MARCH, 1964 60C

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~.~: ~:~'-.~.~.~ ~ ~ " :i~'q: -;' ~'~:~ .~!~:~ ~.;~'~b-~:~-~ , ~::.,i~:~i~ -~ Send the moving men home!

The sections of your Skutt Ceramic Kiln are lightweight and easy to disassemble. This means you can move your kiln from one spot to another in a jiffy. The easy disassembly makes maintenance a snap, too! ~~Jr~" ,, r~ Please write ~or more information. 0 CERAMIC KILNS • 2618 S. E. STEELE STREET • PORTLAND 2, OREGON

/~lar~h 1964 3 I I

TEACHERS . . .

"~.~*~ I,1 FOR DETj6dLED CERA~v~JC DECORATING USE MAYCO'S ® I UNOE G'AZE CO,ORS #/] and ONE STROKE ~~~"~ ~~ Regardless of the way your students form their clay pieces, ~~ can be done easily and beautifully the final decorating step / with MAYCO UNDERGLAZE and ONE STROKE colors. ~v~ use them. They are in liquid form, ready-to- Students love to -~- use, and economical. You II love them too. Ask about MAYCO'S unusual, easy-to-applyglazes. AMERICAS FINEST COLORS

Us. DEALERSHIPS AVAILABLE: See Your Nearest MAYCO Distributor or Write

Acclaimed Everywhere by Teachers and Professionals for Performance

This Nationally Recognized Power-Driven Precision Wheel only $57.50 FREE. . for dealers only. This attractive supplied free [Shipped complete heavy-wire magazine display rack is Less Motor) to every studio selling single copies of Ceramics Monthly. It is part of a "full-service" program we more about use . . . The famous B & I offer ceramic studios everywhere. Learn Ideal for school, stud;o, home the coupon below or first in the field, is still first in value and ;n this program now send Pottery Maker, on your letterhead. price! Simple operation, rugged construcfion, with all fhe write versat;I]ty required by professional workersl Many built-ln ...... features . . . ADJUSTABLE arm rests; BUILT-IN water con- Circulation Manager toiner; VARIABLE speed drive; QUIET bronze and bobbit CERAMICS MONTHLY beorings; ADJUSTABLE foot-pedal control; UNUSUAl size 417S N. High St., Columbus, Ohio 43214 range. Please send us information on your single copy sales Before you buy, Write B & I . . . gel full, free details; Point- program m for dealers only. by-poinf, we challenge comparison on QUALITY features • . . Our pr;ce is stiff the best in the field! l Pottery Maker shipped complete, less motor, f.o.b. STUDIO_ B & I I factory, Burlington, Wisconsin, for only $$7.S0. i ADDRESS I B & I Mfg. Co. Dept. C. Burlington, Wisc. I CITY/STATE "Originators and Makers of famous II & I GEM MAKERS" 4 Ceramics Monthly MONTHLY

Volume 12, Number 3 March 1964

Letters to the Editor ...... 7

Answers to Questions ...... 9

Itinerary ...... 11

Enamel o]1 Copper Repousse by Helen Worrall ...... 12

Project Possibilities for Junior High School (Part 2) by Anne Miller ...... 15

Charles Brown, Potter by Hal Riegger _ ...... 18

Throwing off the Lump by Anne Appleton Clarke ..... 22

Show Time: Texas Crafts ...... 25

Ceramic Easter Eggs by Teresa Schober ...... 26

Three Decorating Techniques demonstrated by Marc Bellaire ...... 28

Enameled Room Dividers (Part 3) by Kathe Berl ...... 30

Reductiou Firing by F. Carlton Ball ...... 31

CeramActivities ...... 33

Ceramic Shopper ...... 37 hldex to Advertisers ...... 38

()n Our Cover IMACCO CERAMIC CLAYS are prepared from This month's cover photograph shows potter Charles Brown at natural California clays. The formulas for our wheel work on a sculptural form in his studio at Mandarin, Florida. clays have been used for over 35 years, always Mr. Brown's handbuilt bottles and planters have captured much giving our customers a dependable, uniform clay attention and won numerous awards in regional, national and body for their ceramics and art work. international exhibitions. Author Hal Riegger's profile story on The Pyrometric Cane Equivalent chart shown below is Charles Brown begins on page 18 of this issue. the result of considerable testing in our electric kiln. OUARRY TILE (Red) Cone 04 to 8 SPECIAL MIX {Buff) Cone 6 to 10 50/50 MIX (Quarry Tile & Special Mix) Cone 04 to 10 SCULPTURE CLAY ISuff) Cone I fo 10 Editor: NAVAJO WHEEL CLAY [Dark Red) Cone 04 to 8 THo,~t^s SELLERS MISSION SUP (Buff) Cone I to 8 Art Director: ROBERT L. CnE^OER NAVAJO SLIP (Red) Cone 04 to 0 Business Manager: SPENCEa L. DAvis RETAIL PRICES (FOB Florin, California) QUANTITY * PUGGED & DE-AIRED Circulation Manager: MARY RUSHLEY DRY CLAY 2-25## Bags (M;n. Sale} $4.80 $4.50 Advisers and Special Contributors: F. Carlton Ball; Marc Bel- 3 fo 79 Bags $1.75 per 25# Bag $1.25 per 25# Bag 80 or more Bags $1.55 per 25# Bag $1.05 per 25# Bag laire; Kathe Berl; Edris Eckhardt; Zena Holst; John Kenny; • I Bag consists of 25 Ibs of clay packed in a heavy mois- Karl Martz; Ken Smith; Don Wood. ture-proof Poly Bag. 2 Bags per package for shipping. Mr. David R. Schalchli, who has devoted 48 years to the ceramic Western Advertising Representative: arts and industry as a technical and ceramic engineer, Joseph Mervish Assoc., 5000 has recently developed for us the new clay bodies listed below: Lankershim Blvd., North Hollywood, Calif. TRiangle 7-7556. STONEWARE #5 (Light Cream) Cone 6 to 62 STONEWARE #9 ILight Brown) Cone 4 to 12 STONEWARE #6-C (Sandstone) Cone 4 to 8 Copyright 1964 Pro/essional Publications, Inc. STONEWARE .~3-P [Dark Brown) Cone I to 8 The above colors developed from Cone 6 to maximum filing range. CERAMICS MONTHLY March 1964. Vol. 12 -- No. 3. Published monthly except July & August by Professional Publications, Inc- S. L. Davis, Pres., P. S. Emery, Sec.; at 4175 N. High Street, Columbus, ORDER YOUR CLAY SUPPLY TODAY! 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 Quantity discount to dealers and schools. $14. Copyright 1964. All rights reserved. MANUSCRIPTS and Illus- trations dealing with ceramic art activities are welcome and will be considered for publication. Manuscript~ should be typed double-spaced IHDUSTBIAL MINERALS and range from 500 to 1200 words. Send manuscripts and correspondence & CHEMICALCO. about them to the Editor, CERAMICS MONTHLY, 4175 N. High 836 Gilman St. • Berkley 60, Calif. • Phone 524-2100 • Code 465 Street, Columbus. Ohio 43214.

March 1964 5 A Special Selection from the -s 'n wo,k".. Ceramics Monthly Book Department .t'~.ue5 _ _,-t,lINl,$ takes t~eoh~lC ~E/x out at ~,cv,,~.- \ Ceramic classes should bea joy to teach instead of a drudge, that is why we, at DUNCANS, are constantly consulting with teachers so that we can learn ofyourceramic problems and then help you correct them. Won't youletus help you?

FREE INSTRUCTION MANUAL This manual gives you detailed information on the characteristics and application of all Duncan glazes and other ceramic products plus the reasons for most glaze imperfection problems. FREE PRINTED COLOR CHARTS This is a 4-pagebrochureshowingDun- can's complete ceramic color line, 220 in all, glosses, marts, crackles, sa- tins, lavas, speckles, special effects, arts plus opaque and translucent under- glazes. All are ready to use rightoutof ' the jar. CLASSROOM PROJECT IDEAS From time to time Duncans offer suggested project ideas such as coil, slab and sand mold techniques. Each is complete with photos and step-by-step instructions. FAST DELIVERY SERVICE tn...... r~:_._.~L.itor s are everywbere stock of supplies, )r the distributor nea r- your FREE Instruction ted Color Chart,

= , : CERAMIC PRODUCTS, INC., A POTTERYSKETCHBOOK 5673 E SHIE{OSAVE. FRESNO ?7. CALIFORNIA by Aaron Bohrod This inspiring book contains a fascinating collection of sketches for decorating pottery taken from a series of Aaron Bohrod's sketchbooks. A page from the For Better book is reproduced here to illustrate the character of the work and excitement created by the hundreds of sketches in the book. More Consistent Design based on a natural form is a recurrent theme in this work by Bohrod. He typically prepared a ga'eat number of variations of a basic thought so that the best and most Results fitting material could be selected for final use on the pottery to be decorated. Mr. Bohrod, one of America's distinguished painters, is well known in the pottery field for his decoration of pottery thrown by Carlton Ball. Many of the pots created through this partnership are illustrated in the book. ORTON This is truly one of the great books available in the ceramic art and craft field and one you'll be turning to time after time for inspiration and instruction. Send for your copy Standard Pyrometric now! $7.50 per copy.

WE PAY POSTAGE -- MONEY-BACK GUARANTEE m m Ill m m m m m m CERAMICS MONTHLY BOOK DEPT. CONES 4175 N. High St.. Columbus. Ohio 43214 to more uniformly Please send me .... copies of POTTERY Orton cones are your guide SKETCHBOOK by Aaron Bohrod (¢l $7.50 fired ware. Here is a leaf from industry's book that you can use. For complete details on this Name ...... economical control method see your dealer or Address ...... write direct.

City/State ...... Request your free copy o~ "'PTopcrtics and UJcs o~ Pyroraetric Cones"

1 enclose [] Cheek [] Money Order The Edward Orton, Jr. Ceramic Foundation Ohio Resident add 3% Sales Tax 144s Summit Street Columbus I, Ohio m m m m m m m m 6 Ceramics Monthly LETTERS

Share your thoughts with other CM read- issues I would like to own but there are MORE ON MASHIKO ers---be they quip, query, comment or ad- no back copies presently available in any The Tom Marsh article on the Folk rice. All letter~ must be signed, but names nearby library. Judith Reynder~ Potters of Mashiko (October 1962) was will be withheld on request. Address: The Maywood. N.J. one of the very best things I have read Editor, Ceramics Monthly, 4175 North in CM, and I have been watching each lfigh St., Columbus, Ohio 4.7214. A nine-year index, cocering the year~ issue since that time for another article by 195.? through 1961, was published in the him. Any hope? Betty Glass THE LEACH ARTICLE January 1962 issue of CM. Since then the Kansas City, Mo. Your January article on Bernard Leach i)tdex for each )'ear has been published in l'es! Mr. Marsh had a very serious ac- was most satisfying and I enjoyed it as the December i~sue. Ed. cident in ]apan just before his article thoroughly as I did the one on Hamada appeared in CM, and is just now (in the October 1962 CM). CM IN BANGKOK ;, resuming his work in that eountry.--Ed. Mrs. Paul Cullom I look forward at the beginnin~-~J~ each Scottsdale, Ariz. month to CM. It is a great ,o~e of inspiration and information which ~annot As ;~ past ~qJprentice with Bernard be found in Bangkok because pot;cry is WANTS RAPID ACTION l,each. I fmmd your article little a delight. known and hardly appreciated out Good grief, has my subscription expired ? I do find it ironic that here. the photo on 1 enjoy CM very much indeed. Have you gone out of publication? Have your front cover most prominently shows Mi~ Vimon Vibulmongrol the mails between Columbus and Kansas pr)ts not by Bernard I,each but by his wife Bangkok, Thailand City been shut down? Where is my CM? .Janet! Byron Temple In lieu It may interest our readers to know that of any handy CARE packages, New Hope, Pa. I am sending thi~ issue i~ bei,~ read in 58 foreign coun- money. If indeed my subscription I greatly appreciate your articles on tries, from A (Arabia) to Z (Zealand, has expired, please un-expire it Bernard Leach and Hamada. Please let's New). Ed. and. if possible, start it at the 1963 "Back- have more of this type! to Work" issue and continue from there. AID TO INDUSTRIAL ARTS Mrs. J. IV. Su'i[t If not, send the available issues anyway Having just Webster Groves, Mo. entered the field of ceram- and I'll send more money. But I must ics as an industrial arts teacher, I have have them. Hurry! This is an emergency. INDEX found that your magazine is an excellent I've been without an issue since June. Do you publish an index of the contents aid to everyone connected with ceramics. Hoping for rapid action. of earlier copies of CE~AMmS MONTHLY? Robert A. BostIey Mrs. M. Bunker I feel sure that there would be several I,iverpool. N.Y. Shawnee Mission. Kan. Instructors-Teachers- Students We are now offering an EARTHENWARE THROWING BODY, with or without grog, which has a temperature range of cone 06 to 04. (Low-fire glazes are also available.) This is in addition to our famous cone S and cone 10 clay bodies. All of our earthenware and stoneware clay bodies are available with or without grog, dry or pugged and de-aired. Try some! Have you tried Westwood's Cone 5 Stoneware Glazes? (color may be added) W 501 Lido Satin (mottled beige) W 504 Italian Straw (mottled beige) W 502 Semi-Clear Matt W 505 Polar Bear (eggshell white) W 503 Moonmist (opaque white) W 506 Horizon (opaque white gloss) 16 Transparent or our Cone 10 Glazes? White Waxie G Matt 3 Stony White MG-2 (White Matt) Chun PM-S Eggshell :~ 16 Transparent POTTER'S WHEELS and KILNS SEND FOR CATALOG TODAY ! 610 VENICE BLVD. VENICE, CALIFORNIA

March 1964 7 12th ANNUAL EASTERN TEACHERS . HAPPY RES (ERgml(E HOW Sponsored by CERAMIC LEAGUES, INC. Ever wonder wky Reword glazes~ mid colors are used in more schools and craft centers than any other brand? The reason is PRE. TESTING of every botch at the factory before it leaves Maryland. To make results more certain, colors and finishes are checked for ease-of-application and fool- proof firing charooteristics. If yon want fo encourage ceramics in your classes or com- MAY 14-17, 1964 munity, insist upon the REWARD brand. Over 400 colors and textures to suit every teaching and student requirement. Reward glazes and colors fire at "stand. HALL, ASBURY PARK ard temperatures" (Cone 06-04) in regular CONVENTION school and institution kilns. Available in 2 oz and 4 oz jars or economical pint, quart and gallon sizes. Write for prices and free NEW JERSEY literature.

ATTENTION REWARD CERAMIC COLOR MFRS., INC. • Closed Circuit i"II will project Booth Demonstrations by Leadinq 6811 Washington Blvd., Elkridge 27, Md. Manufacturers to comfortable Congregation Area . . • Another first at the Eastern Show for 1964. u Buyers Cards fo be honored of the Eastern and Chicago Ceramic Shows now available . . . Write for yours today • . . Wholesale Hours: 12 to 1 P.M. daily. • Hobbyists and Beginners are invited to attend the fabulous "Pageant of Techniques" from 9 A.M. to 12 Noon dally . . . NEW free admission. PRODUCTS

m m m m m m m m m m m m n mr GEM-ENAMEL 4.oz. tar: $1.00 m SPECIAL CLASSES -- EASTERN CERAMIC SHOW OF 19. II for creating pictures CONVENTION HALL m ASBURY PARK, N.J. I The perfect product and panels of crushed colored glass. Crystal I Please send teaching schedule for Pro-Registored Classes to be I brilliance and true shades conducted at the 1964 Eastern Ceramic Hobby Show . . . i wish clear, to retain the I to make a reservation. I of cathedral and other colored glass. It can be heat-treated in a kiln or kitchen oven. This is l NAME. equivalent of the French enamel for famous l the [please prlnt) Gemmaux paintings. Instructions included. I STREET I BLACK GEM-ENAMEL )/2-oz. 50c I Used in conjunction with Gem-Enamel, this I c,. • STATE black is excellent for borders, outlines or other designs where a strong accent is needed. m m m m roll m m m m m m m m Solvent: Use for thinning and I NATIONAL CERAMIC AMATEUR EXHIBIT I Gem-Enamel James A. Boice, Chm., 25 Abington Ave., Marlton, N. J. for cleaning brushes. 4-oz. jar: 50c ] lb. pkg.: $3.00 I Please send __ Entry Forms. I plan to exhibit in the: Notional I JUMBO JEWELS i Amateur Exhibit (check); Professional ExhlbH. (check). Imported domed ewels with flat backs. /ks- ] " . I sorted sizes from I/2" to I/4 daameter. Will fire I NAME on most sheet glass without fracturing. Can also [please print) I be heat-set on panels with Gem-Enamel. ! STREET I Colors: Orange, green, yellow, turquoise, blue, purple: ranging from light to deep shades. /ks- I CITY & STATE I sorted only. Instructions included. Minimum shipping order: $5.00. Add 20% for postage. Glass Catalog: 50c Kay Kinney Contoured Glass 72.5 Broadway, Laguna Beach, Calif. (ZIP) 926S1

8 Ceramics Monthly Answers to qUESTIONS

Conducted by the CM Technical Staff

0 The student~ in my ceramics class have modeled sculptures (usually less than 12 inches in height) #om blocks of clay and hollowed them when leather hard. In many ways they [ind thi~ approach more free, expressive and satisfying than by the use o[ other methods. However, during the drying process cracks appear on the inside wall. In some instances these are large cracks. We dry by placing each piece on two low wooden sticks and maintaining a plastic wrapping on the outside so that the Discover greater creativity . . . enjoy new depths drying is fron, the inside. Can you tell us what we might be of colors and shades with over 200 samples of doing wrong? Mrs. E.L., Petersburg, Alaska. opaque, transparent, opal and crackle enamels to This method of hollowing ceramic sculpture makes it diffi- choose from. Beginners as well as experts can now cuh to produce an even wall thickness and this is one probability for the appearance of the cracks. The addition of grog to the branch out in color . . . give interpretations to work ('lay should allow better passage of air through the wall as it dries never before possible using the latest colors by and thereby redt,ce or eliminate the cracking. Either a fine or Thompson . . . leader in the field of enamels for coarse grog could be added in amounts of from 5 to 15%. over 70 years. Another reason for the cracking might be that the drying is MI taking place from the inside. Try loosening the plastic Hobbyists can easily select the precise color to suit wrapping on the outside so that some air circulates on the outside of the piece as well as inside. their exact need by ordering directly from the full-color reproductions in the "Color Guide" . . . {~ Why is the term "'throwing" used in re[ere.nee to working a special section in the new Thompson catalog. on the potter's wheel?--Mrs. A.D., Reading, Pa. Also featured are in- The generally-accepted theory is that this name comes from struction books covering Ihe first action the potter uses in his work at the wheel -- that of throwing the lump of clay down onto the center of the wheel- i, every phase of porcelain head to make it adhere firmly. enamel work and glass- craft. Tools, materials Can you explain the term "so# solder" as it applies to and supplies are pictur- enameling on copper?--Mrs. G.S., Berkeley, Call[. ed and accurately de- Soft solder is made up of half tin and half lead; because scribed for further ease of its composition, it needs very little heat to cause it to flow. of ordering. Soft solder is used on enameled pieces which cannot be subjected to the higher temperatures needed for hard soldering because of Should you be in the the risk to the metal finding and to the enamel itself. The area market for to be soldered must be cleaned, then it should be covered with a new kiln, a soft solder flux. Small pieces of the soft solder should be cut the special Model B-9 and placed under and around the finding in place on the metal, will be of particular in- then a torch can be applied until the solder flows. terest. Kiln reaches temperatures of 1500 ° in one hour When glaze runs down the sides of an object during the . . . can be plugged into any 115 volt outlet. /iring, pooling in the bottom of the inside and dripping o[[ Price F.O.B. Highland Park, Illinois, or Dallas, the pot on the outside, what is the matter?--H.H.W., Wey- Texas . . . only $35. mouth, Mass. For your FREE copy of the new Thompson catalog The glaze ahnost certainly is being fired too high in this with the new "Color Guide," case. Check the firing instructions on the glaze bottle to see simply mail the cou- what firing range is recommended. If you are following in- pon. Why not do it today? structions correctly and are firing by a pyrometer, there is a possibility that your pyrometer is not registering properly and needs to be corrected by means of a firing that includes the use of cones. There is also the possibility that your kiln continues to THOMAS C. THOMPSON CO. -- DEPT. CM ] build up heat after it is turned off when the desired temperature 1539 Deerfleld Road, Highland Park, II1., 60036 is reached. Check this either by the use of cones or pyrometer. If this is happening, it may be necessary to terminate the firing Please rusk my FREE cafalog of complete enameling and craft J earlier than you have been doing. supplies with Color Guide today.

NAML I All subscriber inquiries are given individual attention at CM; I ADDRESS__ and, out of the many received, those of general interest are selected ]or answer in this column. Direct your inquiries to I CITY__ ~[ONE__STATE- the Questions Editor, GM, 4175 N. High St., Columbus, Ohio 43214. Please enclose a stamped, sell-addressed envelope.

March 1964 9 EVERY ART CLASS NEEDS...

THE Fabulous NEW, water soluble decorating medium for use on: eCERAMIC BISQUE ePLASTER ePAPER eWOOD ePLASTIC eFABRIC eMETAL "k 29 Blendable COLORS All BISQ-WAX colors biend together to create any shade ~r{)tl de- sire: It is HIGHLY CONCENTRATED and can be thinned with equal parts of water if necessary'...'~11 colors areOPAQUF and are made TRANSPARENT by thinning with water or blending with I3W-100 (ILFAR BISQoWAX.

WATER SOLUBLE - Brushes and reals clean v,ithsoap and water. After BISQ-WAX has thoroughly' dried it becomes a very perma- ,l~nent, washable finish.

'1 NO SPRAYS are needed regardless ~f the typeof decorating tech- ique used. n TNLIMITED DECORAFING TECHNIQUES: Use BISQ-WAN as you use oils, water colors, poster paints. Excellent also for antique and grained techniques. ,~2-.O7.. iur 40¢ 2 oz.. i-r Z~"~" all ¢alars For more datellad Information, write: BISQ-WAX, 5673 E. Shields Ave., Fresno 27, Calif. MONTHLY HANDBOOKS Used by teachers everywhere. Ideal for hobby groups, schools, You can do EVERYTHING with art and craft centers. Three- color covers; profusely illustrated step-by-step photo technique. CERAMIC PROJECTS by Thomas Sel- lers. An outstanding selection of projects for the classroom, home and studio. Fountains, planters, jewelry, bottles. bowls and other items. 64 pages, $2.00 COPPER ENAMELING by Jo Robert Go-Together and Jean O'Hara. Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. In- cludes fundamentals and illustrated how- to-do-its on jewerly. 64 pages, $2.00 Prepared Ceramic Colors UNDERGLAZE DECORATION by Marc Bellaire. This complete handbook has all the answers on materials, tools and They all intermix and may be used one over the ~-- techniques. Step-by-step projects are ~ profusely illustrated. 64 pages, $3.00 other. Fire from cone 06 to cone 6 or any tempera- THROWING ON THE POTTER'S per- WHEEL by Thomas Sellers. Here's a ture in between. Color requirements vary from complete manual on how to use the potter's wheel. Covers all basic steps from son to person and school to school but when you wedging clay to making specific shapes. Over 200 photos. 80 pages, $4.00 use CERAMICHROME'S go-together and intermix- DEALER IN~)UIRIES INVITED able colors, every requirement can be met. CERAMI- CHROME can give you all the colors and textures i------3 you ever wanted, and they are available from local i CERAMICS MONTHLY Book Department I 4175 N. High St., Columbus 14, Ohio sources in most areas throughout the United States. I Please send me the following: I ----copies of CERAMIC PROJECTS @ $2 II .... pies of COPPER ENAMELING @ $2 • | __copies of UNDERGLAZE DECORATION @ $3 ! copies of THROWING ON THE POTTER'S WHEEL @ $t IName I I Address I "FINEST PREPARED CERAMIC COLORS" I City Zn. State __ I enclose [] Check [] Money order WE PAY" POSTAGE I CERAMICHROME, INC., P.O. BOX 2086 (Ohio residents add 3°/0 sales tax.) GARDENA, CALIFORNIA 90247 /. -- =- -- -. --.= -- -- _ .... ! 10 Ceramics Monthly ITINERARY Send your show announcements earl~,': includes work in pottery, jewelry, sculp- KANSAS, SALINA "Where to Show," three months ahead ture, silversmithing and weaving. Entries May 2-3 The Central Ceramic and o/ entry date; "Where to Go." at least close March 31. For full details and entry Hobby Show, sponsored by the Salina r,x weeks before the openin£. forms, write: The Brockton Art Associa- Ceramic Art Society, will be held at the tion. Box 533, Brockton. 4-H Building. For information, contact: WHERE TO SHOW Arlene Munson, 1926 Simmons, Salina. .~'EW YORK, PI.ATTSBURGH FLORIDA, ~TINTER PARK April 8-29 Third annual "Jewelry, '64" MISSOURI, INDEPENDENCE March 6-8 The Fifth Annual Sidewalk exhibition is open to jewelry craftsmen in May 1-3 The Fourth Annual Show of Art Festival of Central Florida includes the United States and Canada. All media; the Ceramic Association of Greater Kan- entries in crafts, sculpture and paintings. Entry fee: Juror; Awards. Entry cards and sas City, Missouri, will be held at the Entry fee; Over $2400.00 in cash awards. work due March 15. For entry blanks and National Guard Armory. Show Chairman Jury includes Hal Riegger, James Camp information, write: William Benson, Di- is Audrey B. McBride, 1308 Vista Drive, and Kenneth Donahue. For information rector of Art Exhibitions, State Univer- Independence. Ar'~ sity College. Plattsburgh. and entry blanks, write: Sidewalk ASBURY PARK Park Ave.. Winter NEw JERSEY, Festival, 346 North The 12th Annual Eastern Park. May 14-17 SPECIAL FOR HOBBYISTS Ceramic Show, sponsored by Ceramic KANSAS, WICHITA CALIFORNIA, LONG BEACH Leagues, Inc., will be held at Convention April S-May S The 18th Decorative March 6-8 "California Wonderland of Hall and feature classes, demonstrations Arts---Ceramics Exhibition, sponsored by Ceramics," sponsored by the California and an amateur exhibit. For entry forms, the Wichita Art Association, is open to Hobby Crafts Associates, Inc., will be held write: James A. Boice, 25 Abington Ave., all American craftsmen in the following at the Lafayette Hotel and will feature a Marlton, N.J. media: ceramics, mosaics, enamel, glass. hobby competition. For information, write: NEW YORK, TONA~'ANDA jewelry and metal arts, weaving, and Mary Davis or Doug Miles, 3859 Boyce April 25-26 The 14th Annual Exhibi! wood, ceramic and stone sculpture. Jury: Ave., Los Angeles 39, Calif. of the Kenmore Ceranfic Guild will be Sheldon Carey, John Paul Miller and Alice Bank, Town [OWA, DAVENPORT held :It the Buffalo Savings Parrott. $2000.00 in awards and purchase of Tonawanda, New York. Publicity Chair- prizes; Entry fee. Entry cards and fees April 4-5 The Seventh Annual Ceram- Val- man for the group is Genevieve B. Dendt- March 4; Work due March 9. Write: ic Show sponsored by the Mississippi due held at ler, 339 Oakdale Blvd., Kenmore 23, N.Y. William Dickerson, 401 N. Belmont, Wich- ley Ceramic Association will be ita. the Masonic Temple. Proceeds of this OHIO, CLEVELAND show are used for the Scott County and March 14-15 The Eighth Annual MASSACHUSETTS, BROCKTON Rock Island County Association for Re- Show of the Ceramic Hobby Guild of April 13-May 3 The Seventh National tarded Children. For show details, write: Greater Cleveland will be held at the Show of the Brockton Art Association Mrs. Schroder, Box 206, Blue Grass, Iowa. Continued on Page 36

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3[arch I0~4 I1 ENAMEL ON COPPER REPOUSSE

by HELEN WORRALL

THE IMAGINATIVE ENAMELI~.T, like all other creative craftsmen, is constantly searching for new ways of exploit- ing his craft. Presented hexe is a method which we shall call "enamel on copper repouss6." The enameling is done on tooled nletal which has been hammered into low relief. The design here is completely developed in the metal rather than in the enanlels and tile color serves only to enhance tile inetalwork. The design chosen may be representational, abstract or a complete study of surface textures. Investigation of recent work being done in creative stitchery and textm'al ceranfic panels might be very helpful in stimulating our thinking toward ilnaginative tooling. Nature offers an unlimited wealth of ideas if we study the patterns found in such objects as lichen bark, tortoise shell, butterfly wings, cobwebs and frost crystals. For the metal work 20- or 22-gauge copper is used, depending upon the size of the project being under- taken. Tooling the metal serves to strengthen it, much as corrugating stiffens and strengthens cardboard. Th~.s permits the use of the lighter weight nletal which is so advantageous in this type of work. Tooling also retards warping, which would he a problem in working with these gauges of copper. The tools needed for the metalwork include a hammer, a set of chasing tools, a board, a fiber or race,- hide Helen Worrall's wall pare'l, "'Loaa'cs and Fishes," is made mallet and a sandbag. While all of these tools may be by the repoussd method described in the text. The enamel purchased, it is possible to make your own tools. Hard- ware stores have colors are gold shading into green, with some accents o[ available round and rectagular steel rods in three-foot white and brown. The panel measures 14 by 32 inches. lengths; these can be sawed into convenient lengths of about six inches and tools or punches of your own design can be fashioned from them by grind- Opposite Page ing them into shape on a motorized emery wheel. The sharp edges should be removed with a file and further Tooling is done by placing the copper on a wooden block refined with emery cloth. A file may also be used to and striking a punch against it with a series o[ blows [rom score grooves, notches and serrations. Suggestions for a hammer. In the [oreground are some hand-made beginning shapes are the square, rectangle and triangle punches and a sampler showing textures made with them. in various sizes. When these have been made and tested,

12 Ceramics Monthly more imaginative punch shapes may then be attempted. further coaxed into desirable contours or relief by use The design for the repouss6 is first traced onto the of the mallet. The mallet can be used to form and stretch metal with carbon paper, then scratched into the metal metal without leaving marks; it will not remove the tool with a scriber so that the lines will not be lost during marks already established. Areas of the design may be the progress of the work. stretched and pillowed or pushed forward by a gentle The next step is to place the metal on a wood block tapping from the reverse side. When the mallet is being or board and select an appropriate punch for outlining used for stretching metal, place the work over a sand- the design. The lines of the design are depressed by bag. But when the mallet is being used only to flatten holding the punch vertically against the metal and the metal, place the metal over a board and tap it with striking it smartly with the hammer, repeating with a the mallet. series of blows as vou lllOVe the punch toward you. When the tooling is complete, the metal is cleaned Metal hardens as it is worked and must be softened and enameled. Needless to say, the work must be counter- or annealed after each course of hammering. Annealing enameled in order to equalize the stress on the metal. can be accomplished very simply by placing the piece Firing enamel on both sides at once is difficult, but it in the enameling kiln and heating it to a dull red color, is desirable in this instance because it is a further help then cooling it in the air or quenching it in water. When ill reducing warping. this is done, hammering can be continued. In making a decision about tile type of enamel to The design is further developed by using different use, remember that transparent colors depend for their shaped punches to texture the areas. Tooling may be beauty upon the reflection of light off the metal beneath. done first on one side of the metal, then on the other Repouss6 metal is an ideal surface for transparent colors. until the desired effect is created. In my opinion, it is preferable to use one color or a When the tooling is completed, the piece may be mingling of related colors, rather than attempt to intro-

March 1964 13 A/ter all tooling is complete, sections o[ tim design can be pressed [orward by tapping with a mallet [rom the reverse side. This is done over a sandbag, u'hicb "gives" as the metal stretches.

When the metal work is [inidled, th," piec," is cleaned and enameled on both sides. Because it reflects the light so well, repoussd metal makes an ideal surface for the use of transparent colors.

The depressions- in the back o/ the enamel,'d piece are [illed with plaster to protect the raised design, thett the back is covered with an adhesive and dropped into position in the [rame.

duce defined color areas which would only serve to compete with the design already established in the metal. Washing the enamels and repeated firing will bring greater brilliance to the finished piece. If some textural interest in the enamel is desired, small areas of a soft opaque enamel (such as white) may be placed underneath the transparent color. This will bubble through and give a speckled texture. If the repouss~ work is to be mounted on wood to form a plaque or wall panel, it is desirable to fill the underside of the nletal where it was stretched upward into relief. Some of the resistant materials which can ~Y be used for this purpose are plastic steel, wood putty and plaster of Paris. In the "Loaves and Fishes" panel illustrated here, plaster was used to fill the voids. When this was done, the underside of the completed enamel units were spread with an epoxy adhesive and set into depressed areas in the wood frame. °.4 For those craftsmen who enjoy working with metal and appreciate the brilliance which can be achieved by the light-reflecting quality of the tooled surface, making a piece of enamel on copper repouss6 can be an extremely rewarding experience.

: .... Helen Worrall l,'arncd en- ...... ameling from ~lr. Kenneth Bates, to whom size re/ers as the "'dean of American enam- elists and father of Americml enamelers." She earned b,'r undergraduate d,'grce at Ohio University, Athens, Ohio, and her M.F.A. degree at Cran- brook Academy, where she did research in ,'namding. Miss Worrall has evhibited in nearly every major cra[t exhibition in this country and has won a number o[ award, attd pu,- chase prizes. Her enamd work is in the permanent collections o/ the' Wichita Art Museum and the 7'homas C. Thompson Co. At preaent she is teaching art in the public schools at Reading, Ohio: during the .~ummers ~t~e instructs in enameling at th,, Cra/t ll'ork~hop at Gatlinburg, Tennessee.

14 Ceramics 21lonthly SLAB "~VORK is excellent for use in the junior high school PROJECT classroom and has an advantage over coil building in that it progresses a bit faster. Slab projects need not be just boxes! Students can make a variety of pottery forms and sculptures. The), POSSIBILITIES may even try to do portrait heads. Whatever is attempted, the students should be cautioned to have a definite idea in mind and, if possible, a paper pattern prepared before starting to handle the clay. This preparation can prevent for Junior High School the clay from drying out too much during actual work on the project itself. Clay slabs should be rolled out on canvas so that Part 2 the), can be picked up easily when ready for use. It ;s sometimes difficult to lift slabs from the wooden surfaces on which they have been rolled; paper used as a separator becomes wet and tears easily. A heavy cloth material ANNE MILLER by holds up best of all. To make clay slabs of an even thickness, we use wooden guides on either side of the clay for adjusting the height of the roller. Specifically, we use 18-inch rulers that are too mutilated for use in drawing straight lines. The use of these gives slabs that are thick enough to be handled with ease by the students. For rolling the clay slabs, we use several devices. We have a discarded rolling pin, several 1-inch wooden dowel rods cut to lengths of 18 inches, and we also use round glass bottles for this purpose. If there is plenty of room in the classroom for the storage of equipment, I would suggest equipping some old drawing boards with tacked-on canvas and with side strips nailed into place. Such "roiling-out" boards would be ready for use at any time and would eliminate the handling of different loose pieces. However, in the normal classroom situation there are ahvays too many students waiting to use each piece of equipment and not enough space for the storage of special pieces of equipment. With the loose rulers and canvas, ten "sta- tions" can be set up quickly and easily, and these can be easily moved from place and place. One of the easiest beginning slab projects makes use of some sort of hump mold. This may be a plaster mold or it may simply be an interesting, water-rounded rock used as a mold. The rolled-out slab of clay is draped over the mold and pressed down to conform to the shape beneath. This, by the way, is a good project for the introduction of grog. The use of grog in the clay allows the students to : ~ ~i~i.~i ~ ~i~ build with thicker walls, offers less chance for explosions in the kiln, and presents definite textures that gain in interest when used with glossy glazes. A grogged, leather- hard piece nlay be wiped with a damp sponge to permit the grog to stand out more prominently on the surface. This technique is particularly effective if the clay body and the grog are of contrasting colors. And if a piece is paddled to shape it into flat surfaces, the grog will be forced back to the same level as the clay to give still another effect. Grog can be purchased or be made in the classroom. If it is made, I would suggest the use of grog made from discarded greenware rather than crumbled bisque ware. This is much easier to handle in the classroom. Discarded pieces can usually be found around the

March 1964 15 art room, and these can be crushed with a mallet, then dition. If left unfired, the walls should be made from ~,~ pulverized with the rolling pin to produce very small to % inch thick. If the pinata is to be bisqued, the pieces of rather uniform size. When these are bisque fired walls should be thinner and the piece fired no higher and graded through screens or sieves, they are ready than 1500°F. for use as grog. This can be added to the clay by wedging All slab projects are not as complicated as those it into the clay or by sprinkling it on the surface when involving the balloon mold. A paper pattern of an animal the slabs are rolled. can be designed in the style of a bear skin rug and cut from Since pieces made on plaster or improvised hump a slab. This is turned into a three-dimensional standing molds usually are of a bowl shape, students like to add figure by putting a prop of some kind beneath some sort of foot treatment. This may be the addition the figure to hold it erect until the clay stiffens enough of a coil or slab ring at the base of the piece, or it might to hold its shape. Details can be added at this stage. Clay be the incorporation of balls of clay. Whatever is used, toys that have counterbalanced movable parts the added clay must be attached to the piece before the are ahvays interesting to students and these make easy clay in the body becomes too hard. and fascinating projects. Once the students understand the principles that are involved, they Another slab project that can be combined effec- enjoy the challenge to "invent" new creatures tively with texture is one formed in a sling or hammock. from slabs. Students usually aren't ready to explore In this, a slab of clay is cut into an abstract shape and the decorating techniques until after their original splurge placed on a piece of cloth that is suspended in some with glaze color. Since adolescents enjoy sort of frame. The weight of the clay in its hammock decorating their clay pieces, it is convenient to have some forces it into a bowl or tray shape, determined by the sample pieces available for quick reference in the art weight of the clay and by the arrangement of the sling room. I have a collection of small tiles showing the in the frame. The frame may be a sturdy cardboard different methods of decorating clay, both with clay and box and the cloth attached to its sides by the use with decorating of colors. (My samples clip-on clothes pins. would be more useful if each had a hole drilled in it for lacing onto a shoestring There are two methods for slinging the clay in the or some other stringing material.) frame. The hammock can be made first and fastened in The photograph shows a few of the sample the box frame, then the slab carefully taken up and tiles. The techniques include sgraffito, in which placed in the hammock. The other method involves a leather- rolling out the clay on the cloth intended as the hammock, then lifting the cloth and slab together and ar- ranging them in the box. Texture can be added to the sling piece by imprint- ing when the slab is rolled. A fine texture can be made by the use of a material such as linen cloth; a coarser imprint will result from the use of burlap or a potato or onion sack. This material is stretched over the slab J JaJ JJ and imprinted by going over it with the rolling device. A balloon may be used as a forming device for use with clay slabs and this is a quick and easy method that can be developed into an extremely creative project. The clay is first cut into patterns that cover an inflated balloon, then the slabs are fitted and blended around this improvised mold. As the clay dries, air is released from the balloon to accommodate the shrinking; when the clay is firm enough to support the shape, all of the air is released from the balloon, which is then drawn through the opening in the piece and removed. There are many possibilities for the use of a basic shape made on a balloon. While the clay still is workable, ears and feet may be added to a shape to create a piece of animal sculpture; a handle and spout may be attached to form a jug or pitcher. At any time that such attachments are made, however, particular attention must be given to their size and shape if they are to enhance the basic form of the piece. A particularly interesting project that can be created on a balloon mold is a pinata shape that is left open at the top for filling. This opening is covered with paper later on. Students should be reminded that holes must be bored in the clay forms to accommodate the ropes IL~~, ~;.-~-!~ ? ~':?!I~S';~ ~i~iii~~!~: that will be used to suspend their works of art! The pinata can be bisque fired or left in the greenware con- 16 Ceramics Monthly hard tile made flora buff clay is covered with a thin is done by filling a plastic detergent bottle with slip and coat of red clay slip. As soon as the slip surface is dull, forcing the color out through a fine nozzle. This tech- a figure is drawn through the top color, back to and nique is done on a leather-hard tile. exposing the base clay color. This techinque is the one Extrusion is the process of pushing soft clay through most used by the students because they feel a sense of a kitchen sieve or some other open object to obtain strings confidence with this definite line decoration that is of clay for hair or beards. This is particularly intriguing similar to their two-dimensional work. for students doing ceramic sculpture! Impressing is done when the clay still is soft and This last technique illustrated is that of mishima, impressionable. Objects that can be used for this purpose in which an incised line is filled with slip of a contrasting include the top prongs of a woman's change purse, a color. paper clip, and the point of a pencil. The techniques which I have discussed in these two Clay can be applied to clay, either in the form of articles are all interesting to the student who is exploring coils or as cut-outs. Slip is used to insure that one piece the field of hand-made ceramics. The objects he makes of clay will adhere to another. The fish in the sample reflect his ways of thinking and working, and each will was modeled before it was applied to the soft clay tile involve the other before the final firing has cooled! and additional modeling was done after the pieces were Teachers suggest, guide and praise, but they never touch joined. the clay given out to a student. The clay reflects the Incising can be used in a variety of methods. In- hand that shapes it and it is up to us to see that it is a cised lines may depend for contrast on the action of a true reflection. particular glaze. Incised lines may be filled flush to the surface with slip of another color and referred to as Mrs. Miller re[ers in this article to several projects inlay. The cat is done in this technique. Clay may be and techniques that have appeared in the pages o[ completely pierced with a design, leaving an effect of Ceramics Monthly. Among these are: "Balloons as open work. If the openings are filled with glaze, the Molds" by Reinhold P. Marxhausen, April 1956; "Ani- leehnique is known as .gombroon. mals [rom Clay Slabs" by Alice Lasher, March 196,3; Excising, which is done after the clay starts to and "'Clay Toys that Move" by Earl Hassenp[lug, Sep- harden, consists of cutting away some of the background tember 1957. Most o[ these articles are included in the in order to make the design stand out. Slip trailing CM Handbook, "'Ceramic Projects,"

March 1964 17 CHARLES BROWN, POTTER by HAL RIEGGER

THE CAt,EElS of all successful potters do not necessarily begin in their youth. To cite an instance of this, Florida potter Charles Brown did not start working in ceramics until he was in his mid-forties but he has attained a success that is measured by high artistic standards and numerous awards, sales and commissions. Charles Brown was employed as department manager in a large produce firm in Jacksonville and com- lnuted for many years between there and his home in Mandarin, Florida. About a )'ear ago he decided not to wait until his normal retirement date and therefore quit his job in order to have time for what had become his most completely absorbing and rewarding activity ---making pottery. Although Charles Brown is largely self-taught, he does acknowledge a great debt to Freda de Castro, his first and only teacher. "Her gift to me was the gift of enthusiasm and interest in pottery. She was such a wonderful person that I did nay best to please her." After about a year and a half of night classes with Mrs. de Castro, he started to work on his own. Through patient devotion to his work he has mas- tered handbuilding and a variety of decorative tech- Above: Charles Brown's 22-inch handbuilt planter has a niques. Asked about wheel throwing, he cautiously re- carved relief design of figures. The background is glazed sponds, "I feel there is a rigidity to thrown pots. That a blue-green color; the raised design exposes the rich is why l like handbuilding and the various little incon- color of the clay. sistencies that result. I like a pot to look handmade and

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18 Ceramics Monthly I have, so far, never been interested in throwing on the Indicative of this potter's individuality is his choice potter's wheel." of low temperature for firing his work. He fires in the Charles Brown has worked with a variety of shapes cone 04-03 range and uses a low-fire commercial grogged and sizes and become known for his handsome bottles clay. The large hand-built pots are constructed with and planters. These are the pots which have brought thick walls that allow for the removal of considerable him numerous awards in regional, national and inter- masses of clay in the carved decorations. The surface national exhibitions. Two )'ears ago his work was repre- of his pottery, is characterized for the most part by strong, sented both in the Ceramic National and in an exhibi- primitive and almost child-like figures in high relief. tion sponsored by the United States Information Agency These are handled in a fashion so as to form a running to tour European countries. More recently he was hon- panel or vigorous texture around the pot. Sometimes ored as one of the American potters invited to show the figures merge into what might seem to be symbols, their work in the Ninth Annual Invitational Ceramic many of them taking on an almost religious qualitv. Show sponsored by the Kiln Club of Washington, D.C. Glazes are often used to accent a design. These He has received many awards in the Florida Crafts- appear thick in the background and have a rubbed-off men's Annual and the Tampa State Fair. effect on the raised portions of the design. In certain In 1959 the Florida branch of the American In- areas the rough, grogged quality of the clay is preserved stitute of Architects sponsored a competition in which This was an im- Mr. Brown won a purchase award. The two planters pictured below are about 12 inches a commission for the portant factor in his receiving high and a~e decorated with deeply carved reliefs. group of ten handsome planters which now enhance Jacksonville's new Universal-Marion Building. The at- The planter on the opposite page has a background of tention these planters received has brought additional rich yellow glaze; the textured clay design is a reddish- commissions from increasingly-distant cities. He recently brown color. The background of the heavily-textured has had important commissions for works of a religious planter below was first brushed with a black glaze; this nature, and among his recently completed pieces are was scraped off and a yellow glaze containing ilmenite a three-foot altar cross, a baptismal font, a candelabra, was sprayed on. All glaze was scraped front the raised vases and a six-foot hanging cross. design before the piece was fired.

March 1964 19 Charles Brozcn'~ Ba]dismal t:ol~t ]or a ~hapcl in S:caMs- Detail o{ the carved decoration for the Baptismal Font borough, Georgia, was handbuilt in two sections. shows how Brown combines use o[ texture and glaze. because, as Mr. Brown says, "I want people to know his philosophy, one of the fine things about Charles that my pots are made of clay and not just something Brown's pottery is that it is also utilitarian. No closer covered all over with glaze." Much of the richness of union exists than that of a tree or shrub and one of his Charles Brown's glazing is the result of repeated applica- planters. tions and firings. Sometimes as many as six or seven At a time when many, many people feel an im- firings are involved. pelling urge for self-expression through pottery, it is He has avoided using a great complex of glazes and especially encouraging to know the story behind Charles contented himself almost exclusively with a single basic Brown and his work. glaze formula which he mixes and grinds by hand. Through the years of his work in ceramics, he has made certain variations of this glaze in terms of basic ingredients and color, and these, combined with slightly Hal Riegger is a well- varying firing temperatures, account for the variety of known potter, sculptor effects he obtains. Glazes are usually applied with a and teacher who lives in small hand-pumped spray gun, although he has recently Mill Valley, Cali[ornia. been experimenting with the control of pouring and His work is represented in splashing glazes. the permanent collectiops A definite philosophy about his work is evident o[ the Metropolitan Mu- when he comments, "I believe a pot should be a work seum, New York, and the of art. To me it is aesthetic rather than just utilitarian. Everson Museum, Syra- Just because a pot has a neck on it, or a hole in it, cuse. Among the many doesn't mean that you have to stick flowers in it; or if awards he has received are it is a bowl, that you have to put salad in it. You don't two "'firsts" in Ceramic toss a salad on an oil painting. I don't understand why National exhibitions and a people can't think of ceramics as objects for visual, Good Design award from aesthetic pleasure. Of course I think of it as a fine art the Museum o[ Modern Art. His work also is represented rather than a utilitarian craft! And I am now becom- in the 22nd Ceramic National exhibition now touring ing interested in sculptural forms. I have tried several the country. Mr. Riegger is currently conducting Raku and I want to do more of this work." workshops on an itinerary that includes cities in Texas, In spite of the fact that it appears to contradict Florida, New York and Ohio.

20 Ceramics Monthly m J ...... "

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...... ~.~ ~:~:~ ~.~ .:~ :~~ ~c'a~ Planter above is one of ten that Charles Brown madc for ~uere loosely applied z~:,ith hot paraffin after the pot the Universal-Marion Building in Jacksonville. The brush- glaze fired a dull green; then, brown glaze was sprayed ed glaze decoration was done in wax resist. The figures over-aU and the piece was fired again.

.~/arch 1964 21 THROWING OFF THE LUMP by ANNE APPLETON CLARK

IN THE ORIENT it is customary to throw many pots from larger anaount of clay, it is better to try out this technique one large lump of clay. Although some Western potters with a lump of only about eight pounds. This should also work in this manner, most of us spend precious time be wedged and shaped into a fat cone. (time that could better be used in making pots!) in wedg- The lump of clay is firmly placed on the wheelhead ing up and weighing out many small balls of clay. Throw- (Photo 1) and then, with the wheel spinning rapidly, ing from a lump may sound difficult to some of us who the hands exert a strong downward pressure on the clay are not accustomed to handling large amounts of clay to assure its adherence to the wheel. By pressing firmly on the wheel, but as only the top of the lump needs in and up on the clay with both hands, the roughness perfect centering, it is actually a quick and easy method in the shape is smoothed somewhat; this also raises the to make a series of small pots that may or may not be size of the cone somewhat and brings it nearer to center. similar in size and shape. When working at the top of the lump, the potter nmst Although the most practical way to work is with a retain its rounded shape by pressing down on the lump

I. An eig/~t-lJo,m/ lump o[ clay is u'cdgcd, draped i~t, 2. As It, a/, , l spilz~, the hands press in and up to smootk a [at cone and placed firmly on the center o[ the wheel. out the roughness o[ the clay and start centering.

II .gD.'_- 3. A ridge of clay is raised with the hands in tke sam, 4. A knob of clay is [ormed [or ma/,m~ tk, /ir.,t stta!,, b~ position; near the top the ridge is pressed into the cone. pressing it with the little lingers. Thumbs ride on top.

22 Ceramics Monthly with the right hand and, at the same time, pressing in is turning. Thumbs ride on top of the cone (Photo 4). toward the center with the left hand. If this is not done, Holding the little fingers in the ridge that was a hollow or depression will be formed at this top, and formed at the base of the knob, the top of the clay is this will ahnost certainly cause difficulties later on. opened by pressing down into its center with the thumbs The base of the cone of clay is indented by press- to within a half an inch of the base of the clay knob. ing inward with the sides of the hands (Photo 2). The (The position of the little fingers indicates where this hands are kept in this same position in order to raise area is.)The inside is shaped by pulling the thumbs the ridge of clay and press it into the cone as they come away from each other and then upward (Photo 5). neat" the top. If the potter keeps his elbows at right angles Sonic potters make the first pull by pinching and to his body, little actual strength is needed for this opera- pulling up the wall with just one hand; with very small tion (Photo 3). This whole procedure is repeated until pots this is just about the only way to work. To try this a faMy tall cone is produced. The top of the cone should technique, use the left hand to brace the other wrist. be accmately centered before work continues. I normally work by pulling up thc wall with the For a first project in throwing off the htmp, it is first two fingers of the right hand on the outside. I brace best to plan a series of simple shapes such as small cups the wall inside with the left forefinger (Photo 6). or bowls, all of the same size. An amount of clay about Before the second pull is made, a wooden rib or the size of an orange is formed at the top of the cone some similar tool can be used to cut a well-defined groove by pressing in with both little fingers while the wheel at the base of the pot area (Photo 7). This gives the

5. Thumb, 1" '~ down on top o/ lh, /~/,h a~ld ,11,1 l~ l/t, 6. The wall is raiwd by using the le[t hand It, b~a,i l/ll clay; they press out and up to shape the inside. in dde and pulling ul) the clay with the first two lingers.

7. A groom, i, ~t at the outside o/ tlu ba~, ipl ,od, ~ t,, 8. AI 0 um ~, nm ,~ a' l/tt tol~ o/ th~ ;call i, trimmed give lingers a starting place for the next pull. o[[ with a pointed tool alter the pot is shaped.

March 1964 23 9. ll'ilh lh, :,/,,,I ,:i/l ,j,,,,i,~, the pot i~ cut /1~,~,: th, I0. The ruhrel ta st~./q.,cd and the scu,'rc:l .~/ul,',cir l:/:,,i lump by drawing a nylon line through its base area. from the cone with tile hands or a very wet spatula.

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I1. Ten cups were thrown from the eight-pound lump o/ 12. The leather-hard cul;s arc inucrtcd on tt~c gchccl, clay ~ictured in the first illustration in this series. trimmed o[ cvccss clay and given a loot treatment. lingers adequate room to grab the clay for the next up- ct,t from the lump with a wire, it can be lifted off with ward pull; it also defines the base clearly when the the fingers and set aside for drying (Photo 10). If the piece is cut from the lure I) later on. The groove is made spatula is used to cut the pot, it can, of course, be lifted by holding the rib at an angle and pressing inward as off with the spatula. the shape is steadied and braced inside with the other The ten cups in Photo 11 were thrown front the hand. lump of clay pictured in the first illustration. Most of The pot is shaped as quickly as possible in order these arc of apl)roximately the same size and will be used to prevent the clay from absorbing too mt, ch water. as a set. The odd ones will be used for testing glazes or Throwing water is sponged out of the inside as work they may be matched up with pots that will be thrown is being done; it is also a good idea to keep sponging later. the water from the unused clay as work is being done When the pieces are leather hard, the excess clay above it. is trimmed off the bases, leaving a slightly concave base If there is any unevenness at the top of the finished for footrims (Photo 12). pot, a pointed tool can be used to trim this away as the When the potter first throws sets of cups, mugs or wheel rotates (Photo 8). If any clay is removed in this bowls by this method, he probably will need to use some manner, the rim of the pot should be smoothed with device such as a ruler for assurance that shapes are the fingers and with a sponge. enough alike to be used as sets. With practice, however, The pot is cut from the cone of clay of drawing his eyes and hands alone will tell him when sizes and a nylon line through the base as the wheel rotates (Photo shapes are sinrilar; when this spontaneity is attained, 9). The pot could be severed from the lump by cutting the potter really knows the real satisfaction of throwing through the clay with a vmT wet spatula. If the pot is off the lump.

24 C'eraraics Monthly SHOW TIME Texas Crafts

THF. FOURTEENTH TEXAS (_;RAFTS EXHIBITION, shown November 17 through I)ecember 15 at the Dallas Mu- seum of Fine Arts, included 35 examples of ceramics by 16 craftsmen. The state-wide competitive show, sponsored jointly bv the nmseum and the Craft Guild of Dallis, comprised 116 items in all media by 56 craftsmen. Selection was nmde from a total of 341 entries submitted by 96 craftsmen. Members of the jury of selections and awards were Irena Brynner, jeweler, of New York City; Alice Parrott, weaver, of Santa Fe; and Roger D. Cor- saw, ceramist, of the University of Oklahoma. One of the txvo top honors in the show went to Richard M. I,incoln, Fort Worth, for a large incised stoneware bottle which will become a part of the permanent collection of the Dallas Museum. Mr. Lincoln is Gallery z'icz~ d~oa'~ t, mt o/ 1/~, m,ta//ation~ o[ the 14tl, a member of the faculty at Texas Christian University Texas Crafts Exhibition at the Dallas Museum. and a frequent exhibitor and prize winner in previous Texas Crafts Exhibitions. Velma Dozier, Dallas, was plaque. Honorable mention awards in pottery went to awarded the other top purchase prize for a nugget neck- Mr. Lincoln, George W. Palovich and Evaline C. Sellors. lace of cast gold. A special feature of the exhibit was a non-competi- The top award in the pottery category went to tive display of work by the three jurors. The installation Evelyn E. Anderson, Houston, a young craftsman enter- of the show was the work of Barney Delabano, assistant ing this show for the first time. Her winning entry was a director of the Dallas Museum, and Esther Webb House- of fore decorated pots. Another important award group man, crafts coordinator. went to Ishmael H. Soto, Austin, for a large stonewme

Large Stoneware Bottle by Richard M. l,i,coln was win- "Torso," a large stoneware plaque by Ishmael H. Soto o[ ner o/ a major pri:c and will be added to the museum's Austin) was another award winner in the 14th Texas /,, rmam~t c:)ll,c:i:~77. C~a[t ~ Evhibition.

March 1964 25 CERAMIC EASTER EGGS by TERESA SGHOBER

7. A YEAR AGO last February we started were put together and secured with bands of inner tub- lnaking hollow ceramic eggs in our ing. White casting slip was poured into the cone-shaped high school General Crafts class. The opening at the top, allowed to stand about five minutes, idea rapidly snowballed and, from then was poured out. After a short time, a fettling then until Easter, the major problem knife was used to cut the hardening slip out of the cone we had was time! All study periods opening and then the mold was opened and the slip- became "art periods," and the green- cast egg removed from the mold. The final steps involved iIi ware eggs were even carefully packed in completing work on the egg at this stage were to close in small glass jars and taken home for additional work the hole at the top with some thickened slip and a knife, in the evenings. and to scrape away the seam mark around the middle of Our interest in eggs began when an article on the the egg. The egg was then read), for decoration. history of the egg in art was presented in class. It in- Many decorative processes were used by the students spired us to try our hands at making and decorating some ---excising, incising, sgraffito, mishima, slip painting, and eggs that would last longer than just one Easter. many combinations of these techniques. We have a mix- Since the students already had made press molds ture of nationalities represented in our school, and this and thus were somewhat familiar with the handling of project brought out some interesting examples of egg plaster, we decided to make plaster molds of real eggs. decorating from among those of Polish, Ukranian and We made a cardboard box large enough so that when German descent. an egg was placed upright in it, at least one inch of When the decorating was finished and the pieces margin would be allowed on all sides. The egg was re- were completely dry, the greenware eggs were fired very moved and rubbed with liquid soap. Plaster was then slowly. They were then glazed and fired again. Stack- poured into the box to a depth of about three inches. ing for the glaze firing was done by balancing one end When this plaster had just started to set, the egg was of each egg on a small stilt that had nlchrome wire em- pressed into the plaster in an upright position until the bedded in it. In some cases, the glazed eggs were given egg was half submerged. touches of gold or platinum and were fired again in When the plaster had becolne solid, we made four a special firing. round holes, or "keys," in the upper surface of the plaster. We placed all of the finished eggs on exhibition, on We then coated the upper surface, including the four a table covered with cellophane "grass," and the reac- holes, with liquid soap which would act as a separator tions of our visitors made all of the work seem very for the two halves of the mold. worthwhile. The few people for whonl gift eggs had The next step was to add cardboard walls above been made felt greatly honored; the rest of the eggs the existing form, allowing these to rise about two inches were promptly claimed by the young craftsmen and above the top of the egg. Finally, we made a 2t~-inch were taken to their own fanfilies to be enjoyed for that cone of non-hardening modeling clay to place on top Easter and for many Easter Days to come. of the egg before pouring in the plaster for the upper half of the mold. This cone had to be propped into place. After the plaster was poured for the top section Teresa Schober is the high school art teacher and of our mold, we allowed it time to harden before the chairman o[ the Art Department in Dunkirk, N. Y. cardboard walls were removed. Then the two pieces She holds a Master o[ Fine Arts degree [rom Catholic of the mold were separated and the modeling clay and University in Washington, D.C., and writes that she has the egg were removed. An), traces of soap on the cast- had "'wonder[ul summers studying art at Syracuse Uni- ing surface of the mold were completely removed, and versity, the University o[ Bu[[alo and the University o[ the mold was set aside to dry. Colorado; I also had a two-week Amaco ceramic work- When the mold was thoroughly dry, the two parts shop in Indianapolis.'"

26 Ceramics Monthly ,jl ~~~ PLASTIC|NECoNE

I ~i:|~ql~!, ,: 14- 1",.,'o OF T.E ~OV.~ WALLS FO~ THe f.~~;r' DUNh HOL([~* (V~ADE~Y ROTATIN0"TIp OF SPOON

SLIP ~'~~

"T'U'e,I NG -'-'-' -'~

~la~ h 1064 2"7 THREE DECORATING TECHNIQUES

The pussy willow design uses the brush print, the hesitation stroke and the sponged band

demonstrated by MARC: BELLAIRE

PRINTING wrrH A BRUSH is probably the easiest of the next darkest color (purple). By filling tile brush in this three basic methods of using the brush for ceramic dec- way, a two-color effect can be made with one print. oration. The other two brush methods--lines and strokes The print is made by laying the brush on its side ---require much more practice on the part of the decora- on the plate, positioning it along tile pencil plan line, tor before lie can control them as easily as he can the to form the individual pussy willow blossoms. Note that print. the brush is held with the tip down so that the darker A print of anything is simply a shape of that thing color is at the bottom of the print. About six of these pressed against some other surface. The print might blossom prints can be made from one filling of the brush. be of a piece of cardboard, a sponge or a brush. Using When it is necessary to refill the brush, it should be a brush for decoration is the technique of pressing the cleaned in water, then dipped in each color again. color-laden brush against a greenware surface. The stems are made after all of the blossoms are An underglaze decoration that is appropriate for in place on the plate. Tile stem is made with the liner this time of year--and one that also utilizes brush prints brush and black underglaze. The line for each stem to very good advantage--is a simple spray of pussy willow can best be described as a continuous one that stops or branches that nearly fill a greenware plate shape. Most hesitates and presses down at each joint to make a little of the actual work on the design can be done with prints node. The brush is not lifted but simply pauses, presses from two of the decorator's kit of basic brushes, the liner down slightly to give a thicker area, then continues with and quill. The rest of the work in the design is done the line. with the simple hesitation brush stroke and a banding The print is used again, this time with the liner llne done with the sponge. brush, to make the husks or pods at the base of each Marc Bellaire starts his demonstration by selecting blossom. These connect the blossom to the stem. Just a round greenware plate and cleaning it thoroughly. the tip of the brush is used to point toward the stem The basic design, which consists of three sprays or and form two little pods. branches of pussy willow, is blocked in by pencil on the The area at tile base of the decoration is filled in plate surface to nearly fill the decorating area. Notice by the addition of several "hat-pin" strokes done with that the lines stay away from the edge of the plate so black underglaze. These are made with the liner brush that none of the design runs off the shape. This design and consist of thin lines with a brush print at the end will be completely contained within the plate. of each. They are done in one continuous motion, not The underglaze colors selected for this project are lifting the brush from the surface. pink, purple and black. The colors are mixed thoroughly Because there is quite a lot of space around the com- in the jars, then a small amount of each colorant is pleted design, Marc Bellaire uses a frame or band around poured into a jar lid and conditioned to tile consistency the edge of the plate. A sponge is dipped in black under- desired. glaze and is held with two fingers pressing in against the The brush selected for making the pussy willow edge of the plate as it is revolved in the hand. This re- prints is a number 6 quill. This particular brush is used sults in an even, crisp band. because it has a long shank of hair and is not very wide; The final step in this decoration project is to scrape it is just the proper shape to make the printed blossoms. or scratch a line around the outside edge of the plate to This brush is dipped into the lightest color (pink) to lighten the dark band. This band treatment not only en- completely fill it. It is next shaped to a point on the edge closes the design, but also emphasizes its delicate quality of the jar, then the tip of the brush is dipped into the and its placement of the shape.

28 Ceramics Monthly, I. Three sprays or branches are penciled itl on th,' 2. The quill brush is dipped into underglaze color aml greenware plate to provide a working plan. touched to the plate to make the indi~'idual blo~oms.

v, ~ ~i ! i ~!!i!i~ i i :i ~i i ¸ i ¸ 3. 7'he liner brush is loaded with black color and used 4. Small tJriTtt~ made in black with the tip o[ the lim'r in a hesitation line to create the stems and nodes. brush form two small pods at the base o[ each blossom.

5. Th," de~igl~ i~ ~omplctcd a'ith th, additiult o/ a /~a 6. A lira' i~ ~ra.t~cd th~,mgh tlt, bla~t~ baird at lhc , d,.,, hat-pin strokes and a sponged band around the rim. o[ the plate to lighten this area of the decoration.

March 1964 2q ENAMELED ROOM DIVIDERS Part 3: Shutter and solid types

by KATHE BERL

IN TIIE TV¢O previous articles in this screw exposed. Tile head of the screw frame actually larger than the origi- series on enameled screens and roonl is cut off and what remains is the nal piece. This should be cut out dividers, we have explored tile possi- next. Now, going back to the origi- bilities of filling wooden frames with nal tracing, add ~ inch to each enameled units that were assembled _1_ line on the inside of the frame, and in various ways to produce a wide 1 cut this out. This gives a basic frame. variety of effects. All of these exam- It is shaped by cutting off the corners pies had open space in between the diagonally and filing the cut edges individual enameh'd units that con> smooth. The /a-inch additions on tile prised the screens so that one could outside of the frame are now bent look through from one area of tile down over the edges of a bench anvil room to another. to make the setting. Several holes are. In this article--the last of the series drilled in the inner portion of each --a basic technique is described which frame to attach it with screws to the can be used by the enamelist to de- board. To make final attachment of velop his own schelne or plan for an a completed unit, place the enameled individual unit. One version of this piece on the board, cover with a frame technique takes tile form of shutters and screw it down to the board. A that can be opened and closed quite pivot on which the board will swivel. hm'nisher xnay be used to bring tile easily; the other version is a com- Each pivot should have a sheath to pletely rigid and solid screen. Both cover it, and this is made by select- of these can be most useful in ever ing a length of metal tubing that so many varieties. easily fits over the screw. The shutter screen consists of enam- For each pivot, a hole must be eled units mounted on wooden boards drilled into position in the wooden that pivot within a frame. When frame. One of the metal tubing sheaths should be driven into each of tile holes so as to get a snug fit. By "1 this time in the project, all of the wood pieces, including the frames, inside of the frame down tightly over should be given the finish intended the enamel section. for them. When all of the enameled parts are The individual enameled parts fastened to the boards, the screen is I should be done next. In my sketches assembled by working before the top I show square and oblong shapes, beard of the frame is attached to but other shapes could be used ef- the sides. The bottom pivots are fectively. After the copper shapes are placed in their respective shafts, then cut, I would suggest that they be the top section is attached, fastening J domed. The dimension that this gives the top pivots in their shafts. When the work adds to its appearanc-; the frame is secured properly, this closed, these vertical boards present a doming also gives more assurance that mission is accomplished! solid wall effect; when completely the pieces will not warp in the firing. A screen or room divider that is open or partly so, they present an Of course, pre-cut copper blanks solid and has no open spaces can be effect somewhat similar to an up- could be uwd if you do not wish to made by generally the same method ended Venetian hlind. ('lit yonr o'~vn. described above but without the The boards used should be no When tile copper pieces are enam- pivoting action for the boards. A thinner than ~ inch, but their width eled as desired, a method for setting f, ame can be built with solid panel may be anywhere from 4 to 12 inches, them nn,st he devised. The settings inserts and the panels can be finish- depending on how and where they suggested here consist of 24- or 26- ed in a wood stain or covered with are used in the frame. On the bot- gauge sheet nletal (copper, brass or some material such as burlap, match- tom and top at the center of each aluminum can be used). On one of stick bamboo or a special matting board, a l~2-inch screw is inserted these sheets, trace the outline of one material. to a depth of about ~, inch. This of tile enameled pieces and add If square or rectangular enameled leaves alqmlxinmtely ~ inch of lhe inch to this on each side. to make the Continued on Page 35

30 Ceramics Monthly REDUCTION FIRING { by F. (_IARI,'PON BAI,I, t l SttALL NEVER forget my first firing GLAZF, R8 (Cone 7 - 111) ing, just in case the kiln blew up! of a kiln. I had had a four-unit course Potash Feldspar 25%. While it didn't explode, it did smoke in pottery, along Whiting 25 and produce with an M.A. de- Kaolin a horrible smell. Upon gree in painting, 21) looking and this qualified Flint 30 into the spy hole we saw me for a job teaching pottery, jewelry, yellow flames slowly drifting and sculpture, drawing and physical edu- 100%, caressing the pottery, and we knew cation in a California craft school. After ,uuch ~,'ork and experimenta- that this was correct, according to The kiln there, the very first used tion, we produced some beautiful pot- The Book (Leach's). in a school in that state, was a five- tery in these cone I0 oxidation firings. Of course, we decided to reduce cubic-foot Denver Fire Clay kiln that When we finally got a new high more, just in case we weren't getting was old, rusty and cracked. I fired temperature kiln. the firings seemed enough reduction. We put small the first load of ware and, in the wee uneventful to us. Then two )ears chunks of asphaltum into the fire hours of morning, as the temperature later the top arch collapsed during box: xve put rosin into the kiln to approached cone 08 the flames a firing and plugged up part of the simulate the pitch in pine wood that spurted out of the cracks in the old stack. Luckily, this happened at just the Chinese might have used; we kiln and the temperature seemed the right stage of the firing! The kiln even put bacon rinds into the kiln terribly hot and frightening. My smoked and smelled like coal gas to simulate the effect on the firing teacher, Dr. Glen Lukens, had given and it seemed that the pots must related by the story of the Chinese lne some glaze recipes, and these came certainly be ruined. Most of them potter who threw himself into the through the firing beautifully and were, too, but some of the remainder kiln in order to produce a beautiful saved my hide! were very beautiful and quite differ- copper red pot. Finally, we threw a I was very happy with the cone ent; this gave us our first taste of pair of old shoes into the kiln to pro- 08 firings for about seven years; final- reduction firing. duce smoke. Well, the kiln did re- ly, however, I dared to fire as high That kiln, however, wasn't de- duce! There was heavy black smoke as cone 04 in another second-hand signed for reduction firing and we pouring out of the kiln and soot kiln at Mills College, and this firing, soon bought a 12-cubic foot second- floating all over the room; within too, was encouraging because the pots hand kiln of a newer design that 15 minutes we all looked like coal came out well and the kiln didn't fall would take cone 10 firings. This kiln miners. What a mess it was! apart. We next bought a high tem- was only partially muffled and the Meanwhile the kiln temperature perature kiln that would stand up un- muffles were movable, so we removed dropped 100 ° in just a short time, so der a cone 10 firing, but our only part of them and put a one-inch. we had to stop reducing quite so trouble was that we had no cone 10 space between the remainder so that heavily. Next, we tried oxidizing the glazes. At this time in our history, all we could fire in a reduction atmos- kiln for 15 minutes in order to raise potters had their own "little black phere. the temperature, then reducing the books" of glaze recipes and these At about this time Bernard Leach's, kiln for 30 minutes to counteract the were kept secret. In addition, very first book reached us on the PacifiG , oxidation. By using this process we few glaze recipes were published. 1 coast and his enthusiasnt for high did get the temperature to climb, but finally came across a very helpful and temperature reduction firing inspired it was very slow and it appeared that fascinating book in the California us further; it also gave us a few more it would take at least two days to State Library, "Le Grand Feu," by high temperature glaze recipes. I still fire with this particular procedure. Taxile Doat. This French author am using some of these, such as the After several hours of this, fatigue wrote about his work at the Sevres Lung Ch'uan celadon and Kawai's settled in on the firing crew and as a Porcelain Factory when he was one celadon, both of them firing from result I carelessly forgot to close the of the principal artists there. While cone 4 to 10. In both them I sub- damper quite as much as I had been there were glaze recipes in this book stituted nepheline syenite for the feld- doing after each 15-minute period of some of the words had to be trans- spar. oxidation. But instead of causing new lated to lnore modern names for We tried about ten different glazes trouble, the kiln seemed to be reduc- these materials. These recipes proved in our first intentional reduction firing properly and, in addition, the to be useful to us at this time and I ing. The kiln was fired to 1800 ° F in temperature rose smartly in an al- still am using two of these glazes: oxidation before reduction was most miraculous manner. We there- GLAZE R6 (Cone 7 - 10) started. Our big question was "How fore left it adjusted in this new posi- Feldspar 43.4% much reduction?" since there was no tion. Flint 28.1 information Kaolin available on this point The kiln temperature was at about 10.3 except Whiting 18.2 that the kiln must smoke. We 2100 ° F. at this time and the escaping put an old kiln shelf over most of the unburned gases ignited at the top of 100.0% stack and then ran out of the build- " " Continued on Page 32

March 1964 31 just released REDUCTION FIRING our NEW Continued [rom Page 31

CATALOG #7 the kiln, creating a one-foot flame at hour. I found that if the damper was Tiffs new 64-page catalog lists the stack. Leach's book mentioned left in one position and the gas turned everything you need -- a com- the tassel of flame spurting out of the up too much, the kiln could be tools plete line of kilns, glazes, they were hot. fuel. I found plus general supplies and Japanese kilns when choked with too much equipment, with many new It also spoke of the flames spurting also that I could only use half of the items added. Hobbyists, teach- out of the spy holes in their kilns. We, amount of gas that was available to ers and studio potters will find ours the catalog invaluable. too, had flames spurting from me at the kiln. when we pulled out the plug. In fact, Reduction firing is hard on a kiln. all You'll want a copy of this my eyebrows there new catalog at hand the very I singed away most of With the damper nearly closed, next time you need ceramic, by looking into the spy hole! is pressure within the kiln and un- mosaic or metal enameling sup- From these signs, we decided that burned gas is forced out of any small plies for your home studio or school. Send for your copy our firing just possibly could be pro- crack or hole and ignites upon con- now ! gressing satisfactorily and went ahead. tact with the air. Sure enough, cone l0 finally went If a potter treats his kiln carelessly over and the firing was done. It --bmnping the door or door frame Send S0c for New Catalog #7 was terribly hard the next day to wait with kiln shelves or leaving scraps (refundable on first order) for the kiln to cool enough to open of clay on the door sill to cause small TEACHERS NOTE: This new catalog is it and we kept trying to see inside holes to be formed--this will cer- sent FREE to schools, institutions and craft shops. with the aid of a flashlight beam. tainly lead to trouble. The door seems The actual opening of this kiln was to be particularly vulnerable to dam- one of the two most exciting in my age, and this is so because of the size Van Howe life. (The other occurred five years of the door. It is a great convenience Ceramic Supply later when Bernard Leach himself but it also may be a weak spot. A workshop at Mills in the fit 1185 S. CHEROKEE, DENVER 23, COLO. gave a two-week small hole that is formed College.) of a door allows gas to escape and The pottery pieces from this first ignite at the high temperatures. This reduction kiln were encouraging. heats up the angle iron frame, which CERAMIC & ENAMELING SUPPLIES There were three excellent glazes, expands on heating, and causes it to DISTRIBUTOR FOR: three fair ones and one complete bow outward. It does not straighten Paragon ~ Duncan~ Drakenfeld some celadons Each time the Marx Brushes ~ Symphony failure. They included out again on cooling. Jacquelyn's Stains and some iron red glazes. The results kiln is fired the metal bows out a ART-CRAFTS SUPPLIES, INC. were good enough to excite all of little more until finally there is no Florida 235 N.E. 67fh St. Miami, the participating potters and make longer any support for the bricks and them ready to go on another ordeal these start getting out of line. Gradu- by reduction firing. all), the area around the door breaks The next few firings were not as down and the kiln becomes unusable difficult as the first one had been for until it is repaired. I had learned one of the most im- Later models of some of the high portant lessons about firing: A kiln temperature kilns intended for reduc- can be choked with too much gas tion firing corrected this weakness or too much damper. There is a very around the door with heavier con- delicate point to which the damper struction, but even the heaviest con- can be closed, yet allow the tempera- struction will not protect a kiln ture to increase constantly. If the against careless handling. I have seen damper isn't closed enough, there new and expensive kilns nearly ruined won't be enough reduction; if the with just a year of use simply because EGGHEADS HATCH MONEY? re- ¢ ¢$ $ -¢ damper is closed too much, the tem- of careless handling and lack of perature won't rise. Too much reduc- pairs when damage did occur. I have tion doesn't seem to damage the also seen Mr. A1 King's kiln, which ware, by the way. It is not necessary is 33 years old and still in excellent to have black smoke pouring from condition because the smallest flaw the kiln, either. A little black smoke was repaired as soon as it appeared. Yes, smart Chicks can hatch dollars and cents, of soot around to cone 14 in a and you don't need a hatchery to do it. Your only and a small deposit This kiln is fired investment is an order of Stangren Molds. These the spy hole are indications enough. atmosphere, and this is handsome pieces popping out of Stangren's quail- reduction ty molds will make greenware and finished sales The ideal conditions are for the soar. And It's as simple as laying eggs . . . hard on any kiln! for a hen, that isl damper to be placed at the right spot Send stamped self-addressed envelope for NEW mold sheets. Send S0c for the complete mold for sufficient reduction and for the Next month F. Carlton Ball will catalog. Free to schools, institutions, and Gov- ernment craft centers. gas to be turned up enough so that continue with this current series of STANGREN p.o.I.. 1.t, Grand Ceetrel P.O., I00" an firing. N.Y.C. 17, N.Y. Tel: MU 8-5348 the temperature climbs about articles on reduction

32 Ceramics Monthly CERAMACTIVITIES people, places and things

KENNEDY MEMORIAL GIFT TO BOSTON tensely Imman visage, portrays the emo- feet high. Soft blue-green, blue, combina- In memory of John F. Kennedy, the tions we all feel when we remember the tions of yellow, sand and beige, burnt Boston Museum o[ Fine Arts has been gallant figure who has been so ruthlessly ochre and umber are the predominating given a nearly life size, un.ique glazed removed from our midst." colors in Frith's work. Donald Frith was ceramic portrait bust of a man in late Mr. Wilson presented the memorial on born in Denver and educated at Denver mediaeval costume. The sculpture dates January 2 in brief fonnal ceremonies at Irniversity and at Alfred. He is currently the Boston Musemn. Among the special Associate Professor of Art at the Univer- guests were the Governor o[ the Common- sity of Illinois and heads the ('raft area. wealth o[ Massachusetts and Mrs. Endicott ARIZONA GROUP ORGANIZES Peabody, and the President of the Mu- The newly-organized seum, Ralph Lowell. The Director, Perry Valley of the Sun Ceramic Association has announced T. Rathbone, accepted the memorial. The the names of officers elected in a sculpture was then placed on public view recent meeting at Phoenix. The in the Rotunda. Photo: Courtesy, Museum president of the group is Carol IVard; o[ Fine Arts, Boston. Leona Kunstman is vice- president: Mabel Mart~n is secretary; Marie Walling[ord. the corresponding sec- EXPLORER TRIP ANNOUNCED retary: Mary Round)', parliamentarian; Hal Riegger is ('onductin~ another of and Doug Weedman, member-at-larze. his pottery-making field trips for the first According to Marie Wallingford, "Our week in May. This "potrip" will be con- first project as an association was to par- ducled in southeastern California, near ticipate in the Arizona State Fair in No- Death Valley, an area that provides nat- vember of 1963. We had a most attractive ural sources of all the minerals, clays and booth with the finished ceramic pieces of fuels for making colored, glazed pottery. the members of the association. The booth No historic types of pottery will be emu- was received with much interest and lated on this trip, the challenge being enthusiasm by the public." The new Ari- rather in producing pottery with the avail- zona group has affiliated with the National able materials and under the prevailing Ceramic Association. conditions. For information, write Mr. from the end ol the 15th centul-y and Riegger at 469 Panoramic Highway, Mill BADGER ASSOCIATION NEWS comes from an Augustinean Abbey in the Valley, Calif. New officers of the Badger Ceramic See of Salzburg. Association of Wisconsin were elected re- The donor is R. Thornton Wilson of cently. President is Bob Smith; Sally Mann DOGWOOD New York, collector and scholar. Mr. FESTIVAL EVENT is the new vice president; Vivian Mertens A feature Wilson's taste and discrimination are most of the renowned Dogwood is secretary; Dorothy Zuber, treasurer; Arts Festival, held from widely known to the art world through April 10-19 in Jerome Partl, sergeant-at-arms; and Irene Knoxville, will the extensive collections of 16th, 17th and be a ceramic competition BuIson, historian. sponsored 18th century German and Austrian pottery by the Mud Hens Club and The group held its Seventh Annual Ce- held at the and porcelain which has been assembled Y.W.C.A. The competition ramic Show in September and, according is at New York's Metropolitan Museum o/ open to both amateur and professional to Vivian Mertins, "It was a great success ceramists, and Art over the past twenty years. there will be cash awards and demonstrated how well the hobby and ribbons. The jury will be comprised Mr. Wilson, who is a great admirer of industry" is going in our state. The show of distinguished artist-craftsmen from the late President, felt that such a memor- the was held at the new and beautiful War Tennessee area. For ial is fitting in the Museum of the city full information on Memorial building in Milwaukee, the art this event, see the of his birth. Both the late President and "Special for Hobbyists" center of lhe state." Pictured are winners section of this Mrs. Kennedy were members of the Mu- month's Itinerary. seum. Following is a portion of Mr. Wil- son's statement: FINAL CIRCUIT DATES "This is the native city of our martyred The final two listings on the circuit of President and his forebears. It was here the 22nd Ceramic National exhibition or- that he spent his childhood and, at Har- ganized by the Everson Museum of Art vard, received his college education. He are a.t Newcomb College, New Orleans, was one of our few Presidents who truly and Brooks Memorial Art Gallery at Mem- loved and fostered the arts. phis. Dates for the Newcomb College show- "The terra cotta Gothic bust which we ing are April 1 through 30; the dates at the dedicate today to his memory in this great Brooks Gallery are from May 24 through of the first awards: Marie (;ra~op[ Museum, dates from the late 15th century. June 20. (left), adult division winner for slab con- It is an example of a Ceramic Art known struction; Dorothy Smith (center), show as "Hafner" which was produced during FRITH POTTERY SHOWN co-chairman; and Tommy Barker (right), the 15th and 16th centuries in South Ger- An exhibition of pottery and jewelry by winner in the children's division. Ed King many and Silesia. I acquired it from the Donald E. Frith is currently on exhibit at served as show co-chairman with Dorothy famous collection of Count Wilszek of the Art Institute o[ Chicago through Smith. Vienna, and it has been in my possession March 29. The one-man showing includes for a number of years. It came from a some 42 pieces of stoneware and six finger wayside chapel near Salzburg, and is the rings set in white and yellow gold. The Send news, and photos if available, about only known example of a human figure ceramic work exhibited ranges from deli- "People--Places--Things" you think will in this ware. cate teapots with decorative bamboo han- be of ceramic interest. We will be happy "I feel that this philosophic, yet in- dles to bold garden lanterns about three to consider them [or use in this column.

March 1964 33 22 SELECT TITLES FROM THE CM BOOK DEPARTMENT DESIGN FOR ARTISTS CERAMICS AND HOW GLASS CRAFT CERAMIC GLAZES AND CRAFTSMEN TO DECORATE THEM by Kay Kinney by Cullen W. Parmelee by Louis Wolchonok by Joan B. Priolo The complete book on fusing, T h i s invaluable reference One of the best books on de- Mrs. Priolo gives detailed de- laminating and bending glass. book completely covers glaze sign, it will prove to be in- scriptions and illustrations of Basic techniques, step-by-step making. Includes formulas valuable to pottery and sculp- dozens of decorating tech- projects and a "Glass Clinic" and batch recipes for glazes. ture enthusiasts as well as niques and shows exactly to help solve problems. Hard 314 pages of technical in- decorators. Geometric, flower, how to go about using them. covers, 200 pages. $7.50 formation. $8.00 animal forms are where other books bird and Starts DESIGNS AND HOW shown in detail. $4.95 leave off. $5.95 A POTTERY SKETCHBOOK by Aaron Bohrod TO USE THEM DESIGNING one of America's dis- by Joan B. Priolo MAKING FREE BRUSH Bohrod, THE ART OF by Egberf and Barnef tinguished painters, is well Top-notch decorating can be MOSAICS exciting ap- in the pottery field for achieved by following the and Mills The authors' known by Jenkins proach to painting and de- his decoration of pottery simple motifs which may be This fascinating book shows confidence by Carlton Ball. enlarged or transferred. A make signing develops thrown the beginner how to artist. Extremely Thousands of sketches. $7.50 complete list of subjects: mosaic in the new unusual and beautiful adapted to ceramic dec- birds, fish, etc. $5.95 home or workshop. well pieces in oration. $3.95 HANDBOOK OF DESIGNS Well illustrated. $5.95 AND DEVICES CLAY AND GLAZES FOR CRAFTS DESIGN by Clarence Hornung THE POTTER CERAMICS by Moseley, Johnson & Over 1800 sketches of basic by Daniel Rhodes by Glenn C. Nelson Koenig designs and variations includ- Two complete books in one! An important addition to the A wonderful introduction to ing the circle, line, scroll, fret, Fundamental details on both list of books for both student crafts design, this handsome shield, snow crystals and many CLAY and GLAZES make and teacher. Many step-by- book shows the art and tech- more useful symbols. $1.90 this book a "must" for every step photographs of clay-form- nique of creating through hobby - craftsman, student, ing and decorating techniques. crafts. Over 1000 illustrations teacher and potter. $7.50 Review of equipment. $5.95 enamel- ORDER ANY OF THESE of pottery, mosaics, BOOK ing, etc. 436 pages. $18.00 OUR CERAMICS DESIGN MOTIFS OF SELECT TITLES ON by Herbert Sanders ANCIENT MEXICO STONEWARE AND MONEY-BACK GUARANTEE This excellent introductory by Jorge Enciso PORCELAIN book describes methods and A compilation of 766 exam- by Daniel Rhodes materials for hand forming, ples divided into geometric, Describes techniques and ma- MOSAICS, HOBBY & ART wheel-throwing and casting. natural and artificial forms. terials used in high-fire pot- by Edwin Hendrickson Covers ceramic jewelry, dec- Includes designs based on tery. Includes sections on clay This profusely - illustrated oration and firing. $1.95 fish, human glazes, colors, textures handbook for the beginner flowers, birds, bodies, ENAMELING ON METAL figures, etc. 170 pages. $1.85 and decoration. $7.50 and advanced hobbyist includes step-by-step instruction by Oppi Unfracht on 12 basic projects. $3.50 Step-by-step photos are used to describe fundamentals on CERAMIC SCULPTURE through to newly developed by John B. Kenny experimental styles. This com- 4175 North High St., Columbus, Ohio 43214 Contains over 1000 photos plete guide is a major con- and sketches covering all tribution to Enameling. $7.50 I phases of the sculptor's art. m PLEASE SEND ME THE FOLLOWING BOOKS A valuable aid for all crafts- (7"x10"), I WE PAY POSTAGE I co. ,, ,o [] Untracht--Enamellng $7.50 I men. Large format m [] X,.n.,-o,.,. 302 pages. $9.95 [] Bohrod---Sketchbook S7.50 [] Whit~World of Pattern $3.75 m A WORLD OF PATTERN mE.-) HornungmDesigns S1.90 [] Johnso~Designs S3.00 THE COMPLETE BOOK MAKING by Gwen White $3.S0 [] Wolchonok~Design $4.95 I OF POTTERY volume offers the begin- m .-) Hendrlckso~Mosalc by John B. Kenny This [] Kenny~Sculpture $9.95 [] Jenkins & MiII~MosaIcs $5.95 in the ner a wealth of ideas and The "best seller" on design and [] Kenny--Pottery $7.50 [] Nelson--Ceramics $S.95 I Step-by-step information ceramic field! color. A sound approach to m [-] Norton~Artist Potter $7.50 [] Encisc~Design $1.85 photo lessons cover all of the techniques. the art of decoration. Color Parmelee---Glazes$8.00 [] Priol~Ceramics $5.95 m pottery - making and line illustrations. $3.75 m[] Clays, glazes, firing, plaster, Prlolc~Desicjns $S.95 .°rn~.rnsh $3.,5 I [] [] ,,b.,, etc. 242 pages. $7.50 DECORATIVE DESIGNS & Glozes $7.S0 [] Moseley--Crafts Design $13.00 mF1 Rhodes---Clay THE FOR CRAFT AND HOBBY S7.50 CERAMICS FOR [] Sanders--Ceramics Book $1.95 [] Rhode~Stoneware m ARTIST POTTER by Frances Johnson by F. H. Norton The author, a designer and | NAME The most complete book on potter, presents 350 designs, many in full size, with sug- ADDRESS the subject, from choosing I the proper day to putting gestions for proper colors. I CITY ZN STATE I the final touches on a piece, Many Pennsylvania Dutch de- explained. Ce- signs included. 72 pages. [] Check [] Money Order (Ohio residents: ]% Sales Tax) I all clearly I enclose ramics at its best! $7.50 paper-bound. $3.00 ~m m m i i m imlmll m m IN n mime m m 34 Ceramics Monthly KATHE BERL

Continued [rom Page 30

Write for information and cataloque CM panels are used, they can be mounted Manufacturers, World's Most in the method described above. How- We Make It Possible For Complete Sculptor's Supplies O Recjon 9-7474 ever, I shall introduce something new Anyone To Own A Perfect here by suggesting that someone may Production Kiln With Our want to use curved pieces instead! Famous Pre-Cuf Kiln Kits Soldered bezels for settings could be made, but I am sure that very few ATTENTION TEACHERS people would want to attempt tiffs Look for us at ~he Western Arts Convention to for such a large project. Instead, let be held March 22-26 in Minneapolis. We will be in booth No. 21 and ore Iookincj forward to us take the easv way out, just for this meeting you. Central Ceramic Art Supply one time! Batavia Rd., East of Rt. 59 (just north of Rt. 59 As before, trace the shape of the exit of EW Tollway), Warrenville, III. EXbrook 3-0171 WHOLESALE-RETAIL enameled piece on sheet metal, then add the ~ inch to the outside and the ~(~ inch to the inside of that shape and cut out the frame. There will be CERAMIC PLANT no trouble fitting the inside shape to the frame, but the outside is another SALE OR LEASE story! The easy way is to scallop or Bricks mitered, grooved, and drilled; Modern Ferro 240' Tunnel Kiln to 2750 °. every part, right down ¢0 the last nut 160,000 sq. ft. building can be rented all and screw, included. With blueprints, and concise building and firing instruc- or any part including kiln and other auxil- tions .... Order from this ad or write iary equipment. Formerly R. Thomas, Lis- for detail sheet. bon, Ohio. Call or write D. Richman, 2120 South Green Road, Cleveland, Ohio. Kits Phone: 382-91S0. inake "shark's teeth" by cutting little All Kilns triangles out of the ~-inch outside and Kits now fire to 2350°F. 12"x12"x131/2 '' deep ...... $ 62.50 frame and bend this decorative pat- 1B"x18"x1B" deep ...... 99.50 tern down as in the other frame. 24"x24"x22"l/2 deep ...... 175.00 Our NEW Cutaloq lists EVERYTHING in Then attach as before. I think that it CERAMICS - SCULPTURE - MOSAICS 24"x24"x27" deep ...... 195.00 ENAMELING and ART is a good thing that I have sketches ALL PRICES F.O.B. SEATTLE Price - S1,00, refundable on your first put- chase of $10.00 or over. Immediate mailing. BUFFALO GERAMIG & ART SUPPLY CENTER Distributors For: 437 Franklin Street Buffalo 2, New York • ALBERTA'S MOLDS • ARNEL MOLDS Europe's Finest • BELL PORCELAIN • CALIFORNIA CERAMICS file LEACH WHEEL • DOUBLE-B TOOLS Now American made -- $160 f.o.b. St. Paul, Minn. • DUNCAN'S PRODUCTS WRITE FOR FREE BROCHURE • GRUMBACHER BRUSHES D. M. VARS, 825 W. Minnehaha, St. Paul 4, Minn. • HOLLAND MOLDS • KEMPER TOOLS • KEN OCORR MOLDS • MALLORY MOLDS • MARGLOTEX STAINS • MAYCO COLORS • PEMBERTON-NEAL • PIERCE PRODUCTS • REWARD COLORS POTTERY BY DOT 408 N.E. 72nd St. Tel. LA 3-8300 SEATTLE 15, WASH.

.llarch 1964 35 MARBLES RHINESTONES

JEWELRY SUPPLIES ITINERARY

COPPER ENAMELING Continued [rum Page 11 CERAMICS GLASS Wade Park Manor. Featured will be a sored by the Ceramic Art Association of Send today for FREE Catalog and members' hobby competition, a competi- Parkersburg will be held at the Chancellor Bargain Sheets tion for handicapped persons, studio and Hotel Ballroom. For information, contact: manufacturer displays, and demonstrations. Mrs. Martha Booth, 1517~2 St. Marys BERGEN ARTS & CRAFTS Chairman of the show is Mrs. Edith Ave., Parkersburg. Pressly, 3663 Langton Road, Cleveland BOX 689 Dept. C12 SALEM, MASS. Heights. WISCONSIN, MILWAUKEE April 11-12 The Eighth Annual Ce- OHIO, COLUMBUS ramic Art Exposition, sponsored by the September 11-13 The Third Annual Badger Ceramic Association, will be held Columbus Ceramic Show, sponsored by at the Tyrolean House Motel. Co-chairmen Ceramics Anonymous, will be held at the for the show are Mrs. Dorothy Smith, Box Youth Building at the Ohio State Expo- 346, Germantown, and Matt Zuber, 719 sition Center. Open competition for chil- Madison Ave., West Bend, Wisconsin. dren, amateurs and professionals; Booth displays; Demonstrations and classes. For WHIRR TO GO Robert Cowle, P.O. Box 105S Jacksonville Beach, Fla. information, write: Mrs. 198 Orchard Lane, Columbus. CALIFORNIA, SAN FRANCISCO through March 22 "Swedish Folk Art." OHIO, DAYTON Smithsonian Institution Traveling Exhibi- ]'be Famous April 10-12 The Sixth Annual Ceramic tion, at the M.H. de Yoimg Memorial KLOPFENSTEIN Show, sponsored by the Midwest Ceramic Museum. will be held at Wampler's Association, ILLINOIS, CHICAGO POTrER'S WHEEL Arena. Competition, demonstrations and information, write: Midwest through March 29 Ceramics and Write for FREE Information exhibits. For E. Frith, at the Art Ceramic Show, Wampler's Arena, 1001 Jewelry by Donald H. B. KLOPFENSTEIN & SONS Shiloh Springs Road, Dayton, Ohio 45415. Institute. Ohio RFD. #2 Dept. A Crestline, OHIo, TOLEDO II.I.INOIS, ELSAH September 19-20 Third Annual Ex- through March 15 "Craftsmen of tile of the Toledo and Area Ceramists City," Smithsonian Institution Traveling hibit College. JEAN LEONARD CERAMICS will be held at the Sports Arena Exhibit Exhibition, at Principia 96-24 Corona Ave. Corona, L. I., N. Y. Hall. President of the group is Ila Periat, INDIANA, EVANSVILLE MAGIC GREENWARE RELEASE (8 oz.)..SL2S 2646 ll7th St., Toledo 11. Save yourself aggravation. Releases green. through March l Mid-States Crafts ware in half the time, will not stick. OREGON, PORTLAND Exhibition, at the Evansville Museum of KILN SURFACE BRICK HARDENER Arts and Sciences. (16 oz.) ...... $].75 March 13-15 The Fifth Ceramic and Will harden and prolong the life of your Hobby Show, sponsored by the Oregon MICHIGAN, EAST LANSING kiln. Stops the kiln brick from shedding and Ceramic Association, Inc., will be held at flaking. March 13-April 6 Faculty Exhibition Memorial Coliseum. includes work in ceramics, enamels, sculp- Kresge Art TENNESSEE, KNOXVILLE ture, prints and painting. At April 11-14 The Y.W.C.A. Mud Hens Center, Michigan State University. CREEK-TURN Club's First Annual Dogwood Arts Ceram- MISSOURI, KANSAS CITY ic Competition will be held at Central through March 8 "The 22nd Ceramic to all ceramists, - Y.W.C.A. and is open National Exhibition," sponsored by the GLAZES MOLDS Eentry fee; Catalog $1.00 both amateur and professional. Everson Musenm of Art, at the William Jury; Cash awards and ribbons. Deadline BE A DEALER Rockhill Nelson Gallery of Art, Atkins for entries is April II. For entry blanks Museum of Fine Arts. Rt. 38, HAINESPORT, N.J. and full information, write: Miss Jennie Morrison, Y.W.G.A., 420 West Clinch NEW MEXICO, SANTA FE Ave., Knoxville. through March 15 "Pennsylvania-Ger- man Folk Art," at the Museum of New SECOR CERAMIC SUPPLY TEXAS, DALLAS Mexico. 4128 Secor Rd., Toledo, Ohio April 17-19 The Annual Southwest Ohio's Largest Ceramic Show will be held at Freeway NEW YORK, NEW YORK Northwestern Hall in the Market Hall. For information, through March 5 Group Show of Wholesale Supply House write: Anita Holcomb, 6950 Westlake pottery and sculpture, at Greenwich House We cater to schools Drive, Dallas 14. Pottery. Sorry m no catalog TEXAS, SAN ANTONIO NEw YORK, NEW YORK March 20-22 Third Annual Ceramic March 6-April 9 Jewelry by John Paul Show sponsored by the San Antonio Ce- Miller, in the Little Gallery of the Museum held at the ONCE.A-YEAR COUPON SALE ramic Art Association will be of Contemporary Crafts. McCreless Shopping City. Demonstrations 2 for the price of 1 and competitive categories for hobbyists NEW YORK, NEW YORK Buy any item In our catalog af the regular and professionals. For information, write: March 16-April 30 An exhibition of list price and receive another Mrs. Ruth Rice, 143 Croeeus Ave., San porcelain and vitreous architectural enam- FREE! Antonio. els by Mira Jedwabnik Van Doren and ABSOLUTELY Barbara Kinigstein, sponsored by the Buy as many items as you wishI VIRGINIA, RICHMOND at the Any Quantity m Any Variety Artist-Craftsmen of New York, April 11-12 The Fourth Annual Show National Design Center. NO LIMITI of the Virginia Ceramic Art League will Send for your FREE be held at Byrd Park Carillon. There will NEW YORK, SYRACUSE exhibits and Today! be professional and amateur March 7-April 5 The 12th Syracuse 2 for I Order Form Coupon Inquiries may be addressed includes work in (Offer expires March 31, 1964) demonstrations. Regional Art Exhibition to Mrs. Virginia Nichols, 2305 Capehart crafts and arts by artists living within a Road, Richmond. 100-mile radius of Syracuse. At the Ever- NATIONAL ARTCRAFT SUPPLY CO. son Museum of Art. Euclid Ave., Cleveland, Ohio WEST VIRGINIA, PARKERSBURG 12213 September 25-27 Ceramic Show spun- Continued on Page 78

36 Ceramics Monthly SPECIAL NOTICE FREE Lapidari'- rockhounding- jewelry making... add up to a It cit atir g creative arl. I SHOPPER The DOUBLE B TOOL CO. has been purchased by KEMPER World's largest selection-over IO,O00 items CLASSROOM CERAMICS BOOK offered...imporls from all parts of the world. STONES--JEWELRY MATERIALS "Clay in the Classroom" is a new book TOOLS. We wish to assure the MOUNTINGS-- BOOKS-- CRAFT TOOLS on clay work in the classroom published MACHINERY-- SUPPLIES-- ETC. by Davis Publications. The author is public that we will continue to make of END FOR FREE CATALOt George Barford of the Department and other State Normal University; the B3 Clean-Up Tool GRIEGER'S, INC. /. Art at Illinois ~'*.~F'~DepI28 --1633 E. Walnu~ the book was edited by Dorothy Perkins. popular tools produced by them, According to the publisher, the book "takes the mystery out of ceramics- gives except ALL wood modeling tools. you the basics for successful classroom ANDERSON CERAMICS COMPANY, INC. use with special help for beginners." Some We will continue production of of the chapters in the book include Meth- 1950 S. McDuffie St. Anderson, South Carolina ods of Handforming, Surface Enrichment, the wood wire tools, double wire Glazes and Glazing, Throwing, Tools and Complete Ceramic Supplies Equipment, and Stacking and Firing. 120 end tools, steel scrapers etc. Send $1.00 for our new pictured pages; Fully illustrated. Davis Publications, mold and supply catalog. Printers Building, IVorce~ter 8, Mass. A new line of Loop Tools is to be

RAFFIA HANGERS released soon for potter's wheel Attractive raffia hangers are ready for other newly de- " DELLAROBBIA use for han~ing planters, bird feeders, bird users as well as MIRACLE GLAZE houses and a vari- signed hobbyist tools thereafter. ety of other purpos- Create BEAUTIFUL ob- es. The hangers are iects for your homel Use MIRACLE GLAZE 26 inches long and Write for FREE catalogue to: ~ on glass ware, bottles. are made from na- canisters, piaster, wood or any surface. 26 tural color raffia, Decorator colors, Gold & Silver. Bakes to a dur- braided and knotted. KEMPER MANUFACTURING CO able ceramic finish in your kHchen oven. Send for #400 kit, 14 Glossy colors, glazing materials, They may be used P.O. Box 545. Chino. California brushes, mixing trays. SS.8S POSTPAID. Free indoors or out. The "NOW YOU CAN DECORATE" Instruction book with each order. Send for catalog. manufacturer s t a t e s that the hangers will GENERAL CATALOG -- full SCULPTURE HOUSE INC. accommodate ceram- color charts, complete line 38 E. 20th St. New York 16 OR 9-7474 ic pieces of nearly of ceramics mosaics, copper enameling and other crafts. every shape and in MOLD CATALOG ~ pictures foot from leading mold manu. size up to one facturers, plus originals by CERAMICS . MOSAICS or even more in di- us. SEND S0c FOR BOTH ameter. One or more CATALOGS. Free to teachers. COPPER ENAMELING of the bangers may lie ordered; discounts SEELEY'S CERAMIC SERVICE ~. Huge Stocks 11c Fast Service lk" ~)uality are given to studios in dozen and gross 9 River St., Oneonfa, N.Y. Merchandise lf~ Write now for FREE literature lots. The firm also has available lamp ILLINI CERAMIC SERVICE parts, stackers for greenware, mold straps 439 North Wells, Chicago 10, Illinois and jewelry findings. Sugar Creek Art Please Mention CM Products Co., 114 N. Grant Ave., Craw- when writing our advertisers [ordsville, Ind. Sold only by ALL PURPOSE GLUE CRAMER MOLD SHOP Authorized The new Wilhold Household Epoxy' as being for every use We Manufacture Our Own Molds. Latest Cat- Dealers Glue is advertised alogues ° 60c. Shop Hours: 9 A.M. to 6 P.M. from "toys to treasures." The glue is waterproof and oilproof and the manu- DISTRIBUTORS WANTED 1100 ".'. Bast Ask W. P. DAWSON Fullerfon, California facturer claims that it makes strong rigid R.R. #3 FOSTORIA, OHIO bonds to metals, glass, plastics and mar- One mile east on State Rt. ~:!8 ble. Wilhold Glues, Inc., 687 Clover St., Los Angeles 31, Call[.

HEAVY DUTY BLENDOR The new Waring commercial blendor AA)O0.o,°, 36 ,o..,,, is a heavy duty industrial model manu- factured for laboratories, hospitals and 1961 revision Sl.25 net industry. Its ability to mix, blend, puree and liquify chemicals, foods and concen- Supplement only, S.S0 trates makes it ideal for laboratory work, Largest supply catalog SI.S0 the manufacturer claims. A heavy duty motor assures easy handling of viscous (REFUNDABLE ON S1S.00 ORDER) ingredients over long sustained periods. Stainless steel blades and stainless steel clamp are included as standard equipment. Midwest Ceramic Center Testing Machines, lnc., 72 Jericho Turn- pike, Mineola, N.Y. 722 SoetBwest Blvd. KamsasCity, Missouri

March 1964 37 PENLAND Advertisers Index SCHOOL OF CRAFTS FENLAND, N. CAROLINA March 1964 YI'INERARY SUMMER SESSION JUNE I SEPT. 26 American Art Clay Company ...... 11 An opportunity for serious study of crafts. Continued from Page 36 Courses for credit recognized by all accredited Anderson Ceramics Co ...... 37 colleges through East Tennessee State College. Art-Craft Supplies, inc ...... 32 WEAVING CERAMICS METALWORK JEWELRY ENAMELING GRAPHICS NEW YORK, UTICA B & I Mfg. Co ...... 4 DESIGN WOOD WORKING FIBER DESIGN through March 29 "Two Craftsmen Bergen Arts & Crafts ...... 36 LECTURES DEMONSTRATIONS EXHIBITIONS of Central New York," at the Munson- Bisq-Wax ...... I 0 Both 2 and 3 week sessions. Excellent food, well equipped studios. Recreational activities, hiking, Williams-Proctor Institute. Buffalo Ceramic & Art Supply Center .. 35 golf, and sw;mming. OHIOj AKRON Central Ceramic Art Supply ...... 35 For cataloq, write Ceramic Expositions, Inc ...... 8 PENLAND SCHOOL OF CRAFTS through March 22 Enamel panels, objects and jewelry by Fern Cole, at the Ceramiehrome ...... 10 Box M, Penland, North Carolina Akron Art Institute. Cramer Mold Shop ...... 37 Creek-Turn ...... 36 OIIIO, AKRON Dawson. W. P ...... 37 through March 29 "Art of the Amer- POSITION AVAILABLE Duncan's Ceramic Products ...... 6 ican Indian," an exhibition of objects used Interesting summer position available for skilled ceramics craftsman who enjoys work- by the Indians for their everyday needs Gare Ceramic Supply Co ...... Cover 2 ing with young people. Unusually creative and ceremonies, in the Children's Gallery Grieger's, Inc ...... 37 New England teen-age project. Address: of the Akron Art Institute. IUini Ceramic Service ...... 37 SHAKER VILLAGE WORK GROUP Box 1149, Pittsfield, Mass. OHIO, COI.UMBUS Industrial Minerals & Chemical Co .... 5 March 6-April 5 "Designer-Craftsmen Kemper Mfg. Co ...... 37 of Ohio," sponsored by the Beaux Arts Kiln-Gard ...... 36 and the Gallery of Fine Arts, at the Co- Kinney, Kay ...... 8 See the April CM for lumbus Gallery of Fine Arts. Klopfenstein, H. B. & Sons ...... 36 Summer Workshop listings ONTARIO, OTTA~VA L & L. Mfg. Co ...... Cover 4 through April "Picasso: Ceramics and Leonard, Jean, Ceramics ...... 36 Posters," circulated by the American Fed- Mayco Colors ...... 4 eration of Arts, at the National Gallery of Canada, Extension Services. Midwest Ceramic Center ...... 37 Norwest Novelty Co. National Artcraft Stxpply Co ...... 36 O NTARIO~ TORONTO Norwest Novelty Co ...... 38 32480 Northwestern Highway March 6-April 28 "Five Potters," the Farmington, Michigan work of award-winning artists from Tor- Ohio Ceramic Supply ...... 35 Hours: 9 to S onto~ Bailey Leslie, Marion Lewis, Mayta Orton Ceramic Foundation ...... 6 OPEN SUNDAY- Closed Monday Markson, Dorothy Midanik and Anette Penland School of Crafts ...... 38 Phone MAyfair 6-6003 Zakuta. At the Canadian Guild of Pot- Pottewr" by Dot ...... 35 ters, 100 Avenue Road. Reward ...... 8 PENNSYLVANIA., PHILADELPI~IA Richman, D ...... 35 through March 29 "The Egg and Sculpture House ...... 35, 37 Easter," exhibition of Easter Eggs, Mu- Secor Ceramic Supply ...... 36 seum items, fine jewelry and novelties, at Seeley's Ceramic Ser¢ice ...... 37 the Art Alliance. Shaker Village Work Group ...... 38 SOUTH CAROLINA, COLUMBIA Skutt & Sons ...... 3 March 1-31 "Designed for Silver," Stangren ...... 39 Smithsonian Institution Traveling Exhibi- Tepping Studio Supply Co ...... 32 tion, at the Columbia Museum of Art. Thompson, Thomas C., Co ...... 9 TENNESSEE, MEMPHIS Trinity Ceramic Supply ...... 37 through April "200 Years of Wedg- Van Howe Ceramic Supply ...... 32 wood," at Brooks Memorial Art Gallery. Vars, D. M ...... 35 TVXAS, DALLAS Walker Jamar Co ...... 38 March 15-April 12 "The Crafts and Westwood Ceranfic Supply ...... 7 Worship," an exhibition of outstanding work being produced by contemporary American craftsmen, at the Dallas Mu- Back Issues LIBRARY BINDER seum of Fine Arts. 7"he ]ollowing back issues o[ Ceramics This durable cloth-lvound binder is green WISCONSIN, RIPON in color and has "Ceramics Monthly" Monthly are still available at sixty cents March 1-30 Pottery and wall reliefs by per copy (Ohio residents pay 3% sales stamped in gold leaf on the front covet' Clyde Burt, at Ripon College. and backbone for immediate identification. tax). We pay postage. A steel blade holds each copy in place. 1953 June, August, December 1954 March. July, August. December New issues are quickly and easily inserted. 1955 August, November, December Order Now! Price $3.50 1956 May, October, December 1957 April, May, June. July, September, De- cember Ceramics Monthly 1958 April. May, June, September, Novemt~r 4175 N. High St., Columbus, Ohio 1959 November. December 1960 June, December 196t January. April October, Novemlmr, De- Please send me __ binder(s}. cember CM Pays Postage 1962 January (9-year Index issue), February, April. May, June. November 1963 June, September, November Name ...... 1964 February

Address -- Please send remittance (check or money order) with list o[ issues desired. City. State. - o~e'% ~r'C~lIi~ CIhlTl ~I:ILt !n-i!llction. CERAMICS MONTHLY I enclose $.--. Send remittance with 4175 N. High St. Columbus, Ohio 43214 order. Ohio residents add 3% Sales Tax.

38 Ceramics Monthly Headed for the "Best Seller" list! The NEW John lenny book...

John Kenny, who is principal of the Carefully Writtea chapters on form, Money.Back Guarantee_ All books High School of Art and Design in sketching, coiling, rolling, slab build- ordered through the Ceramics Month- New York City, is no stranger to the ing, pouring, throwing and combin- ly Book Department are returnable readers of Ceramics Monthly. His ing are supplemented by others on for immediate, full refund. articles have appeared many times in carved design, shaping, coloring, glaz- the magazine. Everyone who enjoyed ing, firing and drawing. More than Mr. Kenny's articles in Ceramics 50 photo sequences, some with over Monthly and his first two books. 24 step-by-step photographs, and more "Complete Book of Pottery Making" than 100 pictures of outstanding and "Ceramic Sculpture," will want examples of ceramic design (many in WE PAY POSTAGE this new title for his library. full color), diagrams, drawings and CERAMICS MONTHLY BOOK DEPT.. sketches illustrate this beautiful 4175 N. High St.. Columbus, Ohio Ceramic Bellgll is a profusely illus- book. They are supplemented by an Please send me: -- copies of CERAMIC trated book in which the author dem- appendix, a list of ceramic materials, DESIGN @ $9.95 per copy. onstrates many basic clay working tables and recipes and a glossary. techniques and covers a wide range of NAME projects for both beginners and ad- This new book will find wide use vanced students. The publishers of among hobbyists, schools and craft ADDRESS this exciting new book have called it centers and makes an ideal gift for the "how to do" and "what to do" any occasion. It is a beautifully CITY__ .STATE. book in one. Complete instructions for bound edition with a large 7cA " x and decorating 101h " format and has more than 600 Ohio Residenls: add 3% Sales Tax. methods of forming ~ ceramic ware are given, with step-by- photos with 16 pages in full color! I enclose Check step photo~Traphs to guide the design- Order your copy now--S9.95. We pay ~Money Order [] Other er along the way. postage and shipping charges. . ~ ~ ~ ~ ~ ~ ~ UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are notl TOP LOADERS IN A COMPLETE NEW LINE - ONE UNIT 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNAo GLOW porcelain element holders... 4-way switches ...2 peep holes.., pilot lights.., and they are designed with your safety in mind. MODEL H-8800 m HIGH TEMPERATURE FURNACES A complete line of TO 3000 ° F bench and floor models available. I ... using silicon carbide heating elements. MODEL 818-O

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WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER 11, PA. DEALER INQUIRIES INVITED