~ ~ ~ ~ BACK TO WORK ISSUE -

• ~.,I~ ~ ~ ~,~ ~ SEPTEMBER 196~60c.~,

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~ ~~'~~ ~ ~...... 'i~:~:,iil~ A TTENTION NEW YORK DEALERS and TEACHERS!

You are invited to visit

LONG ISLAND CERAMIC CENTER 77 West Merrick Road Freeport, New York 11520 (516) 378-8288

NEW YORK'S NEWEST and MOST COMPLETE CERAMIC HOBBY CENTER

• . . a new concept in "ONE-STOP" ceramic shopping Hundreds of new ideas * Complete stock of all ceramic supplies • Greenware from latest molds • Instruction for---dealers and hobbyists

Featuring ALL

molds - glazes - underglazes - unfired stains

DON'T SETTLE FOR LESS THAN THE BEST! Stop by for a visit soon--

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September 1969 3 l Grog, Grout, Buff, Fettle &

..~° Now in its fiftieth year, Sieves, trivets, lumps, gold dust, Amaco is the department store of lace tools, threads, elephant ceramics for school, studio ear and sheepswool, slip, and home. Thousands of items, sgraffito blades, ribs, bags, from necessity to whim, await the mortars, engobes, squeegees, needs of potter, sculptor and flux, stilts, solders, and cones, enamelist. racks and forks and jar mills, From cufflink backs to kilns, flannel, setstone, wax resist, from underglaze crayons to ball mills, spurs, the American Art Clay Co., Inc. setters, hangers and supports, manufactures and sells cement, seal and wash, the most complete line of ceramic spotters, spatulas, and sprayers, supplies and equipment plasters, pestles and palette knives, in the country. and of course Browse through this department kilns, wheels, clays, glazes, store at your leisure. liquid, semi-moist and crayon Send today for your free copy of underglaze decorating media, Amaco Ceramic Catalog No. 53. and metal enamels.

AMERICAN ART CLAY CO., INC., 4717 West Sixteenth Street, Indianapolis, Indiana 46222

B&I Automatic Shut0ffs Are Great But POTIER Y MAKER LET'S FACE IT Power Driven Sometimes They Fail! Variable Speed oSS )L KILN-FUSE IS A FOOLPROOF HEAT FUSE THAT PREVENTS COSTLY KILN DESTRUCTION. Professional features, versatile enough for advanced crafts- Use men, yet simple enough for beginners' use. Precision built, KILN-FUSE also to back-up your Shut-Off. compact, portable. Mounts anywhere. New variable speed Cuts power at kiln's temperature limit. KILN-FUSES reducer with adjustable foot controls provides speed range for all kiln makes and models. from :38 to 130 r.p.m. Built-in water container, attached All your electric power lines have electric fuses wedging wire, reversible 9-inch throwing head with recess to protect against overload; now all kilns can have for molding plaster bats. Ideal for school or home studios. a "heat fuse" to protect against Also available for pottery maker is a new workbench with destructive heat a convenient seat to allow operator to control position at "overload". all times. $22.50 each, F.O.B. Burlington, Wis. Order by PATENT PENDING mall now . . • or write for complete literature. Distributorships and Dealerships OPEN. Inquire: TEPPING STUDIO SUPPLY CO. Write for Factory distributor for KILN-FUSE and KILN-KARE Lapidary Equipment :}517 Riverside Dr., Dayton, Ohio 45405 Literature Burlington, Wisconsin 5310S 4 Ceramics Monthly fire th" imagi

MONTHLY with t BIG I£ Volume 17, Number 7 September 1969 colors Special BACK-TO-WORK Issue THOM Editor 6 Letters to the ...... 9 Suggestions from Our Readers ...... 11 Itinerary ...... ___14 Kimpei Nakamura by Michael and Michi Zimmerman 18 Ruth Duckworth by Thomas W. Collins ...... Students Can Throw Big Pots Junior High 22 by Charles D. Rash ...... 24 Sack Casting by Louise Wood ...... Oven and Range-Top Bodies and Glazes 27 by Richard Behrens ...... 28 Found Objects as Stencils by Polly Rothenberg ...... 31 Show Time: Creative Crafts VI--Pacific Dimensions .... 32 CeramActivities ...... Teaching or creating, ideas come alive with New Books 37 From the ...... Thompson porcelain enamel colors...... 38 Index to Advertisers most basic instruction books on enamel work and tools and On Our Cover glasscraft to the most sophisticated in action of has Been the pacemaker CM readers are urged Back-to-Work by the vigorous materials, Thompson potter Kimpei Nakamura, pictured on our cover. This for over 70 years. Japanese be used supplying the industry inventive young ceramist, who feels that clay should space enrich and animate interior and exterior architectural to ex- Catalog and as carry food and support flowers, designed and Send now for the FREE Thompson as well at the dramatic relief walls for the Japanese Pavilion ecuted by Guide featuring the widest selection of "Expo '67" in Montreal. A feature article on Nakamura Color of this issue. Michael and Michi Zimmerman starts on Page 14 colors, new findings and pre-formed shapes for making something new every day. Your catalog, and most orders, are on their way to you within THOMAs SELLERS Editor: 24 hours after receipt. Start teaching and doing Director: ROBERT L. CREAGER Art with Thompson, the pacemaker. Business Manager: SPENCER L. DAVIS Circulation Manager: MARY RUSHLEY BELCHER, FRANCES SAWYER Editorial Assistants: CoNxIE COMPANY i! THOMAS C. THOMPSON Advisers and Special Contributors: F. Carlton Ball; Richard John Kenny; ! Dept. CM-9 Behrens; Kathe Berl; Edrls Eckhardt; Zena Holst; Karl Martz; Ken Smith; Don Wood. i ]539 Old Deerflelcl Road Western Advertising Representative: Joseph Mervish Associates, Highland Park, Illlno~s 60035 California 4721 Laurel Canyon, Suite 211, North Hollywood, TR 7-7556, Area Code 213. 91607. Telephone: Please rush my FREE catalog of complete enamel- Copyright 1969 Professional Publications, Inc. ing craft supplies with Color Guide today.

1969. Vol. 17 -- No. 7. Published monthly Ceramics MonthIy September -- S. L and August by Professional Publications Inc. except July Street, Co umbus, Ohio Davis, Pres., P. S. Emery, Sec. at 4175 N. High NAME_ class postage paid at Athens, Ohio, U.S.A. Subscriptions: 43214. Second $14. Copyright 1969. All One year $6; Two years $10; Three years rights reserved. are indexed in The articles in each issue of Ceramics Monthly The Microfilm copies are available ADDRESS Readers' Guide to Periodical Literature. St., Ann from University Microfilms, 313 IV. First to subscribers dealing with ceramic Arbor, Michigan. Manuscripts and illustrations will be considered for publication. Manu- art activities are welcome and words. typed double-spaced and range from 500 to 2000 .STATE_ .ZIP_~ scripts should be the Editor, Ceramics CITY__ manuscripts and correspondence about them to Send Street, Columbus, Ohio 43214. Monthly, 4175 N. High I I. September 1969 5 LETTERS

Share your thoughts with other CM read- PORTFOLIO A CLASSIC served in the firing of such objects; in • . . ers--be they quip, query, comment or ad- CM's December issue has reached general, a low bisque of Cone 07 should Australia's vice. All letters must be signed, but names shore. What a wonderful Christ- be safe. If in doubt, break off a small mas present you will be withheld on request. Address: The have given your readers fragment from an inconspicuous part and with itl Editor, Ceramics Monthly, 4175 North The Portfolio, "Clay Fingers and test fire." T. Farr High St., Columbus, Ohio 43214. Green Thumbs," was one of the most de- Pasadena, California lightful articles I ever have come across -- CM FOR RECIPES AND IDEAS it is a classic. Mr. Lakofsky's designs are lovingly THE LOREE COVER I am a school teacher in Southern Cali- thought out and they are beauti- ful as I was delighted with the cover on the fornia and I follow CM with keen interest. well as practical, a combination seldom March issue ("Covered Jar" by John P. I have my M.F.A. degree from U.S.C. found in plant containers• Loree), a truly different kind of pot, yet (under Carlton Ball) but am now teaching Edith Coulton-Belt Montmorency, a very inspiring one. It is quite obvious ceramics with a low-fire kiln. Not having Victoria that the artist has a true feeling for clay worked very extensively in this area before, and what can be done with it, not against I have been referring to your magazine FIRING A BIRD'S NEST it. I also liked the very fine and detailed for recipes and In reference to the letter ideas. in the May description of the pot and I am curious to know issue about firing a bird's how it was if you have pro- nest, I would made. Please give us more duced art index like to call your covers of this to past articles. Such a attention to a "Sugges- caliber on CM! guide, with authors, titles, tions" item on this subject from the De- Jack Leggett and subjects, Cleveland, Ohio would be a great aid. Philip Wood cember 1953 issue of--you guessed it-- South Pasadena, California CERAMICS MONTHLY! In part it reads: "Some birds nests, after having been FAITHFUL SUBSCRIBER CM published a nine-year index (1953- abandoned by the builder, can be fired As a faithful subscriber of CE~zcs and MONTrILY 1961) in the January 1962 issue of the used as an ashtray or pin tray. Some and an ardent fan of Carlton magazine, and has published a yearly index carving may be required to eliminate ex- Ball, it was with pleasure that I found in the December issue for all volumes cessively thick portions or to adapt the nest the picture and article that clued me in since 1962. The index is arranged in a to its new use. Fascinating textures and on where he is now teaching. Your sec- subject format, which we feel is the most honeycomb effects evolve after the string, tion, "CeramActivities," is fascinating. convenient method for referring to specqic weeds, and other combustibles burn out Mrs. H. H. Rempel subjects. --Ed. after the firing. Some care must be ob- Glendale, Calif.

Cone 6 2194°F. Fire at will.

Ceramichrome takes the worry out o/ firing. We've demonstrated this with the hand thrown piece o/noted stoneware art potter, Frank Matranga. Finished in our textured glaze, it was fired to Cone 6 along with another original, using the same glaze, fired to Cone 06. Both pieces fired per/ectly. Choose/rom over 200 ]ully proven glaze and underglaze colors. Each is designed to perform perfectly anywhere within this unique firing range. Ceramichrome means outstanding per- ]ormance, with the built-in margin o/safety. Try them.

Cone 06 1816°F. Ceramichrome Inc. P.O. Box 2086 Gardena, Calif. 90247 [

6 Ceramics Monthly ELECTRIC KILNS

Select the type and size kiln you need, then compare all the features . .. you'll find that dollar-for-dollar you can't beat a CRESS kiln!

': ~X : ~ : : •

i ~ / •i~ k¸¸¸¸!¸;¸¸¸

MODEL C-26-H $415.00 MODEL C-8-H $595.00 Fires to 2300°F.; 230 volts, Fires to 2300°F.; 230 volts, 34 amperes. Inside dimen- 40 amperes. Inside dimen- sions: 20" x 20" x 25". Has sions: 24" x 24" x 24". Eight . ]" counter-weighted lid. cubic-foot capacity.

MODEL B-18-H $137.00 MODEL B-23-H $153.50 ($174.00 with automatic shut- ( $190.50 with automatic sh ut- off installed.) off installed.) Fires to 2250°F.; 230 volts, Fires to 2250°F.; 230 volts, 22 amperes. Inside dimen- 25 amperes. Inside dimen- sions: 171/2" opening x 18" sions: 171/'2'' opening x 221/2'' depth. Stainless steel jacket. depth. Stainless steel iacket. Listed by Underwriters Labo- Listed by Underwriters Labo- ratories, Inc. ratories, Inc.

"yr" •

.f I a ! d MODEL C-14 $104.50 MODEL C-17 $209.50 MODEL A-15-H $149.50 MODEL C-20-H $249.50 Fires to 2000°F.; 120 vohs, Fires to 2300°F.; 230 volts, Fires to 2300°F.; 230 volts, Fires to 2300°F.; 230 volts, 15 amperes, inside dimen- 19 amperes. Inside dimen- 19 amperes. Inside dimen- 22 amperes. Inside dimen- sions: 11" x I1" x 131/2 ". sions: 171/2 '' x 171/2 '' x ]5". sions: 15" x 15" x I 5". sions: 171/2'' x 171//2'' x 20". Listed by Underwriters Labo- Stainless steel iacket. Listed Listed by Underwriters Labo- Listed by Underwriters Lab- ratories, Inc. by Underwriters Laboratories. ratories, Inc. oratories.

SCHOOLS - INSTITUTIONS - HOBBYISTS... write for free catalog illustrating our full line of quality constructed kilns for ceramics, glass and enameling.

J. c.,ss cam ,.c 1718 Florada[e Ave., South El Monte, California 91733

September 1969 7 SMOOTH

Solid construction and the precision Ringcone Variable speed drive system have made these two words synonymous. Ask any- one who owns an RK-2. It is the steadiest wheel made. Write today for literature and the name of your nearest representa- tive. SHIMPO-WEST, P.O. Box 2315C, Lo Puenfe, Calif. 91746

TEACH... the easy way

•..USE REWARD HART products

Teach the Easy Way! Use Reward and Hart Products. Liquid glazes and underglazes go further and offer better results and are recommended for their high quality. Send for free literature and price lists.

REWARD CERAMIC COLOR MFRS., INC. 314 Hamrnonds Ferry Rd., Glen Burnle, Md. 21061

8 Ceramics Monthly STANDARD SUGGESTIONS Ceramic Supply Co. from our readers Your complete TWO*MINUTE TEXTURING IDEA ceramic supplier This method involves nothing more than a "serunched-up" wet piece of cloth or netting (potato sacks) wrapped at random around a freshly thrown pot. If you wish to retain the sym- metrical form, wrap snugly; however, if you feel an irregular shape would be more interesting, wrap tightly. Cover the pot with plastic until texture is set. This method of texturing works best on bottle and cylindrical shapes. ~E. I. B., Worthington, Ohio DE AZE COLO ~. SEE-THROUGH WALLS :~.(~ i LAZE STAINS ~, ,~, I would like to offer the following teaching-aid suggestion for your readers. I happened upon the idea in a restaurant i ¸'i~i !PREPARED GLAZES " and to my knowledge it has never been proposed before. For many years while I was learning to throw, I would !~ ENGOBE STAINS :'~, always wonder what the demonstrator's fingers inside the pot were doing. Some ceramists cut open their pots and try to MOIST CLAY BODIES "~ re-enact what they have done, but I have found an easier way, ""~"~ one which I have used with my students and find very success- OVERGLAZE COLORS various ful. Before throwing with the actual clay, I demonstrate GLASS COLORS ! techniques on a large-mouthed glass jar. The students are thus able to see what is happening inside and outside at the same UNDERGLAZE PENCILS time. Brandy snifters and many other glass containers can be used to demonstrate what happens with the fingers as the clay BRUSHES~for decorating walls are pulled up on other shapes. --Christopher Brown, Hinckley, Maine DECORATING WHEELS BRASS WIRE SIEVES ANOTHER REASONFOR COUNTER ENAMEL Beginning enamelers are usually cautioned to counter enamel ASBESTOS MITTENS from cracking or even their work in order to prevent the enamel POTTER'S WHEELS coming off the metal. There is another reason that should be brought to their attention, too! The beginner should be told HIGH QUALITY TOOLS that bare copper should not be used for those portions of jewelry pieces that come in contact with the skin, because GOLD. PLATINUM. perspiration will cause the copper to discolor the skin. The LUSTRES that should be left are those only spots of exposed metal for glass and china areas where findings are to be applied with soft solder after all --B. 1. Lewis, Canton, Ohio enameling is done. CHEMICALS, FRITS .i LOST: AN ELEPHANT EAR SPONGE KILNS--aUtypes T~ An excellent substitute for the often-times-elusive elephant ,7¸ , SHELVES, SUPPOR • ear sponge is a common plastic sponge--an oblong block usually 3 x 5 x Y2 inches in size. The finest textured sponge (re- SPONGES ~ sembling a chamois) is the one to use. For comfortable use, cut it in half or thirds, and if possible, split it to ~ inch in thickness. It's great! --Walter ]. Knecht, Ventura, Calif.

LEVELING A BASE If yott ever have a handbuilt pot that wobbles after it has been made, here is a quick and easy method to level the base while the clay is still in the leather-hard stage. Select a smooth, level surface, such as Masonite, glass, or a table top, and pour a small amount of water on it. Next, hold the clay form firmly in both hands, move it into the water area, and rotate FREE catalog the base carefully but firmly until the foot area is level. Im- mediately remove the pot and wipe the excess water and slip Write for your copy today. from its base, then allow the piece to dry in the usual Profusely illustrated. than the usual scraping manner. This method is much quicker procedure. --Mrs. O.N. Fenton, Kansas City, Mo.

DOLLARS FOR YOUR IDEAS each item used in this Standard Ceramic Supply Co. Ceramics Monthly pays up to $5 [or of Chem-Clay Corporation column. Send your suggestions to CM, 4175 North High St., Division Columbus, Ohio 43214. Sorry, but we can't acknowledge or P.O. Box 4435, Dept. CM9 • Pittsburgh, Pa. 15205 return unused items. Phone (412) 923-1655

September 1969 9 M ODEL ING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS! NOTE: We now manufacture FIVE different MOIST MODELING CLAYS -- When ordering, please specify exact kind- ALL five may be combined to secure quantity price! 1. MEMPHIS BRAND WHITE MOIST MODELING CLAY (Cone 05 to 7) 2. MEMPHIS BRAND RED MOIST MODELING CLAY (Cone 05 to 1) 3. MEMPHIS BRAND BUFF MOIST MODELING CLAY (Cone 05 to 7) 4. EX-CEL BRAND WHITE MOIST MODELING CLAY (Cone 05 to 5) 5. STONEWARE MODELING CLAY (Cone 2 to 10) PACKED IN 12½ Pound Plastic bags Ex-Cel, Buff & Stoneware Red White 25 Lbs. 8c per Lb. 12c per Lb. 8c per Lb. 50 Lbs. 7½c per Lb. 10c per LI). 7c per Lb. 100 Lbs. 6½c per Lb. 9c per Lb. 6c per Lb. 500 Lbs. 5V2c per Lb. 7c per Lb. 5c per Lb. 1000 Lbs. 4V2c per Lb. 6c per Lb. 4c per Lb. 2000 Lbs. 4c per Lb. 5c per Lb. 3V;e per Lb. ALL PRICES PLUS 5% PACKING CHARGE (Prices are F.O.B. Memphis or Jacksonville) HOUSE OF CERAMICS,INC.- FLORIDAHOUSE OF CERAMICS 1011 N. Hollywood St. Memphis, Tennessee 5350 W. Beaver St. 38108 Mail All Orders to Memphis Jacksonville, Florida

Who owns ROBERTBRENT POTTER'S WHEELS? Well... Goddard College, Vermont 1 Roosevelt University, Chicago 3 The Muddy Wheel, Los Angeles 5 The Potters' Studio, Los Angeles 12 Truth Pottery, Tucson, Arizona 2 Pot Shop, Bakersfield, California 2 Cold River Farm Pottery, N. H. 1 California State College at Long Beach 5 Cardinal Stritch College, Milwaukee I University of California at Santa Cruz 2 Everywoman's Village, Los Angeles 4 Vashon Allied Arts, Vashon, Washington 2 Tucson Art Center, Tucson, Arizona 3 Pottery Lane, Rancho Cordova, California 1 Michigan State University Pewablc Pottery, Detroit 1 Children's Medical Center, Tulsa, Oklahoma 1 Southwest Missouri State College, Springfield I Rogue River Pottery, Wederburn, Oregon 1 Ceramic Studio Six, Calgary, Alberta 1 Los Angeles Baptist High School, Los Angeles 1 The Pot Shop, Modesto, California 6 Camp Laurel Glen, Los Gatos, California 1 Lane Ceramics, Auburn, Alabama 1 Maida's Ceramics, Kenova, West Virginia 1 ... and several hundred other hobbyists, teachers and studio potters across the country. Write for our free brochure describing all 7 models, in- cluding the new motor kit for kick wheels ($50), and the Model CX for University and studio work ($295). ROBERT BRENT POTTER'S WHEELS 1101 Cedar St., Santa Monica, California 90405

10 Ceramics Monthly ITINERARY

Send your show announcements early: Art Centre, 439 Ashbourne Road, Chelten- Ceramic Show for 1969 will be held at the "Where to Show," three months ahead ham 19012. American Legion Post #330. The theme of entry date; "Where to Go," at least for the show is "Ceramics--Passport to six weeks before the opening. SPECIAL FOR HOBBYISTS the World." ORLANDO FLORIDA, LOUISIANA, NEW ORLEANS WHERE TO SHOW September 25-28 Florida Ceramic Show 17-19 The Annum NORD and Exhibit, sponsored by Ceramic Enter- October FLORIDA, JACKSONVILLE Dixie AII-States Ceramic Show will be 15-December 30 Florida prises of Florida, Inc.; at Robert Meyer November held at the Gernon Brown Center. For 19th Annual Members' Show Motor Inn. Craftsmen information, write: Mrs. Berniece Sabrier, Art Museum. Competition at Jacksonville ILLINOIS, CALUMET CITY 624 Louisiana Avenue, New Orleans open only to residents of Florida and October II-12 The Town and Country 70115. Continued on Page 12 members of Florida Craftsmen. Juror: Val Cushing, potter. Cash awards; Work due October 16-18. For entry forms, and mere- ship forms to join Florida Craftsmen, write: Charles M. Brown, P.O. Box 216, Mandarin, Fla. 32217. IOWA, MASON CITY October 26-November 23 The All-Iowa Crafts Exhibition and Fall Crafts Festival will be held at the MacNider Museum and is open to residents of the state. The event is endorsed by the Iowa Designer Craftsmen. Deadline for entries is October 12. Juror: Angelo Garzio; Cash Awards. For information, write: Richard Leet, Di- rector, MacNider Museum, 303 Second Street, S.E., Mason City 50401. .~ICHIGAN, DETROIT November 19-December 28 The 21st Exhibition of Michigan Artist-Craftsmen is open to Michigan residents working in ceramics, glass, and other crafts. Awards and purchase prizes; Entry fee; Jury; Deadline for turning in entry forms and color slides of work is September 30. Write: Detroit Institute of Art, 5200 Woodward Ave., Detroit 48202. MISSOURI, ST. Louis March 1-28 "Enamels 1970," national competition-exhibition of enamel work. Juror: Charles Bartley Jeffery; Awards; Entry fee; Entry forms available after September 15. Write: Margaret Randall, Craft Alliance, 4738 McPherson Avenue, St. Louis 63108. NEW YORK, ROCHESTER Nothing -- but nothing -- expresses your own October l l-November 9 York State bent like the glazes you select. And exhibition, sponsor- creative Craftsmen/Rochester MAYCO COLORS® has the quality glazes for ed by the Rochester chapter of the York bold State Craftsmen. Open to members of every personality and mood. Subtle tints, YSC in all craft media. Preliminary se- hues, high gloss or rough surface, as well as lection by 2" x 2" slides, due September brilliant opaque Underglazes and One Stroke 10. Jury: Daniel Rhodes, potter-sculptor; -- all in infinite varieties! MAYCO products -- Ronald Pearson, metalworker; Wendell America's finest colors -- are perfect for all Castel, woodworker. Write: Nancy Jurs, techniques, fire at Cone 06 and are homog. YSC/Rochester, 18 Maple Street, Scotts- enized for easier application. Send for free j ville, New York 14546. k color chart. A PENNSYLVANIA, CHELTENI-IAM November 18-December 20 Annual Craft Fair sponsored by Cheltenham Art mayco colors / Centre. Craftsmen whose work has been accepted in previous years have been in- X 20800Dearborn Street., Chatsworth, Calif. 91311 // vited to participate this year; newcomers will be juried by a distinguished panel. Each exhibitor will be permitted to show 10 pieces. Work due between November 10 and 13. For information, write: Leonard Belber, Chairman, Cheltenham

September 1969 11 For The Discriminating Ceramist MODEL A-99B

Fire immense loads daily This enormous 10 sided kiln is 27 H deep and 23Yd r in diameter far a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily. The three movable sections have their own 4-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6--2300 °, everything from china paints to porcelain. Add a 41/2" blank collar for full 311/2'1 depth. EXCLUSIVE! INCH OF BLOCK INSULATION IN LID AND BOTTOM

IN STAINLESS ,STEEL MODEL A-99B ...... $367.50 Q 4Y2" blank collar, $29.50

FREE.. crating .. instruction manual DAWSON Automatic Kiln Sitter/ ~steel stand.. 2 year guarantee.. $42.00 installed at PARAGON\

Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to ~i~~ .~j~./LAJ~ioA_, .~/b~.. Dept. CM Box 10133, Dallas, Texas 75207

ITINERARY its 7th annual show at the South County WEST VIRGINIA, PARKERSBURG Mall located on South Lindbergh at Le- October 17-18 The Annual Amateur Continued from Page 11 may Ferry Road. For information, write: Show of the Parkersburg Ceramic Art As- Mrs. Ethel Brimmer, Show Chairman, sociation; at the City Park Pavilion. MARYLAND, KENSINGTON 6329 Bancroft, St. Louis 63109. September 13-14 The Maryland Belt- WHERE TO GO way Area Ceramists will hold their Second OHIO, COLUMBUS Because listings are subject to change, Annual Ceramic Show in the September Kensington 12-14 The Eighth Annual dates can be National Guard Armory. verified by writing to the For information, Ceramic Show will be held at the Lausche sponsoring groups or galleries. write: Marge Haske, 5317-42nd Avenue, Building. For information, write: Mrs. Hyattsville, Md. 20781. Geneva Cathel, 1706 Koebel Road, Co- ARKANSAS, LITTLE ROCK lumbus 43207. September 6-October 12 Third Annual MASSACHUSETTS, BOSTON Exhibition sponsored by Arkansas Art OHIO, CUYAHOGA FALLS October 3-5 The 12th Annual New Center; at MacArthur Park. England Ceramic Show, sponsored by October 25-26 Seventeenth Annual Ce- the New England Ceramic League, Inc., ramic Hobby Show, sponsored by The CALIFORNIA, LONG BEACH will be held in the Horticultural Hall. Akron Mud Hen Ceramic Club; at Little through September 21 Ceramics by Amateur and professional competition. Forest Towne House Motel, 1520 State Tom Ferreira; at the Long Beach Museum Competition Chairmen are Norma and Road. of Art. Fred Garrett, 174 Walnut Street, Newton- OHIO, ville, Mass. 02160. PAINESVILLE CALIFORNIA, MENDOCINO September 21-22 Ceramic Show, spon- September 6-October 4 Pottery by Sa- MICHIGAN, DEARBORN sored by the newly-formed Northeastern sha M~tkovkin; at Gallery West. September 26-28 The Second Annual Ohio Ceramic Arts Association; at the Ceramic and Hobby Show, sponsored by Tanglewood Motor Inn. CALIFORNIA, SAN DIEGO the Michigan Ceramic Dealers Association, September 13-14 County Art Mart fea- OHIO, TOLEDO will be held at the Dearborn Civic Center. tures work and demonstrations by artists September 20-21 "Ceramic For information, write: Shirley Murphy, Works of and craftsmen; at Balboa Park. Art," The 8th Annual Ceramic 14329 Berwick, Livonia, Mich. 48154. Exhibit of the Toledo and Area Ceramists, will CALIFORNIA~ SAN FRANCISCO MISSISSIPPI~ GULFPORT be held at Toledo Raceway Park, 5700 through September 16 Exhibit of glass October 3-5 The Annual Ceramic Show, Telegraph Road. There will be hobby and by Rick Strini; at the William Sawyer sponsored by the Gulfport Recreation De- studio displays, and new technique and Gallery. partment, material demonstrations. will be held at the Edgewater Write: Ila M. CONNECTICUT, BROOKFIELD Plaza on Highway 90. For information, Periat, 2646 ll7th Street, Toledo 43611. through September 29 Students and write: Mrs. Esther Stokes, Route 3, Box members show; at the Craft Center. 235, Biloxi, Miss. 39532. OKLAHOMA, TULSA September 21-22 The Tulsa Ceramic D. C., WASHINGTON MISSOURI, Show, sponsored by the Greater ST. Louis Tulsa August 20-October 19 "British Designer September 17-20 The Greater St. Louis Ceramic Association; at the Tulsa As- Ceramic Hobby Association will sponsor sembly Center. Continued on Page 35 12 Ceramics Monthly gEMPE£ TQQl$!

RETAIL $8.50 ca. don't have the room to list the many new tools being added to RAKU TONGS We tongs with.an ap- for the ceramic hobbyist as well as the sculptor and potter. These are hand formed and forged our line of 29 ~ inches. Tubular steel new catalog is being compiled and prepared for fall issue proximate overall length While our for lighter handling with solid steel gripping you information through our free leaflets. handles we can furnish bar stock in the work crossing area, the jaws are steel toothed for better gripping of small pots and pieces with the long reach needed.

RE-1 $1.60 210 CLASSIQUE $2.95

RE-2 $1.60

211 CLASSIQUE $2.95 RE-3 $1.60

RE (Ribbon end) SERIES $1.60 ca. (Approximately 9~ inches long) 212 CLASSIQUE $2.95 Handmade in every detail using imported South American lemonwood for longest wear and smooth ac- CLASSIQUE SERIES tion on clay. Sharpened tough high carbon steel is sharpened for cutting purpose and use. Handmade rugged construction and formed out of imported South American hardwood to the basic pat- terns most useful in the trade, the tough high carbon steel heads are sharpened and firmlv set to the handle with solid brass ferrules. Approximate overall length r NEW~/FEW/IVEW/ 12 inches. HEAVY DUTY FW SCULPTORTOOLS Large, two listed tools for sculptors and big ceramic projects. Wide, sharpened high carbon steel blades are set in hardwood handles with solid brass ferrules. Tools are approximately 10½" long. KEMPER 201 $1.95 Approximate overall length 10¼ inches each end of different round loop size with sharpened heavy high carbon steel firmly set in hardwood handle using brass ferrules to anchor.

KEMPER SPECIAL NO. 1 $!.60 ca. FW-3 $2.95 ca. SCULPTOR'S HEAVY DUTY RIB TOOL Large (approx. 12" long). Made of finest grade im- ported hardwood. Ends are shaped to basic contours KEMPER SPECIAL NO. 2 $1.60 ca. most popular with modelers and sculptors.

KEMPER SPECIAL NO. 3 $1.60 ca. DOUBLE-O-RIB TOOL $1.50 ca. j Write for complete Catalog, enclosing 50c (coin or stamp) for postage and handfing. Please include your Zip Code Number with address.

KEMPER SPECIAL NO. 4 $1.60 ca.

KEMPER "SPECIAL" SERIES $1.60 ca. The formed blades are sharpened spring steel formed in combinations to the shapes most used in many work. KEMPER MANUFACTURING CO. phases of wheel and sculpturing P.O. BOX 545, DEPT. CM.9 CHINO, CALIF. 91710 September 1969 13 Kimpei Nakamura by MICHAEL and MICHI ZIMMERMAN

IN THE RICH SURFACE TEXTURE of his pottery, as well as behind these seems to glow like a glaze. As the editor of a in his dramatic ceramic relief walls for the Japanese Tokyo art magazine noted, Nakamura created a kind of Pavilion at "Expo '67" and the Sony Building in Tokyo, "dynamic space" in the Pavilion. The large reliefs for an Kimpei Nakamura displays technical skill and also reveals auditorium in the Sony Building are equally dynamic; deep love for clay in its natural state. Nakamura may at the same time, they show Nakamura's abiding fascina- place thick clay sections on the surface of a pot, or he may tion with the nature of clay. He made two square slabs impress the piece with the shape of any object which for each tile, formed and sometimes cut the top tile and, pleases him at the moment. He may imprint the clay pot after applying glaze, fired them together. The rows of with Japanese ideograms made from clay stamps, or he clay squares seem to pulsate with their alternating slashes may decorate it with scored lines that are applied swiftly and projections of form. and deeply. In the resulting rough-hewn and heavily- Perhaps the most impressive single feature of Naka- textured pieces, with simple ash glazes caught in their mura's ceramic reliefs is the fact that they are not over- indentations, one feels the true beauty of the earth. whelmed by the large buildings which contain them. The reliefs especially reflect the potter's delight with Not only does he achieve the proper scale for his work, his materials. The walls for the Pavilion contain rows of he also manages to humanize the inner space of today's rounded, hollowed-out clay knobs. Some of these are un- modular architecture. glazed, coarse and unpolished; others have subtle matt Kimpei Nakamura comes from a family of potters glazes, some with bright accents in the centers. This varia- in Kanazawa, an old castle town in "Ura Nihon"--literal- tion in texture is complemented by a variation in pattern. ly, the "Back of Japan," the coast facing the Japan Sea. The rows of knobs are dramatically interrupted by group- At an early age he was confronted with Kutani ware, a ings of deeply incised square slabs, and a light fixture highly ornamentalized porcelain made in the area. To

14 Ceramics Monthly !7 ~i# ¸ ,

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Kimpei A'akamu~a'.~ ~'essel, "Oiran'" (above), is ash glazed, brown-yellow. It is 17 inches wide. Hanging Vase (opposite) is 11 inches wide.

September 1969 15 Vase has black body with white inlay; This vase, which is 13~2 inches high, is silver and green. It is 15~2 inches high. also made [rom a black body.

I?,Y,~" :,~U :,;~! ,~.~/! Y,-I,,/;~ 'L, .!i,.t'~,..;~' tl!~ l~/,~z~,,~.~' Pcl:';Y,,~I ~! "'l'.'~t'~' "¢~7.;" .~I~mt~sculpture seemingly beautiful but actually superficial--and the at an art college and then worked as an apprentice cook kind of ceramic art that speaks to the aesthetic needs of in a Tokyo restaurant associated with Rosanjin Kitaoji. our age." While there, he saw various kinds of ceramic ware made It is tempting to describe Nakamura as a one-man by that well-known potter. Nakamura reports that he vanguard movement, an aesthetic radical in a sea of un- was tremendously excited by the combination of achieved thinking conservatism. Of course, there is a great deal form and imaginative energy--the organic unity of re- of the embattled rebel about him. He has made sharp at- straint and artistic vigor--in Rosanjin's utilitarian crea- tacks on the purveyors of mass-produced ware to the tions. This experience, which took place over ten years new middle class; he has prodded the traditionalists who ago, convinced Nakamura that there was still a future for fail to think about how the beauty of clay can be inte- him with clay, and he returned to it. He adds that this grated into our present lives; and he speaks in defense of conviction became even stronger when he saw the pottery impulse and experimentation, and against deadening con- of Paul Soldner and Peter Voulkos in a 1964 exhibition ventionality and conformism. Yet Nakamura does not see in Tokyo. Their freedom and boldness, he says, suggested himself simply as an enfant terrible (although he obvious- still greater possibilities in his own work. ly enjoys the role). He belongs to no group. He does not Nakamura has written: "It is my impression that consider himself a follower of Kazuo Yagi, the interna- many present-day potters, who should be creating new tionally celebrated leader of the most important avant- art for this age, are in reality merely repeating what garde "school." Nor is he a member of the "Folk Arts" their ancestors did long ago. They have not freed them- movement, or any regional association. Despite his ex- selves from the narrow insularity--the provincialism-- perimentation with form and material, surface and scale and despite his attacks on the blind veneration of antiq- uity in Japanese ceramics, Nakamura does not oppose tradition. There is a quality of self-consclous traditionalism in this young craftsman. The surfaces of some of his pots call to mind potsherds from ancient times. And he is proud of the fact that he uses the Echlzen kiln and quarry, which dates from the beginning of the Helan period. (Nakamura re-discovered this kiln--once one of the six greatest in Japan--and converted it back to its original purpose.) He is also proud of the utilitarian aspect of his work. In fact, he regards usefulness as one Detail of the relief wall in the Sony of the chief criteria. To Nakamura, clay can be used to Building, Tokyo. Sections are glazed in a enrich and animate interior and exterior architectural ~rcam-white matt and a brownish-white. space, as well as to carry food and support flowers. But Nakamura is traditional in a larger sense, too. Surely the genius of Japanese ceramics--and perhaps of Japanese art in general--is its ability to harmonize, within simple form, utilitarian need, nature, and the aesthetic impulse. And surely her greatest potters have always known how to use the achievements of the past--the finest creations of the Chinese, or the Korean, or the Japanese artisan--to help them in their undertaking. In his own way, Kimpei Nakamura belongs to this deep- er, and far more important, Japanese tradition. With his intuitive grasp of the underlying spirit of Japanese pot- tery, and with his honorable and manly loyalty to his own imagination, he will undoubtedly find his own path to the future.

This article on ]apanese potter Kimpei Nakamura is a joint e[fort by MICHAEL ZIMMERMAN, an associate professor of English at San Francisco State College, and his wife MICHI, a member of the Association of San Francisco Potters. Mrs. Zimmerman worked with Naka- mura in 1967-68 while Michael was a Fulbright Lecturer in American Literature at Kanazawa University.

September 1969 17 ,~, /~i~¸ ~! ~i ¸ ~ ~ ~ ,

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Ruth Duckworth poses with one o[ her large sculptures that is placed in the courtyard between her apartment and studio.

The artist, pictured with "'Zoe,'" chats with a student in her Chicago studio. Her work tables and kiln are seen in the background.

18 Ceramics Monthly Ruth Duckworth by THOMAS W. COLLINS

RUTH DUCKWORTH has worked for many years as a adopted our method of preparing clay bodies from dry sculptor, painter, and potter, and feels that ceramics ingredients. Although it requires more effort than the provides her with a natural wax, of combining all of these English method of working with ready-prepared clay activities. Her work ranges from the delicate to the mas- bodies, it gives her more predictable results at high tem- sive. Mrs. Duckworth came to this country from England peratures. She uses a white porcelain slip for casting, a in 1964, and is currently artist-in-residence (Professor of porcelain body for wheel throwing and pinchpots, and Ceramics) at the University of Chicago. She has had several stoneware bodies for handbuilding. Ruth favors nine one-man ceramic exhibitions since 1960 and has just the use of English kiln furniture but enjoys the durability finished a 400-square-foot mural of fired clay for the of American shelves. She also mentioned that glaze-swap- anteroom of the new Department of Geophysics Building ping is less common in England, where the recipes of on the University campus. individual potters are closely guarded. I first met Ruth Duckworth at Midway Studio Ruth Duckworth began her clay work making func- (which sexves as the pot shop for the University of tional forms. She contrived to design and produce deli- Chicago) during a hectic teaching session and was im- cate, light tableware while much of England was busy pressed by her gentle and accommodating manner. We equating domestic stoneware with heavy forms. Since agreed to meet the following week at her private studio that period in her development, she has grown to find a on Halsted Street. This studio is quite modern and greater challenge in asymmetric free form, and very spacious, with a split level area in the rear which she seldom returns to the wheel. uses as a sales gallery. Within approximately 600 square In the early Sixties, Ruth began working with feet of work area, Ruth has outfitted her studio with a porcelain. She did some casting, but found this material plaster wedging table that was cast on an old meat chop- to be equally adaptable to the creating of small pinched ping block, a 20-cubic-foot gas kiln, a 300-pound capacity forms. In 1964 she was invited to the University of dough mixer, a 20-foot work table, two smaller work Chicago, and since then has spent the majority of her tables, and an electric wheel. Directly behind the studio time in this country. In 1966 she was encouraged to set is a courtyard which separates her apartment from the up a private studio in Chicago to design and complete studio and provides an appropriate setting for two of her the large scale mural mentioned earlier. The mural, large sculptures. which contains built-in lighting structures in the ceiling, Ruth was born in Hamburg, Germany, in 1919, and is epoxy-mounted to the four walls and ceiling of the studied painting and sculpture for four years in Liverpool anteroom. just prior to the war. During the war, she spent the first I sense that Ruth thoroughly enjoys teaching at the two years giving puppet shows in schools in Northern University. She works closely with her students, stressing England, and the final two years as a tool maker in a the importance of personal confrontation with clay and Manchester factory. Following the war, the young English the realization that it means different things to different artist began to work free-lance with wood and stone people. She feels (as do many art educators) that it can sculpture. An idea to make glazed sculpture panels in the be personally gratifying but professionally disappointing early Fifties led her to clay, and she turned to the study to find her students' work too greatly influenced by her and teaching of ceramics at the Hammersmith School of own. She also reveals a continuing interest in knowledge Art, and later at the Central School of London. of contemporary ceramics. While she admits to feeling Studios here in the United States are somewhat dif- little rapport with the current use of neon paint and ferent from those Ruth knew in England. There, ceramic acrylics on fired clay, she encourages any new directions artists work exclusively with electric kilns. Ruth has come that might allow the clay artist a greater freedom of to prefer the greater flexibility of gas, and now fires most expression. of her work in a reduction atmosphere. She has also At present, Ruth's work ranges from delicate porce- September 1969 15 !1~i ¸ ~

Base of the planter is Work is done inside and out Ruth Duckworth welcomes started in a plaster mold, until the slabs are all in some slumping of the clay and textured slabs are added place and will support one slabs, but she perks up to form the walls. A piece another. It is at this stage excessively lazy areas of the of driftwood is used as a that Ruth may change some clay after the piece sets up a temporary support. of the slabs. little bit.

lain to large grogged stoneware sculpture. No matter The result is sculpture possessing a rough, organic, which size she uses, she delights in creating forms that weatherbeaten quality. have a monumentality of proportion and thus seems to Ruth's large, grogged stoneware forms have been overcome any limitation of size. Her small pieces are described as massive and timeless. They are easy to relate usually porcelain, pinched and beaten and shaped in a to and encourage a response simply because of their size. unique way that results in forms which combine, some- These are intended as outdoor objects. Their surface what paradoxically, the spontaneity and freedom of clay treatment is similar to the medium-size forms--iron oxide with the restrained quality of porcelain. These tiny pieces, highlights and heavy reduction firing to Cone 9 or 10. three to four inches, command attention and encourage Tony Birks, in a recent book about modern English a response from the viewer which is usually reserved for potters, claims that Ruth Duckworth was responsible, much larger pieces. White predominates as the glaze color perhaps more than any other potter working in England, for her porcelain; it results from the use of two ash glazes, for the explosive charge which altered traditional think- matt and semi-matt. She uses casting methods for making ing about pottery, at the end of the Fifties. porcelain salters, small partially-covered table dishes used Briefly looking ahead at her own work, Ruth pre- for dipping radishes, onions, etc. She does say, "That's dicts no new directions, but rather a deeper development my only production-line item." of those directions with which she is presently concerned. Her medium-size forms are generally stoneware and "This would include," she has said, "a greater use of my are produced from pre-formed molds which allow her to work on a larger scale in architectural settings." She build exceptionally bulky and often heavy, swelling forms. considers her mural to be such a work. These grow out of small bases, giving primary importance to form rather than to the origin of the form--the base. Bases often tend to dominate in a way which interferes with the strength of the total form of many potentially good ceramic pieces. The sequence photographs show THOMAS COLLINS is a student at the Art Institute Ruth Duckworth constructing such a form. These pieces of Chicago, where he has one more ),ear of work before are usually rubbed with iron oxide to bring out high- finishing his M.F.A. degree. This past summer, Mr. lights, and are fired in heavy reduction to Cone 9 or 10. Collins conducted raku demonstrations at Galena, Illinois.

20 Ceramics Monthly When the height o[ the View [rom above shows how piece has been reached, she Ruth Duckworth adds small paddles and prods those slabs at the top to complete areas of the slabs that seem the construction be[ore the to need it. piece is allowed to dry.

A 25-square-loot section o/ the mural Ruth Duckworth made /or installation in the Department o/ Geophysics building at the University o[ Chicago.

September 1969 21 WOULD YOU CONSIDER a basic cylinder of 28I~ inches an Junior High Students almost-unattainable height for an eighth grade boy to achieve while throwing on the potter's wheel? Five stu- dents in my advanced pottery class recently completed Can Throw Big Pots one semester of dedicated hard work to attain pottery sizes that I would not have believed possible in the be- by CIIARLES D. RASH ginning. Now each of the boys consistently can throw in excess of 20 inches, and one of them finished the se- mester with a record 28V2 inches! At least part of the success was due to a well-aged, plastic throwing body. The clay, which we dug in the nearby Cascade Mountains, is a long clay and, therefore, will readily stand the blending in of less-plastic ingre- dients such as silica, feldspar, fireclay, and grog. Our Cone 6 throwing body is comprised of the following: Native Clay ...... 75% Fireclay (Greenstripe) ...... 15 Grog (20 mesh) ...... 5 Feldspar (Kingman) ...... 3 Flint ...... 2 100% The boys were eager to participate in the clay digs, and it gave me a wonderful opportunity to get to know !

Above: Eighth-grade student Robert Metzer forms a large bowl on the potter's wheel.

Right: This is Bill Sherwood's first 21-inch cylinder.

Far right: Cherrie Holm mulls clay with her /eet as two assistants add feldspar, fireclay, and other ingredients that comprise the throwing body.

22 Ceramics Monthly them better. We loaded the clay into galvanized barrels minutes. Next, a sizable bowl was thrown, and then we left in my Volkswagen bus parked conveniently beside decided that the clay had aged long enough to be ready the clay bank. When we returned to school, we wheeled for use. All of the clay was then emptied onto the con- the clay into the art room, removed it from the barrels, crete floor, where the boys prepared the formula mix and placed it on tables to dry. Since the clay was chunky, with their feet, a process learned through their studies it was easy to handle. of Egyptian art history. About two weeks elapsed before we could pulverize After thoroughly mi'xing the ingredients to form the the dried chunks into pebble sizes. We then returned the throwing body, we allowed the clay to air dry and stiffen clay to the barrels--this time adding water to cover the for pug milling. Our mill extrudes eight hundred pounds clay entirely. This slaking process is necessary to eliminate of blended, plastic clay an hour--a real time-saver for visible impurities that float to the surface. Also, of course, this kind of operation. When the clay had been sliced, it softens the clay. We allowed one week for this process. blended, and compressed through the pug mill, it was Next, we removed the excess water and scum, and then up to the individual to wedge a sizable portion for finally we placed lids on the barrels to hurry the aging his own use. Once this had been accomplished, one of action. This is one of the most important steps in making the most exciting aspects of pottery-making was about the clay ready for throwing. Bacterial action breaks down to take place--throwing on the wheel! the particles of clay into a decomposed mass. When the Special emphasis was placed on centering and open- lids were removed a few days later, gaseous odors per- ing, as these are two critical steps in the development of a meated the area, signifying that the brewing action was suitable foundation from which all wheel-thrown pottery taking place. After a two-week waiting period, the clay emerges. My students spend several days trying their skill had decomposed enough to warrant a test. One of the at centering with varying amounts of clay. A five-pound boys was instructed to prepare our recipe and mix the ball of clay is much easier to center than a thirty-five clay by hand. After the body had stiffened enough to pound ball--a junior high student must work up to this manage, the boy wedged the clay for fifteen or twenty size physically (to develop strength), intellectually (to prevent repetitive mistakes), and emotionally (to over- come doubt). Throwing takes much practice; however, it wasn't long before fair pots were developed on our wheels. The next important techniques were pulling straight up, not letting the walls lean outward, and becoming more sensitive to the speed of the wheel. Soon after (within three to five pulls), the boys' cylinders began reaching heights of 15 to 20 inches. By "collaring" the neck of the cylinder periodically to the approximate size of the bicep, a more successful cylinder was possible. The boys learned that using slip on the arm prevented the revolving clay from chattering as it touched the skin. To further stimulate interest, I put up a progress chart which was posted on tile back wall of our ceramic work area. Each student had his name and the date printed on a 4" x 8" color card, and this was placed opposite the highest number of inches he was able to attain while throwing a cylinder. We had a showdown every Wednesday between the graph and the students. The graph was an easy index for me and a source of prestige for the students. Finally, I decided it was time for my boys to meet the public. It was arranged for them to demonstrate at a gallery in downtown Kirkland on a Friday evening. The demonstration was very successful, as it was well publicized in the local newspaper. On the following Monday, I noticed a happy, but more serious, bunch of kids wedging clay! Since then we have been invited to demonstrate throwing techniques at the Western Washington Fair, and at two high schools in the area. If you enjoy watching facial expressions change from disbelief to rapture, observe someone while watching junior high students throw big pots! CHARLES D. RASH heads the art department at Finn Hill Junior High School, Kirkland, Washington.

September 1969 23 THE UNUSUAL FREE FORMS shown here were made in slip Sack Casting molds~but with a difference. The process is called sack casting and, to our knowledge, it is a technique we've by LOUISE WOOD never seen before. Basically, it consists of pouring slip into a cloth sack, allowing it to build up a wall on the improvised mold, then removing the sack and finishing the casting in the usual manner. It is a good technique for producing simple cast shapes, and it is excellent for making free forms. Almost any kind of cloth may be used, but you must remember that its texture will remain on the finished piece. It is a good idea to test a small swatch first to be sure that it will separate from the set-up clay. Very coarse cloth, such as rough burlap, will be difficult to remove, but the resulting texture may make it well worth the trouble. Scraps from old sheets, draperies, and much- washed garments seem to work best. The first step is to draw a design on paper, keeping in mind the type of fabric to be used. For coarse, difficult- to-remove burlaps, for instance, care must be taken to avoid intricate detail or else the casting will be easily broken when the cloth is removed. The base of the piece should be drawn a bit larger than you think it ought to be. The reason for this is that it will narrow down some- what as it is rounded out to admit the sllp, and the finish- ed piece must have an adequate base on which to stand. When a final design choice is made, the shape is cut out and traced onto a doubled piece of cloth, leaving an extra inch or two at the bottom. The outline is sewn with small stitches, about twelve to twenty to the inch. The bottom is left open, and the excess cloth at the seams is trimmed to half an inch. Now a supporting collar or base must be fashioned of cardboard. If the piece is small (and it is suggested that you begin with a small project), the lid from a paper egg carton or a section of plastic-coated milk carton may be used. A hole is cut just large enough to admit the sack. Its shape--round, oval, or squared---determines the eventual shape of the bottom of the sculpture. The bag is inserted in the opening, and the excess fabric that you left at the bottom of the bag is slit at intervals of from one-half inch to an inch. These resulting tabs are folded over, and thumbtacked flat to the cardboard. The whole thing must now be suspended over some sort of container in order to catch drippings from the slip pouring process. Milk cartons, particularly the gal- lon size, are perfect, providing the cloth sack is not too large. It is well to keep the available container in mind when planning the design. Glass jars or plastic pails also may be used. If the work is to be very large, the sack would have to be tacked to something much stronger than cardboard; perhaps it could be suspended between two chairs, with a dishpan placed beneath in order to catch the drippings. Ordinary casting slip is used, but it must be somewhat thicker than is normally used in plaster work. The reason for this is that thin slip will run right out through the weave of some fabrics, and also through the stitches, if they are too large. The slip should be as heavy as practi- cal; it should be tested first on a scrap of the cloth.

24 Ceramics Monthly "k

1. Bottom section o[ a sack mold is slit into 2. The cardboard support rests on a jar rim tabs; these are tacked to a cardboard support. while slip is poured into the sack. 3. A coil o[ clay is added inside the base to gia'e 4. When an adequate wall has built up, excess it additional strength. cle.y slip is drained [rom the sack mold. 5. I[ the bag collapses at this point, it may Jill 6. Air /tom a hair dryer can be blown into the out again when it is turned upside down. mold to reshape the casting.

September 1969 25 7. When the clay is dr),, the sack is very carefully 8. Sack casting is an e~cellent method [or making removed from the casting. various [ree-[orm shapes.

When the slip is poured into the sack, it is necessary perfectly all right for the design if it doesn't. If it is de- to make sure that it has filled all parts of the bag mold. sirable for the bag to be bulged out again, this can be It is possible to massage it into any crevices that haven't accomplished by blowing air into it. A hair dryer is ex- filled, or to prod it from the inside with a pencil. In cellent for this purpose; it also will facilitate drying. general, a design that won't fill readily is too intricate When the slip is dry, the thumbtacks are removed and and probably will cause more trouble later on. the sack is removed from the support. Now the difficult With all but the very smallest pieces, this next step part begins! Snipping carefully with manicure scissors, is advisable: Roll out a coil of clay, flatten it slightly, remove the cloth from the clay, a small bit at a time. and apply it just inside the base of the sack. The bottom A false move here and all the work is lost! Also, if that of a sack casting tends to be thinner than the rest of the coil of clay was omitted from the base, you may be sorry piece, and is particularly vulnerable to breakage when at this time. Another reason for being particularly care- the cloth is being removed. The coil reinforcement takes ful at this point is not to damage the cloth texture that is only a few moments, and results in a good, strong base. imprinted on the clay. Once gone, it cannot be restored. The slip is left in the sack a considerable length of There is a happy alternative to the process of remov- time--an hour or even longer--since the cloth doesn't ing the bag. If the piece is to be fired in a gas kiln, it absorb nearly as much moisture as a plaster mold. The will not be necessary to remove the sack, as it may be casting process may be done in front of a fan or heat burned away in the kiln. You can burn the cloth out source to speed up the process. Next, the cardboard in an electric kiln, too, as long as you vent the kiln well support is grasped in one hand and the sack in the until all the smoke is gone. An added advantage of burn- other, and the slip is poured out. The bag may collapse ing off the bag is that more intricate designs may be at this point; when returned to its original upside-down used if the cloth does not have to be stripped from the position to dry, it probably will fill out again. It may be casting while the clay is so vulnerable to breakage.

26 Ceramics Monthly Oven and Range-Top Clay Bodies and Glazes by RICHARD BEHRENS

ARCHAEOLOGICAL FINDS indicate that with 39~ of green chromium oxide; clay cooking pots were used by man and an iron red with 5% red iron at a very early date. Contemporary oxide. artist-potters have continued to pro- A matt glaze applied to the moist OF SEATTLE duce heat resistant pots for the same pot permits of a single firing for both use. The average earthenware clay pot and glaze. A matt glaze may be has been adequate for this purpose, tnade from the following: J particularly when it has been some- what underfired. However, such ware MATT GLAZE suffers from a low water-tightness, Cone 04 and suitable glazes are needed to re- Kentucky Old Mine duce the leakage from such pots. Ball Clay #4 ...... 44.6% With the development of stone- China Clay ...... 18.7 ware and porcelain bodies fired to Talc ...... 25.8 Frit 54 (Pemco) __. - .,~,...~,,, .:~.. ~ ;i~; ~:.~-,~:;;~ : a high degree of vitrification--par- ...... 10.9 100.0% ticularly those fired to Cone 12 or higher--resistance to thermal shock Oxide, carbonate or stain colorants has been increased and is of a high may be used in conventional amounts. order. Since most artist-potters fire 1% cobalt oxide gives a green; and at a maximum of Cone 9 or 10, such 5% red iron oxide gives an iron red. bodies cannot be well used in making A clay body adapted to Cone 9 NOWI range-top cooking pots. A high mag- firing and suitable for range top or nesium body, fired to Cone 9, may ovenware use, and with good work- be successfully used for this purpose, ability, may be made from the follow- A Good Kiln however. ing old recipe: Throwing heat-resistant pots re- quires close adherence to good potting RANGE-TOP BODY Heed Hot Be practice if the ware is to prove satis- Cone 9 factory. Of importance are well- Kentucky Old Mine wedged clay, well-centered forms, and Ball Clay #4 ...... 25.0% Expensive walls of uniform thickness. Trimming China Clay ...... 35.0 Talc ...... must not be too forceful; and slow, 36.0 Save up to 37% using a few Bentonite ...... uniform drying is essential. Good 4.0 pleasant hours to fit together stacking in the kiln, slow firing, and 100.0% one of our easy.to-assemble kiln particularly slow cooling are advan- This formula, well mixed dry and kits. Fun to do m efficient to use. Step by step instruc- tageous. Removal from the kiln wetted with water, should be well- tions for assembly and easy should be possible with the bare wedged for use. The body, an off- beautiful firing. hands! white color when fired at Cone 9, An ovenware body which may may be be effectively colored with the These Are Kilns Made By fired as low as Cone 04 may be pre- less-volatile colorant oxides. Cobalt People Who Do Ceramics and pared from the following: oxide in a 1% amount produces a Know What A Kiln Has To Do. good blue. A 5% addition of red OVENWARE BODY iron oxide produces a warmer body. Commercial Kiln Kit, 24"x24"x27" Cone 04 While this ware does not require a deep ...... $195.00 Kentucky Old Mine glaze for water tightness, it may be Studio Kiln Kit, 18"x18"x18" Ball Clay #4 ...... 39.0% glazed. A warm seal-brown glaze can deep ...... 99.S0 China Clay ...... 18.0 be made from the following: Hobby Kiln Kit, Grog ...... 15.0 i 2"x12"x131/2" deep ..... 62.50 Talc ...... 25.0 Bentonite ...... SEAL BROWN GLAZE 3.0 Send for free detail sheets. ]00.0% Cone 9 Albany Slip ...... This may be well mixed dry, 70.0% soaked Clay Body (Dry) ...... 30.0 POTTERY by DOT with water, and well wedged for use. 100.0% Dept. CM The cream-colored body may be col- 408 N.E. 72nd St. ored a light blue by the addition of A somewhat-matt glaze, which may Seattle, Wash. 98115 1% of cobalt oxide; a light green Continued on Page 38

September 1969 27 ,,a,u,,no reproduC" cerarnicio::.,o,,o of significant work by thirly- artin two of America's outstandirlg Objects potters. :'These thirty-tWO ex- Found .q l .Q amp,esof Ceramic A, in Amer- IAa • my..%/l~l, ica must. as much as possible, As Stencils speak for themselves. They were selected from a group three times as large to represent most of the develop- by POLLY ROTHENBERO ments and achievements that have marked this post- war quarter-century as a period of almost explosive growth and change. Each example is significant for • tomorrow as well as today, since one can predict that the values which they express will never die, in spite of changing points of view." -Richard B. Petterson,Editor ANY NUMBER OF "found objects," laid against an enam- eled surface, create unusual textures when dry enamel is sifted over them. Gum must be sprayed over the "stencil" The pieces featured in this exciting portfolio have object before it is removed with tweezers so that excess been reproduced in black and white on heavy, quality enamel clings to it instead of falling off and spoiling the paper using a special printing process to provide Slices of sponge, braids, twigs, straws, and dried maximum fidelity and detail. Each of the 32 hand- design. are some materials that come to mind. some reproductions in the portfolio may be framed marine forms limited only by one's capacity for selec- or used as a poster in the home, studio or classroom. Possibilities are tion. Once tile imagination has been freed from the Here are the potters whose work is represented in traditional concept of stencils as cutout paper shapes laid this imT)ortant collection of ceramic art: flat against a surface, their decorative potentials become apparent. Michael Arntz Henry Varnum Poor F. Carlton Ball Antonio Prieto In selecting materials for stenciling, keep in mind Fred Bauer Ted Randall that only the flat, or profile, shape of an object will be Herbert Sanders Charles Brown Third dimension can be added Charles Counts Edwin and Mary Scheier transferred in enamel. Maija Grotell Paul Soldner by sifting or by the application of one, two, or more Robert Sperry Claude Horan stencils. Cut away all parts of the objects that Ka-Kwong Hui Rudolf Staffel additional Karen Karnes Toshiko Takaezu clutter their distinguishing features. The most interesting Charles Lakofsky Henry Takemoto of a found object is its incorporation into a Robert Turner application Wayne Long When possible, try Warren MacKenzie Peter Voulkos larger or more complex composition. Harrison McIntosh Helen Watson to use it in a concept that is different from its original Frans Wildenhain Karl Martz Netting can be used for texture rather than as John Mason Marguerite Wildenhain function. Gertrud and Otto Natzler William Wyman net in a design. The dried bony spine of a fish can be- a form of plant life; or a slice of dry seedpod may Included with the thirty-two large 11'" by 14" repro- come stencil the outlines of a horned marine ductions is a four-page folder containing commentary be just the shape to on each potter and his work. The impressive reproduc- creature ! tions and the folder are protected by a beautiful em- on material from the new bossed cover and the complete portfolio is packaged This article is based in a sturdy corrugated mailer. book, "'Metal Enameling," by Polly Rothenberg, Inc., New York Price: $6.25 plus a 75c mailing charge. published by Crown Publishers,

r _ _ _ _ 1 | 1. Copper panel is given coats o/ transparent smoke-gray I Ceramics Monthly fired at 1550°F on both sides. Slices of sponge and I Book Department are positioned as stencils. Box 4548 | broom straws I Columbus, Ohio 43212 | 2. Enameling gum is sprayed overall, and white opaque enamel is sifted over the surface, with siftings thin around I : I the edges. Stencils are removed. lines are scratched (sgraffitoed) with a Please send me _ copies of the portfolio Ceramic Art In | 3. Additional I pointed tool. I America @ $6.25 each plus a 75c mailing charge. | are sifted over plant I Name. I 5. Gray and white opaque enamels leaves and the dried spines of perch, which are positioned Address I enameled steel tile. I on a black State i City_ .Zip each found object is removed with tweezers, more I 6. As I enclose 13 cheek [] money order white enamels are sifted lightly to make a I gray and I~ (Ohi .... idents add 25e Sales Tax) shadow effect and snow.

28 Ceramics Monthly 4. Th.e panel is 7. Weeds in /ired at 1450°F. Winter, panel in black, white, and ~ray.

3

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September 1969 29 ORDER ANY OF THESE SELECT TITLES ON OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE. CLAY AND GLAZES FOR THE POTTER HANDBOOK OF DESIGNS AND DEVICES STEP-BY-STEP CERAMICS by Daniel Rhodes. Two complete books by Clarence Hornung. Over 1800 by Jolyon Hofsted. In this complete in- in one! Fundamental details on both sketches of basic designs and variations troduction to ceramics, the beginner CLAY and GLAZES make this book a including the circle, line, scroll, fret, is led through all of the basic clay "must" for every hobby-craftsman, stu- shield, snow crystals and many more forming and decorating processes. dent, teacher and potter. $7.50 useful symbols. $2.00 There are special sections on the Pot- CERAMICS AND HOW TO DECORATE ter's Wheel, Glazing, Firing a Kiln, DESIGN MOTIFS OF ANCIENT MEXICO THEM Building Your Own Kiln, Decorating by by Jorge Joan B. Priolo. Mrs. Priolo gives de- Techniques and Raku. $1.95 Enciso. A compilation of 766 tailed descriptions and illustrations of examples divided into geometric, na- dozens of decorating tural and techniques and NATURE AS DESIGNER artificial forms. Includes de- shows how to use them. $6.95 signs based on flowers, birds, fish, hu. by Bertel Bager. This unusual and man figures, etc. 170 pages. $2.25 KILNS: DESIGN, CONSTRUCTION stimulating book presents a treasured collection of plant life which demon- & FIRING strates in a unique and very effective ENAMELING ON METAL by Daniel Rhodes. Everything you need by Oppi way the beauty of form in nature. The Untracht. Step-by-step photos to know about kilns -- setting up, forms will suggest an are used to describe fundamentals infinite number on firing, various types of kilns -- is de- of shapes and textures for through to newly developed experi- scribed pottery. An and demonstrated in this first outstanding gift selection! $14.50 mental styles. This complete guide is a complete book on kilns. Over 100 major contribution to enameling. $7.50 drawings and photographs. An out- MAKING CERAMICS standing text. $10.00 by Lis and Hans Lundkvist. This text demonstrates some of the simplest meth- WE PAY POSTAGE MOSAIC TECHNIQUES ods of handling and shaping clay. Con- by Mary Lou Stribling. This unique tents include forming pieces by hand book gives a glimpse of the tremendous and with the potter's wheel, decorating CREATIVE CLAY DESIGN potential of mosaics as a medium for with glazes, recipes for glazes, making personal expression, and will stimulate plaster molds, casting, firing, construct- by Ernst Rottger. A wonderful aid to the curiosity those who of beginner and profession- ing a wheel, and directions for buildin~ are learning and those who al craftsman alike. $6.95 are teaching others how to explore the a raku kiln in the backyard. $4.95 creative possibilities of clay. $5.50 CERAMIC SCULPTURE SELLING YOUR CRAFTS by Betty Davenport Ford. The author by Norbert N. Nelson. In a concise, CERAMICS leads the reader to a high level of pro- step-by-step presentation, this book by Glenn C. Nelson. A new, revised and fessionalism in the design and technique leads you through the actual stages enlarged edition of a favorite title. An of an ancient craft. Animal, human, necessary to sell successfully what you outstanding handbook for potters and plant and abstract forms. $5.50 produce. Such diverse channels of sales teachers. 331 pages, hardcover. $8.95 as wholesale, retail, mail order and POTTERY: FORM AND EXPRESSION specialty markets are covered. $5.95 CERAMIC SCULPTURE by Marguerite Wildenhain. A truly beautiful book! Magnificent METAL ENAMELING NEW by John pictures of B. Kenny. Contains over 1000 the author at work and of ancient and by Polly Rothenberg. The emphasis in photos and sketches covering all phases contemporary pottery. this book is on new methods of enamel- of the An outstanding sculptor's art. A valuable aid for gift selection for potters. $9.95 ing and new applications of the age-old all craftsmen. $9.95 techniques. Many of these unusual ex- POTTERY & CERAMIC SCULPTURE perimental projects have never before THE COMPLETE BOOK OF by Herbert M. Sanders. A new, thor- been published. Especially important POTTERY MAKING oughly revised edition of Mr. Sanders' for the beginner are the step-by-step il- by John B. Kenny. The "best seller" in best seller, Ceramics Book. Completely lustrated project instructions. $6.95 up-dated with new material, including the ceramic field! Step-by-step photo BERNARD LEACH: A POTTER'S WORK lessons cover all of the pottery-making section on how to build a potter's wheel. Excellent for beginners. $1.95 Introduction by J. P. Hodin. This latest techniques. Clays, glazes, firing, plaster, book by Mr. Leach covers 55 years of etc. 242 pages. $7.50 MAKING POTTERY WITHOUT A WHEEL his work from 1911 to 1966, showing photographs of his pots and CERAMICS FOR THE by F. Carlton Ball and Janice Lovoos. sketches ARTIST POTTER This comprehensive and richly illus- from his notebook that he feels are rep- by F. H. Norton. The most complete trated book covers every phase of hand- resentative of each period, including book on the subject, from choosing the building and decorating clay pieces. No raku. stoneware, slipware, salt-glaze proper clay to putting the final touches book has covered the subject of texture ware, and enameled porcelain. $10.00 on a piece, all clearly explained. Ce- and form more effectively. $9.95 ramics at its best! $8.50 THE WORLD OF JAPANESE CERAMICS A POTTER'S BOOK by Herbert Sanders. This handsome CERAMIC DESIGN by Bernard Leach. Now in its tenth book illustrates the forming and deco- by John B. Kenny. Complete instruc- American edition, this book is a must rating processes and the unique tools tions for methods of forming and dec- for every potter and student of ce- used by the potters of Japan. Includes orating ware are given, with step-by- ramics! It deals with Japanese raku, glaze formulas, glaze color charts, and step photos to guide the designer along English slipware, stoneware, and Ori- American equivalents of Japanese the way. Contains appendix, list of ental porcelain. $8.75 glaze compositions. Has slipcase. $12.50 materials, recipes, and glossary. $9.95 Jl Ill tim ~ mm ~ tim mm ~ ~ tim tim mm Order Form -- We Pay Postage STONEWARE AND PORCELAIN BOOK DEPA|TMENl"417s North High St.. Columbus,Ohio 43214 by Daniel Rhodes. Describes techniques and materials used in high-fire pottery. [] Rhodes~lay & Glazes $7.50 [] Kinney--Glass Craft $7.50 [] Leach--Potter's Book $8.75 Includes sections on clay bodies, glazes, [] Encis~Design $2.25 [] Parmelee---Glazes $8.00 [] Hofsted~eramlcs $1.95 colors, textures and decoration. $7.50 [] Untracht--Enarnellng $7.50 [] Hornung~Designs $2.00 [] Bager--Nature $14.50 [] Rottger~reafive Clay $5.50 [] Priolo---Ceramics $6.95 Lundkvht GLASS CRAFT [] Nelson--Ceramlcs $8.95 [] Rhodes~Knns $10.00 [] ~Makincj Ceramics $4.95 by Kay Kinney. The complete book on [] Kenny~Sculpture $9.95 [] Sfribling--Mosaic $6.95 [] Nelson--Selllng Crafts $5.95 fusing, laminating and bending glass. ~i_1 KennylPottery $7.50 [] Ford~Sculpture $5.50 [] Rothenberg Basic techniques, step-by-step projects Nor~on--Artlst Potter $8.50 [] Wildenhaln--Pottery $9.95 --Enameling$6.95 and a "Glass Clinic." $7.50 [] Kenny--Design $9.95 [] Sanders--Pottery $1.95 [] Leach--Potter's Work $10.00 [] Rhodes--Stoneware$7.50 [] Ball & Lovoos--Pottery$9.95[] Sanders--Japanese $12.50 CERAMIC GLAZES by Cullen W. Parmelee. This invaluable NAME reference book completely covers glaze ADDRESS making. Includes formulas and batch recipes for glazes. 314 pages of techni- CITY STATE ZIP cal information. $8.00 I enclose [] Check [] Money Order. [Ohio residents: add 4% Sales Tax] 30 Ceramics Monthly !

"'You" by Ruth Rippon. Handbuilt and thrown stoneware; red, white and blue glazes; lettering in lusters. 13 inches long.

Pot with weaving by Arthur E. Nelson. Clay with a woven wool and horsehair collar. 26 inches in diameter.

Lidded Jar by Bill R. Sage. Stoneware with Albany glaze; ten inches high.

Whistling Pot II by Philip G. Cornelius. Stoneware; red-brown clay; light and dark brown glazes with of[-white design; 12 inches high.

Creative Crafts VI Pacific Dimensions

THE CREATIVE ARTS LEAGU.E of Sacramento, California, by 157 designer-craftsmen. Awards and acquisitions sponsored its sixth exhibition, "California Crafts VI, awards went to pottery, enamels and glass by Erik Gron- Pacific Dimensions," during March and April at the borg, Alan B. Eaker, Jr., Richard Marquis, Ralph Crocker Art Gallery. First presented in 1959, this biennial acerra, Ron Cooper, Myra Levy, Robert E. Naess, Ruth Tamura, has been varied by the League to further recognition of Erik Dahlin, Letitia Eldredge, and William Wilhelmi. Purchase contemporary crafts. This year it exhibited work in ce- awards for the Prieto Memorial Col- lection went ramics, jewelry, textiles, metal, wood, and other to Vickey Wallace and Dale Roush. media Chairman by craftsmen from Alaska, California, of the exhibition was Dora Hunter of Hawaii, Oregon, Sacramento. and Washington. The Crocker Art Gallery itself is of historical interest as it was the first museum to be built west of From the 1383 entries received, jurors June Schwartz, the Rockies, in 1871. It contains a permanent collection Bernard Kester, and Marvin Lipofsky selected 252 items of crafts developed by its director, Frank W. Kent.

September 1969 31 CERAMACTIVITIES people, places and things

OFFERED GLASS WORKSHOP Instructor for both classes will be Mrs. Saint Paul Art Center on March 26, 1970 The College of San Mateo is sponsoring Henry San[ord. Information can be ob- and continue through May 17. Original a Creative Glass Blowing Workshop, Octo- tained from Barbara Paine, Adult Direc- handcrafted work executed in metal alone ber 18-19, in the Choral Room and Amphi- tor, Y.W.C.A., White Plains, N.Y. 10605. or in combination with other materials is theater of the College. The sessions are eligible for the competition. This includes meant to appeal to artists, instructors, MIAMI MEMBERS SHOW all craft items: jewelry, hollow ware, flat- students, and curious individuals who The Ceramic League o/ Miami held its ware, furniture, architectural and decora- want to explore or observe this art form. annual Members Show at the Miami tive accessories, excluding sculpture, ex- Instructors are Vincent Rascon, Art In- :~ Art Center in May. ecuted since January 1, 1967. structor at San Marco, and Robert C. More th.n Application forms will be mailed in Fritz, from San Jose State. Pre-registration pieces by 48 mem- September, upon request to: Goldsmith/ is suggested: Box Office, College of San bers were selected 1970, Saint Paul Art Center, 30 East Mateo, 1700 West Hillsdale Blvd., San for the exhibition by Tenth Street, Saint Paul, Minnesota Mateo, Calif. 94402. juror Ken J. Uye- 55101. mura, crafts in- CENTRAL LOUISIANA WINNER ANNOUNCED CHANCEL DESIGNS BY LAUGHLIN structor at the Uni- o[ Miami. Louisiana Dealers Associa- A candleholder of stoneware and an- versity The Central Awards of Merit held its second annual show in the tiqued copper (pictured) was among the tion to L. Davis, Chili Emerman, Exhibition Hall of Rapides Parish Coliseum components of the chancel of Trinity went Virginia Garrett, Geri Poponoe, Marilyn May. First place winner in the profes- Lutheran Church at Rolling Meadows, Barbara in Glatstein, Natalie B. sional division for original hand work in Ill., designed by David Laughlin, Chicago Sherwood, Lynn Lund, Juanlta May, clay and stains was Morris Taft Thomas, ~rea artist-craftsman. The candle~ in their Lindner, Janel Genevieve McCrea, Marie Furman, Mary local artist, writer and teacher. His award- Grabill, Elinor ]ensen, lnga Lukat, Chris winning piece was a 19-inch bottle etched Rosean, Richard Bugdal, Jean Guthrie, with green, red and black; Mr. Thomas Josephine Kamp, Carol King, Evelyn C. also won honorable mention for his cov- Smiley, Fran Williams, Irene Batt, Dorothy ered vase, 16 inches tall, green and black. Bosco, Marcy Dunn, Edmund 0. Weyhe, Chairman for the show was Mr. Richard Nettle Winte, Edythe Powell, Virginia C. Hall. DeLine, Stemples, Mary ]. Acosta, Edna GEORGIA TRAVELING EXHIBIT and ]acqnelyn Ferguson. Pictured is mere- Dunn's "Sculptural Form with A traveling exhibition of work by Marcy Craftsman Oxides," one of the award winners. hers of the Georgia Designer is being seen throughout the state for a GLASS INVITATIONAL AT CHICO 12 month period ending in October 1969. The Art Department at Chieo State The Georgia Commission of the Arts grant- College staged a national glass invitation- ed funds for the show, which is moved al in April, with the aim of presenting an from place to place in a converted camper- exhibition which would reflect a com- trailer. An easily set up free-standing unit prehensive picture of contemporary glass in the United States. Some of the invited glass craftsmen were James Wayne, Robert C. Fritz, Marvin Lipolsky, Fritz Dreisbach, Richard Marquis, Fred Lucero, Kim New- comb, Henry Dixion, Tom McGlaughlin, Robert Naess, and David Hopper. As part metal bases ca, be ~em,,~cd h',,m the of the festivities, a glass symposium was ceramic base for use as processional held with Marvin Lipofsky, Fred Lucero candles. and Robert Fritz demonstrating glass blow- Mr. Other chancel components by ing techniques and discussing "glass to- Laughlin included a colored glass eternal day." This was held at the glass blowing oak cross, light, free-standing altar, carved studio on campus. Fred Lucero, Art Gal- designed a provides a unified open disp]ay area 1,~ and font. The artist also has lery Director, was in charge. series of banners and hangings that will the pieces of clay, wood, metal and fiber. be used in the sanctuary. CM readers NATIONAL CRAFT COMPETITION Beverly Bauer, Assistant Professor of Art may remember the CM article by Mr. Plans have been formulated for the at Georgia Southern College o[ Art, States- Laughlin, "Creatures Made on the Saint Paul Art Center's national craft boro, writes: "This is primarily a show of Wheel," which appeared in the March competition, Fiber/Clay/Metal, to be pre- ceramics, which reflect the traditional 1962 issue. Work by David Laughlin was sented in separate sections in 1970 and shapes and the use of soft, subtle glaze featured on the front cover of that issue. succeeding years, it was announced by colorings rather than hard, inorganic forms- Malcolm E. Lein, Art Center Director. with-contrasts-of-bright glazes. Don Penny's WORKSHOPS OFFERED Departing from the triune format of pre- porcelain pots and Bob Westervelt's stone- The White Plains (N.Y.) Y.W.C.A. is vious competitions, the first exhibition in ware pieces come through with a sim- offering pottery classes at the beginning the spring of 1970 will concentrate ex- plicity of form masterfully combined with and intermediate levels beginning October clusively on the specialized area of metal. soft glaze colorings. Many pieces combine at the Lila Wallace Center. A special Exhibitions of fiber and clay media will wheel thrown techniques with hand build- workshop is being offered for "Mothers be presented in following years. ing. Glen LaRowe's paddled weed pot, and Pre-Schoolers," beginning October 3. "Goldsmith/1970" will open at the which resembles a huge salt shaker, and

32 Ceramics Monthly a Charles Counts vase with punched-in- It tekes sides are two wheel-thrown forms con- toured into sculptural pieces. A brown to do the job covered jar by Phil Mayhew is also pad- dled. Yet, each of the three is uniquely Three Orton cones are the different from the other. The rest of the ceramic pieces reflect the interest of the best firing insurance you potter in raku, wheel throwing, hand can have. The guide cone building, salt glazing, and porcelain." lets you know the ware is approaching maturity, and MISSOURI COUNCIL CONFERENCE the firingcone lets you The Missouri Cra/tsmen's Council is know the firing is at the sponsoring a conference at Marillac Col- lege in St. Louis, Mo., Nov. 7-9. The correct point. Deformation theme of the conference is "The Contri- of the guard cone indicates bution of the Craftsman to Contemporary you have gone beyond the Society." Dr. Margaret Mead will par- ticipate in a panel discussion and will Firing best point in the time-and- speak formally to the group. Other con- Cone temperature relationship. Guard ference participants are Charles Counts, Cone Cone Orton cones are small, and require a min- Janet Kuemmerlein, and Donald Wycko[[. imum of kiln space. Plaques of cones Sue Garner is Conference Chairman. In- placed so they may be observed through formation regarding the conference can be the peep holes give you an indication of obtained by writing to: Missouri Crafts- The Edward firing progress. These, and others, placed men's Conference, Rt. 4, Box 732, Spring- throughout the setting or used in conjunc- tion with automatic shut-off devices, may field, Mo. 65802. 0RTON be examined after firing is completed to dr. Ceramic give you a detailed picture of conditions NEW ORLEANS BEST-OF.SHOW FOUNDATION in all parts of the kiln. Winners in the 15th ceramic show Learn more about Orfon Standard Pyromet. 1445 Summit Street ric cones and how they can help you to sponsored by the New Orleans Ceramic better, more uniform firing results. Ask Society were announced by Shirlie Vale, Columbus, Ohio 43201 your dealer for a free copy of "Orton show chairman. Pictured (left to right) Cones and their Importance to the Hobby Potter".

KILNS • . . the most complete line! The only kilns with patented DYNA-GLOW are David Meyer, Bill), McCollurn, Norma element holders. Write for information. E. Sie~'ert, Michael Doredant, Ethelee G. L and L MANUFACTURING CO., Box 348 Morgan, Donald Ciaccio, and Larry 144 Conchester Rd., Twin Oaks, Pa. 19104 • Ceramics Schnadelbach, all Best-of-Show winners. The three-day show was held at the Lake- • Stained Glass side Shopping Center Mall, March 20-22, and attracted over 600 pieces in the open COMPACT-ADJUSTABLE - RIGID-ALLSTEEL -SPLASH PAN • Lamp parts, lighters competition. PORTABLE-HEAVYRYWHEEi ... music boxes REGIONAL CRAFTS IN SANTA FE p0ff0r' wheel 109. " • Kemper fools The "1969 Southwestern Craftsmen's POWEREDVERSION ~i49. • Marx brushes Exhibition," showing the varied work of fORINFOHMAnON .0. THE"QUAGMIRE"wHeEL craftsmen in New Mexico, Texas, Okla- • Porcelain Flowers homa, Colorado, Utah, and Arizona, is on ESTRIN MFG.LTD. 3651 Pt.GreyVancouve~ 8 Canada~ display through September 14 at the • Rhinestones. jewels, Museum of New Mexico's International Sfarlifes Folk Art Building in Santa Fe. The exhibition is the result of a com- • Jewelry Findings, petition juried by ]ames A. McGrath, di- porcelain blanks rector of arts at the Institute of American GRAHAM Indian Arts, Santa Fe. From the original • Crushed glass, marbles 700 entries, Mr. McGrath chose 165 items for the exhibition--the largest in the Ceramics Ltd. • Copper enameling state museum's history. The juror's statement for the exhibition 830 Lamar Ave. Phone: 332-6766 • Plastics says in part: "The overpowering ambiance Charlotte, N. C. 28204 126 pages of more, more, morel is one of individual concern for the ma- terials of art, the skill of the heart and Rush $I for your copy today. mind. It appears there is more concern Complete Suppliers for the clay as a plastic medium to enjoy, rather than a medium for making a Catalog On Request Continued on Page 34

September 1969 33 CATALOG $1.00 Refundable on first order. CERAMACTIVITIES Continued [rom Page 33 Catalog sent free to casserole. Fibers are for cutting, tying, ing only those works by North Carolina Schools and Institutions. dyeing, painting upon rather than for a craftsmen, which will travel to each coun- garment. This approach to the material ty in North Carolina beginning this Sep- is through idea rather than through func- tember." The Guild is located at 15 tion, and is honorable." Reddick Road, Asheville, N.C. 28805. Mrs. Madeline Naranjo of Santa Clara Indian Pueblo, N.M., took first prize in SOUTH CENTRAL CRAFTSMEN the competition with her incised black pottery storage jar. Work in the exhibition The ACC-South Central Craftsmen includes 81 items by craftsmen in New exhibition, sponsored by the Gilpin County Mexico, 25 from Texas, 23 from Arizona, Arts Association, Central City, Colorado, 22 from Colorado, 11 from Oklahoma, and opened May 25 at the Association Gallery 3 from Utah. and continued through July 5. Juror Paul Smith accepted 220 pieces from a total of 727 submitted to the show; 85 pieces YOUNG AMERICANS 1969 of ceramics were included, 12 items of "Young Americans 1969," a major glass, and 79 of jewelry, metal and enamel. juried exhibition of the work of craftsmen Awards in ceramics went to Paul Soldner, between 20 and 30 years old, is on view George Sacco, William C. Alexander, through September 7 at the Museum of Thomas ]. Potter, Elizabeth Woodman, Contemporary Crafts in New York. The Herbert C. Schumacher, and Harold J. exhibition includes 205 objects of ceramic, Wassell. Merit award in glass was pre- fiber, glass, metal, wood, plastic and mixed sented to Patricia Esch. Jewelry and media worked in a wide variety of tech- enamel honors were given to Richard W. niques, representing the work of 184 young Mawdsley, Loyal La Plante, Harold T. artists from all over the country. O'Connor, Marjorie Schick, Lane Coulter, The exhibition is the result of a na- Madelyn Krall and Velma Dozier. Cath- tional open competition for young crafts- erine T. Russell is President of the Gilpin men who are permanent residents of the County Arts Association; installation of VAN HOWE CERAMICSUPPLY CO. United States. "Young Americans 1969" is the show was by Richard C. Hicks, Gal- the first such competition sponsored by lery Director. 11975 E. 40th, Denver, Colorado 80239 the American Craftsmen's Council since 1962, and reveals the many new directions and concepts which have become evident WISCONSIN AWARDS ANNOUNCED in the work of craftsmen during the past Top awards in the 48th Annual Wis- ONE-STOP CERAMIC SERVICE seven years, particularly among the young consin Designer - Craftsman Exhibition who have grown up in a period charac- went to Alan Friedman, Madison; Donald Central New York Ceramic Supply terized by rapid changes and immediate Reitz, Spring Green; Edward Schoen- communications. berger, Wausau; Fred Fenster, Madison; 213-2 ! S Second St. The exhibition represents the vitality and Dale A. Roble, Menomonie. Selection LIVERPOOL, NEW YORK 13088 and wide range of activity in crafts among of the show and awards were made by a young people, and as such provides a jury composed of Stanley Lechtzin, silver- comment of particular relevance to the smith; Rudy Autio, potter; and Budd current approach to the crafts in this Stalnaker, textile designer. The show country. The exhibition was premiered at opened March 23 at the Milwaukee Art ANDERSON CERAMICS COMPANY, INC, the national conference of the ACC in Center, and continued through April 20. 1950 S. McDuffie St. Albuquerque, New Mexico, June 7-11. Anderson, South Carolina 29622 After its New York showing it will be circulated to other parts of the United SOUTH CAROLINA STATE FAIR Complete Ceramic Supplies States. The South Carolina State Fair will feature ceramics in its Fine Arts Depart- SHHG TRAVELING EXHIBIT ment competition when the Fair opens on October 20 in Columbia. Competition A stoneware figure by Tom Suomalai- is open to residents of the state and there September 15-20 nen, Penland, N.C., (pictured) is among are categories and divisions for profes- the 150 items in- National Ceramic Hobby Week sionals, amateurs and juniors of all ages .... c•uded in the in all phases of ceramic work. This is one Southern High- of the few state fairs which has entries in land Handicra[t hobby ceramics as well as fine arts pot- Guild Traveling tery. Exhibition present- Winners will receive ribbons and cash We'd like to be ly being shown in awards from the Fair Association. Entry colleges, universi- blanks must be sent in by October 13 but ties, centers, muse- YOUR supplier... the entries do not have to be at the fair- ums, and galleries grounds until the 18th. For a premium CLAYS through 1969. A list of categories and entry information, new exhibition is GLAZES contact: Mrs. Helen F. Mendel, 4525 planned for 1970. Reamer Ave., Columbia, S.C. 29206. TOOLS According to Tom Gilmartin, Education KILNS Supervisor for the Guild, "While the ex- Schools end institutions write for hibited works are for sale, the primary FREE literature. purpose of the exhibition is one of educa- Send news, and photos, i[ available, about tion for an interested public. In conjunc- "People--Places--Things" you think will tion with this program we will begin be of ceramic interest. We will be happy another traveling exhibit, this one includ- to consider them [or use in this column.

34 Ceramics Monthly "MORF Oscar-Paul ABOUT ITINERARY PROFESSIONAL Continued [rom Page 12 BOTTLES" POTTER'S WHEEL I Craftsmen," Smithsonian Institution Trav- {a sequel to "All About Bottles") eling Exhibition; at the Smithsonian In- new techniques since 1964 . . . stitution. $3.50 ppd .... Canada add $1 FLORIDA, DELAND September 6-October 5 "Handicrafts KAY KINNEY-CONTOUREDGLASS of the Southeast," Smithsonian Institution 725 Laguna Canyon Road Traveling Exhibition; at the Deland Mu- Lacjuna Beach, California 926Sl seum. GEORGIA, ATLANTA through September 6 The 25th Ceramic National Exhibition, circulated by the Everson Museum of Art; at the High • Variable speed (19-155 RPM) Museum of Art. • Full torque "Satellite Drive" ILLINOIS, CHICAGO September 13-November 9 "Mexican • Quiet operation Crafts," Smithsonian Institution Traveling Exhibition; at the Field Museum of Nat- • Compact size & light weight ural History. Please • Floor space m 2 sq. ft. Mention CM ILLINOIS~ CHICAGO when writing our advertisers September 15-27 "Sweden: Reflections • Optional table tops in Glass," A major exhibit of work by (flat or splash pans) 13 Swedish glass manufacturers; at Car- son, Pirie, Scott and Company. • Smooth & uniform drive STAINED GLASS ILLINOIS~ ROCKFORD Potters and Dealers . . . write for more Do-it-yourself Kits: $14.95 prepaid. All supplies September 2l The 22nd Annual Green- information and prices. available. We publish THE GLASS WORKSHOP, wich Village Fair, sponsored by the Rock- journal of stained glass and allied arts: $4.00 per ford Art Association. OSCAR-PAUL CORP. 6 issues. STAINED GLASS CLUB, 482 Tappan Rd., 522 W. 182 St., Gardena, Calif. 90247 Northvale, N.J. 07647 Tel. (201) 768.70S5 INDIANAj INDIANAPOLIS September 20-21 Pioneer Arts and Crafts Fair; at the Children's Museum. Potters. Sculptors IowA, DAVENPORT September 20-2I Beaux Arts Fair '69; at Davenport Municipal Art Gallery. • Teachers• MICHIGAN, SAGINAW September 20-October 19 "140 Years FOR of Danish Glass," Smithsonian Institution Traveling Exhibition; at the Saginaw Art C YOU cannot afford Museum. L MODELING 'le without MONTANA, BILLINGS through September 5 Ceramics by nation Frances Senska; at Gallery '85. SCULPTURE on September 7-26 Jewelry and ceramics 3LAYS & by John Banks; at Gallery '85. NEW HAMPSHIRE, CONCORD A through September 28 New Hampshire OR WHEEL GLAZES Art Association Traveling Exhibit; at USE THE BEST Philips Exeter Academy. FOR THE LEAST COST! by NEW HAMPSHIRE, MANCHESTER September 13-October 12 "Toledo Glass y Cloys os low firing as National," Smithsonian Traveling Exhibi- Cone 06, also higher CREEK- tion; at the Currier Art Gallery. firing clays. TURN NEW JERSEY, UPPER MONTCLAIR September 15-October 10 Ceramics by Send for catalog GET ACOUAINTED William C. McCreath; at Montclair State College. WITH OUR CUSTOM CLAYS & GLAZES SERVICE NEw MExico, ALBUQUERQUE September 7-30 Jewelry by Frank BYRNE Long; Pottery by Fred Evangel; at 10 WHEELS KILNS TOOLS Craftsmen. Free Brochure Mold Catalog SOc New MEXICO, SANTA FE CERAMICS through September 14 "1969 South- 1451 Route 46, Ledgewood, N.J. 07852 western Craftsmen's Exhibition"; at Inter- (201) 584-7492 national Folk Art Building. Continued on Page 36

September 1969 35 Back In Print Kilns ITINERARY You owe it to yourself to get our story before you buy any kiln. Continued [rom Page 35 Aim for an AIM Kiln NEW YORK, CORNINO through September 7 "140 Years of Danish Glass," Smithsonian Institution Traveling Exhibition; at the Corning Glass Museum. CERAMIC KILNS through October "Dominick Labino: Hiwoy 9 & Brookslde at the Corning Glass A Retrospective;" Ben Lomond, Calif. 95005 Center. Mail Address: P. O. Box 414C NEW YORK, NEW YORK through September 7 "Young Ameri- cans 1969," a juried show of work by CERAMIC & craftsmen between 20 and 30 years old; SCULPTURE at the Museum of Contemporary Grafts. SUPPLIES CLAYS • TOOLS a GLAZES RAW MATERIALS NEW YORK, NBW YORK KILNS a WHEELS through October 5 Greek vases from Catalogs $1 (deductible with first $15 order}. the collection of Mr. and Mrs. Walter RICHLAND CERAMICS Bareiss; at the Metropolitan Museum of Post Office Box 3416, Columbia, S.C. 29203 NATURE as DESIGNER Art. by Bertel Bager NEW YORK, SETAUKET through October Pottery by Nancy the LOCKERBIEPotter's Wheel This unusual and stimulating book pre- Baldwin and Sand Castings by Jerry ~ FINESTKICK WHEEL MADE sents a treasured collection of plant Koch; at Gallery North. Used by colleges, schools life which demonstrates in a unique and studio potters $175.00. and very effective way the beauty of I~N'ORTH CAROLINA, CULLOWHEE Write for new circular to form in nature. The illustrations are of September Southern Highlands Hand- Parfex Co. -- 7812 Boulder seed pods, lichens, grasses, mosses and craft Guild Traveling Exhibit; at Western Ave., Highland, Calif. 92346 Carolina University. other fascinating items of the woods and fields that the author has collected NORTH CAROLINA, ELIZABF~TH CITY in walks through the countryside. September 24-26 Eleventh Albemarle CERAMIC EQUIPMENT The designs and "collectible" forms ot Craftsman's Fair; at National Guard WALKER pug mills • LOCKERBIE, Armory. OSCAR PAUL and SHIMPO WEST beauty assembled here will suggest an potter's wheels. infinite number of shapes and textures OHIO, CLEVELAND FREE brochure on request for pottery. All of the photographs through October 2 Cleveland Painting Capital Ceramics, Dept. CM selected for use in this volume are ot and Pottery; at the Lakewood Civic Art 2174 S. Main St., Salt Lake City, Utah 84115 exceptional quality, and those potters Gallery. in photography who share an interest ONTARIO, BRANTFORD or nature will find this book of special September-October "Invitation I," cir- ~-rJL1 Sold only interest. Every potter will find an culated by the Canadian Guild of Potters; astonishing new vocabulary of forms at Brantford Art Gallery. Authorized in this introduction to the obvious in Dealers nature which often escapes our atten- ONTARIO, TORONTO September 23-November 2 "Craft Di- J 1147 E. Elm tion. mensions Canada" includes a juried show W. P. DAWSON, INC. Fullerton.C.lif.9Z631 This superbly illustrated volume was of contemporary Canadian crafts; at the originally published in Sweden and has Royal Ontario Museum. great success abroad among met with ONWARZO, TORONTO artists, designers and craftsmen (par- September 4-27 One man show of Art-Crofts Supplies, Inc. ticularly potters). We are happy to Pottery by Walter Dexter; at the Canadi- 235 N.E. 67th St. Miami. Fla. 33138 have this title back in stock andready an Guild of Potters, 100 Avenue Road. Distributor for: for shipment to our readers. PARAGON Kilns • DUNCAN. SYMPHONY. OREGON~ PORTLAND CERAMICHROME and DRAKENFELD This book would make a wonderful September Ceramics by Dick Lolacma; MARX Brushes a JAC(~UELYN Stains gift for a potter friend. Be sure to treat at the Contemporary Crafts Gallery. copy, tool Price: $14..50 yourself to a PENNSYLVANIA, EASTON September 20 Fourth Annual Centre CERAMICS MONTHLY Book Department Fair; in downtown Easton. 4175 North High Street, Columbus, Oh;o43214 Square Art all-0ccasion QIFT idea Please send me copies of NATURE AS PENNSYLVANIA~ PHILADELPHIA DESIGNER @ $14.50 through September 14 "1969 B.F.A. A subscription to CERAMICS MONTHLY makes Craftsmen," work by Graduates of Phila- an ideal gift for any occasionl Simply fill in the Name. in this issue, mark it "gift," delphia College of Art, Moore College of subscription blank Address and tell us how you want it signed. We'll an- Art and Tyler School of Art; at the Phila- nounce your present with • handsome gift card City .State Zip delphia Art Alliance. ;n your name. If the recipient of your gift is already a copy safes tax. PENNSYLVANIA, PITTSBURGH Ohio residents add 58c per subscriber to CERAMICS MONTHLY, we w~ll I enclose [] Check [] Money Order September 6-7 First Annual Allegheny extend the current subscription. Center Craftsmen's Fair; adjacent to the We Pay Postage m Money-Back Guarantee Allegheny Center Shopping Mall.

36 Ceramics Monthly CERAMIC WHY SETTLEFOR LESSTHAN CLAJS \ TH, r.P. O-Z, IZ' J QUALITY NEW BOOKS CERAMIC COLORS AND POTTERY DECORATION GLAZE by Kenneth Shaw MATERIALS First printed in England, Ceramic Colors and Pottery Decoration has been revised and enlarged for 1969 publication in the "Crigitg ...,c ,.c United States. It is designed as a reference guide for craftsmen in industry, colleges, 9016 DIPLOMACY ROW art and secondary schools, and art and DALLAS, TEXAS 75235 studio potters. Covering the field of PHONE (214) 631-0540 ceramic color technology, its eighteen chapters include a brief history of color- making, general methods of preparation FRANCOISE CERAMICS underglaze and onglaze decoration, organic DISTRIBUTOR FOR: Paragon Kilns; Duncan Glazes. materials used in decorating, metals and Underglazes, Bisq-Wax and Molds; Ceramichrome for the studio Look No More For the Electric Glazes and Underglazes. IN STOCK: Large sele¢- lustres, and color-making lion of Aflantic.Arnel.Ludwig Schmid-Hollond and potter. Six chapters deal with individual Kiln Buy You've Dreamed About: Whita Horse molds. Complete line of ceramic common faults. 183 supplies. WHOLESALE AND RETAIL. colors; another covers Outstanding Features--Low Prices! 43 black and white photographs; 113 49th St. South St. Petersburg, Fla. 33707 pages; $7.95. Frederick A. Praeger, New York, A. Heavy steel frame painted ins;de and out. N.Y. B. Transite used for outer shell, C. Firing chamber constructed of tongue and THE ART OF ENAMELING 9roove firebrick. This "Individual Brick" ¢on- strucflon allows chamber to expand and con- SUPPLIES by Margaret Seeler tract without cracking; brick replacement is a ENAMELING simple procedure, EVERYTHING FOR THE ENAMELIST! German-born and -educated Margaret Painting, Decoupage, Flower Beading D. Lid is held toqether using steel rod bolts• CATALOG $1 (Decoupage Catalog 50c) Seeler created her book to capture the at- KRAFT KORNER tention of both professional artists and Send /or Free Brochure showing 5842 Mayfleld Road, Mayland Annex amateur craftsmen. Not only has the author many models. High in quality. For Cleveland, Ohio 44124 Phone (216) 442-1020 her experiments and accomplish- described every need. ments in lively, clear text, but has illus- trated them with drawings, black-and- M~ G,,. white and color photographs. This compre- W.D. BU RT cover- P. O. Box 353 hensive volume includes six chapters Faiffax," California 94930 ing equipment, enamel, metals for enamel- ing, metal shapes for enameling, enamel- ing techniques, and making finished ob- jects; a seventh dwells on thoughts on 8th Annual Medieval Enamels, ending with an epilogue and appendix. Each chapter is generously illustrated with drawings and photographs. Toledo Show Gare is dressed to kiln 128 pages; 14 color photographs; $14.95. 450 TOLEDO RACEWAYPARK • . . in stainless steel jackets and a 2-year Van Nostrand Reinhold Company, factory warranty on electrical components. West 33rd Street, New York, N.Y. 10001 5700 Telegraph Rd., Toledo, Ohio Check Gare's net prices before you make your next kiln purchase and make a killing. TILE PANELS OF SPAIN 1500-1650 SATURDAY, SEPTEMBER 20 Gare Ceramic Supply Co., Inc. by Alice Wilson Frothincjham 10 a.m. to 9 p.m. P.O. Box 830, Haverhill, Mass 01830 Alice Wilson Frothingham is concerned SUNDAY, SEPTEMBER 21 with the history of Spanish tilemasters, 10 a.m. to 8 p.m. their use of Renaissance decoration, and The Famous the Italian method of glaze painting. A • NEW COMPLETELY AIR.CONDI. containing 178 monochrome plates TIONED BUILDING • FREE DEMON- KLOPFENSTEIN section • illustrates the four chapter history of the STRATIONS • FREE PARKING WHEEL BOOTH PRIZES POTTER'S addition, there are six handsome DOOR PRIZES • Write for FREE Information book. In • HOBBY AND STUDIO DISPLAYS color photographs. 284 pages; $30.00. H. B. KLOPFENSTEIN & SONS Spiral Press, New York, N.Y. RFD. ~2 Dept. A Cresfllne, Ohio 44827 THE BOOK OF ROOKWOOD POTTERY by Herbert Peck This history of Rookwood Pottery by Herbert Peck is a reflective detailing of Alexis Rd. ~- pottery , • . for the development of the famous school operation. It is accomplished chronological- and ly in six parts with twenty-one chapters; studio! then seven afterchapters chart the achieve- ments, fame and eventual decline ManhattanBlvd. (xit of the half-century history of the Rookwood Pottery. There are more than 250 illustra- t" 0hioT~rn~ke and white, in- Mill mix tions in color and black drudgery cluding photos of Rookwood personnel

, ~... " • %LI~C II[IIC 1( IF creative and interiors of the pottery. 184 pages; -~. cH,wt .tr ] irs<:,l.::'-~ $7.50. Crown Publishers, Inc., 419 Park For information Call or Write: Ave., New York, N.Y. 10016. Ila M. Periaf, Pres., TOLEDO & AREA 38 CERAMISTS, 2646 ]iTfh St., Toledo, Oh|o ~ Continued on Page I

September 1969 37 Advertisers Index

NEW BOOKS September 1969 Continued [rom Page 27 AIM Kilns ...... 36 ther Chool American Art Clay Co ...... 4 PIONEER POTrERY Anderson Ceramics Co ...... 34 by Michael Cardew a Art Institute of Chicago ...... 38 The main purpose of Mr. Cardew's book Art-Crafts Supplies, Inc ...... 36 is to help craftsmen potters who want to B & I Mfg. Co ...... 4 make use of natural materials without de- Bergen Arts & Crafts ...... 33 pending too much on the supplier. The institute Blick, Dick ...... 37 plan of the book results from the author's Brent, Robert, Potter's Wheels ...... 10 own experiences in West Africa, of having Burt, W. D., Mfg. Co ...... 37 to make glazed stoneware in primitive Byrne Ceramics ...... 35 of conditions. There are chicago chapters on geology Campbell, Gilmour ...... Cover 3 professional BFA, MFA a3 it affects the practical potter; prepara- Capital Ceramics ...... 36 degree programs tion and use of clay bodies; formulation of Central New York Ceramic Supply in glazes; importance of refractories (includ- ...34 all areas of Ceramichrome ing instructions on how to make one's own ...... 6 fine arts, design Craft Students League firebricks); kilns for low and high tem- YWCA ...... 38 art education Craftool Co ...... peratures; and a last chapter on the rela- Cover 4 Creek-Turn ceramics, tion of the modern artist potter to science ...... 35 and industry and to the fine arts. GM Cress, J. J ...... 7 weaving readers may remember J. Slye's article, Dawson, W. P ...... 36 "Abuja Stoneware," which discussed Car- Duncan's Ceramic Products ...... 3 glass-working dew's work in Africa. Foreword by Ber- Estrin Mfg. Co ...... 33 nard Leach; 16 appendices; 327 pages; ?rancoise Ceramics ...... 37 drawings and halftone textile design illustrations. Long- Care Ceramic roans, Green and Co., Supply Co ...... 37 Internationally-knownFaculty and Craftsmen Ltd., London, Graham's Ceramic Studio England ...... 33 Accredited: NCA, NASA House of Ceramics ...... 10 Write for Catalogs LIVING CLAY Kemper Mfg. Co ...... 13 A Potter's Guide Kinney, Kay ...... Office of Admissions by Juiie Evans and Harry Marchant 35 The School of the Art Institute of Chicago Klopfenstein, H. B. & Sons ...... 37 Living Clay, published in Australia, was Michigan Ave. at Adams St. Kraft Korner ...... 37 co-authored by Julie Evans and Harry Chicago, Illinois 60603 Box #CM-I L & L Mfg. Co ...... 33 Marchant. This book was written to explain Long Island Ceramic Center ...Cover 2 fundamental ceramic processes, with chap- Mayco Colors ters devoted to handforming, pressing and ...... 11 casting, forming on the wheel, decorative Moerlin, Mildred ...... 38 processes, glazing, kilns and firing equip- Ohio Ceramic Supply ...... 34 ment and room organization. Sixteen pages Orton Ceramic Foundation ...... 33 are devoted to photographs of finished pots Oscar-Paul Corp ...... 35 from the workshop of and available kilns; in addition, there are Paragon Industries ...... 12 line drawings illustrating instructions. 114 Parfex Co ...... 36 pages. Rigby Limited, Adelaide, Australia. Pottery by Dot ...... 27 Mildred Noe,llns Pyro-Bond ...... 8 Reward ...... RANGE-TOP BODIES 8 Richland Ceramics ...... 36 WHEELS AND KILNS Continued [rom Page 27 Rovin Ceramics ...... 10 Stained for also be applied to the moist pot for Glass Club ...... 35 the potter Standard Ceramic Supply Co ...... 9 a single firing, follows: 1324 Normandy Dr. N.E., Atlanta, Ga. 30306 Tepping Studio Supply ...... 4 Phone: (404) 874.8774 SINGLE-FIRE GLAZE Thompson, Thomas C., Co ...... 5 Toledo & Area Cone 9 Ceramists ...... 37 Trinity Ceramic Supply ...... 37 Kentucky Old Mine Unique Kilns ...... 35 Ball Clay ¢~4 ...... 21.7% Van Howe Ceramic Supply ...... 34 CRAFT China Clay ...... 30.5 Walker Jamar Co ...... STUDENTS CERAMICS Talc ...... 31.4 37 Open House: Sept. 23 Lithium Carbonate ...... Westwood Ceramic Supply ...... 8 LEAGU E 5-9 p.m. 8.2 Classes begin Sept. 2S Frit 54 (Pemco) ...... 8.2 YWCA Gyotaku Workshop 840 8th Ave. Oct. 10 100.0% of 51st, N.Y. Men, Women, Teenagers. Back Issues (212) 246-3700 Day, Evening, Catalog C. This glaze may be effectively colored The [ollowing back issues with of Ceramics the less volatile oxides such as Monthly are still available at sixty cents cobalt oxide. per copy (Ohio resident pay 4% sales RICHA'RD BEHRENS is a graduate tax). We pay postage. MOVING SOON? chemist who has worked in various 1960 November, December U.S. Post Offices will no longer forward industrial and research [ields 1962 January (9-year Index issue), February, magazines, even it they have your new and has April, May address. Your magazines will be returned taught pure and applied chemistry at 1968 June, October, November to the publisher at a charge of 10e each. 1969 June If you move, please notify us at least 4 the adult and secondary levels. Pot- weeks in advance, giving both new and old addre~es, and send addressed portion of tery is his major avocation and he Please send remittance (check or money your mailinfi envelope to Ceramics Monthly, order) with list o/ issues desired. 4175 N. High St., Columbus, Ohio 43214. spends much of his time exploring the (Don't forget to include your ZIP number on new address.) field o/ glaze technology in his work- CERAMICS MONTHLY shop. 4175 N. High St. Columbus, Ohio 43214

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