66," sponsored by the American Crafts- men's Council, is a national competition open to craftsmen in all media. Jurying E and exhibiting will be held in each of six ACC regions preceding the national exhibition of selected works at the Museum of Contemporary Crafts. For information and entry blanks, write: American Crafts- men's Council, 29 West 53rd St., New York 10019. NEW YORK, SYRACUSE March 5-April 17 The 14th Syracuse Regional Art Exhibition is open to artists living within a 100-mile radius of Syracuse. Media include crafts and sculpture. Jury; Entry fee; Awards. For a prospectus, write: Everson Museum of Art, 407 James St., Syracuse 13203. OHIO~ COLUMBUS March 4-31 Third Biennial Ohio Designer-Craftsmen Show, sponsored by the Beaux Arts and the Columbus Gallery of Fine Arts, is open to craftsmen living in Ohio. Media classifications include ceramics, enamels, glass, jewelry, mosaics, textiles, wood and metal. A special prize will be awarded for religious art in any media. Juror: Hedy Backlin. Entry fee; Entries will be accepted January 21-28. For a prospectus, write: Mrs. Anita Donahue, 2172 Fairfax Rd., Columbus 43221. SPECIAL FOR HOBBYISTS ARIZONA, PHOENIX February 18-20 Third Annual Ari- zona State Ceramic Show, sponsored by the Valley of the Sun Ceramic Asso- ciation, will be held at the Remada Inn. For information, write: Valley of the Sun, We like People who like to make Pots.* Box 14595, Phoenix. CALIFORNIA, LONO BEACH March 18-20 The 17th "World of Because of this we handle a complete by Califor- Ceramics Show," sponsored of clays, glazes, tools, chemicals nia Ceramic Hobby Association, is the line oldest hobby ceramics show in the nation. and accessories (Mayer Shacter, of Exhibits, demonstrations and teaching. For information, write: Jack Kemper, Show the Venice Pottery Gallery, depends Chairman, Box 545, Chino, California. upon us for his materials). Send for D.C., WAS I-IINOTON our free Catalogue and see what we July 14-16 The National Ceramic Trade Show and Conference will be held have that will help you get potted. at the Park Sheraton Hotel. Show Chair- man is Olevia Higgs, 6811 Washington Blvd., Elkridge, Md. 21227. Westwood Ceramic Supply Co. 610 Venice Blvd. Venice, Calif.

January 1966 9 'f 2, -r,J

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CM'S PICTURE OF THE MONTH "Trio of Sunbathers," wheel-thrown ceramic sculpture by stitute of Los Angeles County was to present to the Stephanie S. Gruenberg, Los Angeles, was a part of the public a cross-section of the work being done in this recent exhibition of work by Southern California Designer- region and to afford the new craftsmen an opportunity Craftsmen. The heads, torsos and limbs of Mrs. Gruen- to bring their work before the public. This work, both berg's figures were made separately on the potter's wheel utilitarian and purely decorative, represents the creative and then joined together. efforts of many of the leading craftsmen of Southern The purpose of the exhibition at the Otis Art In- California. Photo by Earl Lewis. 10 Ceramics Monthly ITINERARY NEW YORK, NEW YORK Craftsmen of New York, at the National through January 2 "Sculpture in Design Center. Continued [rom Page 9 Glass" shows forms in glass designed by NEW YORK, NEW YORK such artists as Arp, Ernst and Picasso is Mrs. Opal Black, 4310 Continuing "Ancient Peruvian Ceram- Chairman and executed in the glass works at Murano, Ave.. Dallas 75219. The Nathan C. Cummings Collection" Congress Italy. At the Museum of Modern Art. ics: contains over 300 objects dating from the Metro- WHERE TO GO NEW YORK, NEW YORK 1000 B.C. to 1500 A.D. At 9 Enamels by June politan Museum of Art. CALIFORNIA~ SACRAMENTO through January at the Museum of Contemporary through January 16 Student Exhibi- Schwartz. OHIO, CINCINNATI at the Crafts. tion of Sacramento City Schools, through January 31 "Rockwood Pot- Gallery-. E. B. Crocker Art NEW YORK, NEW YORK tery and Related Decorative Arts," at the through January 12 An Exhibition of Cincinnati Art Museum. CALIFORNIA, SAN FRANCISCO Enamel by Kathe Berl. sponsored by Artist- Continued on Page 38 through January 8 "The 23rd Ce- ramic National Exhibition." at the San Fancisco Museum of Art.

CALIFORNIA, SAN Jose January 3-28 National Invitational Glass Exhibition, at San Jose State Col- lege.

CALIFORNIA, WALNUT January 23-February 19 "The 23rd Ceramic National Circuit Exhibition," sponsored by the Everson Museum of Art, at Mt. San Antonio College. COI.ORADO, DENVER through April American Indian Arts How and Crafts, at the Art Museum. FLORIDA, GAINESVILLE to succeed through May "4.000 Years of Ceram- ics in Florida." at the Florida State Museum. in ceramic FLORIDA, TAMPA January 5-28 Work by j. Sheldon with Carey, at the University of South Florida. HA~/AII, HONOLULU January 3-February 13 "7,000 Years of Iranian Art," Smithsonian Institution Traveling Exhibition, at the Honolulu Academy of Arts.

ILLINOIS, SPRINGFIELD through December 31 "Fourteen Art- ists" exhibition includes work by craftsmen, sculptors and painters living in Illi- nois; at the Illinois Art Museum. MICHIGAN, ALMA MA¥CO COLORS January 9-25 Raku Ware by Paul We almost added -- without really trying. ACC, at Alma Soldner, circulated by the a little effort. Like making your College. But it does take selection from MAYCO's One-Stroke or MAYCO's MICHIGAN, DETROIT colors -- the favorite of 16 "Japanese Art 50 brilliant, opaque underglaze through January can be used straight Treasures," at the Detroit Institute of Arts. ceramic masters. MAYCO underglazes subtle, unusual shades. HANOVER or blended for NEW HAMPSHIRE, are homogenized, January 3-24 "The Architect Chooses So easy to use! All MAYCO underglazes or Art," photographs of architectural art and can be fired at Cone 06 -- and will not run, chip Dartmouth College. craft work, at peel on firing. Ideal for all techniques! NEW JERSEY, N*E'CVARK Write for FREE color chart. Christmas Crafts through January 9 Finest Colors and Prints Sale, at the Newark Museum. America's NEW JERSEY, TRENTON" through January l "Designed for Production: The Craftsman's Approach," circulated by the American Federation MA¥CO COLORS i CALIFORNIA of Arts, at the State Museum. 10645 CHANDLER BOULEVARD, NORTH HOLLYWOOD, Dco le rsl~ ips .-I v. ibt hle Answers to qUESTIONS Conducted by the CM Technical Sta[[

Is there any special handling invol~'ed in using bentonite in a glaze? It becomes sticky and impossible to pass through an 80-mesh screen. I note that some [ormulas list it last, even I:III IMII: alter the coloring oxides. Does the order o[ incorporation into the other ingredients make any di[[erence? --S.R., Ithaca, N. Y. Bentonite is a natural clay that is used by the art potter in both glazes and clay bodies. It is used in glazes as a sus- SIII:IIE, pending agent; it SS is used in bodies to improve plasticity and workability. Because bentonite swells when it is wetted, it must be added dry to the other dry ingredients. The ingredients should be thoroughly mixed before water is added in order to avoid the problem you mention. The order of incorporation is of no importance if all dry ingredients are mixed before wetting. KKAIDY 'rtt IISE Some o[ my attempts to enamel over firescale have been GI NKS good and the [irescale patterns on the copper have been AiD llliKl! GI IKS most interesting. Occasionally, however, the enamel has peeled away [rom the metal during the [iring and cooling. What could I be doing wrong that causes this?--P.F., Washington, D.C. Designed for easy school use. There is a strong possibility that the firescale is too thick. If the scale appears Brush it on, spray it on, dip, spray or in relief at the edge of the piece, place the metal in acid just long enough to spatter. partially dissolve the firescale, then wash the piece, dry it and proceed with the enamel- Can't rub off. ing. Thicken it or thin it. P!ease ask Mr. Behrens what he does to make his very nzce colemanite glazes a little easier to apply. I use Gerstley No waste. Borate but lind many di[[iculties. First, it is impossible to force it all through the sieve. Second, brushing it is dif[icuIt. I use a mixture o[ two ounces ol CMC powder in one gallon o[ water as the only liquid--no pure u,ater at all. 1 also dampen the I:IKK OiLY tllt:K bisque before glazing. I find that I have to use lots of the CMC mixture to be able to get the glaze on without piling up mercilessly under the brush, so the [irst coat is terribly uneven With its wide temperature range, cone with gritty parts, clear streaks, etc. In other words, it is very 06, unez'en. (1800") thru cone 6, (2200"), which in 1 hoped that successive coats would correct this, but a[ter itself is its own safety factor. the firing much ol the unevenness is quite visible. On the other hand, if I spare the liquid mixture in the mixing, Colors stay bright. Finish remains stable. the glaze is as thick as whipping cream (the brush stands straight up in it) and it piles up impossibly under Classroom success is the brush. yours with our I haz:e tried adding bentonite, sodium carbonate and corn syrup. glaze. --E. M., Montreal, Q ue. I have checked the difficulties Priced to meet your budget. in the laboratory and find that the addition of CMC gum with, or without, soda causes the glaze to thicken to a real pudding. It should not be necessary to add gum to a glaze containing an adequate amount of clay. AVAII,AI|I,K I had no trouble in passing this glaze through a lO0-mesh ll YOUI! AKKA screen.--R.B.

See your school or ceramic supplier. Can you explain exactly what is meant when glazes are re- [erred to as lead, alkaline or [ritted glazes? I have seen these words used by your authors over the years but have no clear idea o[ what they mean.--K. ]., Flint, Mich. These classifications refer to the fluxing materials used in glazes to make the ingredients melt and fuse together. Lead, alkalines or frits usually are used for low-fire glazes. At the higher temperatures, feldspars generally are used and we speak of these as feldspathic glazes.

15215-15225 South Broadway P.O. Box 2086 • Gardena, California ~3247 All subscriber inquiries are given individual attention at CM; and, out o[ the many received, those o[ general interest are selected [or answer in this column. Direct your inquiries to the Questions Editor, CM 4175 N. High St., Columbus, Ohio 43214. Please enclose a stamped, self-addressed envelope. ~2 Ceramics Monthly The Ceramic Reliefs of Mary Green by JEAN R. LANGE

THE CERAmC RELIF.FS of Mary Green of San Antonio, ceramics are now in demand for such business buildings Texas, are an outcome of trends in modern architecture as banks, restaurants and shopping centers in Texas. in the Southwest. Many new homes are being built with A touch of whimsy marks all of Mary Green's brick or stone interior walls, upon which it is next to ceramics and there is a lively primitiveness in her inter- impossible to hang paintings. Patios and swimming pools, pretation of children, flowers, birds, fishes and animals. indispensible features in a hot climate, require suitable The artist is a rapid worker. She does not make a embellishment. Ceramics that can be mounted on stone detailed sketch of a proposed piece, except in rare cases. or brick indoors, or withstand all weathers outdoors, are A quick outline on a scrap of paper suffices. From there the perfect choice. on, she says, "It grows, as it were, from the clay." Mary Green, an art graduate of Columbia Univer- As a first step in creating a wall panel, Mary Green sity, started her career in ceramics in the traditional places a lump of clay on a canvas-covered board and manner. She first gave her attention to hand-formed pounds it with a wooden rolling pin. When she is satis- pieces; from these she progressed to throwing on the fied that it is well worked, she rolls it out into a sheet wheel. For the past seven years, however, she has devoted that is from about ~,~ to 1~ inches thick, depending on her time almost exclusively to producing distinctive flat the size of the piece to be made. Working on a board wall pieces and occasional free-standing ceramic sculp- enables her to "flip" the sheet of clay if she wants to tures. Her reason for abandoning the wheel is simple: work on the other side, by placing another board on "I got tired of the round." top and turning them both together. She prefers to work It soon became apparent that her new style in on canvas because of its rough texture and also because ceranfics was a "natural" for modern decor. Stone and it can be used to cover the clay. brick walls provide ample space for decorative objects The Texas clay with which she works is a stoneware and furnish backgrounds which, by their nature, have clay mixed with 40 per cent of grog. This amount of an affinity with ceramics. Both owe their substance to grog produces a very coarse texture which Mary Green the earth. And there is, after all, a limit to the number finds suitable for the type of work she does. The grog of pots that can be placed in a living room or on a patio. is coarsely ground bisque-fired pottery, from which the Whereas in the beginning Mary Green had to seek potter removes any overly-large pieces with her fingers the interest of architects, she now has ahnost more com- as she smooths the surfaces and edges of her work. missions than she can handle. One of her earliest, and Then, frequently without even making a prelimi- most unusual projects was an entire wall display of nary sketch, she marks out on the clay with a knife the ceramic animals placed above the meat counter of a outline of the piece she intends to make. Since many of Texas supermarket that was pioneering a new form of her pieces are large, she plans beforehand to section them display. The stylized poultry, cattle and gamboling lambs at points where separation will not spoil the design. It attracted so much attention that Mary Green's wall is frequently necessary for her to do this because large ]anuary 1966 13 1. Work is started by beating out the clay mass with a 2. The outline o[ the [igme- itz this case, a rooster--is wooden rolling pin. Alter this the clay is rolled out on illscribed with the tip o[ a kni[e, then the [igure is cut a eanz'as cocered board. (mt. l'x-rcs~ clay is remoa'ed.

3. The kni[e is used to cut away strips o/ clay al~(l thu.~ 4. Since the narrow m'ek a'ould bca a , a/, l~lm , , it i,~ [orm the tail leathers o[ the rooster. Work is done on separated [rom the body at this point. The [inished sec.- ~e~,eral thickm'ssvs of neu'.~paper. timTs will be fitted together again here.

6. Alter 5. The separated head i~ ready [or [inal mod~lil~g de- bisque [iring the a:arious pieces o[ the relie[ [igure tails. The sur[aee and edges will be smoothed over with are glazed by brushing, then the sections are a damp cloth. When dry, the clay parts will be given a [ired again, this time to somewhere between Cones 8 bisque Jiring. and I0.

14 Ceramics Monthly ceramic pieces would be impossible to handle as a single unit, especially before firing. Also, she must plan to fit the pieces on kiln shelves, the largest of which are 20 inches deep. To prevent the clay from sticking to the board as Figure with Flowers is 31 inch- it dries and shrinks, Mary Green places several thick- es high. The stoneware clay is nesses of newspaper between the clay and board before washed with a thin iron glaze; she cuts out her design. the flowers are glazed in red, When the piece is cut out, it is smoothed over. She yellow and blue. gives special attention to the edges by dampening them L to speed the smoothing process. For this purpose she uses leaves her no time for teaching. At one time this ceramic a small piece of wet cloth, or works with dampened artist taught in elementary schools in the Dallas area, fingers. All the decorative details of the design, such and was an art instructor at the Texas Women's Uni- as feathers and features, are then added and the piece versity near Dallas. She served as an instructor in the is set aside to dry. When dry, it is bisque fired and then art departments of San Antonio's Trinity University glazed and decorated. The piece is then returned to the and Incarnate Word College, and for a time also taught kiln and fired to somewhere between Cones 8 and 10. ceramics as therapy at the Gonzalez Warm Springs When Mary Green makes small pieces she fires them Rehabilitation Center near San Antonio. There she dis- in a small 15-inch-square electric kiln in her garage- covered that working with clay is the ideal craft for workshop. Large piece, especially those that have to be handicapped persons. Even when they have only very fired in sections, are fired in a large gas kiln at the limited use of their hands thev can still manage to studio of San Antonio potter Harding Black. The trips create something in clay. to Harding Black's pottery are quite frequent when she As a past president of the San Antonio Crafts Guild, starts large commissions. Mary has been instrumental in encouraging a flourishing Mary is selective in the choice of both subjects and crafts movement in that city. If all goes well, this move- commissions. She will refuse a commission if it is some- ment may soon receive further impetus in the form of thing she does not want to do. The things she likes, she a project to establish in San Antonio a "Crafts Center says, "are those that are fun to do." of the Southwest." While this is only in the blue-print Once in a while Mary Green turns her hand to free- stage now, it could promise a showcase, training pro- standing ceramic sculpture and she has created a number gram, and sales center that would be of considerable of fountains and figures for homes in Texas. She also benefit to craftsmen in all fields in the Southwest if, and is in demand to create "ceramic histories" of ranches in when, it comes into being. Texas. These are large sculptured ceramic reliefs show- JEAN R. LANGE is a free-lance writer and photog- ing the many facets of the ranch owners' interests--prize rapher who also holds down a full-time position on the cattle, oil wells, cowboys, and ranch houses--that are staff of KLRN-TV in San Antonio, Texas. CM readers mounted on outside walls. In addition to these. Mary will remember her feature articles on Beau and Martha Green also creates ceramic tiles and signs for inns. Mood (November 1962), Harding Black (November The increasing demand for Mary Green's work 1964) and her ]une 1964 Portfolio on Maria Martinez.

i ,

7. The glazed pieces of the rooster relief arc cemented together so that the seams arc barelr a'isible. Grooz'es t/l~ b~ict, a,all~ o/ small cut in the back of the figure are used to insert hooks Pancl,~ mad~ l,~ be mou~l~ d ,m at a children's home in for hanging the finished piece. The rooster is 33 inches patios for individual cottages wide and 2l inches high. San Antonio provide cheerful decorations.

January 1966 15 MAKING OFF-CENTER SHAPES ON THE PO'I'I'ER'S WHEEL

by F. CARLTON BALL

MAKING OFF-CENTER POTS might seem to be the ideal wooden or plaster throwing bat in the potter's regular technique for beginning potters, especially those who way. The lump is opened and the clay is pulled up into have difficulty in centering the hunp of clay or keeping a cylinder, but the top of the cylinder is left a little the cylinder centered while the), are throwing! In reality thicker than ordinarily would be done. The clay is next it just isn't that simple, because every potter knows that given a rounded shape. it is necessary to keep the clay on center through all of When the basic cylinder is completed, the throwing the early crucial stages of work on the potter's wheel. If bat is loosened and bat and pot are moved off-center an off-center pot is desired, it can be finished this way about y2 inch. If the pot is moved less than Y2 inch, not during the later stages of throwing. enough variation is given to the finished form; if it is The technique I use for making off-center pots is moved more than this amount, it makes the first attempt presented here, in the making of a bottle shape. The at working by this technique too difficult. bottle shape lends itself particularly well to this off-center If the potter prefers not to work on a throwing bat, throwing technique, but certain other forms also can be the cylinder can be thrown directly on the wheel head. thrown in this way. An investigation of this problem Then the pot must be cut at the base with a wire, moved might make an interesting research project for a potter off-center V2 inch, and again fastened firmly to the wheel who is intrigued by the subtle nuances of form. head before continuing. To begin with, the lump of clay is centered on a It is from this point on that the fun starts for the

1. A lump of clay is ce77tcred 077 a throwing bat that is attached to the wheel head.

16 Ceramics Monthly 2. The clay is opct~cd and pulled up into a c)'lindcr, ,3. Th,' bottom portion of the pot is given its final [orm then a rib is used to start shaping the clay. and excess clay is cleaned from the base area.

4. The bat is loosened, moved about ~ inch oH-center , 5. The ~'cck area is gradually co~st,ict~d as the oil.- then refastened firmly to the wheel head. center pot is revolved on the wheel.

January 1966 17 potter! As the wheel is set in motion and work is resumed A section of board, a bat or a paddle can be used at the top of the clay form, the potter will feel a rather to gently tap the clay on one side of the form a little bit, weird sensation because he is accustomed to working on then repeat this on the opposite side. The first side is a perfectly centered piece. flattened a bit more, this time by using a rolling motion It is necessary to learn to ignore the off-center feeling with the board to create a surface that is still flatter, yet and progress with the constricting of the neck. As soon as retains a slight curve. The process should make this side the top section has been closed in a little bit, the top longer, or we might describe it as more distant from the part of the bottle will have taken on its own centering, neck of the bottle. The short side is flattened a bit more even though the bottom section beneath is now off-center. to make it appear shorter, if this exaggeration is desired. The process isn't too disturbing once one learns to con- The flattening process can be done in another way. centrate on his hands and not on the shape below. The pot can be carefully picked up in the hands, turned Work continues on constricting the neck area and, to the horizontal position, then bumped and rolled on at the same time, lengthening it as far as possible with the table surface to flatten one side. This is repeated on the available clay. I would caution against being greedy the other side until the desired effect has been achieved. and attempting a strongly exaggerated effect, because The foot generally must be trimmed by hand on the this probably will end in disaster. The potter must be deformed or off-center pot. Of course it is desirable to content with a slightly irregular shape on his first attempt. trim as much excess clay from the base as possible while Work at the wheel is finished when the lip is formed the pot still is on the wheel in its original position, be- and refined and the piece is removed from the wheel and cause there is not much chance of successfully trimming set aside to dry. The form can be considered complete the base after it has been moved off-center. at this point, or its off-center character may be further You can see that it isn't difficult to throw an off- exaggerated. I have found that these irregular forms are center pot on the wheel by this method. I would like to more satisfying if the off-center feeling is exaggerated, emphasize the fact that it is best to start by moving the and one method to achieve this is by flattening opposite pot just V2 inch off-center for the first try or two, then walls of a bottle form slightly to form sides. This distor- progress by moving the pot a little more for successive tion is done when the thrown form has stiffened and attempts. It also is important for the potter to study the dried a little bit after it is removed from the wheel; when effect thus gained in order to know just how far to go the clay is firm, yet still flexible, it is ready for paddling. in additional exaggeration of the form by paddling.

6. The neck atca zs ccut~rcd as it is made Iot~gtt and 7. The /ittal shape of the long narrow neck is per/ectcd narrower for the final form. to complete the throwing process.

18 Ceramics Monthly Left: Off-center buff clay bottle was bisque fired and glazed inside. The outside was glazed with white, pale blue and medium blue-green waxy matt glaze that was poured from a pitcher while the bottle was held at an angle to achieve the controlled overlapping effect. Below: The pieces left and center were bisque fired, then sprayed with a u'axy gray-green matt glaze. The unfired glaze was coated with liquid wax and the designs were scratched through the wax and glaze. A thin mixture of red iron oxide and water was painted over the bottles before they were fired.

January 1966 19 ENAMELED WALL PANELS

by POLLY ROTHENBERG

~;:~ii!ii~i ~

SMALL INFORMAL WALL PIECES offer the a corner while sawing, the blade "marks creative enamelist a rich time," sawing opportunity to i . in one spot, while it is plan both interesting designs and novel pivoted. All edges of each piece are background mountings. These pieces are filed and shaped, then further smoothed suitable for use in the home and they with an abrasive stone and steel wool. make excellent projects for studio enam- The tiles are cleaned, counter-enameled, elers or for classroom construction. and given a base coat of fired, trans- Designs may be realistic or non- parent gold enamel. representational; mountings might range from soft velvet All copper tiles must be counter enameled or they to burlap, depending on the theme of the design. It is will warp. In general, the counter enamel should be of best to plan the mounting material when the enamel equal thickness to the enamel top coat. If the coats are design is worked out. Sometimes the texture of the unequal, the warpage will be toward the side of thinnest mounting material may be repeated in the picture. coat. If tiles warp when they are completed, this may The simpler the design motif, the more the inherent be corrected somewhat by firing a flux layer to the side beauty of enamels may be utilized. Ordinary subjects with which needs more enamel. uncluttered lines become alive and appealing when The design demonstrated is to be stenciled onto both opaque and transparent enamels are blended and con- tiles at the same time, so they are fitted close together trasted. with outside edges properly aligned. Tiles are easier to It is challenging to occasionally think of wall plaques manage if set on a surface slightly elevated above the as something other than rectangular or square shapes. table top. A flat length of board, one which does not The demonstration piece uses two large tiles cut from extend beyond the tile edges, is an adequate perch. 18-gauge copper, shaped in harmony with the cat design. Small dabs of paper cement applied to the board will Tiles which are not square or rectangular are sometimes prevent the tiles from slipping apart while enamel is pleasing if they meet diagonally rather than straight sifted over them. Any cement which adheres will burn across. For fast-cutting of these large, relatively simple off when the tiles are fired. shapes, I use a coping saw blade in my 6-inch jewelry In planning a design which has strong perpendicular saw. The crimped ends of the blade are snipped off lines, I like to use strong contrast in colors. The cat is with wire nippers and the blade fits into the saw frame bright blue, light blue, and white, with black details. exactly the same as a regular jewelry blade. The best Although paper towels are often used for small stencils, size blade for this purpose is :~30 (30 teeth to the inch). a very large stencil requires stiffer paper. Smooth water. The outline for the tiles is drawn directly onto sheet color paper and drawing paper make excellent stencil copper. A V-board is clamped to a table edge with a materials. They hold their shape even when they are C-clamp, and the copper is clamped onto the V-board wet and may be used over and over without becoming with a second clamp. The second clamp can be loosened tattered. This can be an asset when several pieces of and the copper shifted as need requires. In order to turn similar design are planned. 20 Ceramics Monthly The cat design is cut in both positive and negative position, sprayed again, and bright blue enamel is sifted stencils. Over the fired base coat of transparent yellow close around it. The tiles are again dried and fired. gold, the positive stencil is positioned slightly left of center. Next, the negative stencil is positioned slightly to the Since a soft outline is planned, the stencil is propped right of the fired cat design, sprayed, and given a thin above the surface on thin sections of a cork which have coat of light opaque turquoise. When the stencil is been sliced with a coping saw blade. The tiles are sprayed removed, a narrow strip of the transparent gold base coat with diluted gum; then white enamel is sifted in a shows down the left side of the cat where the stencil moderate layer around the stencil, fading out near the was purposely placed out of alignment. Sparkling bits of edges of the tiles so some of the gold base coat can gold show through the very thin coat of turquoise. It show through. The tiles are left to dry, then they are is in this manner that one can blend transparents and fired at 1450°F. opaques for an effect uniquely possible with enameled When the tiles are cool and the edges stoned under metals. running water, the positive stencil is replaced in the same The last step before the final firing is to add black

1. In cutting the background slmpe from sheet copper, 2. The po,dtiv,' ,~lcncil i,, propp~':t opt pieces o/ cork to cuts made from opposite directions meet at the corner. elevate them [or softer stenciled edges.

3. W/tit, opaqu," enamel is si/t,d o~r the tih~ around 4. Black overglazc decoratiue details arc brushed on be- the stencil; some areas are only thinly coated. fore the final firing of the plaque pieces.

January 1966 21 Right: The subject bert demand,'d a [ormal treatment. The' tiles were framed in gold, then mounted on dark z~eh'et- coc, ered plywood. Halos are transpareTtt gold and purple; [igurcs are light si[tings of opaque enamels.

Opposite Page: Pre-cut tiles make inter- ,'sting pieces i[ the design harmonizes with the tile shapes. Stenciled areas are amber transparent u'ith opaque outlining the shapes. Mounting boar:t is coz'ered with terra eotta burlap.

5. Cloth is remo~'ed [rom the center o[ the board and a 6. Cloth is glu, d to th, back o[ t/to board attd held i~z block is pressed into place to hold the tiles. place until dry by the use o[ thumbtacks.

7. Tile ccm, nt i,, u~d ol~ Ih~ b.a~,i ].~ , pt:, l~ttp~g t/l~ 8. Finished lJlaqm comd,t~ o/ t/u ,llam,'lcd til~s ~.~teTid- tiles securely in place. ing about an inch [orward [rom the board.

22 Ceramics Monthly glue dries overglaze details with a small pointed brush. Overglaze ness. Thumbtacks hold the material while the is neatly must be thoroughly dry before being fired. After firing, completely. The entire back of the board and mounting all tile edges are stoned lightly to remove firescale covered with self-adhering contact paper. The to the rubbed smooth with steel wool. An abrasive stone should board is now ready for the tiles to be applied that be rubbed gently in one direction, care being taken surface wood block. the enamel. Steel wool may be used one avoids striking The area of the counter-enameled back of each tile as it will not scratch enamels. and briskly, which will rest against the mounting block is stoned I use ~-inch plywood as a base for most applied roughened so the cement will adhere. There are several for for mounting materials. It provides a good foundation fine adhesives on the market which are satisfactory not certain screws which will hold the plaque hangers; it does tiles. By reading instructions, one may make piece glass. For warp; and it is comparatively inexpensive. When a which ones are suitable for use on wood and for has been cut to the desired size, it should be sanded these large tiles I use the kind of adhesive suitable is smooth. cementing floor or wall tiles. The mounting board on its back and cement is spread over the Glue is brushed over the entire top surface of the placed flat surface of the wood block. The tiles are eased plywood which is prepared for the demonstration piece. entire into place and carefully aligned. Dark blue linen is applied fiat on the top and allowed ply- to extend a few inches all around the edge of the A few books stacked on top of the tiles presses back block wood. These extensions will be turned under the them securely against the surface of the wood a flat time, of the board later. While the glue is still wet, while they dry. They are checked from time to If block of wood is positioned on top of the glued-down at first, to make sure they have not shifted position. plane brick material, where it will support the tiles on a there is a slight warpage to a tile, extra books or a new forward from the mounting board. With a sharp, will press it flat until the adhesive dries. There is enough slight razor blade, I cut through the linen all the way around flexibility in an enameled tile to press out a very not dry the wood block, taking care that the blade does warpage. The demonstration project is allowed to the hangers. swing away from the block or cut into it instead of undisturbed overnight; then it is ready for the block and the cut-out material. Then both the wood The most practical hangers for large wall pieces are carefully removed. If the flat. section of linen beneath it are called strap-hangers. These are large, strong and tug will pull the cut glue has begun to dry, a sharp Most picture and mirror stores or departments carry them. of the block is given section loose. The underneath-side If they are applied directly behind the wood block which the plywood a coat of glue and it is replaced against holds the tiles, longer screws may be used. piece of linen has been removed. At where the cut-out With the use of a little imagination, an endless entire mounting project is left undisturbed for this point, the variety of stenciled wall pieces may be constructed overnight while the glue dries. use in different types of interiors. Cut-out shapes mounted the The next step is to turn the piece over, pull on different planes and unusual background materials, and linen side extensions over the edges of the plywood, such as slabs of tree bark, old barn siding, or wire chicken- cut these glue them to the back of the board. Sections are fencing, are just a few of the possibilities. Some of from the corners of the material in order to avoid bulkl- ideas will be explored in a future article. ]anuary 1966 23 WHEN FINGERS THINK

by HELEN YOUNO

WHILE THERE ARE FEW entirely new answers to ceramic feeling they have failed. This accounts, she believes, for classroom questions, it is always interesting to study meth- many drop-outs who are lost to ceramics forever. That is ods of teaching developed by successful teachers. It was Why, in response to a student's question, "Is it good?" therefore a pleasure recently to observe several sessions of her answer is, "Do you like it? Does it make you feel a beginners' ceramics class taught by Mrs. Marie Nichol- happy?" son of Upland, California. It is then that she reminds a student that it is im- This vibrant and enthusiastic young French-born possible to please everyone else in the world, and that teacher has made a workable compromise between the he must stop trying to do so, and work only to please teaching concepts of the "do what the teacher tells you" himself. and the modern "express yourself freely" schools. The In considering the matter of selling, which so often accomplishments of her students are amazing, and the arises with this age group, Mrs. Nicholson believes that youngest are only three years old. Like many other crea- if the whole responsibility for it is left to the child, sell- tive people, Mrs. Nicholson honestly believes that "fingers ing may be good. It is only when a child is pushed into think," and it is her objective to encourage this to hap- selling by an adult who thinks it may encourage him to pen instead of suppressing all feeling by demanding con- do so, that she disapproves. In addition, she is convinced formity. that selling may be extremely helpful to both children After much thought and careful experiment, she and adults who are too timid to attempt new projects, has established four age brackets for her classes, believing but insist on making the same object over and over again. that the groupings follow the natural emotional develop- If selling will remove this cherished object from his life, ment of children. Her youngest class is made up of 3-to she says, the individual will then be forced to replace 5-year-olds, an age group which she says is characterized it with something new to fulfill his own needs. With no by creative zest and an instinctive affinity for clay. As reservations or exceptions, this teacher condemns parents all mothers and teachers know, nobody has to tell them who themselves buy a child's work in an effort what clay is for, to encour- or suggest what they shall make. They age him. are completely indifferent to what other children are Mrs. Nicholson believes that students are creatively doing, show no tendency to copy or imitate, but concen- adult after the age of 15, and belong in classes with other trate solely on what their own "thinking fingers" tell grown-ups. She says firmly, "All adults would benefit if them to make. Mrs. Nicholson's great desire is that they they were put into classes with children," then adds, retain this individual drive for a lifetime and "but that nothing it would ruin the children." be said or done to divert it. She believes that it is rare Marie Nicholson has discovered that by the ages of for an adult to relax, as children do, when he works with clay, 5 to 9, children are beginning to emerge from a purely for everything he does reflects all the restrictions society self-centered world, and that while they still retain much has put upon him. Self-conscious imitation and too of their inborn drive, they are now also becoming aware many years of drill in conformity, she says, have created that they not only live in a world of fantasy, but that they habits almost impossible to break. In an effort to overcome can consciously shape clay to embody these fantasies. She them, she urges all of her students, including adults, finds this group perhaps the most interesting to work with to stimulate their creative activity by reading because the children are not bound by convention fairy-tales, not in order to but model elves live creatively in a world of fairy-tale and gnomes, but to limber up their creaky creatures, whimsy, imaginations and the improbable. and permit feelings to escape through their finger tips. Adults, including teachers, In the third age-group, 10-to 15-year-olds, she has she insists, must look up to, and not down at, children. noticed that the children tend to become more self-con- (Continued...) scious about their work, with an eye on a possible audience. They must be encouraged to forget their audience, It is a Mrs. Nicholson says, and to work for their own satisfac- triumph to be able to "throw" without any help [rom the teacher, tion. Otherwise it is easy for them to react to criticism by as this young potter has learned to do.

24 Ceramics Monthly ~ ~i ii!i!! ~¸~¸

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January 1966 25 Mrs. Marie Nichol- son, ceramics teacher from Upland, Cali[or- Deft fingers turn clay into an abstract figure. nia, is pictured at Plas&r bat on a lazy-susan makes an ideal work in her studio. working surface.

The stimulation of working with other people ac- making liquid clay and explaining that this is called slip, counts for much of her success with both children and and that they will use it in many ways, as when attaching adults, Mrs. Nicholson believes. She adds that a class of arms and legs to figures, or knobs and handles and some one would be dull for both teacher and pupil, since the kinds of decorations to pots. teacher also grows with the contact and stimulation of In this first half-hour the children had already other persons. She has found the ideal class to consist of learned some of the important basic qualities of clay, six students, with never more than ten. However, she is almost without realizing they were being taught. Mrs. planning to conduct an experimental class of about 30 in Nicholson's teaching is in reality little more than show- a public school, using the same techniques she employs ing what she is talking about. in her private classes. By this time the children were impatient to work The entire theory behind Marie Nicholson's teaching with their own clay and Marie showed them how to use method is based on developing a student's sense of touch a wire to cut off a slice from their own supply. Asking as well as his sense of sight, with the role of teacher the children to move close to the table, she told them to limited solely to instruction in various techniques. hold the clay in their hands under the table and work The way Mrs. Nicholson introduced a beginning the clay with their fingers. She explained that this was class of three little girls to ceramics is worth detailing. the way to learn how clay feels: smooth, elastic, respon- The children were in the 5-to 9-year-old age group, and sive. Delight and excitement were expressed on each we visited several class sessions in order to watch their child's face as she kneaded and manipulated the clay. progress from week to week. The teacher stood by but offered no suggestions to the The children were seated around the rim of a big children. One child announced that she was making a U-shaped table, with the teacher in the center, conven- little girl, another silently shaped a ball of clay into a cup iently close to all of them. Each child was given her own form, while the third happily rolled her clay into a plastic bag full of red stoneware clay already well mixed smooth ball, squeezed it out of shape, then rolled it into with grog and thoroughly wedged. This clay fires to cone a sphere once more, repeating the routine over and over 6, and Marie Nicholson prefers it because it is a warm, again. earthy color and has good fired strength. A white clay, The under-the-table procedure ended as soon as she says, looks cold even after it is glazed, and is far less Mrs. Nicholson detected the first signs of boredom. She interesting than the red. next gave each child a plaster bat set on an individual Mrs. Nicholson first held up an unfired red clay turntable. She told them that clay does not stick to plas- mug, explaining briefly to the class that after clay is ter and that they could now turn their work easily on shaped it is called greenware, and that until it is fired it the turntable. can be broken up and used any number of times. To Each child already knew what she wanted to make: demonstrate how careful they must be in handling it, she a man, an abstract figure, an ashtray. Interestingly, the broke off a chunk of clay from the rim and dropped it abstract was proposed by a child whose mother is an into water. Then she removed a piece of bisque from abstract painter; this child has been surrounded by ab- the kiln, explaining that this is the way clay looks after stract paintings from birth, but never sculpture. it is fired, gently correcting a child who spoke of "cook- Again, Mrs. Nicholson sat by watching, offering no ing clay in a stove." advice about design or subject, but ready to help when- She used the correct names for all materials and ever methods were involved. As an example, when one processes, demonstrating what she meant. Her points child started to fasten a head on the figure she was mak- were not lost in a fog of technical terms but were stated ing, Marie explained that it must be fastened tightly to briefly and accurately. She told the children only as much the body, and showed how both head and body should as they needed to know at the moment, so there would be be scored and dabbed with slip before being pressed to- no clutter of names and ideas to confuse them. She said gether. She herself did not do the joining, but demon- that she uses this same method with all students, includ- strated the method on another lump of clay and men- ing adults. tioned other occasions when the children could use it. She next told the class what slip is and stirred the Another child continued to work on the piece of broken piece of greenware she had dropped in water, clay she had started to shape under the table, turning it 26 Ceramics Monthly An 8 .- year - old sprinkles vermiculite over clay slabs she Red stoneware ram, made by a 12-year-old beginner, will use to make a was constructed [rom slabs and partially covered with set of wind chimes. an opaque white glaze.

into a man with arms held close to his sides. She was learned in the previous class had not been forgotten, and told how to hollow out the inside, leaving a wall strong in addition they had all added new skills. enough to support the figure, yet thin enough so steam In the third and fourth sessions of the class, as soon would not form inside and cause it to crack when it was as there was bisque ready to glaze, Mrs. Nicholson fired. showed the children how to apply both the glossy and The third little girl moved her work to the end of the semi-matt or matt glazes which she mixes. She pre- the table, apart from the others, intent on shaping her fers rather low-fire glazes because of their greater color ashtray. The only suggestion given to her was to thicken range. An important side angle in this session was the the edges so the rim of the tray would not break. The care of brushes and the need for extreme cleanliness, in- child made the correction quickly, as if she were glad to eluding careful hand-washing, after working with glazes. be informed. On the same day, one child at a time was introduced The class continued for an hour and a half, then to the kick wheel. Mrs. Nicholson believes that there Mrs. Nicholson showed the children how to clean up the should be a good basic understanding of clay before any work area, a rule she enforces strictly, and how to place student attempts to throw pots, and while some of her all unfinished work in plastic bags on a shelf space tag- adult students want to get to the wheel during their first ged with each name. She remarked that all good students class, she insists that they follow the same routine as that leave a studio clean, ready for the next class. used with her younger pupils. Her teaching technique The second class session began with one child com- here is to demonstrate how to center the clay on the pleting her abstract figure so she could begin a set of wheel and bring up the pot, how to hold the fingers while wind chimes. The teacher showed her how to flatten hollowing and shaping, then how to cut it off the bat. small balls of clay with a rolling pin, cut the pancakes It is after her pupils have become familiar with clay into irregular shapes and pierce them at opposite sides that the teacher launches her first exercise in discipline. with holes for stringing. She finally suggested that each She waits to do this, fearing that it is harmful to impose piece could be textured. This was a good chance to ex- too many rules at first because of the danger of discour- perinaent with different devices, and included sprinkling aging beginners. She believes that discipline for its own with sand or vermiculite, using clay stamps, buttons, or sake is unnecessary, since the children like to set their modeling tools, all exploiting the plastic quality of clay. own pace; if their interest is strong enough, no further After bisque firing, the child would decorate both sides incentive is needed. At this time she asks each student to of each piece with color and glaze and, after a final fir- make a drawing of something she wants to make. This ing, string them together on nylon fish-line. is an exercise too complicated, of course, for the 3-to 5- One of the other girls was busy all this session mak- year-olds. Pupils often object, complaining that they can't ing a flattened bottle form, using two small wooden draw, but she tells them that only by visualizing an ob- salad bowls as molds. Mrs. Nicholson showed her how to ject in advance can they train their senses to the fullest first line the bowl with cheesecloth, then how to press extent. a pancake of clay on top and smooth it into the bowl. Mrs. Nicholson told us some of the common adult The child did not have to be reminded that she had reactions to her method of teaching. There is the parent learned in the first class how to fasten two pieces of clay who likes to stand beside his child as he works and per- together by scoring the edges, brushing them with slip, haps say, "Bill, that doesn't look like a man. Make his then welding them together. head bigger and his legs longer." Or one who greets his The third child was intrigued when Marie Nicholson child after class with the question, "What did you learn showed her how to make a design in her ashtray by soak- today?" Who can say? Mrs. Nieholson asks, for only the ing a piece of string in water, then letting it fall in coils future will tell. Again and again she speaks of her fear in the bottom of the tray, and pressing it into the clay. of discouraging a creative child by making him think he This process interested the other children and, while they has no ability. These are some of the reasons why, at the showed no inclination to copy the idea, it is a good guess beginning of each new class, students take home a list that eventually the technique would be used by the others of rules and an outline of class work whleh ends with in their own original ways. the statement: "Parents are not allowed in the studio It was clear that all the methods the children had during class."

January 1966 27 Stoneware-Type Bodies and Glazes at the Cone 04-4 Range

by RICIIARD BEHRENS

STONE~VARE, which is customarily it may vary all the way from black Another satiny matt glaze is: to w h i t e. Stoneware-type bodies high-fired pottery, offers the potter SATIN MATT GLAZE II (Cone 04) a medium which relates strongly to which will mature at Cones 04, 1 and Lead Monosillcate 47.8% the primitive rock from which it is 4 can readily be made from easily- Zinc Oxide 8.7 derived. Not only does it possess a obtainable material. Barium Carhonale 20.5 distinctive beauty but it provides a Kaolin 9.4 A plastic body which lends itself Flint 13.6 hard, liquid-impervious ware which to the usual potting techniques and 100.0% lends itself to daily use by its owner. which fires to a stoneware quality at The gradual development of high- Cone 04, may be made from the A body maturing to a stoneware firing kilns by Chinese potters cul- following: level at Cone 1 may be prepared in minated in the extensive production the same manner as that described of s~oneware some 2000 years ago. STONEWARE BODY (Cone 04) under the Cone 04 body and may be Kentucky Old Mine Clay made from: A thousand years later, Rhineland ~41 60% potters in the region between Co- Frit 25 (Pemco) 20 STONEWARE BODY (Cone 1) logne and Coblenz utilized the clay Nepheline Syenite 5 Kentucky Old Mine Clay and mineral deposits in this area to Talc 15 #41 67.5% produce t h e i r famous stoneware. 100% Nepheline Syenite 5.5 This proved so durable and popular Frit 25 (Pemco) 5.5 These ingredients may be weighed Tale 16.5 that considerable pains were taken out into a plastic bag and be well Flint 5.0 in its ornamentation and finish. It mixed by sealing the bag and roiling 100.0% was in this region and during this it on a flat surface. Water, in the pro- period that salt-glazing was first portion of 50 cc to each 100 grams A glaze which matures on this developed. of dry mix, is added and the whole body to a fine satin-matt may be The production of stoneware to- is set aside for several days to a week. made from : day has been extensively taken up For use, the wetted clay is removed SATIN MATT GLAZE (Cone 1) by the art potter. Due to the com- to a bat or wedging table and spread Lead Monosilicate 22.3% mercial development of smaller high- out to dry sufficiently to wedge to a Barium Carbonate 31.4 firing kilns and the ready availabil- Zinc Oxide 11.6 good working consistency. Lithium Carbonate 2.3 ity of stoneware clays and minerals, Pots prepared from this clay may Kaolin 12.6 stoneware has become an important be bisqued at Cone 09--07 for glaz- Flint 19.8 phase of art pottery. In spite of ing. This body fires to a near-per- 100.0% these facts, the small potter with a fect white. limited budget often finds that he A true stoneware matt glaze which A true stoneware glaze, one which must content himself with an elec- fits this Cone 1 body follows: matures at Cone 04 and contains no tric kiln with capacities for firing MATT GLAZE (Cone 1) boron or lead, and which fits this effectively only in the Cone 04--4 Nepheline Syenite 42.1% body well, is as follows: range. Most current stoneware for- Lithium Carbonate 1.6 Barium Carbonate 17.0 STONEWARE GLAZE (Cone 04) mularies prov!de data in the higher Whiting 10.5 Lithium Carbonate 10.2% firing (Cone 8--10) ranges, and Zinc Oxide 8.6 Whiting 9.8 Flint 20.2 only occasionally as low as Cone 6. Barium Carbonate 5.9 Bodies which have the characteris- Zinc Oxide 9.8 100.0% tics of stoneware and which fire in Kaolin 22.3 Add: Bentonite 1.0% the lower ranges have been in use Flint 42.0 A bright somewhat matt glaze can well over a century but have not 100.0% be made to fire on the Cone 1 body been easily available to the low-fire A satiny matt glaze firing to Cone from the following: potter. Most art-potter texts yield 04 is as follows: BRIGHT MATT GLAZE (Cone 1) little information on this subject. Nepheline Syenite 50% The common characteristics of all SATIN MATT GLAZE (Cone 04) Frit P54 (Pemco) 30 Nepheline Syenite 30.0% stoneware seem to lie in its imper- Whiting 19 Lead Monosilieate 67.5 Bentonite 1 viousness to liquids, its resistance to Whiting 2.5 100% scratching with a steel knife and its 100.0% ringing tone when struck. In color Add: Bentonite 1.0% Continued on Page 37

28 Ceramics Monthly ROOKWOOD POTTERY

PROB.XBt.Y no other pottery in the ~on Rookwood Pottery immediate Pottery Works as partner to Mrs. United States has captured the ianag- fame and numerous international Storer and continued in this capacity ination of so many artists, historians prizes, including the Gold Medal at until his death in 1913. At this time and collectors as did the Rookwood the Paris Exposition of 1889. Mr. J. H. Gest, second Director of Pottery of Cincinnati. Ohio. This The history of art in Cincinnati the Cincinnati Art Museunl, and Mr. preoccupation and interest can be in for many years was intimately con- John Dee Wareham became presi- great part attributed to the fact that nected with Rookwood and many dent and vice-president respectively. it was founded and nurtured by a familiar names were signed on the Although the Rookwood Pottery remarkable woman, Maria Long- bottom of the pots, pitchers and jugs. building still dominates the peak o'f worth (who was eventually to be- 1)aly, Valentien and the woodcarver Mt. Adams, the pottery is now the come Mrs. Maria Longworth Nichols Fry are but a few of the artists whose property of the Hersehede Hall Clock Storer). pots are to be seen in museums in Company and has been moved to Leningrad, This lady, with whom the Amer- Paris, Berlin, London, Starkville, Mississippi. and many Museum is ican ,\rt Pottery Movenlent is most Copenhagen, Budapest The Cincinnati Art of closely associated, was first inspired other cities. currently presenting an exhibition Japanese, Rookwood bv the .[apanese ceraxnics at the Ahvays fascinated bv the its great collection of Mrs. Bellamy Philadelphia Centennial Exposition Mrs. Nichols (by then Pottery, the ceramic art form which a formid- Queen City. in 1876. With Miss M. Louise Me- Storer) not only amassed is truly indigenous to the and Laughlin. she allied herself with a able source collection of characteristic The examples of rare marked a Pot- ~roup of ladies interested in the Japanese wares, but also ilnported signed examples of Rookwood Kataro Cincin- decorative aspects of ceramics and Japanese ceramic decorator, tery will be on view at the month organized the Pottery Club. The Shirayamadami, whose magnificent nati Art Museum through the remained members met and worked in a room colors and designs have of January. of a pottery owned bv Frederick famous. --Carol M. Macht, Taylor Dallas. They were much influenced In 1883 Mr. William W. Curator of Decorative Arts, bv the "'scratch blue" technique of assumed charge of the Rookwood Cincinnati Art Museum. the English ladv potter, Hannah Barlow of the Doulton Works. The first site of Rookwood, whose name Maria Longworth Nichols derived from the country place of her fa- ther was at 207 Eastern Avenue. and the first kiln was fired in November of 1880. In the beginning many useful wares such as dinner services were produced, but these were not Mrs. Nichols' primary interest. She soon surrounded herself with well-known artists of Cincinnati, and by 1883 all printing processes were replaced bv hand decorations; the table wares were discontinued and Rookwood justifiably became known as "art pottery." The wares were thrown bv a professional potter and the surface decoration of each piece was carried out by an artist who signed that piece with his or her own cipher on the Rookwood Pottery bottom. There were no duplicates. /,itcher, dating Each pot was considered an individ- from 1881, is about ual work of art. ,ight inches high. New techniques, such as the world The incised deco- famous crystalline underglaze known ration shows a sus- as "Tigers" Eve" introduced in 1884, /, nsion bridge.

January 1966 29 HANDBOOKS

Used by teachers everywhere. Ideal for hobby groups, schools, art and craft centers. Three-color covers, profusely illustrated, step-by-step photo technique. Sold on our usual money-back guarantee. BRUSH DECORATION FOR CERAMICS by Marc Bellaire A fascinating book with easy-to-follow instruction on the use and care of brushes. Shows how to make many designs for decorating ceramics using just three basic brushes--the watercolor, liner and square shader. Designs and sketches shown in this exciting book will offer many decorating ideas and will be a lasting source of inspiration. Excellent for beginners. 64 pages. $3.00

CERAMIC PROJECTS edited by Thomas Sellers o Outstanding group of projects for the classroom, home and studio, originally published in the form of articles in Ceramics Monthly magazine. Foun- CERAMIC tains, planters, jewelry, bottles, bowls and many other unique items are presented complete with photos and step-by-step instruction. 64 pages $2.00 PROJECTS COl)PER ENAMELING by Jo Rebert and Jean O'Hara Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. Includes fundamentals and helpful illustrated how- x to-do-its on jewelry. 21 different projects are completely described. Invaluable to teachers and students alike. An excellent manual. 64 pages $2.00 UNDERGLAZE DECORATION by Marc Bellaire This complete handbook has all the answers on materials, tools and technique. You'll like the startling variety of new designs Marc Bellaire create~ before your eyes. Step-by-step projects are profusely illustrated. 37 projects in a11--286 lively illustrations. 64 pages $3.00 THROWING ON THE POTTER'S WHEEL by Thomas Sellers Here's a complete manual on how to use the potter's wheel. Covers all basic steps from wedging clay to making specific shapes. Clear- ly describes every detail using step-by-step photo technique plus other illustrations. Includes a special section on selection of wheels. 80 pages $4.00 WE PAY POSTAGE DEALER INQUIRIES INVITED 1"---'----'----'--'9 CERAMICS MONTHLY Book Department | ~ 4175 N. High St., Columbus, Ohio 43214 | Please send me the following: __copies of BRUSH DECORATION @ $3 __copies of CERAMIC PROJECTS @ $2

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L m m nllml m ImUll m m -- J 30 Ceramics Monthly MIAMI NATIONAL CERAMIC EXHIBITION

THE SEVENTH MIAMI National Ceramic exhibition, sponsored by the Ceramic League of Miami, was held in November at the Lowe Art Gallery in Coral Gables, Florida. Out of a total of 1056 pieces submitted by 376 Left: Blown Open Vase Fornz on cast brass feet, 21 inches high; by James potters and ceramic sculptors, the M. Wayne, Los Gatos, California. Right: Set of three related vases, slab- jury selected 182 works by 132 artists. built with im!)ressed textures; by John Glick, Farmington, Michigan. Jurors for this show included To- shiko Takaezu, Paul E. Soldner and Frans Wildenhain. Their statement on the show included the following: "Although entries to the Miami Na- Left: Stoneware Bowl, orange matt glaze, cut sides with decoration; by by Ken- tional Ceramic Exhibition have more Cynthia Bringle, Eads, Tennessee. Right: Salt Glaze Jar with Lid; than doubled since the last competi- neth Ferguson, Grandview, Missouri. tion seven years ago, there were dis- appointingly too few serious con- tenders from which to choose. Lack- ing from both old and new ceramists was real skill, new vision and fresh vitality. We hoped to find expressions of unique insights but found instead overworked and weakly executed copies." Best-in-Show Purchase Awards went to Cynthia Bringle, Kenneth A. Hendry, Kenneth Ferguson and Rob- ert J. Black, Jr. Other awards were given to Herbert Friedson, William Lau, Tom Mason, Bruce W. Kokko, Mary Jane Oshier, Roy Cartwright, James M. Wayne, John Glick, Clee Dille, Fred Bauer, Howard Kottler, Helen James, James Crumrine, Paul Donhauser, Charles M. Brown, David F. Counts, P. W. Bauer, Audrey Ross- mann, Thomas Coulter, Donna Nicholas and Maynard Tischler. January 1966 31 Caring for Enameling Equipment

by KATHE BERL

As wE BEGIN the New Year it is cus- will break during this attempt and them and this causes trivets to stick tomary to make a few resolutions. Of the craftsman is faced with the task to them. To remove this unwanted course we plan to do a lot of work, of inserting a new element. If the enamel, place the rack upside-down and make it the best we possibly can. craftsman knows in advance about on a hard surface, cover with a piece One resolution most craftsmen should this problem, he can avoid the dire of cardboard and hammer with a make is in the matter of neatness in results mentioned above! What he mallet until all the baked-on enamel the studio. should do when he sees that a coil is knocked off. The cardboard serves Anyone who has dropped into my is coming out of the channel is to as a shield to prevent any flying chips studio knows that tidiness is not ex- leave the kiln turned on and put the of enamel from getting into the en- actly my forte; to put it bluntly, any emergency system into use. This con- ameler's eyes. place in which I work seems to sists of wrapping the end of the firing I make it a habit to protect my devolve into a veritable "flea market" tongs or fork with asbestos cloth or firing racks (and trivets, too) with because of all of the materials and insulating tape and quickly pushing a coating of kiln wash. I do this when equipment that I find and save for the coil back into place where it be- they are new, as well as each time possible future use. I am not the only longs. The reason for wrapping the they are cleaned as mentioned above. enamelist who does this and that is metal fork or tongs is, of course, to This not only prevents some of the precisely why I mention the matter. prevent electrical shock when the enamel from sticking to them, but The poet who said "I love tidy un- metal comes into contact with the also prolongs their life. For this pur- tidiness," meant that no matter how electrical coil. Another technique that pose I make a thin paste from the messy his surroundings might appear can be used is to slip on the asbestos kiln wash and water and paint it on to someone else, there was a system gloves before attempting to re-house with a brush. The rack or trivet must to the apparent madness. Every tool the coil with the tongs or fork. The be allowed to dry completely before the craftsman has must have a element is pliable when it is hot and it is used. "home" to live in and never be can be slipped back into place with- The nightmare of every enameler placed anywhere else. If this habit is out breaking it. With the coil back is the thought, "Did I or didn't I turn established, it becomes almost a re- in, the kiln is turned off and allowed off the kiln?" I have on my kiln a flex to put things where they belong; to cool, then the loose coil is attached shut-off device that can be set to otherwise, a person can spend a lot to the soft insulating brick with hi- turn off the kiln after a certain period of precious time hunting for the tools chrome wire staples. These can be of time. I use this only as a safeguard and equipment he needs. pushed in with pliers. The staples against accidentally leaving the kiln Another resolution every enameler can be purchased or they can be on after I have left the studio. If the should make is in the care of each made by bending 2-inch pieces of kiln is accidentally shut off during piece of equipment in order to pro- nichrome wire into a hairpin shape. working hours, there is an audible long its life. Craftsmen who started If pieces of the firebrick around the click so that the device can be reset work years ago learned to do this al- channels are worn out, those areas before the kiln cools. most automatically because of the dif- can be mended with kiln cement or a My final bits of advice here are ficulty in finding adequate equipment paste of fire clay. I feel that it pays concerned with files, drills and and because of its cost. In these days to get a kiln-mending kit, available brushes. When cleaning the edge of of easily accessible enameling tools in craft or hobby supply stores, and an enameled metal shape, never use and supplies, and lower costs, there have the materials on hand for that the file on the enamel, as this dulls is a tendency to be a bit more care- time when trouble first develops. the tool. Instead of a file, use carbo- less, and this should be overcome. While on the subject of repairs, rundum for removing enamel. The The largest and most important kiln cement can also be used to re- same practice holds true for the drill, piece of equipment in the enamel pair pits or holes that develop in the and I recommend the use of a car- studio is the kiln. Most kilns have kiln floor. I also would like to men- borundum drill for making pilot holes firing chambers with exposed ele- tion that these p!ts can be prevented, through enamel. Brushes are expen- ments; sooner or later one of the too, by not allowing the kiln to over- sive, and only the best sable brushes glowing coils will bulge out of its fire- heat and by keeping the floor painted can stand up under the grinding ac- brick channel like a fiery snake. with kiln wash. When the kiln wash tion of powdered glass. Therefore, it When this happens for the first time starts to scale, remove the loose areas certainly pays to take good care of to a stunned enameler, his immediate by scraping, and replace with a new these brushes. Whether wet or dry, impulse is to turn off the kiln, wait layer of kiln wash. they should always be stored standing until the inside is cool, and then try Firing racks also need attention. If up, on their wooden ends. to stuff the coil back into its channel; racks have been used over and over, These are good resolutions, and 99 times out of 100, the brittle coil pieces of enamel become baked onto they should be made--and kept! 32 Ceramics Monthly KEMPER TOOLS Professionals LETTERS for Continued [rom Page 6 Cleon up, sgraffitu and texturing tools. Com- plete lines of 6", 8" and 10" sculpturing do with firing pottery. One was about tools -- Wood, Wire and Wood, and Double Maria Martinez, whose black pottery had Wire End Tools. Write for complete catalog. long been a favorite of mine. Maria, as your readers know from your June 1964 issue of CM, developed a method of out- We Make It Possible For KemperManufacturing Co. door firing using sheep dung mounded Anyone To Own A Perfect P.O. Box S45, Chino, California 91710 around her pots. At a crucial point in the Production Kiln With Our firing she would smother the fire with fine Kiln Kits manure dust. This would cause a reduc- Famous Pre-Cut tion fire that would carbonize the red Supplies, Inc. clay slip which she uses on her bowls, and Art-Crafts give a lovely lustrous black finish. So I Florida 235 N.E. 67th St. Miami, went looking for sheep dung. No sheep! Distributor for: A friend of mine had some cows, but my FARAGON Kilns • DUNCAN, SYMPHONY, husband viewed dimly the idea of driving CERAMICHROME and DRAKENFELD 100 miles home with a trunkload of JACOUELYN Stains MARX Brushes • manure just to humor me. The thought kept coming that there just had to be a way. Then I remembered reading of some natives (in Africa, I be- lieve) who mounded their pots in hills and placed grass and twigs around, lit it, and had a lovely bonfire. However, there was a good bit of dunting or cracking from this method because of air drafts. At least using manure! If I could they weren't Bricks mitered, grooved, and drilled: just enclose the ware in something similar every part, right down to the last nut to a sagger. But of course, the Dutch and screw, included. With blueprints, Oven should suffice! And for organic mat- and concise building and firing instruc- JEAN LEONARD CERAMICS ad or write 96-24 Corona Ave. Corona, L. I., N. Y. ter, why not use sawdust? tions.... Order from this MAGIC GREENWARE RELEASE (8 oz.)..S1.2S I could hardly wait for an opportunity for detail sheet. Save yourself aggravation. Releases green. to experiment. It was snowing outside, so ware In half the time, will not stick. experiment was launched in a 6-foot KILN SURFACE BRICK HARDENER the Kits (16 oz.) ...... $1.7S fireplace in the basement. A large grating and Kits now fire to 23S0oF. Will harden and prolong life of your kiln. was placed on 4 one-foot-high clay drain- All Kilns Stops kiln brick from shedding and flaking. age tiles. On top of this went the iron 12"x12"x!31/2 " deep ...... $ 62.50 99.50 Dutch Oven, well packed with sawdust 18"xl B"xl B" deep ...... 24"x24"x221/2 '' deep ...... 175.00 the clay pieces nestled inside. ~NGS PlNJl .'q I ~ [e] II n d and with 24"x24"x27" deep ...... 195.00 Care had to be taken at this point that !1~i f±~ :1 R =11i ALL PRICES F.O.B. SEATTLE dli no pieces touched the bottom or sides MODEL T 12 $6.95 A |2-inch wheel for the price of en 8- of the oven or another of the pieces. inch. Made of KINOLITE-letest sinkh)p A slow fire was started underneath and used in newest homes. Heavy Kirmlloy Distributors For i"~s'r, ~ • roundbast Just the thing to use on those lace then, as the Dutch Oven became hotter, I.~,.%~2-1~1__ dolls. SEE YOURDEALER OR I)lSTRIlYT011--01tWIITE more and more corrugated board was fed • ALBERTA'S MOLDS GILMOUR CAMPBELL be 1J,258 MALDEN DETROIT 13, MICHIGAN to the flame. A very hot flame can • ARNEL MOLDS had from corrugated cartons which have • ATLANTIC MOLDS been torn apart; if thrown in whole, the The Famous fire could become uncontrollable. The fire • BELL PORCELAIN KLOPFENSTEIN must be hot enough for the flames to • CALIFORNIA CERAMICS otherwise, pieces could POTTERrS WHEEL envelop the oven; • DUNCAN'S PRODUCTS This is why I advise this Write for FREE Information be underfired. type o[ [iring be done outside, where a • GARE GLAZES H. B. KLOPFENSTEIN & SONS roaring [lame can be had with no danger • GRUMBACHER BRUSHES Dept. A Cresfline, Ohio RFD. ~2 o/ burning down the house. • HOLLAND MOLDS Not knowing whether my experiment would explode or just what might hap- • KEMPER TOOLS pen, I fed the fire for three hours, and • KEN OCORR MOLDS at the same time kept a fire extinguisher • MACK CHINA PAINTS aimed in the same direction, just in case. MARGLOTEX STAINS The fire was hot and soon flames began • to appear from beneath the lid of the • MAYCO COLORS CLAYS Dutch Oven. I knew that the sawdust was • PEMBERTON-NEAL on fire or smoldering. As the either • REWARD COLORS GLAZES oxygen was consumed, little blue flames TOOLS danced around the rim. • SYRINGA MOLDS KILNS The next morning I was almost afraid Schools end institutions write for to look inside when the Oven was cold I: D I:1:: I:~.^o. ¢ .... to the touch. The sawdust was charred, POTTERY BY DOT but as my fingers explored the smudged Dept. CM, 408 N.E. 72nd St. ashes, first one and then another piece SEATTLE, WASH. 9811S Continued on Page 36

]anuary 1966 33 CERAMACTIVITIES people, places and things

JAPAN ART TREASURES AT DETROIT of Dextra Frankel, Mary Jane Leland and GLASS INVITATIONAL More than 140 "Art Treasures from Bernard Kester. The directory is spiral- The National Invitational Glass Exhibi- Japan" are on exhibit at the Detroit bound and contains 240 pages. It is priced tion is currently on view (through January Institute o[ Art through January 15. These at $5.00 plus 25¢ for mailing and handling. 28) in the San Jose State College Art choice selections from Japan's registry of It may be obtained from the American Department gallery, San Jose, California. National Treasures and Important Cultural Craftsman's Council, 29 West 53rd St., It presents an unusual opportunity to see Properties are giving Americans the chance New York 10019. an ancient art form revised into a modern to see what the Japanese consider to be idiom. Included in the exhibition are supreme examples of their long cultural SCULPTURE BY BERL fourteen artist-craftsmen, each represented heritage. The objects range from the Three-dimensional enamel sculpture by by at least six pieces of work. Participat- seventh to the nineteenth centuries and in- Kathe Berl is being presented by the Artist- ing artists are Dave Arnold, California; clude ceramics, lacquers, sculpture, paint- Cra[tsmen o/ New York in cooperation John Burton, California; Russel Day, ings, scrolls, screens and bronzes. Pictured with the National Design Center in New Washington; Edris Eckhardt, Ohio; Robert is one of the ceramic pieces, a porcelain York City. The exhibition continues Fritz, California; Robert Holbrook, Cal- through January 12. ifornia; Frank Kulasiewicz, Illinois; Dom- Kathe Berl is considered one of the iniek Labino, Ohio; Marvin Lipo#ky, outstanding enamelists of our time, and California; Harvey Littleton, Wisconsin; has distinguished herself particularly as a Earl McCutcheon, Georgia; Joel Myers, pioneer in making three-dimensional enam- West Virginia; Priscilla Porter, Connecti- el sculpture. Dancers, acrobats, jugglers, cut; and Norman Schulman, Ohio. Pic- abstract forms and objects of daily life are her subjects. They are executed with spirited creativity and skilled craftsman- ship. Miss Berl was educated in Vienna at the Academy for Applied Arts. She has received numerous awards and prizes and has exhibited widely in America and Europe. Four of her pieces were acquired by the U.S. State Department for its Wine Ewer from the Edo period, seven- Cultural Exhibitions all over the world teenth century. The exhibition will be seen and for permanent exhibition at the at only four museums: The Detroit In- Smithsonian Institution in Washington, stitute o[ Arts, the Royal Ontario Museum, D.C. At the National Design Center show, the Los Angeles County Museum (where Kathe Berl is showing a large screen with the exhibition opened in October), and floating enamel dancing figures, a lamp, the Philadelphia Museum o[ Art. The ex- bas relief enamels, and a group of the hibition is dedicated to the memory of enamel sculptures for which she has be- three American scholars who were much come famous. admired in Japan for their devotion to Miss Berl is well-known to CM readers Japanese art and their contributions to for her monthly column on enameling. the knowledge and preservation of Japa- In addition, she is co-author of the book, nese art: lames Marshall Plumer of the "The Art of Enameling," and has con- University of Michigan, Langdon Warner tributed to the book, "Crafts for the of Harvard University, and Archibald Aging." Wenley, who was director of the Freer Gallery of Art. MENDEZ TO OHIO STATE The Ohio State University has an- SOUTHWEST CRAFTSMEN DIRECTORY nounced that Louis Mendez has joined "Craftsmen of the Southwest" is a newly- the faculty as Associate Professor in the published directory containing bio-biblio- Ceramic Art department. Mr. Mendez, graphical information together with photo- who previously has taught at Pratt In- graphs of the work of 151 professional stitute in New York and at the Phila- tured is a free-blown glass form by Robert designer-craftsmen living in Arizona, Cal- delphia College o[ Art, is a graduate of Fritz. ifornia, Hawaii, Nevada, New Mexico and Al[red University. In addition to main- Because of recent pioneering studio in- Utah. All works pictured were designed taining his own studio production of novations, a wide range of possibilities is and executed by the individual craftsmen stoneware pieces, Mendez has served as available today to artists working in glass. or under their direct supervision. The pur- an industrial designer for the Bennington In this survey of what is being done pose of the directory is to serve as source Pottery, the Lenox Company, and a nationally, glass has been used to create material for those persons interested in plastics firm in New York. Recent honors sculpture, used in combination with metal the crafts, as well as interior designers include a 1965 Tiffany Award. sculpture, in panels, and also in free-blown and architects. The directory contains over Mr. Mendez and his wife, who also is glass forms. 300 photographs, as well as biographical an Alfred graduate, have just completed data on each craftsman. Media covered the installation of a pierced wall, made up TOY AND TRADE FAIR include clay, mosaics, metal, glass, wood, of over 6,000 wheel-thrown sections, for a Ceramics and gift items from more than textiles, bookbinding and crafts in archi- Madison Avenue furniture showroom in 30 countries will be featured in the 16th tecture. New York. The screen, which is designed International Toy and Trade Fair, sched- "Craftsmen of the Southwest" was as- to admit light to the interior of the build- uled in New York City from March 6- sembled in California under the direction ing, is 32 feet long and 8 feet high. 11. Official exhibits at this year's Fair will

34 Ceramics Monthly new... include national displays by France, West Germany, Italy, Japan and Poland. In- formation may be obtained by writing: the LOCKERBIE Potter's Wheel The International Trade Shows. 545 Fifth Ave., New York City, 10017. THE FINEST KICK-WHEEL MADE NEWARK MUSEUM CRAFTS SHOW Engineered for extremely smooth, stable operaton. The Christmas Crafts and Print Sale, Rigid, 3-point A-frame design. Tapered Timkin roller precision, se f- on view at the Newark (New bearing sealed in oil beneath wheel, currently aligning ball bearing at throwing head. Free-wheel coast. Jersey) Museum through January 9, in- Exclusive non-skip wrap-around foot rests, protect ve cludes ceramics by Nadine Weiss, Rose- nip-guards. Compact. Low-cost, only $165.00. Heavy Mary R. duty professional quality. Write for catalog to Paffex Co., may Taylor, A4arion Levinston, 7812 Boulder Ave., Highland, Calif. Drake, LiIa Ryan, Nora Herz, Evelyn the I.OCKERBIE before you buy Meyer, Sally Kunstadter, Ron Hartshorn, See Henry Gernhardt and Marilyn Fox. Enam- Dept. CM-123:65 el and glass are represented by Paul Hult- berg, S. Magnet Knapp, Priscilla Porter, Barbara Stanger, Elly Edwards and Edna Posner. CORRECTION Hal Riegger calls our attenticn to an editorial error made in a recipe in the third part of his series on "Raku," that appeared in the November issue of CERAMmS MorqTrlLY, page 29. In the I Eastern recipe for the Riegger Silver White Glaze, the last item should read: Tin Oxide, 5%. Mr. Riegger also announces plans for a [ . ' J Ceramic Hobby Show pottery field trip to California's Panamint Valley, April 4-8. College credit is available through Sonoma State College (Cal- - May 12th-15, 1966 ifornia). Death Valley clays and Searles Lake alkalis will be used in making pots fired in a kiln constructed on the site. For ,o :e<...,. information, write: Hal Riegger, 469 C~ramic tlohhr ThrollTh Education Panoramic Hwy., Mill Valley, Calif. FARRELL POTTERY EXHIBITED A one-man show of pottery by Bill Far- rell was featured at the Arts and Cra[ts Center, Pittsburgh, during November. About 100 pieces of salt-glazed stoneware were exhibited by Mr. Farrell, who is the ceramics instructor at Purdue University.

Buyers Cards to be honored at the Eastern Hobbyists and Beginners are invited to at- and Chicago Ceramic Shows now available tend the fabulous "Pageant of Techniques" • • . Write for yours today . . . Wholesale from 9 A.M• to 12 Noon daily . . . free Hours: 12 to 1 P.M. daily. admission.

SPECIAL CLASSES I NATIONAL CERAMIC AMATEUR EXHIBn" EASTERN CERAMIC SHOW OF 1966 JAMES A. EOICE, CHAIRMAN CONVENTION HALL [ 25 ABINGTON AVE., ASBURY PARK, N. J. MARLTON, N. J.

Please send teaching schedule for Pre-Reolstered J Please send ...... Entry Forms. I Classes to be conducted at the 1966 Eastern I plan to exhibit in Ihe: Show . . . I wish to make a J Ceramic Hobby Notional Amateur Exhibit ...... (check) reservation. I Professional Exhibit ...... (check) A native of Pennsylvania, the potter did NAME ...... [ his undergraduate work at Indiana State NAME ...... (please print) print) Teachers College, his postgraduate work (please at Pennsylvania State University, and did STREET...... I STREET ...... additional work at Al/red University• Pic- .... i ...... tured is one of the stoneware plates from CITY & STATE I CITY & STATE ...... the exhibit. CUT ON DOTTED LINE ....

Send news, and photos, i/ az'ailable, about "People--Places--Things" you think will be o/ cerarnic interect. IYe will be happy to consider them /or use in this column.

January 1966 35 "WIND TURNERS" LETTERS CERAMICS ~/~ONTHLY presented our first concept of the Wind Turner. CATALOG Continued from Page 33 Now -- a new hook of design and came out in beautiful condition• Where I cutting patterns for ten Wind had polished the leather-hard ware with Turners, with complete instructions a smooth stone, a soft satiny sheen re- for each. sure& This wasn't as rich as Maria's $2.50 per copy, postpaid. pottery but it was black. In another attempt at firing in the (Glus Catslolr: 60c postpaid) This new 64-page catalog lists Dutch Oven, I used dry zoysia everything you need--a complete grass clip- pings, but I line of kilns, glazes, tools plus gen- did not have the same re- KAY KINNEY -- CONTOURED GLASS sults. The fired ware was eral supplies and equipment, with metallic black 725 Broadway, Laguna Beach, Calif. 92651 many new items added. Hobbyists, and .some breakage occurred because the teachers and studio potters will find grass in the oven burned hotter and faster the catalog invaluable. than the packed sawdust. Now, I want to Intermountain Area Headquarters You'll want find some sheep dung for the next experi- a copy of this all new for catalog at hand the very ment! Mrs. Harry Hicks Ceramic Supplies next time Special Attention to the Needs of Schools and you need ceramic, mosaic or metal St. Louis, Me. Institutions. Supply catalog available Sl.00 (ex- enameling supplies for your home cept S0c to Utah, Idaho, Montana, Wyoming and Nevada). Free to schools and Institutions when studio or school. KEEP THE BALL ROLLING requested on letterhead. I was relieved to open the issue and SEND FOR YOUR COPY NOW ...... 50c Capital Ceramics, Dept. CM find an article by Carlton Bail. He has 2174 S. Main St., Salt Lake City, Utah 84115 been absent from CM just enough during TEACHERS NOTE: This catalog is sent FREE the past year to make me apprehensive to schools, institutions and craft shops. about my favorite author. Just how he Sold only has had the stamina to go on writing by about something new over the years has Authorized amazed and enchanted me. I hope you Dealers can convince him to stay with the magazine forever so you can keep the Ball 1100 "H" East Ash VAN HOWE rolling this way! ].T. Ho[fman W. P. DAWSON Fullerton, California Louisville, Ky. CERAMIC SUPPLY POTTER'S TOOLS GLAZES 1185 S. CHEROKEE, DENVER 23, COLORADO THE "LITTLE PEOPLE" CLAYS BAMBOO TEAPOT HANDLES I enjoy my copies of CM very much and usually read them from cover to cover. Some of the information isn't of much f" immediate value to me, but I do try to FREE COLOR CHARTS mentally catalog it for a future time when on famous Symphony Glazes and Garu I will be advanced enough in my work Bisque Stains. New..ly p.rin~d .in full color, to need it. I especially like 2410 E. 38th St. Minneapolis. Minn. showing complete ime. write toaay m: to read about other potters, and the stories you have GARE CERAMIC SUPPLY CO., INC. had about such professional potters as CERAMICS - MOSAICS 165 Rosemont St., Haverhill, Mass. Carlton Ball, Charles Brown and Hamada COPPER ENAMELING have been most inspiring; however, I also /~ Huge Stocks ~k enjoy reading about the "little people" in Fast Service "k Oualify Please Mention CM this fascinating field, and for this reason Merchandise ~. Write now for FREE literature when writing our advertisers the paragraphs of news in the Ceram- ILLINI CERAMIC SERVICE Activities columns have given me much 439 North Wells, Chicago 10, Illinois pleasure. I would like very much to see this material given more space in the mag- ANDERSON CERAMICS COMPANY, INC. azine. Mrs. W. B. NEW m NEW m NEW Kansas City, Mo. 1950 S. h,tcDuffle St. Complete Book on using rubber stomps for Anderson, South Carolina decorating ceramics m $1.50. Special Intro- DIMENSIONS WANTED ductory offer m S1.00. Special stamps mode to Complete Ceramic Supplies • . . enjoy your CM each month, but order. Send $1.00 for our new pictured PLEASE try to get the exhibiting potters SEELEY'S CERAMIC SERVICE, INC. mold and supply catalog. to give the dimensions of the pots in your 9 River St., On•onto, New York 13820 photos. It gives them so much more mean- ing. Hilda Kinzer ~.o-o-o-o-o-o o-o-o-o o-o-o oo o o-o-o o-o-o-o-o-o~ ...for Cabin John, Md. -: • Copper Enameling FROM AUSTRALIA = (America's largest selection) :~ io! CM is without doubt the most worth- -: • Jewelry findings • Plastics c~ while pottery periodical I have yet en- • Lighters, Music Boxes, Lamp parts c~c~ countered. Mrs. H. D. Landells o• "Starlite"BAmerica's most Victoria, Australia c~ beautiful tree light o After being a regular borrower of your • Crushed and Stained Glass magazine from the Adelaide Public Li- Catalog 50c, refundable o Ser,d ~*o~ o , ~* Let the Walker Pug brary I now wish to be a subscriber my- o with $5.00 order, o self. I think you produce the most in- ~ Discount schedule to dealers, o ~:,~'; _ t,I ~g~,y... =~¢ ~e for teresting and instructive articles of any o,,- ~ creative effort and instruction. magazine I have read. ~_Q BERGENARTS & CRAFTS, INC. Mrs. Dorothy Hercus Box 689c, Salem, Mass. Kensington Park, So. Australia _o_oo o_oo o_oo o o o o o_ooo_o_o_o o o_o~

36 Ceramics Monthly SPAREX q Pickling Compounds The easy to use, SAFE replace- STONEWARE ment for dangerous sulfuric acid. Continued [rom Page 28 TEACHERS! Use SPAREX NO T for cleaning Cone 4 body, like iron and steel. Use SPAREX NO The following 1, may be pre- 2 for copper, brass, silver and that firing at Cone Do you have precious metals. Order from your pared in the same manner as that supplier fornmlated at Cone 04: our new catalog? QUIMIIY & COMPANY STONEWARE BODY (Cone 4) 60 Oakdale Road, Chester, N. J. 07930 We are manufacturers of: Kentucky Old Mine Clay #41 65.0% • GLAZES (HI & Low Fire) Nepheline Syenite 5.0 25 (Pemco) 3.5 t CLAYS (14 types} Frit ceramic and stoneware • :4 l" , [rl-'! ' i,. d LIt¶l.ii:lll I Talc 17.5 ATA PRICE yOU i D II I ,~ Flint 9.0 • ENGOBES 100.0% • MORE POWERFUL -BALL BE.ARING5 ...... i We are distributors of: Four glazes which fit this Cone 4 • PARAGON KILNS GILMOUR CAMPBELL body and which are all satiny matt in quality are as follows: • DOBE-GLO UNDERGLAZES • RAW MATERIALS GLAZE I (Cone 4) BEE BASCH DESIGNS Lead Monosilicate 10.4% 70 Pine & First Sts., Englewood, Fla. 33533 Barium Carbonate 37.4 Send today for your FREE copy! 1 block east Wood's Cock'Fall Lounge, Hwy. 776 Zinc Oxide 13.5 (On your Letterhead please.) Our Maids are designed for CREATIVE use and EDUCATIONAL purpose Nepheline Syenite 16.8 Kaolin 3.8 Send SI.00 today for Flint 18.1 SHERR Y'S Illustrated Catalog, Tips • Ideas 100.0% GLAZE II (Cone 4) Ceramie Supply Co. Barium Carbonate 35.0% 1285 Old County Road, Belmont, Calif. Zinc Oxide 13.1 (415) 593-2317 Flint 16.8 Kaolin 9.8 Nepheline Syenite 15.6 Lead Monosilicate 9.7 100.0% ENAMELING SUPPLIES "Everything for the Enamellsf" GLAZE III (Cone 4) Potash Feldspar (Kingman) 52.0% School and Studio Discounts Available Whiting 5.5 Catalogue 50¢ ~ Refunded on SS order. SILVER TOO EXPENSIVE? Barium Carbonate 11.0 KRAFT KORNER Learn to enamel on ALUMINUM with Strontium Carbonate 8.3 $860 Mayfleld Rd., Cleveland, Ohio 44124 special low temperature enamels that fuse Zinc Oxide 9.1 at 1,000 degrees in ]0 minutes. Write for Kaolin 4.8 Ed Winter's two books. CERAMIC and ART SUPPLIES Flint 9.3 AMACO, SCULPTURE HOUSE, DUNCAN Edward Winter - University Circle Clays, Glazes, Wheels, etc. 11020 Magnolia Drive, ,Cleveland 6, O. 100.0% PARAGON, PASCO, SKUTT Kilns GLAZE IV (Cone 4) Ceramic and Ar~ Books WINSOR NEWTON, DELTA, ART and SIGN Potash Feldspar (Kingman) 40.0% Brushes and Art Supplies Strontium Carbonate 5.4 Whiting 14.4 MIAMI STUDIO SHOP Barium Carbonate 14.0 2360 W. Flacjler, Miami, Florida HI 8-0721 Zinc Oxide 1.4 Magnesium Carbonate 1.4 Flint 22.6 FRANCOISE CERAMICS DISTRIBUTOR FOR: Duncan's Molds, EZ Flow Bentonite 0.8 Glazes and Bisq.Wax n A#lantic--ArneI--Holland and Schmid MOLDS n Porcelain Slip • Glass a 100.0% Ceramic Supplies. Large selection of quality Greenware. Mack's China Paints, Brushes, Teals, The bodies here formulated cus- Kilns, All Books, Slip, Clay etc. • CLASSES AND WORKSHOP ~ WHOLESALE AND RETAIL of 6000 molds 1965 revision Catalog tomarily fire to a fairly white condi- !13 49th SI. South St. Petersburg, Florida from 45 companies ...... $1.25 tion, depending upon the purity of other than the clay, New Mold Supplement only ...... S0c the ingredients, (to bring 1964 catalog up-to-date) used in the body mix. Various colors Ceramics-Mosaic may be added to the body to secure Large Supply Catalog ...... $I .50 Copper Enameling (Refundable an SIS Order) different effects. Where chromium oxide and cobalt oxide are used, "Do's & Don'ts o! Ceramics"....$1.50 #7B (38 pg) Enamel Supplies ...... 2Sc I Wedgnvood-like effects can be se- Costs refundable with coupon I cured. Colorants tried include: (FREE to Schools and Institutions) I TEPPING STUDIO SUPPLY CO. • Midwest Ceramic Center 3% Red or Black Iron Oxide gives professional staff I strong iron reds 722 Southwest Blvd. KansasCity, Missouri Continued on Page 38

January 1966 37 CERAMIC Advertisers Index CLAYS January 1966 STONEWARE Alpine Kilns ...... 3 and American Art Clay Company ...... 4 Continued from Page 37 Anderson Ceramics Co ...... 36 GLAZE Art-Craft Supplies. Inc ...... 3% Manganese Dioxide gives strong 33 Arts--Crafts MATERIALS browns Workshop ...... 38 1% Coarse Manganese Dioxide gives Basch, Bee, Designs ...... 37 black spots Bergen Arts & Crafts ...... 36 3% Green Chromium Oxide gives Campbell, Gilmour ..... 33, 37, Cover 4 Ur/n//g CERAMICSUPPLY, INC. chartreuse Capital Ceramics ...... 36 9016 DIPLOMACY ROW • DALLAS, TEXAS 75235 1% Cobalt Oxide gives strong blue Central Ceramic Art Supply ...... 38 __ MElrose 1-0540 Ceramichrome ...... 12 Additions of 10% grog and, in a Ceramic Expositions, Inc ...... 35 separate batch, 10% 30 mesh sand, Cochran, Norbert L ...... 38 ARTS-CRAFTS OPPORTUNITY provide textured bodies with more Craft Students League YWCA ...... 38 Soaring sales of unusual hand-crafted ar#ioles Creek-Turn ...... 33 during eight-month season by ARTS-CRAFTS strength for both throwing and slab WORKSHOP on Hatteras Island (Cape Hatteras building. Dawson, W.P ...... 36 National Seashore) seriously curtail owner's pro- Duncan's Ceramic Products duction Shop also handles wares of contempo- ...... 6 rary craftsmen. Will sell retail outlet, preferably ]Fletcher Farm Craft School ...... 38 to couple with arts-crafts background. Can use off-season production assistance. Reply in dete.. Francoise Ceramics ...... 37 Bertha Anderson, Rodanthe. N.C. ITINERARY Gare Ceramic Supply Co ...... 36 Continued from Page 11 Illini Ceramic Service ...... 36 Industrial Minerals & Chemical Please OHIO, DAYTON Co .... 5 Mention CM Kemper when through January 2 "All-Ohlo Graphics Mfg. Co ...... 33 writing our advertisers Kinney, Kay and Ceramics, 1965 Exhibition," at the ...... 36 Dayton Art Institute. Klopfenstein, H.B. & Sons ...... 33 Kraft Korner ...... 37 CRAFT OHIO, TOLEDO L & L Mfg. Co ...... 7 STUDENTS CERAMICS through January 2 Sculpture by John Leonard, Jean, Ceramics ...... 33 Zeilman, at the LEAGUE Wood, Stone & Terra Toledo Museum of Art. Mayco Colors ...... 11 YWCA Carte Sculpture. A wide Miami Studio Shop ...... 37 OHIo~ YOUNGSTOWN 840 8th Ave. variety o] other crafts. Midwest Ceramic Center ...... 37 at Slst, N. Y. January l-February 27 The 18th Circle Men, Women, Teenagers. Minnesota Clay Co ...... 36 6-3700 Annual Ohio Ceramic and Sculpture Show, (212) Day. Evening. Catalog C. Ohio Ceramic Supply ...... sponsored by the Butler Institute of Amer- 33 Parfex u ican Art. Co ...... 35 POSITION AVAILABLE Pottery by Dot ...... 33 OKLAHOMA, OKLAHOMA CITY Quimby & Co ...... 37 Interesting summer position available for January 3-24 "Ceramics by 12 Art- skilled ceramics craftsman who enjoys worK- Reward ...... 4 ing with young people. Unusually ists," circulated by the American Federa- creative Ravin Ceramics ...... 4 New England teen-age project. Address: tion of Arts, at the Oklahoma Art Center. Mrs. Ellen Parker Seeley's Ceramic Service ...... 36 SHAKER VILLAGE WORK GROUP PENNSYLVANIA, PHILADELPHIA Shaker Village Work Group ...... 38 P. O. Box 1149, Pittsfield, Mass. January 17-February 13 Invitational Sherry's Ceramic Supply ...... 37 Regional Crafts and Water Color Exhibi- Tepping Studio Supply Co ...... 37 tion, at the Philadelphia Art Alliance. Thompson, Thomas C., Co ...... 8 Trinity Ceramic Supply ...... 38 WASHINGTON, SEATTLE Unique Kilns ...... 37 through January 2 "Christmas Art," Van Howe Ceramic Supply ...... 36 CLAYS decorative arts, painting and sculpture * GLAZES * KILNS Walker Jamar from the Museum collections relating to Co ...... 36 SCHOOL ART MATERIALS Westwood the Christmas Story; at the Seattle Art Ceramic Supply ...... 9 wrife for FREE liferafure Museum. Winter, Edward ...... 37

WASHINGTON, SPOKANE through December 31 Pacific North- Back Issues west Craftsmen Invitational Exhibit, at The following back issues of Ceramics the Cheney Cowles Memorial Museum. Monthly are still available at sixty cents per copy (Ohio SCHAUER ENAMELS WISCONSIN, MILWAUKEE residents pay 3% sales January 14-February 13 tax). We pay postage. AT LAST an Amer;can source for the interne- Free-blown tionally famous Jewel-Tone transparent & opaque glass and ceramics by Harvey Littleton, 1953 April. August enamels 1954 for copper, s vet & gold. Manufactured at the March, July. August, December by $¢hauer & C.o. Vienna, Austria, and dis- Milwaukee Art Center. 1955 November, December tributed by Norbert'L. Cochran, 2540 So. Fletch- 1957 April, May. July, September, December er Ave., Fernendina Beach, Fla. 32034. WISCONSINj MILWAUKEE 1958 June, September 1959 November, December Write for color range & prices. January 14-February 13 "Craftsmen 1960 June, November, December USA '66," the north central regional 1961 January, October. November, December 1962 January (9-year Index issue), February, competitive crafts exhibition, at the Mil- April. May, June, November waukee Art Center. 1963 June, November 1964 February, May. June, September, Novem- Fletcher Farm Craft School ber, December WISCONSIN, MILWAUKEE 1965 November through January 27, 1966 Ludlow, Vermont "Reflec- Please send remittance (check or tions," Porcelain, money paintings, prints, bronzes order) with list of issues desired. information on request and jades spanning the T'ang, Sung and Write: Mrs. Harriet Clark Turnquist Early Ming Dynasties; at the Milwaukee CERAMICS MONTHLY Chelsea, Vermont 05038 Art Center. 4175 N. High St. Columbus, Ohio 43214 38 Ceramics Monthly POTTERY WITHOUT A ,. WHEEL py F.. Carlton Ball -

and ~;;v ~ Janic:e Lovo0s : i~i~i~

• ~ ~

This comi~rehensive and richh- illustrated clay, using such basic hand-forming methods book, published by Reinhold, covers every as coil. slab and mold. Photographs selected phase of hand-building and decorating cla{ from the author's own massive collection pieces. No book has ever covered the subject help the potter draw from clay the miracles of texture and form more effectively. JUST of form, pattern and texture inherent in this The techniques illustrated in the book elemental medium." start with simple projects suitable for ele- Pollers at all levels o[ achievement will mentary school children and progress to PUBLISHED /ind this new book in/ormative and inspi- those of considerable difficuhy. The em- rational. It is a book every teacher should phasis is on simple, direct ways of working have. Use the coupon below to order now. that will encourage the beginner rather than Price: $9.95 per copy--we pay postage. deteat him by showing at the outset involved techniques and difficult pieces to form. The n m n n ~ m i Hi tools usually found in CERAMICS MONTHLY Book Department author, working with H~gh Street, Columbus, Ohio 432J4 no special work- 4175 North the home, points out that Please send me cop~es of MAKING POTTERY WITH- shop or studio is required to produce the OUT A WHEEL by Ball and Lovoos at $9.?5 each. beautiful pieces of pottery--a table in a Name kitchen, garage or back porch will do. Address In the Foreword for the book, Glen Lukens says: "Mr. Ball introduces the reader City State.__ Zip sales tax. methods and idea resources that have Ohio resldents add 30c per copy to the I enclose [] Check [] Money Order his own great achievement in ca- inspired WE PAY POSTAGE shows the amazing ramies. Step-by-step he SOLD ON OUR USUAL MONEY-BACK GUARANTEE be fashioned from range of forms that may m m minim m ml n Im i i m for HOBBYISTS • SCHOOLS • ART & CRAFT CENTERS • INSTITUTIONS KINGSPIN Electric Potter's Wheel

A New Professional Wheel at a Price you can afford • Mr. Jack D. Wolfe, of the More powerful • Easy to Use • Ball Bearings • Easy Jack D. Wolfe Co., Inc. to Clean • Easy to Store (our New York Distributorl, shows how to throw pots SPEED VARIES with foot pedal ~ smooth as an automobile. bigger than the machine. PORTABLE ~ carry it with you anywhere. Bats fit our hand wheels ~ each student may have own bat and place on Model E-S hand wheel without losing center. 110 Volt AC. DC. One year service warranty. $79.50 KINGSPIN Potter's KINGSPIN Electric Banding Wheel Hand Wheel n Heavy KinaJlay 7-inch tabkl With Height Trimmer n Solid cast aluminum case Rest tools and brushes on the • 110 volt motor 25 RPM height trimmer ~ results will • On & Off switch, 8.ft. cord amaze you. n One.year service guarantee i Wheel only ...... $6.00 Model E2 $19.95 (7" Alum[num Model K-7) Wheel with Trimmer Model KT-7 ...... $7.00 Also Model E3 with heavier With 7" heavy Kinalloy motor (35 RPMI for light table Model KH-7 ...... $8.00 throwinq ...... $23.50 With 8" heavy Kinalloy ..... table Model KH-8 ...... $9.25 Bats recessed for 7"...... 85c Bats for 7" & B"...... SI.00

KINGSPIN STEEL KINGSPIN Wheel WHEEL NEW with Wagon Wheel Base n Our Economy Model n Kin- • Top and base are cast alloy Bearing n Knurled Stem • Easy Spinning n Zinc Plated Kinalloy • Top measures 61/4" ~Rustproof • 7" Steel Top & • Shipping weight 3 Ibs. lahore • Highest ~uality n Low Price. Model W-6 only $3.95 Model S only $2.95

Also available with cast aluminum head (Model $A]...$3.9S

KINGSPIN Kinolite Turntable NEW NEW HEW HEW NEW NEW NEW New 12-inch model with many uses n A 12-inch wheel for KINGSPIN Lowboy Steel Wheel ~ e price of an 8-inch n Made • Our Economy Model n Kin- KINOLITE m latest sinktep alloy Bearing n Easy Spinning material used in newest homes n Zinc Plated.Rustproof n 7" n Heavy Kinalloy round base Steel Top & Bottom • Highest • Just the thing to use on Quality n Low Price those lace dolls. Mode' S-L only $2.95 Model T-12 $6.95 This new model may be used as a mold stand, for clay * : With 12-inch Aluminum Table mod.,ng or usa d.coratlno IModel A-12) ...... $14.95 when1 in spray booth.