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,~o~ ~~ SEVEN WAYS TO DECORATE Announcing the 1957 Great Lakes CeramicHobby Exhl 'tion Chicago, III.mMay 26, 27, 28, 29, 30

This year the Great Central Ceramic League invited the Great Lakes Exhibition to make Chicago its site for the 1957 Show. The invitation was accepted and the Great Central CeramTc League will be the acting host wlfh the Michigan Ceramic Dealer's Association as a joint sponsor. The Conrad Hilton, the world's largest hotel, with its marverous facilities will be the background for the 19S7 show.

Conrad Hilton, Chicago

There will be many exciting moments in store for you at the Great Lakes Exhibition. Plan now to attend. Check the following features:

1 /k display under one roof of the best in ceramic materials with instruction on their use by manufacturers and suppliers. 2 Inspiring demonstrations by outstanding artists in their respective fields. 3 Special classes in the mornings by these outstanding artists for a limited number of people at a class rate. 4, A "Fun for everyone Luncheon" with Gladys Workman, Scottsburg, Oregon, M.C. 5 A competitive display open to hobbyists from the United States and Canada.

6 A non-competitive display area open to teachers and small studios at a nominal cost. 7 Help in arranging special buses for group attendance.

Arthur Higgs, Managing Director For further information write: 414 N. Jefferson Bay City, Michigan 0 : i

. ~-~! ~" EVER YTHING

FOR ENAMELING -+-~ 0-0 ~ I ~-C) ~ on. ~c LOW COST KILN ~-~ o ~- for beginner or professional. Fires pieces up +o

43/8', diameter and 11/2" high. It reaches enameling temp- ~,~_:~ ~'~ , _. erature quickly and maintains it constantly. All parts are ~r-o0 0 < :. easily replaced at nominal cost.

~'-< ~.- o <> NEW BY THOMPSON c~r.O =r- _3. kJ~a GI O Oo ~o ~o C) a 0- o_oo ° ,o .,.-~ o -r ENAMEL GLAZE PAINTS / A superior decorating medium for painting designs i,,oa - Q :3 over enamel base coats. Supplied in kits and bulk form. °=~a--,-~ "°o," ~ rnco<':"C~r_~ ao.< ~ (~" n o~~o.~..°~°-= < ° ~: ° --"="o ~" OnIo -~ >_.= C i[:1_ ENAMELS "0 ~ i,i-I Q Complete line of enamel colors including opalescents. - 3~®o "0~"orO0;.< ~°- -=-8g=,-

METALS ~'00c o a All shapes and sizes in copper and the new silver plated steel which requires no pre-cleaning. ,,-I Z_~o ~..~ mO.~~ =- _~ i 0>®>omz ~ ~ =1® ~ --. o~t--- Z _ kl/o~Oo .~ ~ FINDINGS 0-,-.-,~- "~ a- ,.~ .~=:.~ n 9 ~~' For cuf~ links, ear rings, brooches etc., and all types of chain ..~" <~ in copper and brass. ~o~

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FEBRUARY, ]957 I slyl &~ style

style 481

Glazing? Banding? Stippling? Fine scroll work? Minute detail? Lettering? Tinting? Grounding? The answer is ceramic brushes by Delta... the finest, most complete line of brushes for every medium, every technique, every ceramic use. Whether you do tiles or pots, figurines or plates, ashtrays or teacups... oetamio bPushes by delta ... the indispensable tools your best efforts deserve. 515S For your copy of "Ceramic Brushes-their selection, use and care" by Carol Janeway, send 15¢ in coin or stamps to

brush mfg. corp. 119 bleecker street, new york 12, n. y.

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sye ~~ style 482H 5O

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2 CERAMICS MONTHLY O. HOMMIEL... JJ I Volume 5, Number 2 FEBRUARY • 1957 MOST COMPLETE 50 cents per copy CERAMIC in this issue of

Letter~ ...... 4 SUPPLIER With the use of HOMME[ Ceramic and Ceramic Shopper ...... 8 pottery materials in art classrooms of today's modern schools, young artists can be assured of best results in their search for Itinerary ...... 10 self-expresslon. Maintaining the first position in the industrial supply field, HOM- Seven Decorating Techniques by Karl Marfz ...... 13 MEL always supplies the best of economi- cal prices. Enamelincj: Champleve by Jo Reberf ...... 16

Clay and the Visually Handicapped Child UNDERGLAZECOLORS uu by MuHel Anderson ...... 18 GLAZESTAINS Make Your Own Raku by Freda de Castro ...... 20 PREPAREDGLAZES ENGOBESTAINS Undercjlazes: Flower Motif demonstrated by Marc Bellalre..22 PREPAREDCLAY BODIES Draped Shapes and Pressed Decoration by Hermlne A. Secre÷an ...... 24 OVERGLAZECOLORS GLASS COLORS Strictly Stoneware: Slip Glozes (cont.) by F. Carlton Ball..26 GOLD-PLATINUM-LUSTRES CM Briefs: Wall Plaques from Patterns ...... 27 for glass and china CHEMICALS,FRITS Answers to ~)uestions conducted by Ken Smith ...... 29 KILNS-all types Suggestions from our Readers ...... 31 WOOD MODELINGTOOLS

Ideas for the Decorator by Bee Basch ...... 32 TURNING TOOLS BRUSHES-fordecorating Enamelers Column by Kathe Berl ...... 33 DECORATINGWHEELS Ceram-Actlvities ...... 3 S BRASS WIRE SIEVES

Show Time ...... 37 ASBESTOSGLOVES & MITTENS

Advertisers Index ...... 37 UNDERGLAZEPENCILS & CRAYONS AIR BRUSHES

Editor Louis G. Farber SPRAY BOOTHS Business Manager Spencer L. Davis STANDARDPYROMETRIC CONES Associate Editor Mary Elliott Editorial Associate Thomas Sellers

Art Director Robert L. Creazer FREE Advisors and Special Contributors: Carlton Atherton ; F. Carlton Ball ; u Dee Baseh; Kathe Berl; Edris Eckhardt; John Kenny: Zena Hoist; HOMMEL CATALOG Dorothy Perkins: Jo Rebert; Ken Smith; Vera Waikup; Don Wood Write for your copy today. ('over by Robert L. Creager Profusely illustrated. Ceramics Monthly is published each month at the Lawhead Press, Inc.. Athens, Ohio, by Professional Publications, Inc., S. L. Davis, Pres. and Treas. ; L. G. Farber, V. Pres. ; P. S. Emery, Secy. SUBSCRIPTION PRICE in U.S.A. and Possessions: one year, $5: ,!, O. HOMMEL CO. two years, $9; three years, $12. Canada and Pan Am. add 50 cents a year; foreign, add $1 a year. Current issues, 50c; back issues, 60c. I PITTSBURGH 30, PA. ALL CORRESPONDENCE (advertising, subscriptions, editorial) should be sent to the editorial offices at 4175 N. High St., Columbus West Coast Warehouse, Laboratory & Office 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under Authority of the Act of March 3, 1879. 4747 L 49th Street, Los Angeles, California Copyright 1957 by Professional Publications, Inc. All rights reserved. EASY DOES IT? every time you write up a show? . . . Dear Editor: MRS. MILDRED FROMER The December issue is one of the best Chicago, I11. we have had for some time. I am, as al- • It's rare that this in[ormation is sent to ways, intrigued by the articles of Mr. us; we always try to include all vital sta- Sellers. My experience with closed shapes, tistics supplied.--Ed. however, would indicate that they are not BARB AND BALM FOR BALL as easy as pictured. I have trouble with NOTE FROM O'SEAS Dear Editor: the clay gathering in ridges when I at- Dear Editor: • . . I want you to know how much I tempt to close the form. It may be that I have been extremely interested in the appreciate CM. Working alone here, I the clay he is using is more suitable . . . few 1954 issues of your magazine which turn to it constantly . . . Incidentally, I In spite of all, your magazine is still I could borrow from a friend. As I was have met F. C. Ball personally and I wish the best to be had. then residing in Indonesia, where financial every one of your readers could know A. J. SPENCER arrangements are difficult, I could not his magic, skill, good nature, humor and St. Petersburg, Fla. subscribe . . . Now [I can], and a friend downright friendliness! . . . • The trick is in the technique, not the • . . who is a teacher of ceramics here is ELLEN" BAXTER clay. Any good throwing clay will work, equally keen to subscribe . . . • Weyauwega, W~c. according to Tom Sellers (who is reply- I am thankful for your kind attention ing personally to Reader Spencer).--Ed. and for your thorough and interesting Dear Editor: [magazine]. We have none here, or in Four articles relative to stoneware have BIG SHOW... France, (in spite of the intensive life of appeared to date in CM. They are in- pottery and ceramics) which has special- teresting but tell very little that would be Dear Editor : ized in giving tips to beginners, ideas to helpful, or what the average potter does Your handling of the Syracuse Show experts and an impulse to would-be pot- not already know. [January] was pleasing• The layout was ters. All this we have found in yours . . . Mr. Ball has made some beautiful pots particularly nice . . . I wish you could de- MRS. L. H. CORSANE and he is recognized as an authority. May vote more space to this type of feature so Algiers, Fr. North Africa I suggest that he include in his articles that the photos could be larger; I imagine, several formulas for clay bodies and also however, that there are many things to ENAMELING HANDBOOK FAN matt and gloss glazes, both suitable for consider when allotting space . . . I was Dear Editor: cone 8. The method of glaze application, glad you were able to include the de- I am enclosing a check for the CM including thickness, would be helpful. tailed descriptions of all the pieces . . . HANDBOOK ON COPPER ENAMEL- DANIEL JAMES SHEA JEAN BRADFORD ING. My enameling students have been Birmingham, Ala. Newtonville, Mass. inspired by the quality work shown in this book. Unfortunately, there are also some • By this time, articles five (January) and Dear Editor: horrible [books and other] literature on six (this issue), complete with formulas, Congratulations on your fine coverage enameling available, so I hope your book etc., have reached Reader Shea--who had of the "Big Show at Syracuse." Your in- will have wide distribution. better duck. Brickbats are sure to be clusion of all the details relating to the May I suggest that you design a cover thrown by the Ball devotees (a vast ma- pieces--size, color, decorating technique, that will be compatable with the contents? jority!) who won't agree that "'Ball's etc.,--was received with open arms. Why FLORENCE MOORE articles tell little." Ed. can't you include this vital information Johnson City, N. Y.

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4 CERAMICS MONTHLY UL AI~IJKUVI~I~ I'UK I"UUK I"KUII:~IIUN Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not! TO.'O.O----S !ii!/ 20 quality built, feature packed models from which to choose• DYNAKILNS feature the patented DYNA- ~-~ GLOW porcelain element holders 4-way switches ~ , • . . 2 peep holes . . . pilot lights . . . and they are designed with your safety in mind• MODEl- Ul5 ~H~

ENAMELI_GN KILNS ~ ...... Price includes Pyrometer, TEMPERATURE HOLDING Input Control Switch, Gravity Door, E NA M E LI N G KILN Pilot Light, and Patented Dyna-Glow Can Also Do Ceramics! Porcelain Element Holders. Attractive . . . Plugs in anywhere! STAI 8o p,o, ,,.oo ,,o,,°, ,ha,,.:, MODEl- E49 m ~ Chamber size: 4" x 8/=" x 8Y2'

~ ~ WRITE FOR LITERATURE • MANUFACTURING COMPANY CHESTER 11, PIENNA. DEALER INQUIRIES INVITE a FEBRUARY, ]957 ~.namoer opening advanced engineering put into ~these kilns. 13" x 13", depth 131/4"; Max. Temp. 2300: Volts 230; Amps 13; Heavy gauge steel frames power pressed to Ship. Wt. 240; Price $149.50 exact dimensions and electrically welded far maximum strength . . . heavy duty four way switches, light weight easy opening lids, high quality block insulation, genuine Kanthal A wiring, and dust free interior coating. Gives your work that Professional finish. If you do not have one-write today for FREE Catalog describing in detail the new Paragon Chamber opening 17" x 17", depth 18"; Max. Temp. 2300; "S" Series. Molts 230; Amps 28; Ship. Wt. 425; Price $284.50.

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~r Chart o'ucfi°nListSheets I Large Begonia Bowl--No. 42--$9.50m131/2" x 10V#' We carry everything for mosaic work. Imported Italian and a This piece is a splendid sculptural trans- French mosaic tiles and tesserrae, brass and wrought iron i lation of nature. It may be used for salads, table frames, legs, mastics, tools and grout. I flowers, snacks, etc. Wood Legs Wrought Iron Table Frames Brass Finish (Brass Tipped) i Star & Fish Cigarette Gadget or Pins No. 49m$1.50 • Legs set of 4 set of 4 ! Here are more useful gadgets for which j Rectangular I Circular [ 0" .... 6.95 6" .... 3.95 Mrs. Basch is famous. ]12~xl2Jr~ ] 5.50 I 18" dia. I 7.50] 11" .... 8.95 12"____ 4.50 | ]181/~x18~ I 8.50 ] 24" dia. ] 9.501 14" .... 9.95 16" .... 5.50 ! All molds (c) Bee, FOB Rumson, N.J. [18~x48~ I 19.95 I 30" dia.] 12.50] 16" .... 11.95 22" .... 6.50 Add 10~ /or packing, 50c mini,nu*n. No ] ] 36" dia. [ 13.501 22"----12.95 28"____ 7.50 i COD's, please. TILES ...... _$1~5--~r ~ and~up (a~~ ~ l SOLID BRASS 1 pt STRIP ...... 70c ft., drilled w/screw l SPECIAL CUTTERS ...... $1.50-$2.45 each MOSAIC TILE GROUT ...... 40e lb. i Send for our New FREE Catalog! illini lq ITI I'd service 70 Oak Tree Lane, Rumson, N.J. "'~.UALITT CERAMIC SUPPLIES'" /439 N. Wells, Chicago 10, Ill. Phone MI 2-3367 / ll n l m l n n lm m

6 CERAMICS MONTHLY The CevamicShowVl ndo,vofthe Nation

Meet Everyone. .. See Everything

AT THE FIFTH ANNUAL EASTERN CERAMIC HOBBY SHOW Saturday May 4th Through ThursdayMay 9th

Convention Hall • Asbury Park, N.J.

Sponsored by Ceramic Leagues, Inc.

DON'T MISS

TO: CERAMIC EXPOSITIONS, INC. CONVENTION HALL THE BEST ASBURY PARK, N. J. Aff. ,Jerry Gasque Please send me information regarding an exhibit of my specialties in the Fifth Annual Eastern Ceramic Hobby Show to be conducted May 4th CERAMIC through May 9th, 1957 in Convention Hall, Asbury Park, N. J. NAME MARKET ADDRESS __ PHONE _ OF THE YEAR NOTE: Tear on dotted Jine and mail in envelope.

CONVENTION HALL, ASBURY PARK, N. J. PHONE PROSPECT 5-0900; 6-6260

FEBRUARY, 1957 7 CERAMIC New Spray Booth to protect furniture surfaces from pot- ...... Designed to fill tery bottoms and feet, are available the need for a from the J. B. Dawn Company. compact floor- They are available in a specially model unit, the prepared assortment of 120 round. n e w Craftool Motifs For Enamelists Spray Booth oc- An assortment of die-struck, finely cupies a mini- detailed copper motifs in a variety of mum amount of styles and sizes can now be obtained. floor space After enameling, they can be fired 24" x 28" and into enameled backgrounds or simply stands 60" high. soldered onto findings or other It is equipped jewelry. • : with a glass-wool Included in tile variety of orna- filter unit which ment styles are a series of dogs, musi- catches the spray mist and residue. eliminating the need for an outside vent or exhaust: the filter is easily square and rectangular pieces for replaceable. $1.00, postpaid. Merely write to J. B. An air filter and regulator is avail- Dawn Products, 3905 W. 64th Place. able as an accessory and can be at- Chicago 29, Ill., mentioning Ceramics tached to the unit. These permit con- Monthly Magazine. trol of the air pressure on the booth and provide a condensation chamber Free for Teachers for removing water from the air line. A free catalog and other detailed A packet of instructive material on information are available from Craf- the use of prepared glazes and under- tools, Inc., 401 Broadway, New York glazes, prepared especially to aid cal instruments, horses, sport symbols, 13, N. Y. Please mention Ceramics teachers in selecting items for their Oriental designs and stylized patterns. Monthly when writing. classes, is now available from Cerami- To obtain a complete, illustrated de- chrome Laboratories. The packet is scription including prices, write to the free to teachers on request. Address Copper Shop, 1812 E. 13th Street. Felt Pads Ceramichrome Laboratories, 211 ! W. Cleveland 14, Ohio, mentioning Cer- Self-adhesive, felt cushions in a Slausson Ave., Los Angeles--and amics Monthly. variety of sizes and shapes, to be used mention CM.

8 CERAMICS MONTHLY BRAND NEW FORMS! 5034 5TEWART'5 CELEBRATES IT5 90TH YEAR OF SERVICE WITH THE INTRODUCTION OF THESE BEAUTIFUL NEW FORMS NOW AVAIL" 5035 ABLE EITHER IN PUREWHITE BISQUE WARE OR AS MOLDS. MODERN, CLEAN LINES, LOVELY FORMS, THESE PIECES EMBODY THE NEWEST THINKING IN CERAMICS.

CAST YOUR OWN OR SIMPLY DECORATE EITHER WAY YOU CAN'T MISS WITH THESE FINE DE51GN5. KEEP IN TOUCH FOR FUR- THER ADDITIONS TO THIS NEW AND HIGH CALIBRE LINE. NO. SIZE BISQUE MOLD 5029 6% x 41/2 1.00 5.50 5035 8 x 4 1.50 4.00 5034 5 x 12 2.50 7.00 615 5031 5 x 8 2.00 6.00 5033 11 x 4 1.50 5.00 61 ! 71/z x 5 % .5S 4.50 5023 6:1/4 x 4V3 1.00 5.50 629 11 x 8t/z 1.75 6.50 5030 14 x 8 3.50 8.50 615 8 x 5% .85 5.00 5028 93,~ x 41/4 1.50 6.50 DEALER INQUIRIES INVITED WRITE ON YOUR LETTERHEAD FOR DISCOUNT SCHEDULE 629

MARC BELLAIRE Will be teaching at our Studio beginning February 11 and at our Dealers in: Flower-Formed Dish. ALABAMA "k ARKANSAS * GEORGIA INDIANA * LOUISIANA "k MISSISSIPPI Delicately fashioned flowers form these unique dishes. And their handles are the graceful stems. They double MISSOURI ~ NO. CAROLINA "k TENNESSEE for candy and nuts as well as for ashtrays. Because AND WEST VIRGINIA DURING FEBRUARY AND Holland Mold uses the best plaster of Paris, the finest MARCH details are retained in casting. H703, 2-Flower Dish: 103~ x 71/'4 x 13~" deep. WRITE IMMEDIATELY FOR H704, 3 Flower Dish: 101/2 x 101/2 x 13~" deep. LOCATIONS AND DATES Look for the Dufch Kids, our registered Trade Mark. your assurance of a genuine Holland Mold. P.S. DO YOU HAVE OUR BIG 60 PAGE CATALOG .~56? Ask for our FREE catalog. HOUSE of CERAMICS 3293- 3295 Jackson Ave. MEMPHIS 12, TENN. 1040 Pennsylvania Av., Trenton, N. J. r-., 2-7032

FEBRUARY, 19S7 9 American Jewelry and Related Objects. contemporary, at University of Delaware. SWEETHEARTS FLORIDA, JACKSONVILLE through February 10 New England Crafts (Snfithsonian In- stitution Traveling Exhibition ) at Send show announcements early -- Where Jacksonville Art Museum. Contemporary. to Show: three months ahead of entry date: Where to Go: at least six weeks before opening. LOUISIANA, NEW ORLEANS Februal T 17-March 24 WHERE TO SHOW 56th Spring Annual of the Art Associ- ation of New Orleans--at Isaac Delgado ~'national competition Museum of Art. All mediums.

CANADA, TORONTO MICHIGAN, DETROIT May 1957 March 5-31 Canadian Ceramics of 1957, second all- Michigan Artist-Craftsmen Exhibition at Canada pottery exhibition under the Detroit Institute of Arts. auspices of the Canadian Guild of Pot- ters and the Canadian Handicrafts Guild, at the Royal Ontario Museum of NEW HAMPSHIRE, CONCORD Fine Art. Selections from show will be opening Mid-February sent on tour to the larger cities of New Hampshire Craft Guild Exhibition Canada. Write to the Canadian Handi- at The League of New Hampshire Arts crafts Guild, 2025 Peel Street, Montreal and Crafts. 205 N. Main St. Juried show 2, for further information. representing work of League craftsmen: EVERY ONE of these will move to deCordova Museum. Lin- CONNECTICUT, NEW LONDON coln. Mass. for March display. May wonderful Annual Exhibition of Society of Con- NEW JERSEY, MONTCLAIR necticut Craftsmen--for members. Entry" through February 10 blanks due April 15. For details write Finnish Crafts (contemporary): Mont- Mrs. Robert M. Pettit, 16 Glendale Rd., clair Art Museum. VE/VA-P/Y Glenbrook. NFW YORK, BUFFALO FLORIDA, CORAL GABLES cone 06, one-fire glazes February 5-March 1 March 5-March 24 Tenth Annual Exhibit of Creative Ce- ~rFifth Annual Miami National Ceramic They'll win their way to YOUR ramics by the Ceramic Section of the Exhibition, sponsored by the Ceramic Buffalo Museum of Science, Humboldt heart, too, just as they have with League of Miami at the Lowe Art Gal- Park. thousands of others who now would lery. Open to potters, ceramic sculptors use nothing butVELVA-PLY. and enamelists working in U.S. Deadline for all entry fees ($3), entry blanks and NEW YORK, BUFFALO March 7-April 14 You'll feel the SAME way, once out-of-town entries, Feb. 11; local entries, Feb. 13. Jury. Prizes: $2625. Write 23rd Annual Exhibition, Artists of Wes- you've tried this fabulous, easy-to- Juanita May, 1953 Tigertail Ave., Coco- tern New York (14 counties), at A1- apply glaze. They're SUPERB-- nut Grove, Florida. bright Art Gallery, Buffalo Fine Arts we know, because YOU'VE told us Academy. INDIANA, SOUTH BEND so these many years. Matts, satins, May 12-26 NEW YORK, GENESEO gloss and art textures to please the Fifth Annual Michiana Regional Cer- February 10-March 3 most selective taste of artist or amics Exhibition at South Bend Art As- American Craftsmen. contemporary show beginner. sociation, 620 W. Washington Ave. Open circulated by Smithsonian Institution, at to residents and former residents of In- College Center, State University Teach- Let VELVA-PLY put YOUR work diana and Michigan. Jut3"; $1000 in pur- ers College. in top place. Try a kit of six full- chase and merit awards. Fee, $2. Blanks size four ounce jars at only $4.20 due April 30; work, April 30-May 5. OHIO, AKRON For blanks write Eleanor Rupel, Asso. postpaid today. through March 3 Secy. Adventures in Hi-fire. an exhibition of Know the joy of having perfect contemporary porcelain by Luke and KANSAS, INIC HITA Rolland Lietzke at Akron Art Institute. pieces in JUST ONE FIRING. April 13-May 20 (May also be used on bisque). "kTwelfth National Decorative Arts-Cer- PENNSYLVANIA, PITTSBURGH amics Exhibition at Wichita Art Associ- February 27-March 20 New dealerships now available. The ation Galleries. Pottery, mosaics, ceramic 19th Ceramic National--large selection smartest dealers carry VELVA- sculpture, enamels included; all Amer- of works from the recent "Syracuse PLY. Does yours? ican craftsmen eligible. Jury; $2000 in Show"-- at University of Pittsburgh cash and purchase awards. Fee, $3. En- Gallery. Complete ceranlic supplies: thou- tries due March 4-16. For blanks write Maude G. Schollenberger, president, TEXAS, V~,rICHITA FALLS sands of copper shapes; and real Wichita Art Asso., 401 N. Belmont Ave. Italian mosaic tiles at the studio. through February 15 Day and evening classes in all MARYLAND~ BALTIMORE Italian Arts and Crafts, a contemporary exhibition at Midwestern University. three crafts. Browsers always wel- March 24-April 21 come. Free information gladly Regional Exhibit for Artists and Crafts- [.fTAH, LOGAN men at Baltimore Museum of Art. Resi- given. Visit dents of Delaware, Maryland and Wash- February 17-March 10 ington, D. C. eligible. Jury; prizes. Entry American Jewelry and Related Objects, cards due February 15; work, February I (first Hickok competition) at Student 23-28. For blanks, write Mrs. V. Town- Union, Utah State College. send at the Museum. l*~rASHINGTON, SEATTLE 8744-40 W. McNichols, Detroit 2[, Mich. WHERE TO GO March 3-April 3 UNiversity 2-9222 Annual Northwest Craftsmen's Exhibi- DELAAVARE, NE~,VARK tion at Henry Gallery, University of February 5-26 \Vashington.

10 CERAMICS MONTHLY For School Projects in Ceramics

Has Prepared... 2 "SCHOOL GROUPS" OF SELECTED COLORS AND PREPARED, READY-TO- USE, INTERMIXABLE UNDERGLAZES AND ONE FIRE GLAZES.

Complete with comprehensive information and instructive literature, these "School Groups" of colors are the solution to promo+- ing a more balanced and successful ceramic school program. TEACHERS--Write for your FREE literature today!

CERAMICHROME Laboratories School Dept. CM Phone Axmlnster 2-0781 2111 W. Slauson Ave. Los Angeles 47, Calif.

COPPER ENAMELING Make your own jewelry, ash trays, bowls, etc. New Home Study Course by Marion Colston, top enameling teacher now ready. Simplified step-by-step instructions teach you all the basic and advanced techniques. Not just 'general' type instructions found in books but the same personalized lessons actually given in studio instruction. Complete course available covering every technique. Send $1.00 now for Lesson :~1. This is a step-by-step course with actual designs, colors to use, etc. Satisfaction guaranteed.

Send for free folder describing complete course.

Complete Beginner Kit, with kiln. Contains shapes, findings, enamels, everything you need for Cop* • Portable ceramic spray booth has electric fan to draw per Enameling. $6.95 p.p. spray dust into replaceable filter so dust cannot spread through house . . . no vent needed . . . weight only 20 Ibs. folds for easy storage . . . opens +o 20" x 20" Latest Catalog, 77 pages of supplies for enameling x 23". Green, baked enamel finish on welded steel and jewelry. Send for your copy fodaym2Sc assures beauty and long service. 10 day money back guarantee. Only $34.95 F.O.B. Detroit. See your dealer or send check or money order to . . . BERGEN ARTS & CRAFTS DETROIT FABRICATING CORP. Department CMA 300 S. W. 17th Avenue, Miami, Florida 7S23 St. Aubin * Detroit 11, Mich.

FEBRUARY, 1957 Idn't trust any other uct except Re-Ward"

If you want the best California has to offer, be sure to ask for the Best . . . and we mean Re-Ward products. Hobbyists and students using Re-Ward underglazes and glazes literally "walked away" with all the major prizes at the Great Lakes Ceramic Show. Can you ask for better proof than this? If you are not getting truly perfect results every÷line you decorate your ware, it's about time you investigated the outsfand- ing California paint product. Re-Ward is famous for faolproo~ results. TEACHERS, STUDIOS, HOBBYISTS: We are located lust a few miles from Detroit. We stock a large and inspiring variety of molds. Write for discounts or visit us soon.

We Carry the Largest Stock of Re-Ward Colors and Glazes in Michigan UNDERGLAZES ... tru-tone, velvet, super- 1-stroke GLAZES . . . fabulous decor, bead, dul-mat, gloss-glaze

)rwest Novelty Co.MAyfair 6-6003 ) NORTHWESTERN HWY. FARMINGTON, MICHIGAN

FLORENCE COX ceramic studio 543 BOULEVARD. KENILWORTH. N. J.

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12 CERAMICS MONTHLY SEVEN DECORATING TECHNIQUES Using Slip as the Medium, the Author says "FISH" in Seven Different Languages

by KARL MARTZ

he possibilities inherent in the use of engobes, or T slips, for decorating purposes are definitely rewarding~if the approach is inventive with an eye to fully ex- ploiting the opposing aspects of the several techniques. This article is based on the original article by Brushing, inlaying, trailing, incising, stenciling, reserving: Karl Martz, "Decorate with Engobes," which appeared all the techniques have special qualities which wait only to in the February, 1953 issue of CM. That number went be recognized and used creatively. out of print immediately. The article--re-edited An engobe and a slip are actually the same material and reworked--is produced here in response to --a fluid mixture of water and clay or other ceramic the many requests for copies of "that Martz article," materials. The difference between the two terms is one and for the many thousands of new readers who will of usage. When slip serves a decorative purpose and want to read and possess a copy of their own.--Ed. covers all of large areas of a piece, it is usually called Photos: Photographic LgboTato~'y, Indiana University an "engobe." For contrast, an engobe is always a different color than the clay body on which it is used. In most cases engobes or slips are applied to a pot when it is leather hard or dry; for wet trailing, however. the clay must be moist. Only rarely is an engobe applied to a bisque piece. Starting with any given idea, each of the techniques illustrated here will produce a result distinctly different from the others. Let us take, for example, a single sub- iect--fish--as the basic idea and see how each decorating method can suggest its own special way of saying "fish." Slip Painting: A slip made more unctuous and brush- able than usual by the addition of glycerine and Karo syrup is used for slip painting. Because damp clay is more receptive to slip, the piece is thoroughly sponged immediately before the painting begins. A Japanese brush may be used and a good deal of experimental practice is required in order to discover what kind of strokes and other marks the brush can be counted on to make. The design should be painted freely. It would spoil the feeling and possibilities of the technique--it would be an insult to the brush--if slip painting were to be executed merely by filling in a pre-drawn outline. Slip Trailing: In contrast to slip painting, slip trailing is used for linear design. The line produced is raised. thick and fluid looking. It is made with a syringe-type of device from which the slip is allowed to flow with only partial control by hand pressure on the bulb. Once the tube is set down to the surface of the piece, the continuous flow of slip leaves no time for pondering. The slip flows whether the hand moves or not. A quick move- ment leaves a thin line, sometimes with skips. Momen- tary hesitations are recorded by an extra thickness at the beginning of a line and at the point where the line doubles back on itself. Since this method demands continuous action an expression as personal as handwriting is ex- tracted almost by force from the decorator. A simple arrangement for slip trailing can be made (Please turn the Page) Mishima

FEBRUARY, 1957 13 SEVEN DECORATING TECHNIQUES (cont.)

from a balloon and a medicine drop- of line produced---ranging from broad per. Remove the small rubber bulb gouges clone with a wire loop to thin fronl the dropper and in its place penlike lines made with a needle point tirlnly attach the balloon with a rub- can be achieved if a variety of ber band• (Save the rubber bulb to "'scratching" tools are used. The con- use later as a tight-fitting slip-on cap trast is more exciting visually than a for the open end of the dropper; it line of unchanging quality. Tools with will prevent leftover slip from evapo- loop ends, flattened ends, bhmt points rating for weeks. or sharp points, tools with notches or If desired, the size of the glass wide-angled points, may be used for tube's opening can be changed by sgraffito. softening the tip with a gas flame. The balloon may be filled with fluid slip Mishima is the inlaying technique simply by pouring a thin stream into said to have come from Korea and its mouth; if the slip is pasty a small widely used in a certain section of funnel will be helpful. The advantage Japan. It is the reverse of sgraffito of this particular slip-trailing device in that the design is incised or im- is that the limp balloon never sucks printed in soft or leather-hard clay air back into the slip, thus interrup- and then filled with slip. The slip is Slip I'aintin~a ting tile flow of slip, as does a syringe. brushed carefully into the depressions ---and unavoidably over most of the Wet Slip Trailing: Here is a fasci- surface as well. When dry, the surface a! nating technique which is used for is scraped clean so that slip is left English slipware. Although it has not only in the incised or imprinted marks. been exploited by present-day Ameri- Most Occidentals seem to feel more i can potters, the method seems unique- at home doing mishima or sgraffito ly capable of producing contemporary than slip painting or slip trailing; expression. Its excitement stems from perhaps this is because a rigid in- the lack of all but the most rudimen- cising tool is more closely related to tary control: one never knows how it our familiar Western writing instru- will end ! ments than is the brush or slip trailer. In the exaInple shown here, white In the example shown, the tipper engobe was poured over a flat disc fish design was incised; the lower was of moist clay and allowed to drain off imprinted with a K-shaped stamp. A (on moist clay an engobe remains wet piece of hack-saw blade, its round end and mobile for a hmg time). Black notched with a needle file, was used slip was then trailed onto the wet sur- to cut the border pattern. Richly tex- face. As the two slips mingled and tured, brocade-like effects can be de- settled to a common level, a certain veloped by allover imprinting with amount of distortion inevitably occur- simple stamping tools made of bisqued red--this is tile charm of the tech- clay. nique; in fact, the distortion is often ...... exaggerated by shaking the piece or Paper Friskets are a kind of stencil 81ipTrailin~ rapping the underside. The fish de- or mask used under engobes. The fris- sign was developed further with the kets, saturated with water, are laid on tip of a small brush drawn through a dry clay surface and a slip is brush- the upper fin, around the eye, and out ed over them. As soon as the engobe- from either side of the jaw to produce covered surface is dry enough to be whiskers. When the slip had dried handled without damage, the friskets enough to be firm, the flat disc was are carefully peeled off with a needle- given its form (any type of drape sharp pointed tool. The shapes which mold can be used to shape such a friskets yield have an extreme pre- piece). cision which cannot be obtained in any other way. Sgraffito is easy to do and a favored It is a good idea to use small simple techn.ique when an intricate-line pat- paper units for the design because tern ~s desired. Essentially it is a kind they will lie close to the surface of the c,f engraving technique which derives piece better than large, complex its name floln the Italian word mean- shapes which tend to wrinkle and ing ,scralched. The piece is first coated buckle. By combining a number of with engobe (in the example shown a small units, complex motifs can easily dark-colored clay was covered with be built up. light slip). When the engobe has be- Newspaper is a good material for come firm but is still soft, tile design friskets: it can be cut with a sharp is scratched or cut through, revealing knife or blade and duplicate units can the body beneath. be produced by cutting through sev- Width of line varies with the pres- eral layers at a time. Dripping wet. sure applied to the incising tool used. the paper shapes will hold to the sur- Wet Slip Trailing A stimulating contrast in the quality face of the piece but when many fi-is-

14 CERAMICS MONTHLY kets are being applied, the tirst oncb laid down may have to be re-moisten- ed quickly with a wet brush just before the engobing process begins. Rubber Resist might be thought of as a liquid frisket. It is a liquid rub- her (rubber latex! to which an engobe will not adhere. The material is brushed, in a design, directh on the dry clay surface. After a few minutes it becomes dry and then an engobe is brushed over tile surface. "When the engobe has become firm. the rubber is peeled off" revealing the clay body. beneath. The resulting decoration is like slip painting in reverse since it consists of brush strokes in the clay- body color against a background of engobe. Sgraffito Rubber latex is a rather thick, white liquid which, when brushed on clay. dries to a nearly transparent, dully glistening fihn. The rubber may be removed by pricldng it with a very sharp-pointed tool and peeling witll a slow firm pull. Ordinarily, this rubber is used fol making flexible molds. It can be made to flow more readily for brush work if thinned a little with diluted ammonia. Ammonia should also be used for cleaning the brush immediate- Ix" and thoroughly after use because rubber cannot be removed if allowed to dry in the brush. As a resist material, rubber has very definite advantages over wax. It can be worked from the brush more easily than melted wax and it does not dc- te,'iorate in tile jar. No bisque firing is required to burn out the rubber as is the case with wax. Moreover, liquid rubber is immediately obtainable. AFTER u'ying timsc methods and Paper Friskets visually tasting their different qualities, one begins to think of combina- tions of one with another. An en- riched visual orchestration can be achieved by using slip painting with sgraffito, mishima with slip trailing, two colors of slip superimposed each with its own pattern in rubber resist. The possibilities multiply astounding- Ix. We become impatient with our l;edestrian hands as the mind races like ground fire through the permuta- tions of body. slip, glaze and technique. Body. textures smooth or coarse, sparked by slip stippled or smeared or brushed, light upou dark, dark upon light, speclded, streaked. Glazes that flow. that pool, that are clear or murky, revealing, obscuring, enhanc- ing. and all of it spiced with colol. Slip sensuoush', I)rushed, crisply incised, regimented with friskets, trailed with abundant wetness. These are the potter's alphabet. We need only the corn-age to llSe it. • Coming Up: Mr. Martz givea recipea and other specific, helpful in[ormation. Rubber Resist

FEBRUARY, 1957 IS ~ENAMELS

CHAMPLEVE AnEnamel (Part 1)

he type of enameling in which and frequent checking before the hour or so before using. T sunken or recessed areas in a etching fluid can eat away the metal If a nitric acid solution is preferred, piece of metal are filled with enamel to the depth desired (which is usual- the proportions should be one part colors is called champleve (pronoun- Iv one-half the thickness of the metal). acid added to about three parts water: ced In the finished shom-pleh-vay'). Either a nitric acid or a ferric chlor- the etching time required depends on piece, the sections of enamel are level ide solution may be employed for the strength of the solution. with bare metal surfaces which may etching. Ferric chloride, not being The copper used for champleve or may not be polished. The contrast dangerous to use as is acid, may be should be thick enough to allow for between metal and enameling is the preferred for safety as well as other good depth in the etching: 18-gauge !mportant element in the design, giv- reasons. It does stain clothing, but not is satisfactory (but it might be worth- ing champleve a character quite diff- the hands if washed off immediately. while to experiment with the slightly erent from most other forms of enam- The actual etching time required may thinner 20-gauge when opaque enameling. It is also lighter in weight, a be longer but, on the other hand, it els are being used and a shallow etch- quality which recommends it for jew- is not necessary to swab the piece fre- ing will suffice). elry and accessories. quently to remove air bubbles as is In cutting the metal shape, it is a A design for champleve should be the case with acid. When the design good idea to make it a little larger worked out carefully on paper so you on a piece is small and intricate, the than the design calls for--i/16" extra can see what effect the exposed metal ferric chloride type of bath is recom- all the way around--to allow for ir- is going to have on the enameled areas. mended because it makes for a neater regularities which may occur during A black-and-white sketch (one value etching (although, of course, an ir- the etching process (excess metal can representing metal, the other enamel) regular edge mav be desired on cer- always be filed away afterward/. ~s an aid in detecting the pattern the tain designs). Doming or other shaping of the piece, metal itself will make. A color sketch Ferric chloride may be purchased if any, is done at this time. If holes should also be made. In this sketch in lump form at chemical supply are needed, as for pendants or brace- the color of the metal should be houses (the pharmacist can give you let links, it is much easier to drill them matched because this color is the dom- sources): the "purified grade" is less after the etching is finished. inating factor in the selection of the expensive than the better quality and Cleaning a n d counterenameling enamel colors to be used, and it must will do the job. Because the material come before etching. The back of the be taken into consideration if results can pick up moisture and deteriorate, piece can, of course, be left bare if are to be pleasing. Moreover, since it should be stored in a dark place in opaques are to be used on the front, the metal itself shines, you have to be a tightly covered jar. It is better to but if vour plan calls for transparents, careful about the variety of brilliant mix a batch as you need it since with the piece must be counterenameled to colors used, particularly of transpar- re-use, the chemical gradually loses prevent future cracking. The pro- ents since thev are more brilliant than its etching power. A solution cedure is as usual--normal fring, opaques. saturated is used--meaning all the ferric chlor- stoning and acid cleaning. There are two parts to the champ- ide the water will dissolve. The pro- The champleve process itself is leve process : 1 ) etching the metal, and portions for making a cup of the demonstrated, here, in the making of 2/ laying in enamel colors. The etch- solution are, roughly, 1 cup of ferric a dress clip. An abstract design is to ing part is the longer and more in- chloride to aA cup of water. The mix- be etched in copper, and then filled volved. It usually takes several hours ture should be left standing for an (Text continued on Page 28)

BEGINNERS should find simple designs such as these not too difficult. Recessed areas created by etching were filled wlfh enamel by the wet-inlay method. This is the other part of the champleve process and it will be discussed in full detail next month.

]6 CERAMICS MONTHLY ~chnique--Etched Areas are Filled with Enamel Colors

J .:,

: ! ....

1. After back of piece is counferenameled~ 2. All areas not meant to be etched must :3. These areas are completely covered, the a design is traced on the front, be protected wlfh asphalt varnish. varnish being applied by brush.

4. Varnish is also brushed an bare areas S. Then the piece, supported by wire or a 6. Etching solution of ferric chloride is care- left on back for findings. trivet, is set lace down in a jar. fully poured in at the side of the jar.

i !i!~i!ii!ii~ii i~I!~I !i :!iii: !iii:¸ ii ii!!!!i!iii:~ !i: ~ iiiiiiii:i:!ii:i~ ¸¸ ~

7. Periodically, the piece is washed and 8. When etching is finished, all asphalt is 9. Finally--scrubbing with brush and pumice, checked +o see if etching is deep enough. removed with a cloth wet with benzene. then soaking in acid for last cleaning,

FEBRUARY, 1957 17 Uhoto: t~liCe K. Faj¢~l

CLAY and the VISUALLY HA by MURIEL ANDERSON

ne day in February of 1955 a he started in 1955 has grown to be an Clay is a natural for the blind child O young art instructor in Mil- integral part of the Children's Arts and is particularly excellent for a first waukee put into action an idea he'd Program (CAP) at the Milwaukee project. Both Mr. Lund and Miss been thinking about for a long time. Art Institute co-sponsored by the Mil- Joan Christopherson, who has taken Some people said it wouldn't work-- waukee Junior League. You have but over the class since he left, have found that it was almost an impossible task. to watch the eager smiles on the faces the youngsters enthusiastic about Gaar Lund, however, felt in his heart of these youngsters, to listen to their working with clay. There is an extra that it could work and he walked into bubbling conversations as they work, sensitiveness in the small fingers of his first art class for visually handi- and "proof of the pudding" is before these children; and there is an extra capped children, anxious for a chance you. sensitiveness in the soft, plastic clay to prove it. In the beginning there were a few- which responds to even the slightest. Many of us are so accustomed to parents, and some instructors, who pressure. Another item of particular ~,'isual communication in art that it is were slow to accept the possibilities ~mportance with these students is the hard to think of it as being practical of this experimental class. Mr. Lund fact that contact with the clay is for the sightless, or nearly sightless. readily solved that problem by ask- maintained all "the while it is be- child. But Mr. Lund was convinced ing doubters, "When is art most meaning worked on--not true with other that such a child could receive in- in.gful to the artist--when he is cre- materials. valuable rewards from working in this ating, or later when he is viewing As an introduction to the clay, each kind of class. It would seem he was what he has created?" Most everyone child receives a ball of well wedged. entirely right about this, for although agreed that for the sighted or the plastic clay which will fit comfortably he has since moved East to teach art sightless, the greater joy is in the in. his hands. He begins with an ex- in Bound Brook, New Jersey, the class doing. ploratory period--squeezing, pinching,

18 CERAMICS MONTHLY fingering--getting the feet of the ma- ing the smoothness of the clay. is the lowly fire brick. This proves terial and learning what it will do. It is important that an art instructor excellent for a three-dimensional pro- 'Fhen the child creates an object from in a class for the visually handicapped ject, as does a block of foam glass. memory or from his imagination, help his students adhere to high stan- The latter is very light and can be pinching and pressing out the shape dards and the instructor must deal carved with such silnple tools as a until it feels right, but sticking to wisely with his own emotions. He table knife, spoon or small file. Other forms where all parts are close to- must instill confidence and he must projects which have proved success- gether. constantly encourage but he must ful include toothpick constructions. The first real in'oject, where the keep a careful reign on his own sym- wire sculpture, papier mache' puppets clay is controlled by the student to pathetic tendencies. It is often too and making "pictures" with scraps of make a predetermined object, is the easy to say, "that's fine" because of material, shells, sand. twigs, stones. pinch pot. It works out beautifully! sympathy for the handicapped child, etc., all of which can be "seen" well With the clay ball held in the palm of but instructors at CAP know the job with tile fingers. one hand, the thumb of the other at hand is to help the child grow and Miss Chris has been teaching this hand is forced into the center. By measure up to the best he has to give. class for the last two )ears and has turning the ball and applying equal There are valuable "extras" that come tremendous enthusiasm for the pro- pressure with the thumb and fore- to the children in this class. One of ject. "~Ve are often too pre-occupied finger, a small pot is formed. There is these is their learning to socialize as with the limitations of the blind great excitement as the child feels the boys and girls, not as handicapped child," she says. "thinking always in shape work its way OUt of the clay youngsters. Their self confidence, too. terms of what he lacks, of his dif- ball. is bolstered when they can proudly ference, it is important, instead, that To stimulate the imagination and carry their work home for loving we think and teach in terms of what create an interest in the abstract, the families to enjoy. he has. True, here is a child who can- children examine abstract sculpture Art has long been accepted as a not see, but here also is a child who is made by other classes, of sighted chil- theraputic measure for the blind using his other senses to the greatest dren. and try to decide what these ab- child but it is only recently that it has degree possible. These children have stractions mean to them. Then the) been given a chance to become really the same problems of growing up, the experiment with their own forms and creative, a joy to the child who can- curiosity, tensions and sometimes con- shapes. not see. There are still onh a very few fusions of the sighted child." Man)' of the children have enjoyed such classes in the United States and The smiling young instructor an- creating small clay animals, and after ahnost nothing to be found in the way swered quickly our question about they've been fired, taking them home of research material. Establishing such the prerequisites for an instructor. for their rooms, to enjoy themselves a class and building it into a success- "One of the most important of all, i and to share with their families. ful part of a teaching program is a think, is an abundance of patience. A clay project is nsually finished job with a great challenge to it. CAP Even with the sighted child there may by these "children in three lessons. Stu- is provin~ that every bit of effort ex- be a few times of failing before h~" dents usually prefer not to place any pended is worthwhile. succeeds in a project. With the handi- ldnd of decoration on their work that Miss Chris. as the pupils warmly capped child, we must be prepared for roughens the surface for there is a call Joan Christopherson. has foun~l perhaps a dozen false starts, a dozen great deal of pleasure found in touch- that another highly successful medium (Please turn to Pa~e 34)

Pi~oto: Milwaukee Journal )ICAPPED child

Seeing with extra- sensitive fingers, two students get inspir- ation from sculpture. At right--a pinch- pot well on its way.

Gaar Lund who started =E the program is shown at right. At top, on facing page, "Miss Chris" wlth a group of enthusiastic youngsters.

F~BRUARY, 1957 by FREDA de CASTRO

FASCINATED is the word for the onlookers as they watch the author llff red- hot raku from the kiln and plunge it into cold water. for sizzling drama... MAKE YOUR OW]

It's [ascinating to see--and hear-- ould you like to see one of your to a bisqued pot made of grogged glaze mature in a matter of minutes. W pieces through the glaze firing clay; the piece is fired quickly at low In "Japanese Raku," October, 1956, and out of the kiln cool enough to temperature (bonfire heat), removed handle, all in just one hour? It as soon as the glaze matures, and Freda de Castro explained the origin sounds like an invitation for you and plunged immediately into a cold-water of Raku and the cold water plunge your pots to live dangerously, but in bath. which produces it. Here she describes reality it is the Japanese technique of The relative speed of firing, the lure just how she does it. All you need are raku glazing which has been used of the molten-lava effect, and the cli- low-fired bisque pots made o[ heavily safely for centuries. Raku is a ware max of fire-and-water sizzle make the usually characterized by thick-walled, process fascinating either to do or to grogged clay and glazes that are high- simple shapes bearing crackled, satin- watch. Professional and non-profes- ly fluxed. Firing can be done in any like glaze the depth of which is almost sional ceramists are attracted by the kiln or approximation thereo[-- some comparable to that of high-fired subtle and widely ranging colors that people use a bonfire/ Ed. glazes (see "Japanese Raku," Octo- are possible, as well as by the com- ~-~ T~n:~:~-ally, the Japanese parative ease of the technique. ored raku for tea Only minimum equipment is r vessels connect- needed: the bisque-fired pots and the tea ceremony glazes, asbestos gloves and long- of their countrv. handled tongs, cones 019 and 014, a The glazino pre-heated kiln or other type of fire. process is and a bucket or deep pyrex dish of simple. In cold water. brief, a Any type of kiln will do. If no kiln highly flux- is available, one can be built in the ed glaze back yard. Simply assemble a double- is applied walled hexagon of fire brick, building (by dipping, it a foot higher than the pots will be:• ,. __,,'ingor brushing) dig a trench on the windy side, insert

20 CERAMICS MONTHLY colnes out unpleasantly shiny if applied too thin. If larger or multiple pieces are in- volved, you may want to spray them. When you do this, and are using a glaze with high lead content, protect yourself against the fumes by. wearing your mask or a damp cloth tied ban- clit style over your nlouth and nose. In general, apply tile glaze generously and don't strive for an even coating. A slick-finished smface is not the aim for raku ware. but do control the temptation to be over-splashy. l-)on't rationalize about dripping areas Photo: Metropolitan Musemn of A~t of glaze: are they reall?' focal points. or more like medusa heads? The foot rim on raku pots is usually EXAMPLES of raku ware. Jap- left unglazed in Japan. The warm tone of the clay body is considered a anese-above and below. Auth- or's-mosaic at right: shallow fray harmonious accent, and certainly it simplifies setting the piece in the hot and bowl on the facing page. ldln. If you prefer a glazed foot. however. it is possible to set the piece on metal-tipped stilts in the kiln if you have a stead)' hand. But you had I~et- ter lay in an extra supply of stilts because the}, are more apt to break in .... this situation than in ordinary cir- cumstances. Place the glazed pots around the edge of the heating kiln to drive out all moisture absorbed from the glaze and to insure against their bursting Photo: Museum o~ Fi~c Arts, Boston1 when thrust suddenly into the red-hot fMng chamber. (If the glaze has already dried somewhat, this pre-heating may be briefer but it is still essential.) When cone 019 falls, set the pieces I AK U Glazing Time: 60 Minutes and cone 014 into the kiln and par- tially close the door to hasten heating (for top loaders I use a sheet of as- dry wood or charcoal, and stoke the ring protrusions. bestos instead of the heavier lidl. fire slowly and steadily. This primitive Glazes that are highly fluxed are re- Now" yon can sit back and watch method takes longer to heat up but quired. Below is a basic recipe which the firing; or, since little seems to hap- once it's glowing hot, it serves the can be varied in any one of a number pen at first, you can safely concen- same as a modern kiln. of ways : trate on glazing other pieces. But at Whatever the type of heat, have it the end of half an hour, what's going going in plenty of time to be ready for Frit ~33 1 on in the kiln begins to get interesting. Red lead the pots when glazed. If the kiln is the White lead 66% singly, or in combination By this time, the pots are usually pink- conventional type, preheat to cone hot and what was pasty-looklng glaze Cullet 019 with the lid open, and provide is taking on an increasing sheen. Quartz 30% sanded or asbestos-lined shelves to set China clay 4% Perhaps in the long last ten minutes the pots on. Grind dry, add water slowly uutil the coa- before the cone falls -- the soaking The bisque pots you choose for raku .~istency is like thick cream. Sieve ~ cup period - you'll be tempted to take glazing must be able to survive the o[ Karo (or double your [avorite siccatit.e) the pieces out because the glaze will rude shocks of sudden heat and sud- into each quart o[ glaze to pre~'ent the look mature; try it if you like, but den cold to which they will be sub- glaze [rom pulling away [rom the clay leave one piece of the same color in jected. Simple shapes are best to use: when set in a hot kiln. for the full time and compare the they should be made of grogged clay quality of the two. After frequent and bisque-fired to at least cone 04~. If you have your own favorite lead- trials, you will become able to judge (Slip-cast pieces would not be sturdy base glazes in the cone 07--02 range, the maturation point so closely that enough and in any case their thii~ you will find they will also work well you can dispense with cones alto- walls and precision casting would be i'or raku. gether! (Nevertheless, I still use them lost under thick-glaze application.) Dipping is the easiest way of apply- if weather or stacking conditions are Good craftsmanship in the pots will ing the glaze, especially if you are unusual.) also spare you grief. There should be working on pinchpots. Or use a well- But until you have experience, no strain in the construction, no ab- loaded brush. In any case, apply a watch the cone. Put on your asbestos rupt differences in wall thickness, no heavy coat--from ~ to ¼ inch thick gloves (and safety glasses if you like). trapped air pockets, no fussy or jut- --to get the richest effect; the glaze (Please turn to Page 30)

FEBRUARY, 1957 21 The~ UNDERGLAZESeries

CREATED SPECIFICALLY FOR THE HOBBY DECORATOR

e FLOWER MOTIF

demonstrated by MARC BELLAIRE

In fhis series of articles, no specific brand of underglaze is either suggested or implied. The nationally advertised brands are highly competitive in quality and price; Mr. Bellaire's advice is to use those brands you feel give you the best results.

! 2 A spattered background starts the ated brush. Accents (dark blue-green) portion, and a similar stroke in brown decoration; then the leaves, stem and go in next (2). Now the flower--. The for the top part. Two purple petals sheath (1) are painted in (dark green) three middle petals (3) are short, curv- (4), one at each end of the other with single strokes of the large, satur- ed strokes in yellow for the bottom petals, completes the flower. High-

22 CERAMICS MONTHLY DECORATE with UNDERGLAZES

n his first article in the Underglaze orating. Don't be timid! A slightly brush by wiping it on the side of the I Series (August, 1956) Marc Bel- roughened, damp surface is ideal for bottle. This should not be done! Marc laire impressed two major points on brush decorating. Bellaire not only dips his brush in the the reader. To do an effective job, the sponge underglaze, he swishes it around to First, he pointed out that the com- should be quite damp as stated. This make sure it has become completely mercially prepared underglazes are means that with only slight pressure saturated. He will momentarily hold virtually fool-proof: "If the decorator you should be able to squeeze water it over the bottle, until the color stops follows a few simple rules he can from it. A sponge that is only slightly draining, and then immediately apply avoid the 'common' defects." The dampened will be ineffective and, in it to the green ware and make his second major point dealt specifically fact, may actually produce the wrong stroke. In order to show after firing, with decorating: "If you learn to kind of surface. Rubbing with a too- a great deal of color has to be applied mentally break down a motif into a dry sponge can actually polish the sur- to the surface, and this is the only series of basic shapes, the designing face which does not provide the way to do it using Marc Bellaire's free and decorating becomes simplified." proper "tooth" for brush decorating. brush-stroke technique. Included in that first article, and One of the reasons for timidness Colors don't disappear in the kiln; in each article thereafter, was a list when cleaning green ware is ware if your decoration is weak or almost of three basic rules designed to help that is very thinly cast. Ware that is non-exlstent after firing it simply the decorator get maximum results. to be finished at cone 04 or below means you did not put on enough We learn that there are still many un- should be cast rather heavily for color to begin with. happy decorators who are encounter- maximum strength in both the green ing various difficulties. It appears, and fired state. 3. Keep underglazes sufficiently therefore, that a review of the "basic fluid. Add water as the colors dl~ rules" is in order. 2. Use a large, /ully-loaded brush. out to keep good brushing consistency. Work with as large a brush as the 1. Work on green ware or bisque design permits, saturated to the hilt The Bird-of-Paradise flower is a that is clean and slightly damp. Dust. so the color flows generously when simple motif to reproduce. You will fingerprints and other forms of sur- touched to the piece. notice that it becomes even simpler face dirt should be removed by wiping This is where most of the difficulty when Mr. Bellaire shows how to con- the piece several times with a quite occurs. The decorator invariably struct it one shape at a time. Follow damp sponge immediately before dec- drains most of the color from his him through, step-by-step. •

coming up . . . . . MANY MORE exciting underglaze-decorating lessons by Marc Bel- laire are in the works and will appear monthly. Human and animal figures, fruit, flower and vegetable motifs, as well as special innovations, are already prepared. Be sure to join Marc Bellaire's class in CM again next month! (Some of the articles in the Marc Bellaire series-which started in the August, 1956 issue--can still be obtained; check the list of Back Issues Available on page 36, this issue.) 4 5 ghts are scratched in (sgraffito) with bisque fired, then glazed with a trans- , sharp tool, then the piece is outlined parent matt, giving it a soft, subdued .n black (S) which snaps up and com- feeling. The finished piece is on the pletes the design. The piece was facing page.

FEBRUARY, 1957 23 DRAPED SHAPE PRESSE[

A Two-in-on

by HERMINE A. SECRETAN

Photos: |,uc S~crera~:

ne thing leads to another in then cut out a free-form shape in obtained by leaving the mesh in place O ceramics as well as elsewhere. the clay (2). The resulting decoration and applying an engobe over the A visit to a Vermont woodworking was a pleasing allover pattern, the surface, removing the mesh after the factory which turns out chopping kind of pattern which in no way engobe had dried somewhat. This bowls and similar objects led me to dictates the contour of the piece. gave a two-toned surface which show- salvage cast-offs from their scrap pile. While the piece was still damp and ed up most attractively through trans- These had interesting concave and supported by the mold, a foot was parent glaze (photo, top left). convex surfaces and I used them as fashioned from a roll of clay (3); Soon the mesh bag was replaced by basic molds over which and in which the whole unit was then left to dry a variety of design elements short to drape clay slabs (1). The tech- until firm enough to handle. At this lengths of raffia, bits of rubber-coated nique of pressing a clay slab onto a point, the piece was flipped off the telephone wire bent into different curving surface led me, in turn, to mold and, to level the foot, pressed shapes, scraps of straw tissue, etc. pressing in a design at the same time. down gently on a plaster bat--with Arranging such materials on the con- This two-in-one operation--shaping care taken not to put any stress into vex surface of a mold and then drap- and decorating the clay simultane- the contour of the piece. ing a clay slab over the arrangement ously-is intriguing. First, I tried a The texture pattern obtained by can be quite a tricky process; but piece of coarse-mesh bag as the im- impressing lends itself to varied treat- patience can be rewarded by inter- pressing material: I draped the mesh ment. Sometimes I rub oxides or esting results. over one of the convex wood molds powdered self-glazing engobes into I wanted more control over my (a plaster or clay mold would serve the surface when it is leather hard; designs, however, and this led me to as well, of course), laid a slab of in the case of the mesh-bag decor- arranging the imprinting elements on clay over it, pressed down gently, and ation, a very satisfactory effect was the clay slab prior to draping the

Wooden bowls (from scrap pile) serve well as drape molds for slabs to the clay. While fhe piece still rests on the mold, ÷he footing of clay. Here a mesh bag, placed over ÷he mold, lends its design is added. Glazed and fired, the finished piece is at fop of page.

24 CERAMICS MONTHLY ]nd )ECORATION )peration

slab over or in a mold (I press the elements lightly into the clay through a piece of closely woven cloth). Dec- oration produced by this method can still be spontaneous and chance- inspired (as I prefer); and at the same time, it can also be better re- iated to the contour of the piece. In this method, the design dictates the shape of the piece. I placed an end of raffia and a scrap of fancy straw tissue on a slab, for example, having no pre-conceived idea of what shape I would make the piece. It was only after trying the slab out in different positions in the mold that I finally cut the clay in a free-form shape (A). When it comes to the elements for composing designs, one's imagination is the only limit. A length of silk cord and a short piece of boning (from my sewing basket) suggested one design (B). Another string and a few broken broomstraws yielded a squat- ting figure on a footless "rocking" piece (C) . . . A listing of ideas could go on and on. I find the technique of pressing in decoration and shaping on or in a drape mold both practical and ver- satile. Pieces can be made fairly rapidly and they can be entirely different from each other. No production-line look here. The method allows full artistic freedom: pieces produced in this wav can be as creative as the person who makes them! •

FEBRUARY, 1957 25 Strictly Stoneware ... slip glazes (cont.) by F. CARLTON BALL

WITH CONE 8 :e9. Albany slip clay 70% Brown-black Glaze at cone 11 to 12 firings Albany Zinc oxide 10 Cedar Heights clay 90% Talc 15 Whiting 10 slip glazes can b~" Red iron oxide 5 extremely fascinating. Black Glaze at cone I0 The glaze should, of For the potter who wants to know Cedar Heights clay 80c/f Whiting l0 course, be tried by it- the composition of Albany slip clay, Dolomite 10 self first of all. By the following representative analysis "trying it" I mean may be helpful: With the proper fluxes, Red Dalton applying the Albany clay (United Clay Mines) gives a slip thickly on one pot Silica 56.75% to 50.0% good glaze at cone 10 and l l: Alumina 15.47 to 19.6 and thinly on another; Red iron oxide 5.73 to 8.2 Brown-black Glaze trying it out on a number of the Lime 5.78 to 3.9 Dalton clay 85% stoneware clays on a nearly white Magnesia 3.23 to 1.4 Whiting 15 clay, a buff and a reddish clay. The Titania 1.00 to 0.0 Alkalies 3.25 to 6.4 Brown-black Glaze resuhs will be rewarding and will Dalton clay 80% pave the way for more tests. Karl Langenbeck has given a for- Dolomite I0 Whiting I 0 The tests should be fired in both mula for Albany slip clay as follows: oxidation and reduction atmospheres The following mixtures will give if possible because the type of firing 0.195 K20 I ) 0.459 CaO [0.608 AI:O.: ~ SiO~ 3.965 something of an oil-spot glaze when makes a difference. An oxidation fir- 0.345 MgO 10"081 Fe~O,, fired at cone 11 oxidation: ing will emphasize the brown-black effect while just a little reducing at- Dalton clay 45% If 0.1 per cent of B-.O3 is added to Cedar Heights clay 45 mosphere (about 10 minutes at cone the R--O3 column, the .608 of A1.-.O~ is Whiting 5 9 or 10) will change the color to a reduced to .408 AhOy; and the SiO-. Dolomite 5 khaki, a lighter-brown opaque glaze. is reduced to 3.0 per cent, a glaze Cedar Heights clay 42.5% Some of the following glaze mix- such as the following might be as- Dalton clay 42.5 certained : Dolomite 10.0 tures might be tried out. In using Gypsum 5.0 them, however, the effect of temper- Keystone feldspar I 17.6 ature and atmosphere must be re- Colemanite 13.6 Another product of the United Clay membered. Some may become beau- Dolomite 63.5 Mines, called "Sadler clay" has the tiful in an oxidation atmosphere yet Whiting 4.8 same effect as the old Albany slip clay Kaolin 51.6 the same glazes may be useless in a Flint 149.4 had. A mixture of 98 per cent Sadler reduction fire, and vice-versa. Red iron oxide 13.0 clay with 2 per cent dolomite makes a very effective glaze; 96 per cent Sad- ALBANY SLIP GLAZES, cone 8-12 Two OTHER SLIP CLAYS, in addi- ler clay plus 4 per cent gypsum pro- "+1. Albany slip clay 75% Red iron oxide 10 tion to Albany, have been mined. One duces a brown and black glaze with Feldspar 5 is Michigan slip clay from Romley, something of a hare's-fur effect. Ruffle 10 Michigan; the other is a slip clay from In many parts of the United States the vicinity of Elkhart, Indiana. there are outcroppings of shale. If a #2. Albany slip clay 85~ Lepidolite 5 The material called "loess," mean- potter took shale that was quite Yellow ochre I 0 ing a clay that has been transported weathered and soft and ground it into by the wind, is quite good for a slip a powder, this powder would in most Ye3. Albany slip clay 47.4c7~ cases act like a sllp glaze. The pow- Feldspar 38.2 glaze. It seems to be high in calcium Ball clay 7.3 and, since calcium bleaches iron, the dered shale with from 5 to 15 per cent Red iron oxide 4.7 glaze derived from loess is a mustard whiting or dolomite, or a combination Borax 2.3 color. Along the Mississippi River of whiting and dolomite, would give a near Natchez, great cliffs of this clay brown or black glaze. #4. Albany slip clay 859~ It seems as though practically any Nepheline syenite 15 have been formed. This particular loess makes a beautiful mustard- red-burning surface clay could make a #5. Albany slip clay 75c7~ colored slip glaze at cone 11. With glaze. Clays from lake beds, river Nepheline syenite 15 beds, mud puddles, or similar loca- Red iron oxide 10 10 per cent whiting, it gives a mustard-colored glaze at cone 9y2 while tions where the finest particles of sedi- #6. Albany slip clay 75% the same glaze at cone l l becomes ment have been deposited, make the Colemanite 10 opalescent. best sources of supply. Such clay Ruffle 10 should be made into a very thin slip, Mud from lake bottoms near Madi- Iron 5 and allowed to settle overnight. After son, Wisconsin, when mixed with 10 this settling the extra water can be "+7. Albany slip clay 80% to 15 per cent whiting, give beautiful decanted, then the top half of the clay Whiting 15 reddish-brown and tan-yellow slip Red iron oxide 5 scooped off and put aside to dry. This glazes at cone 9. top clay is the most finely divided and #8. Albany slip clay 75% Red Cedar Heights clay, from Zinc oxide 10 more apt to make a good glaze than Whiting 10 Zanesville, Ohio, makes an excellent the clay which settled out first, which Red iron oxide 5 glaze when the right fluxes are used: (Please turn to Page 34)

26 CERAMICS MONTHLY briefs...

Wall Plaque from Patterns

by PHYLLIS E. CUSICK

Amusing plaques in low relief can be made with the greatest of ease from a slab of clay. It is simply a matter of cutting out the individual parts and then arranging them on a flat background. The colorful clown plaque you see here was made by this method. First, we sketehed the motif on paper. Then we cut paper patterns for several of the parts such as the round head, tall hat, collar (two short strips), and big bow (two long, wide ribbons). A pattern for an oval large enough to frame the clown effectively was also made. The parts were cut from a large slab of clay rolled to a thickness of about one-fourth inch. Each part was a horizontal surface, very little slip was needed anywhere then removed most carefully to avoid distorting its shape. to make the various parts stick to the plaque. To give the effect of a frame, the oval plaque was lightly The clown's spaghetti-like hair was made by forcing thumbed along the edge as a piecrust might be. clay through a tool made especially for the purpose (a Assembling the parts of the motif came next. The strainer could be used instead). Some of the clay strings round head was placed near the center of the plaque; the were also used with balloon shapes placed on either side hat was set in position and then a few lines were scratch- of the clown. Finally, a small hole was made in the top ed in the crown. Each eye was made up of two balls of of the plaque so it could be hung if desired. clay--a larger ball set on the face with a smaller flattened After slow drying to prevent warpage, our clown was ball pressed on top of it. Tiny holes to suggest pupils were decorated in the bright brash colors of the circus--red, made with the point of a pencil. Other features were then yellow, blue, black, green. added: crescent shapes for eyebrows, a rglled wad of clay for the nose, wide lip shapes for the mouth. The cut-and-arrange method of making the clown plaque is one that can be used for just about any motif. Each of the two short strips of clay which had been Being both easy and fun, it is a method which appeals cut from the slab were bent over in a curve and fastened particularly to children and to adults who are just begin- at either side of the chin to suggest the clown's ruffled ning to make ceramics. The plaques can be gayly decorated collar. The long strips were also folded and brought to- with underglaze colors and covered by a transparent glaze gether in the form of a huge bow. or with the opaque decorative glazes commonly known as Because we were working with very soft clay and on "majolica glazes."--Avon, Ohio.

Plaque parts are cut from a slab of clay, using paper patterns Clown face and accessories are worked together on plaque, piece (marked with X) as guides. by piece. The completed plaque is at the top of the page.

FEBRUARY, 1957 27 Enameling: Champleve (When acid solution is used, the AUTOMATIC KILN SHUT-OFF (Continued from Page 16) procedure is somewhat different. The piece is laid in the bath with tongs, with transparent colors plus a touch face side up. As the acid eats away of foil for accent. the copper, bubbles gather and these KILN JOY must be swabbed off the surface fre- WATCHES OVER YOUR I I. The design is traced with carbon KILN / quently in order to obtain an even Saves time and energy! I paper onto the face of the piece (the Rugged, Simple, Reliable---works [ff~ underside has been cotmterenameled etch. A soft piece of cloth, wrapped on cone principle. Guaranteed to Ill around a small stick and fastened with shut off kiln automatically. Ill with flux). The outline is then scratch- See Your Dealer or Order Direct ed lightly into the surface of the metal a rubber band, makes a good swab. KILN JOY ...... $17.95 PPD. with a pointed tool so that it will not Optiunal: Warning-Buzzer Kit $12.95 Ppd. 7. The etching process goes on un- FOLDER ON REQUEST disappear as the work proceeds. til the design is eaten away to about MASON INSTRUMENT CO. 2. The portion of the metal which half tile thickness of the copper. Pro- 29 ELM AVE., MT. VERNON, N. Y. is to remain exposed in the finished gress is checked every half hour or so piece must be protected against the by running the fingers over tim sur- effects of etching fluid. Asphah var- face of the piece. To do this, the piece Watermount Decals nish available at paint stores, easy is taken fi'om tile jar with the wire Decals of all Descriptions still attached (or trivet, as the case • Dogs • Horses • Fish • Flowers to handle, inexpensive and quick-dry- • Scenes • Fruit • Gold Letters • Prayers ing-is the "'resist" material used. may bet and held under running Illus÷ra÷ed Catalog S0c per copy To prevent a ragged edge from de- water. If the etching is not yet deep Mary Grohs Decals veloping during etching, the edges of enough, the piece is set into an empty P.O. Box 34 West Orange, N.J. areas covered with varnish must be jar and the solution again poured in clean and neat. A thin line of the beside it (this alternate use of two varnish is. therefore, applied first jars works conveniently for me). If along the very edge of the design with at any point along the way the asphah STONEWARE a tiny (00! brush, the brush being coating needs patching, the piece must Slip-Dry-Plastic cleaned frequently with a little ben- first be washed and dried, then patch- Data sheets on request zene, then dried with a cloth. ed and allowed to dry again before Rouse EncJineerlng Co. being returned to the bath. 3. The neatly outlined spaces are 300 Third St. Trenton, N.J. (Acid etching requires the same then filled in with a larger brush. frequent checking under running When the varnish is dry, it is checked water and the same procedure if the for thin spots, pinholes, etc.. (a small JAYDARH varnish needs retouching. As indicated A ceramic turquoise stone at cone 09 magnifying glass is a big help here l. earlier, etching time with acid will A self-glazing, one fire, vitreous body in pow- Any necessary patching is done now-- der form. Excellent for jewelry or inlay. No be affected by its strength.) special training necessary. Works like clay. working or handling the varnish later Awdlable also in avocado, chartreuse, blue- "When the etching is deep enough, green and white to be colored to suit. Instruc- when it has reached the gummy stage lions in package. 4 oz. $1.00, l/a lb. $1.50, 1 lb. the piece is again rinsed and dried. $2.50: check or money order. Add 15c postage. would cause irregularities. WILTON POTTERY,SierHill Rd., Wilton, Conn. 4. All of the copper to be perni- 8. Every speck of varnish must now anentlv exposed must be protected= be removed. Acid will not clean it off because the varnish resists acid. WnEN m FLORIDA if you don't want it to be etched! So tll~~ piece is turned over and the rinl but benzene will do the job. Most of 7 ,0 and blank space left for findings at the varnish can be taken off with a the back are varnished. If the piece soft cloth wet witll benzene; then had not been counterenameled, the scrubbing with a stiff" brush dipped in Complete Ceramic Supplies entire back would require coating. benzene gets at scraps wllich may 4502 Broadway Tel: VI-4-7206 W. Palm Beach still he sticking around the edges. 5. Now tim metal is ready for etching. Ferric chloride solution is to be 9. After every trace of the asphalt used. First. the piece is placed in a varnish has been removed, the piece SPUN COPPER BOWLS, trays or cups. is scrubbed with a toothbrush--first Also--stamped circles or squares, plain ja~suspended from a wire or set on a trivet (both Inethods are demon- with pumice powder, then with de- or slotted, for belts and links. Also--card, tergent: then rinsed and dried. The match or cigarette boxes. The Old Viking strated here) : in either case, the device nnlst have been treated with a outer edge of the piece--originally Shop, 1236 Delaware Street, Denver 4, cut a little larger than needed--is Colorado. coat of asphalt varnish to prevent its disintegrating under the extremely filed smooth. (If holes were required. corrosive chemical to be used. The they would be drilled at this point.! piece is placed in an upside-down posi- The piece is cleaned in acid for a tion so that the particles of copper, few minutes to remove finger marks as they are eaten away, will fall off and foreign matter, polished with MOLDS the sLirface. Everything must be in steel wool. washed with detergent, manufactured in order at this point because it will be rinsed under hot water and dried. impossible to see through the solution This completes the etching. OHIO which is dark-colored. The recessed areas created in the copper may now be filled with enamel Dealer inquiries invited. 6. The ferric chloride mixture is poured in the jar, not directly over colors by the wet inlay technique; and Cramer Molds the piece but alongside so it will not special effects, such as a gold-foil ac- be disturbed. If a trivet were being cent, may be added. This part of the 20 years experience ~n maid making used, only enough liquid to cover the champleve process will be described 746 Cherry St. Fostorla, Ohio piece would be poured, leaving the in detail next month. • trivet top exposed for easy handling. (To be continued)

28 CERAMICS MONTHLY uestlons

conducted by K E N S 31 1 T II

¢~. 1 have had a wet, prepared clay wlapped in plastic [o, Inspired Design quite sometime and it is beginning to gice off a disagreeable:odor. Is this clay still usable? Can clay spoil? A. A sour odor does not mean that the clay is spoiling-- combine with expert craftsmanship to create these two quite to the contrary. It indicates that harmless bacteria are at new Ludwig Schmid molds. Long-lasting and of proven work in the clay feeding on the organic matter which is present sales appeal, Ludwig Schmid molds are known on four in all clay. This activity makes the clay more plastic and continents. Other molds shown in our eatalacl for workable. which send $1 (refunded with your first order). If your dealer does not have our molds, write direct. Q. I am using an electric kiln which gives me good [iring ~ervice; howerer, [ine hairline cracks have been appearing in the re[factory-brick wall. Does this mean that the kiln is de- S-374 Ova: Bo~.l ,/th S-375 Coaster & Ashha'/ [ective? Incidently, I have tried repairing these cracks but after handles combination ~everal firings the mended places open again. Do you have an), 11 " L ~ 5V_9" W $3.20 73/4" L × 4~/2" W $2,5C uggestions ? A. Fine cracks will often show up in the lightweight insulating brick used in electric kilns. This does not indicate an inferior kiln; in fact, it is to be expected because of the shock to the insulation due to the fast heating and cooling which is inherent in small electric kilns. LUDWIG SCHMID Where pieces of the brick do not fall out, the cracks are model and m01d shop best left without cement. The very porous nature of insulating 838 Oenesee St. Trenton 10, N.J. brick makes it difficult for the cement to hold even during drying. It is evident that the cements you have been using lack proper bond after firing. Most ceramic studios and kiln manufacturers can advise you of a good refractory cement.

~. 1 have heard the term "wood-ash glazes" and wonder i[ this really means glazes containing wood ashes a~ part o[ the ingredients. Can you supply some information on this? A. This most certainly does mean glazes containing wood ashes. A detailed article giving full how-to-make-them inforr.:- ation appeared in the October 1955 issue of CM. Many of the ceramic books also contain information on this subject.

C~. Is it possible to enamel on sterling silver? A. Although it is feasible to enamel on sterling sih-er, the results are questionable. Enamelers invariably use pure silver or pure silver foil if they wish to work with this metal. Because of the small percentage of alloy in sterling silver, black discolor- ations can appear during the firings of a piece. EX¢itJ$iv. fully enclosed, safe design -- no exposed mechanism iiiiiiiiiii:!i:iiiiii Whether amateur or skilled artisan . . . you'll find the smooth motorized i~!ii!~iii~i!!iii~ C~. I [ound a large deposit o[ clay in a nearby alea and operation ease of control in the BIG, all.steel precision buih ::::::::::::::::::: hate tried using it [or pottery making. The results are not too MASTER POTTER'S WHEEL enables you to originate beautiful, dis- i:?":i:~:~:~ :i tinctive pottery excelling anything you've ever done before, iiii i good the pieces shore, a large number o/ small cracks when Massive steel construction completely encloses mechanism to exclude clay and moisture . . . assures operator safety and provides vibration-free they dr)' and they crack even more in the kiln. What additions performance• Other features ordinarily fourK] only in expensive wheels cart be made to improve the drying and firing qualities? include: pre-lubricated bronze bearings for quiet, long service, con. ~i::i!!!:.!::i::!~i:.ii veni ...... ts, adjustable wedging wire, large 18" throwing tabh" ::::::::::::::::::::::::: A. It is not possible to answer without working with the with plenty of working space and a removable water cup. 10" throwing !!i!!iii!iiii::ili:.il material and analyzing it. A local potter or another experienced head has joggles for easy centering, underside reverses for casting plaster bats. iiiiiii:ii!iiiili individual in your area nfight be able to suggest additions You have complete hand freedom at all times . . . smooth instant change of speed from 30 to 150 rpm is controlled by a foot pedal. iiiiii:41iiiiiiiil which would render the clay quite useful. Keep in mind, how- Easy to use, even for handicapped persons. Use any I/4 HP motor. ever, that not all clays can be made to behave properly. This Standard 1/4 HP motor $16.95 when purchased with Master Potter's may be one that would best be left where it is.

• 9 . " $ • -- " - .... - MASTER POTTER'S WHEEL Beneh Model, Item 47a, _ Wt. 48 lbs. Lists at $125.00 Faetory vriee ...... ~ I All subscriber inquiries are given individual attention at GM; and, out of the many received, those of general interest are selected for answer in this column. Direct your inquiries to the Ouestions [ Editor; please enclose a stamped self-addressed envelope. DEPT. 2-(~ Burlington, Wis.

FEBRUARY, 1957 29 Ceramic And Copper Make your own Raku variety of colors from white to black, (Continued from Page 21) you may want to use the following Enameling Supplies table, adding the colorants to the Wholesale-Retail Have a bucket of cold water close by. basic glaze recipe given earlier in the Suddenly the cone will go down. text: RE-WARD PERMA-STAIN Then, and it may take extra courage White 7% tin oxide Distributor Distributor the first time, reach into the hot kiln Dealer Inquiries Dealer Inquiries with your tongs, firmly grip a glow- Ivory 15% tin oxide Invited Inv;fed ing pot, lift it out, and lower it care- to 1 2% ruffle or 2% red iron "the fully into the cold water. Buff oxide or 5% Barnard clay POTTEI~$ The water spits and boils up Celadon 15% tin oxide WI-IIII~-L quickly (despite the steam, peer in at (gray- 11.5% nickelic oxide black the unbelieveable change in your green) ) .3% chrome oxide Boston Post Rd. ~ Westport, Conn. piece). As soon as the sizzling stops. .5% to 7% tin oxide the pot will be cool enough to pick 'qr v~qr 'qr 'qr 'qP'VVVVVVVVVVVv,qr v,qr v v ,qr,v v,v~ Blue .02% to .05% cobalt car- out with your bare hands. No wait- bonate or oxide ' CERAMICS : ing; it is wonderful. Observe the )F Instructions, supplies, Ceramic and 4 satiny depth of the crackled glaze. tin oxide F China Firing, finished and greenware 4 Pale t 5 % F RE-WARD DISTRIBUTOR 4 How pleasant it is to the touch. See Green ) 3 % copper oxide HAZEL HURLEY STUDIO how much better the area looks where 4803 Prince St., Downers Grove, Ill. 4 you were extra generous with the 5% tin oxide Phone Woodland 8-0719 4 ~. glaze. There are a few pinholes, true. Eggplant 3% manganese dioxide 1% but how intriguingly the color has cobalt oxide changed around these tiny craters. ADHESIOLYTE Brown f 3% to 15% red iron oxide new apoxy adhesive Don't look too long! The other pots to Ceramic to metal--Ceramic to wood 2% manganese dioxide Metal to metal are maturing fast. Better empty the Black 1% cobalt oxide $1.25 for 50 applications (25c for small sample) bucket and refill it with clean, cold If dealer cannot supply you, send direct. water: if you're negligent about this, You will find that low-fire, white- PATTYPRINT POTTERY the next pieces may come out too lead glazes tend to look like refrige- 14826 Charlevo~x Detroit I S, Mich. opaque or even scummy. rator enamel. This can be avoided on red-clay ware by applying the glaze THE TONG MARKS show on your thinly and letting the color of the clay FOR SALE: ONLY CERAMIC STUI)IO in raku. In Japan, these are considered burn through. You can produce beau- mid-western New York State, serving over half million population. Attractive school a virtue, revealing as they do one step tiful off-whites by adding a small business. Store well equipped with marble in the making of the pot. But if the)' top counters, plenty of shelves and storage quantity of an oxide in this way: stir space. Low rent. Sale price based on in- seem like scars to you, learn to ventory. Owner retiring to Florida, Replies the oxide in clean water, allow it to to Ceramic and Art Supplies, 800 Hudson operate the tongs so deftly that only almost settle and then gently pour off Avenue, Rochester 21, New York. two slight depressions will be left in the liquid, into your glaze, as you mix the surface of the glaze. You can also it. plot in advance where to make the One sees beautiful persimmon- GENERAL CERAMIC SUPPLIES marks so they can serve as accents. colored glazes on Japanese raku. FOR When brand new, raku is not as These are said to be obtained by bast- • Schools • Institutions • Hobbyists durable as higher-fired ware; it is ing raw-ochre slip on white-clay FREE CATALOG porous and, if used to hold liquid, bodies before the bisque firing, then will leave moisture rings on the table. glazing with a transparent glaze. In Roder Ceramic Studio But not for long--with time the pores 1331 Race Sf. Philadelphia, Penn. my own experimenting, however, I and glaze crackle fill up, making the have failed to come close to the essen- ware water tight and stronger. (In tial vividness that distinguishes the my family, we have used one piece of Japanese pieces. SEELEY'S CERAMIC SERVICE raku for twenty-four years; and I Crackle is typical of raku glazes Let us help you with your ceramic needs. have drunk tea from Japanese cups We have a complete line of school supplies (sudden exposure to cold is the and equipment : slips, clays, colors, kilns, used for more than a hundred years!) wheels, tools, brushes, sprayers, pens, and cause), but if for some reason, you books. Free catalogues to schools and cer- If you are impatient, however, and do not want this to happen, it can be amic teachers: Ceramic-Molds Enameling. want to hasten sealing of the clay prevented. Three percent of bento- 7 ELM STREET, ONEONTA, NEW YORK pores, put sweet milk in the new pot nite added to a dr}, batch of ingre- and let it stand a day. dients will temper the glaze yet not Are you wondering what the effect affect its characteristic smoothness. would be if you deliberately fired for Pitting of the glaze, caused by grog Contact Trinity- a longer time to strengthen and openings, can be reduced by polishing waterproof raku? You would have no and rubbing the clay body while it is for Superior trouble with the glaze's burning out in the leather-hard stage, prior to the before cone 02, but the semi-crystals bisque firing. of the lower temperature would be- No doubt you will feel uneasy about CERAMIC *.. PORCELAIN come fused and the glaze would look the danger of using free lead in a most ordinary--something like kit- glaze for serving dishes. But don't be CLAYS chen paint. In strengthening the body alarmed: if you soak the finished you would lose the waxen character dishes overnight in a mixture of two of the glaze which is one of raku's tablespoons of vinegar to a quart of most attractive qualities. water you can never be accused of Another attraction is the wide Medici plots! range of color that is possible. For a (Please turn to Page 34)

30 CERAMICS MONTHLY Now... BLACKor WHITE DESKPENS for EVERYONE White and gold or black and gold BALL POINT PEN from our readers in swivel holder. Uses any standard refill. Price S1.25 each. IDEA FOR MOLDS better lubrication and it pre- Some molds for small vents a piece from collapsing objects or for "edge cast" because of surplus moisture. plates and saucers have You don't have to make spe- very small pouring holes. cial slip-save the sllp that Very often, therefore, the collects in your wheel well pouring hole will be filled after throwing. The slip. of with solidified slip before course, should be made from the mold action is complete, the same clay that is used for resulting in a dent or a the throwing. hidden air cavity. --Lillian Noble To prevent this from Nebraska City, Nebr. happening', coat the walls of the pouring hole with DECORATING IDEA A whole field of new and interesting effects will open to you if you try the following "black-and-blue" idea. Apply the decoration to the green ware in the black underglaze or perhaps merely sponge on a black back- #496 #498 ~z497 ground, then glaze overall Mold 2~'496 4~,~" diameter x 1{4" high ...... $3.85 ~'~498 5" x 5~,~'' x 11/.," high ...... 4.40 thinned shellac. This keeps with a transparent glaze of a z~-497 4]/.2" diameter x 2" high ...... 1.25 the entrance hole from deep color. Royal blue is es- Packing charge included. No C.O.D.'s please. New MOLl) CATALOG and GLAZE LITERATURE $1.00 casting at all by killing pecially effective. (Refunded on first order.) the absorbency of the plas- The black underglaze comes STUDIO- DEALER DISTRIBUTOR DISCOUNTS ter; the slip can now flow through ahnost like a shadow CREEK-TURN, Halnesport, New Jersey into the mold and the en- effect to make a particularly trance hole remains open at handsome piece. all times. --Peg Townsend For best results, use Tucson, Ariz. thinner than usual slip on STRONGER SMALL molds of this type. MOLDS --E. G~sta cso~t Small piaster press molds BOOKS Jacksonville, Fla. like those used for jewelry PINHOLE ELIMINATOR are easily chipped and broken To eliminate air bubbles after some use. One way to and impurities from my slip, lengthen the life of these fra- I screen it through a nylon gile items is to pour the plaster stocking. in a container which will be- I knot the stocking at the come a permanent housing ankle and cut off the foot for the mold. The best container I have 5 titles end. This is thoroughly wet with water, then stretched found is the small aluminum over the top of a gallon jar to choose from and the slip poured through slowly. I have found that this has completely eliminated pin Choice books, on ceramic subjects, are available through holes in my finished, cast greenware. pan that frozen foods come the CERAMICS MONTHLY Book Deportment. All titles -Marion Hannapel in. Small cardboard contain- have been carefully reviewed to assure the reader of ers are also serviceable; how- Jomar Studio the best in ceramic reading. All books are sold on a ever, they can become damp Oak Lawn, Ill. and then peel away. The thin money back guarantee and CM pays all postage SLIP FOR THROWING metal pan is, of course, im- charges. Write for your FREE Iht of these 45 titles When throwing on the pervious to liquid and is the today! wheel, use slip instead of better idea. water for wetting the hands --Peg Townsend CERAMICS MONTHLY and for lubricating. It gives Tucson, Ariz. Book Department 4175 N. High St. Dollars for your Thoughts Columbus 14, Ohio CM pays $1 +o $5 for each item used in this column. Send your bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio. Sorry, but we can't acknowledge or return unused items.

FEBRUARY, 1957 31 IDEAS for the decorator

by BEE BASCH

GLAZE CONTROL each of the pieces shown. I had tested this glaze on seven different clay for interesting effects bodies. On a white clay it fired to a rich gold color. On five different In ceramic decorating one pro- brands of red clay it fired to a dark FREE copy of the latest cedure is to start with the clay piece brown. On Jordan clay it gave a and choose a glaze to enhance it. brown-speckled-with-gold effect. CRAFTOOLS CATALOG of On the other hand sometimes a glaze ceramic equipment and tools. may be so appealing we design or Fortified with this information, and choose a piece to show off the glaze knowing how to fire the glaze to ob- CRAFTOOLS. Inc. to best advantage. tain a specific result, I was able to Dept. CM, 401 Broadway, New York 13, N. Y. "Art glazes" hold a particular fas- come up with some interesting art cination for me. These are the glazes effects which I planned and con- IMPORTED CHINA SUPPLIES that will flow or will mottle; will de- trolled all the way. The "whale" ash tray was cast in a CORRESPONDENCE COURSES velop crystals or specks in some areas and not in others; will give all sorts red-clay slip and the inside portion Write for Free Catalogue of unpredictable but beautiful results. was sprayed with a white-clay slip. But the results need not be unpredict- After bisque firing at cone 06, it was CAMPANA ART CO. glazed with a particular glaze by 442 N. Wells St., DepL C, Chicago I0, III. able! If you take time to test glazes properly and explore their poten- tialities you will find that you can control them and obtain the specific You're missing plenty if you don't have our FREE Catalog of results you want. Lehrhaupt Molds & Kenrick Decals Controlling a glaze can mean different things. THE LEHRHAUPT5 P. 0. Box 345B, 1000 Wickapecko Drive FIRING PROCEDURE is one factor that Asbury Park, N.J. has a great deal of influence on the final appearance of an art glaze. It will make a big difference, for ex- CHARLES HARRIS CO. ample, if the piece is fired quickly or 2894 Broadway, New York, N. Y. slowly; if there is a long soaking offers a new selection of stampings period during the time the cone is expressly for jewelry making avail- bending; if it is slightly underfired or spraying heavily and then fired able in slightly overtired; if the kiln is cooled according to my predetermined COPPER or SILVER particularly fast or slowly; and so on. schedule. As you can see in the illus- available at your dealers or write tration, the center section (white-clay direct. Careful notes should be kept during body) is a rich speckled gold; the the firing of a glaze so that the same outer edge (red-clay body) is a rich results can be repeated. brown color. Together, they make an THICKNESS OF APPLICATION is an- extremely handsome combination. The "boomerang" ash tray is an- CUSTOM-MADEFRAMES FOR 606 C|RAMI( Tftt, other important control point. A very ENAMELEDTILE, ETC. MAKEYOUR OWN IARLESI thin layer of glaze will behave quite other successful experiment which I write today for dosttlytiel cod prices. differently from a very thick layer and was able to control all the way. Bv there will be differences in between. controlling the thickness of applica 2 tion, the firing schedule, and the com- '_i THE BODY upon which the glaze is bination of clays used, I was able to applied is of equal or perhaps even greater importance than the other two factors. The ingredients of the glaze will often react with the ingredients in the clay body to give a variety of effects. If you can obtain a specific $ ANYKILN effect by controlling the firing [ I~'LAZEx~teefser~tV~rtu~ E ikledtu°°denhmdte-t~°d°IFor5 schedule and by applying a glaze to a certain thickness, and if you know how it will behave on a certain body, obtain the gold speckled decorative you can produce a variety of well-con- out glaze, sticks section and the very lightly speckled glaze to ware, trolled, interesting effects, even a com- surface on the rest of the piece. fires evenly, bination of effects, on one piece. eliminatesdip. It levelsglaze \~11i4~47 ,~u c~lM~l ~ "N"~ "I I hope that this brief discussion of waste. A couple of experiments of this Many sizes from these simple experiments will inspire 4 .... 30c to ,d ,v,.~tlevtl,,d 6, ~b ~'x. ~[ type are shown in the illustrations you to try a similar experiment with 1 gal. -- $4.00. here. The same glaze was used on (Please turn to Page 34)

32 CERAMICS MONTHLY Simply Amazing For Glazing . . .

M ETALCRAFT way to make a domed disk. 'With a pointed instrument and never a lead Not too long ago when I had lny pencil (it leaves traces after firing), training in the art of enameling, there draw a circle on your copper or silver was no question and no doubt about or, if you are very ambitious, on your one point--that enameling and metal- gold. Cut out the disk and smooth the FREE~4 oz. bottle of JANE SNEAD work go together. To be admitted to edge with a file or Carborundum glaze wlfh each order. the top you had to be proficient in Put the finishing touch of the artisan on your pet ceramics with the new both crafts. It was only natural. The Burgess Electric Sprayer . . . its the simple, thorough way to glaze; it beau- enameler had to make his own metal ti4ies your work. Long, faithful service bases; if he was too busy, he got some assured by the jeweled sapphire nozzle of this sprayer . . . pattern and volume help or designed spinnings to be made regulated by one simple adjustment, which prevents waste, saves you time up for him, but that did not change and money. The lightweight 'Burgess" the basic rule that he had to know comes complete, no compressor required. For exactly the job you want . . . it's his metalwork. best to invest in a Burgess Electric Sprayer. Send check or M.O. today ! Times have changed a great deal stone. With a wooden mallet flatten Dealer inquiries invited in a very short time. Life has become out the metal on a straightening plate. easy for the enameling enthusiast. He Now place the disk on a board (I use can buv an endless variety of COl)per my desk and with the passing of time blanks for jewelry and trays large or have hollowed Out quite a few very small in size, abstract or conventional convenient "molds" in it), and ham- in style. Many people use these ex- mer it with a ball hammer until it is clusively and do not think of bother- domed as deeply as desired. Then put ing to make a form by hand. it back on the straightening plate, con- But metalwork for enameling is cave side tap. Hold the piece down CERAMASTONE jewelry mix really not at all difficult. It is worth with the fingers and start hammer- .... a self-glazing clay your while at least to try it. Your ing it (see sketch, left half). Use a Add water to this magic mud--hand enameled pieces will have added qual- small fiat hammer or a ball hammer model into earrings, cuff links, pendants, ity: they will become more individual, depending on how vou want the ham- pins, beads, buttons, belts! Fire only more interesting and, through the mer blows to look. Start hammering once at cone 06. Open your kiln to handmade touch, more precious. Only at the center of the piece and work find beautifully glazed ceramic stones. a few, inexpensive tools are needed. out from there in a tight spiral that Used by potters and instructors in all I will give you a few hints about work- grows larger and larger until you forty-eight States. Ideal for schools and ing metal; use them, and you will come near the edge. Stop there i if occupational therapy. have no trouble with any form you you don't, the edge will become scal- desire for jewelry, plaques, tiles or loped. Now turn the piece over so Nine dramatic colors: DARK BLUE, even trays. It is the way I work and the concave side is down and make TURQUOISE, CHARTREUSE, GUNMET- [ have done literally thousands of sure the rim sits level on the straight- AL, WHITE, BEIGE PINK, PURPLE, pieces this easy way. In forming the ening plate all the way around. If it SPRING YELLOW & BROWN. Send basic shapes described here you can does not sit quite nicely on the fiat $1.00 for generous I/2-pound portion of acquire the knack for all shapes. surface, repeat the hammering pro- one color plus instructions for mixing Two of the examples will be domed cess until it does. But if there are only and firing. Postpaid within Cont. U.S. --doming gives strength to the hand- a few stubborn points in the rim, you Colo. Res. odd 2°./o sales tax. Specify formed metal base. (Enamels need a can usually work them out by tapping colors when ordering. lightweight base; and heavier metal the convex side with the mallet. NEW -- HANDBOOK OF JEWELRY does not prevent chipping and warp- With experience you will discover MAKING & DESIGN featuring CER- ing.) I use 24- or 26-gauge metal for tricks of your own for doming a disk, AMASTONE. 20 pages of instructions earrings, pins and such; for pieces to but basicalh the method described and deslgns! $1.00 postpaid. be placed in jewelry settings, the metal works in a Jiffy and for either round can be much thinner. What I am say- or fi'ee forms. SPECIAL--Free Copy of HANDBOOK ing applies to pieces to be enameled with $5.00 order for S I/2-pound portions Doming a Rectangle on both sides (as a good enamel of CERAMASTONE. Specify colors. should be), but if you insist on one- When a square or oblong shape is sided pieces, use a heavier metal. to be domed, you handle it in the Joan and Conrad Wilson same way as the disk except for one Doming a Disk thing. Hammer, with very easy blows, The Pottery Workshop Whether it's as small as a dime or two diagonal lines from the lower left Cripple Creek, Colorado as large as a salad bowl, this is the (Please turn to Page 36)

FEBRUARY, 1957 33 Make your own Raku Visually Handicapped BUY A QUALITY PRODUCT (Continued from Page 30) (Continued from Page 19) When first working with raku, the failures or perhaps the complete frus- ceramist is surprised and satisfied tration of not succeeding at all. An Mode/._)dlns with having produced a pleasingly instructor working with the visually glazed object. The next challenge handicapped child must, therefor(:. I TOP OR FRONT LOADING seems to be enrichment of the surface. have a great deal of patience, and WRITE FOR FREE Remember, though, that a tradition of must be there with a helping hand restraint and simplicity goes hand in when it's really needed." CATALOG SHOWING 45 MODELS hand with raku. When we asked her about the per- 768 N. Main St., Akron, O. Special effects and techniques can, sonal angle, she was quick to respond however, be employed as easily in with her own experience. "Well, such Re.Ward Distributor raku as in other ware. You can mottle a class offers a tremendous challenge, the glaze by applying light coats over and you experience a great thrill when dark ones; make lines or patterns with you see that you are really helping underglazes or overglazes; design with open a door to a whole new world for stencils or various resist materials. these youngsters. By sincerely offering Rutile dusting while the glaze is still the visually handicapped child a slightly damp is effective; and illimi- friendship that the child can sense is nite granular patterns are good unless real, by offering him the love and con- the scratchy surface they create would fidence he needs to motivate further be unsuitable for an object meant to exploration, the blind child many be held in the hands. times surprises and exceeds vour own Taking a cue from the enamelists. expectations for him. And then, there I have even wet inlaid different-color- is that wonderful part of rediscovering ed raku glazes on fairly flat-surfaced your own sense of touch. You know. pieces such as ash trays and plates: not until I began to teach these children did I really begin to 'see' a piece Jean Leonard Ceramics using putty-stiff glazes, I push the colors in place with a pointed tool of sculpture or textured wood, etc., as Distributors and allow longer drying time than it should be seen. I had always sub- Gloss-Matic, Tru-Fyre, Drakenfeld's, Zirco, L & L Kilns, Kemper Tools usual. If the firing is watched closely, stituted my eyes and I'd missed much Try our Magic Glaze binder. Makes one for there is a great deal of beauty in gallon -- 50c. Mend-all, (green ware & such pieces can be snatched from the bisque mender) 4 oz. -- 50c. All items kiln before the juxtaposition of colors the world which should be enjoyed plus postage -- catalog 25e. 96,24 Corona Ave. Corona, L.I., New York becomes undesirably blurred. through touch, and these youngsters Another experiment I have tried is have helped me to rediscover this cooling raku by the slmple-though- important fact." slower method of exposing it to the Yes, here in this little gray stone MOLDS air instead of dunking it in cold building, on Milwaukee's near-East only water. The one object so treated--a side, there are great strides being Molds ~ Blocks ~ Cases made to large piece of sculpture designed to made in teaching the arts and craft~ your design. Our catalog 25c have strong crackled areas--was dis- to the visually handicapped child. PIEPER POTTERY appointing: the "crackle" consisted Here. also, instructors learn many 324 Passaic Ave., West Caldwell, N.J. of almost invisible hairlines that not things. I would like to personall:, even strong tea or oxides would bring salute CAP for the excellent job the;- out, and the glaze had little of its are doing and would like to urge customary depth. other groups or individuals through- IN CONCLUSmN, I would say that out the United States" to meet the for the ceramist who thinks in terms challenge by starting classes in their of flawless delicacy, raku will have own cities. • little appeal. Along with the lovely waxen quality of the glaze, there are inevitably the thick body, the tong Stoneware: Slip Glazes marks, occasional pinholes. But it (Continued from Page 26) occurs to me that in a time when we would have too much sand in it. see so many forced clay shapes, tricky The local clay, perhaps found in glaze effects and over-decoration. the potter's own backyard, can make fresh values might well come of pro- a glaze when mixed with the right I IOLUr ? • ducing pieces as straightforward and flux and fired to cone 10. Some sug- earthy as raku. • gestions on fluxes-and the amounts to use are as follows: SUPPLY EDMPANY Decorating Ideas Whiting 2% to 15% Midwest's Largest and Most Cam- Dolomite 2 to 15 plete Supply House of Clays, Glazes, (Continued /rom Page 32) Zinc Oxide 5 to 15 Chemicals, Molds, and Equipment. Magnesium Carbonate 2 to 8 Discounts available to Dealers, some of your own art glazes. The in- Manufacturers and Schools. Talc 2 to 15 formation you collect from your glaze Borax 9 to 5 I Write Dept. 12A for I experimenting can lead to the coveted. Lead Carbonate 2 to 10 Illustrated Catalogue ...... 50¢ Colemanite 1 to 15 Refunded on first order. one-of-a-kind piece that only you can duplicate. One thing for sure--it will Catalogue sent to .~ehools Free These slip glazes made from local lead you to a great deal of fun and clays can be the most inexpensive of 1248 South Broadway Denver 10, Colorm satisfaction. • glazes and also the most beautiful. •

34. CERAMICS MONTHLY Whether you're an amateur or an ex- SUBSCRIPTION pert you'll find CM people, places & things to be a valuable source for ideas and ORDER information on pot- MEET OUR AUTHORS: Adult Education Department at San Jose, tery and enamels. • Karl Martz, teacher and potter par ex- Calif. In her first article, "Japanese Raku," FORM Order your own per- cellence, was one of CM's earliest special (CM--Ocfober, 1956), Mrs, de Castro tells sonal copies now!! contributors. In the first year of the maga- us about the origin and general technique of zine's existence, 19S3, he not only wrote on Raku glazing in Japan. This month she com- decorating with engobes but also a three- pletes her series wlth a step-by-step descrip- part series on decorating clay with day tion of her method far making Raku. (Sept., Oct., Dec.). Karl teaches ceramics • "My love for c:ay af Indiana University, Bloomington and with SEND TODAY dates back macy CERAMICS his wife, Becky Brown, runs a pafshop in the years," says Swls~- Ceramics Monthly MONTHLY Brown County art colony at Nashville, In- 4175 N. High St. born Hermine A. MAGAZINE diana. An incurable investigator of methods Columbus 14, Ohio Secrefan but o - and techniques, himself, he would like through though she tec> his articles to create in the reader "an un- courses in design o~d quenchable desire to try these things." modeling in Swltzef- • Though Raku bowls were an important land if was not ur ~ Name part of the Oriental tea-drlnking custom while she came to this Freda de Castro was teaching in Shanghai, country (1948) that Address she did not begin experimenting with Raku she realized a long- City glazing until she returned to the United cherished ambition to States. Now she feels that Raku has a [earn throwing on Zn. State definite place in American ceramics. In most the wheel. "This ancient craft has an ever- of her work wifh Raku, Mrs. de Castro has new fascination for me . . . I live with my [] lyr.$5 [] 2yrs. S9 [] 3yrs.$12 been guided by the writings of Bernard Canada and Pan America add 50e pots--easseroJes, beakers, vases and bowls per year for postage and ser- Leach, the British ceramist who has intro- are in constant use. But once in a while vice. Foreign add $1.00 per year. duced so many Japanese techniques to the the urge to build something by hand, to get [] Remittance enclosed [] Please bill me Western world. away from the round and symmetrical, be- Mrs. de Castro, who earned a M.F.A. de- comes very strong, and then I indulge in free gree from the University of Florida (ceramics form and chance-inspired decoration." Mrs. her maior), is presently teaching in the Secrefan lives in Washington, D.C.

KRETSINGER JEWELRY A WINNER: Mary and sponsored by the H;ckok Manufacturing Kretsinger, whose articles on ceramic iewerry Company, has begun a two-year four of Far sgrafllto, incising, slab work, tem- plate making, shaping, modeling, trim- appeared in CM last August and December, AmeFcan museums under the banner of ming and clean-up. and v:hose "M;sh;ma Decorating" article was Smithson;an Institution. QUALITY: Finest precislon-made scraper WICHITA EXHIBITS: The first exhibition of points and surglcally-sharp knife blades. the Wichita Ceramic Art Society, November VERSATILITY: Slim all-metal handle takes any of 6 scrapers as well as blades. 3 and 4, was attended by over 600 people. ECONOMY: Points and blades quickly The 4S6 show entries, representlng five states, and easily interchanged or replaced. were classified into 12 groups. Three prizes, awarded in each class, totaled $500 in donated prizes from studios, deaiers, suppliers and publications. Officers of the Wichita Ceramic Art So- 4 ciety are President, Mrs. Edna Florenz Mueller; Vice President, Mrs. Minnie Spencer; and Secretary-Treasurer, Dr. V. A. Mueller.

NAVESINK RIVER SHOW: The Navesink ,8 11 River Ceramic Guild held its annual exhibit November 13 *through November 17 at the China and Glass Shop in Red Bank, N. J. featured in January, has received one of (For award-winning pieces and names of twelve Purchase Awards totaling $2000 made winners, see photo). at the Second Exhibition of American Jewelry The present enthusiastic Ceramic Guild No. 63 Double Set: 2 handles, 6 points, 2 and Related Objects. Her winning entry is was organized in 1952--its first meeting be- knife blades . . . $2.75. Other sets at 75c an enamel-on-gold pendant wlth gir[-and-caf ing called by Mrs. Waiter (Bee) Basch. The and $1.S0. Refills available separately. motif (see photo). If is one of 200 items twelve original members established the accepted by the jury from over 1600 entries. group's objectives--to further an interest in SEND FOR FLIER--FREE: CATALOG--25C The exhibition, assembled by the Memorial ceramic arts, exchange ideas and knowledge 48-69 VAN DAM ST., L. I. C. 1, N.Y. Art Gallery of the University of Rochester (Please turn to Page 36)

FEBRUARY, 19S7 35 Ceram-Activities (Continued [rom Page 35) of various techniques and fo produce one Ceramic Materials and Equipment ..._~ exhlbif a year. Mrs. Basch became first • 2: : * : "', president of the group. SPECIAL PREPARED BODIES Judging this year's Navesink Exhibition Our business has been expanded to include all types of clay bodies--varied col- • ~ We furnish every- were two men in the field of ceramic design: ors for slip-castlng, throwing and sculpture. • ~ng....shyy ,72_~: Francis VonTury, Trustee for the Design Di- • " "~ ~stume, religious, Cone 06 to 8 (art ware and stoneware). jewelry; compacts, vision of the American Ceramic Society: Write for special clay sheet. cases, many others! Choose and Robert Zirlln, of Freehold, N. J. a promi- OUR AIM I$ QUALITY from hundreds of styles for your own use, luxurious gifts, fund raising, or nent potter as well as a sculptor in both JACK D. WOLFE CO., INC. a spare-time business of your own. Send for wood and ceramics, having won five national 62 Horatio St. N.Y.C., N.Y. big, FREE "How To" book & catalog. Please include 10c in coin for postage & handling. awards in +he past year. (WA 4-6019) INTRODUCTORY OFFER: Wholesale and Retail Stunning Moonstone earring-bracelet kit & book only $1.00. Money-back guarantee. GEM-CRAFT, Div. of Immermon & Sons Dept. CM-2A • 1812 E. 13th @ Cleveland 14, O. ~- ENAMELING KILN

'Swedish Modern Originals' No. 7033 still ~oin~ stron~ \Vc are cspecially proud of the workmanship LARGE WORKING and quality of our moMs. Priced from $2.5f1 AREA to $7.00 no C.O.D.'s please! Discount on 12"x 11" x S" quantity only. Distributors invited. Catalog 25c Free to Dealers FAST COME-UP Ruth Denice Lauer, Inc. TIME 14g-04 Jamaica Ave. Jamaica 18, N. Y. Winning pieces in the recent annual exhibit OTHER SIZES for of the Navesink River Ceramic Guild are, AMATEUR, PROFESSIONAL and INSTITUTIONS I to r: Best of Show and First Award in Send for Details the Wheel Division--Bottle by Neff Festa; THE ELECTRIC HOTPACK CO., INC. First Award in Commercial Mold Pieces-- 5079 Coftman St., Phfladelphla 35, Pa. Large Bowl by Adele Woodruff; First Award a most complete selection of ceramic-- in Sculpture--Head by Renee Childress; sculpture--casting tools and materials for First Award in Original Mold Pieces--Large TEACHERS--SCHOOLS beginners -- students -- professionals. -- Fish by Bee Basch. First Award in Slab and our own famous INSTITUTIONS Method--Leaf by Kate Lefferfs. If you are within 100 miles of Buffalo )ELLA ROBBIA CLA' call or write for details FREE DEMONSTRATIONS -- bakes ceramic-hard in your kitchen oven Ceramics & Enameling in a few minutes: cuts costs to pennies. Send Enamelers Column for complete kit CM600, only $5.95, and free (Continued [rom Page 33) BUFFALO CERAMIC SUPPLY CENTER 437 M Franklin St., Buffalo 2, N.Y. to the upper right corner and vice 4; + versa (see right half of sketch, page 33). New 8~" x 11" Monthly Magazine Squaring off Rims CHINA DECORATOR in old "Keramic Studio" style, designs, When you want a flat shape with studies, articles for decorating all ceramics. instructions by artists for beginners, classes corners (see sketch) cut out a piece and production lines. All subjects. Send Painting • Bookbinding • Enameling of metal large enough to allow" for your ideas and advertise your studios and Sculpture • Silversmithing • Jewelry products. Subscription $3.75 per year. Ceramics • Metalwork • Weaving turning down a narrow strip at each Silk Screen • Cabinetmaking NETTIE E. PILLET Men, Women. Day, Eve. Catalog C side. Cut out little squares where the 841 Barrows Crt., Pasadena. California CRAFT STUDENTS LEAGUE YWCA corners are to be. Flatten the metal 140 W. 22nd St., N.Y.C., CH 3-5747 out with a mallet. Then set it along GOLDEN OPPORTUNITY for Ceramists to represent materials manufacturer in your own exclusive territory. Full or part time. Sell superior pottery supplies to Schools, Ceramic Dealers, Art & Hobby Shops. Insti- tutions, Studios, Potteries. etc. Liberal Com- ¢ missions, Repeat Business. For Details write COLE CERAMIC LABORATORIES, Dept. C.M. Gay-Way, Sharon, Conn. State quali- The following back issues of Ceramics fications. Monthly are still available at sixty cents per copy (Ohio residents add 3% sales tax). We pay postage. 1953 World's finest July, August, October, December the edge of the straightening plate 1954 and hammer down the side strips, TILES February, March, July, August, Sep- For Decorating tember. November, December using the mallet. This is a basic shape Superb English Tiles, bisque or glazed, 6" x 6", they're perfect for pleasure . . . 1955 that is often needed for tiles, pins or profit. March, April, May, July, August, Sep- and earrings; it is also ideally suited ALSO AVAILABLE : @ TRIVETS, black @ WOODEN tember, October, November, December for settings for rings and cuff links. iron, rubber-foot- FRAM[ES 1956 Shaping metal isn't difficult--is it? ed, for 1 and 2 $ TILE BACKS and tiles HANGERS May, June, July, August, ~'el)tember, One more tip: always hold the ham- • WROUGHT IRON October, November, l)ecember FRAMES mer at the end of the handle, relax Please send remittance (cheek or money Write .for FREE Descriptive order) with list of back issues desired. your wrist and let the hammer bounce Price List .No. C4 up and down all by itself. Your job SORIANO CERAMICS MONTHLY is only to hold the hammer loosely CERAMICS, INC. 4175 N. High St. Columbus, Ohio Long Island City 5, N. Y. and d~rect its bounce. Will vou try? •

36 CERAMICS MONTHLY SHOW TIME

State Craft Shows... February, 1957

Texas and Florida American Art Clay Ca ...... 12 B and I Mfg. Co ...... 2 Exhibitions bringing the best works Basch, Bee, Designs ...... 6 of local craftsmen together on a state- Bergen Arts & Crafts ...... 11 wide basis are being held in various Buffalo Ceramic Supply Center ...... 36 parts of the country. Among such Campana Art Co ...... 32 shows were two held recently in the Ceramic and Art Supplies ...... 30 Ceramic Expositions, Inc ...... 7 South Texas and Florida. Ceramlchrome Laboratories ...... 1 ! The Fi/th Te~as State Cra[ts Ex- Cole Ceramic Laboratories ...... 36 hibition, sponsored bv the Craft Guild Copper Shop, the ...... 34 of San Antonio, brought a First-in- Cox, Florence, Ceramic Studio ...... 12 Craffools, Inc ...... 32 Show award of $150 to Hannah H. Craft Students League YWCA ...... 36 Slip-decorated stoneware--Margaret Flowers Stewart, Houston, for a ceramic bowl Cramer Molds ...... 28 and First-in-Ceramics, $50, to Mar- Creek-Turn Pottery ...... 31 garet Flowers , San Antonio, for stone- Delta Brush Mfg. Corp ...... 2 ware (one piece shown above). Detroit Fabricating Corp ...... 11 Displayed at Witte Memorial Mu- Duncan Ceramic Products, Inc ...... 8 seum, in November, the show moved Electric Hotpack Co., Inc ...... 36 on to Dallas Museum of Fine Arts for Gem-craft ...... 36 the following month. Great Lakes Ceramic Exhibit .... Cover-2 Sixty- seven ceramists, scull*ors, Grohs, Mary, Decals ...... 28 metahvorkers, weavers and others Hailam Studio ...... 32 were represented in the Florida Harris, Charles, Co ...... 32 Cra[tsme~;'s Sivth Annual State Show Harrison, the Kay, Studios ...... 10 Holland Mold Shop ...... 9 at Norton Gallery, West Palm Beach. Homme[, The O., Co ...... 3 last November. In this group, first House of Ceramics ...... 9 prizes in ceramics went to Charles M. Hurley, Hazel, Studio ...... 30 Brown. of Mandarin for a tall blue Illlni Ceramic Service ...... b coil-built bottle with wax-resist decor- L and L Mfg. Co ...... S ation (see photo below) and to Dor- Lauer, Ruth Denlce, Inc ...... 36 othy M. Fuldner, Lake Worth, for an Lehrhaupfs, the ...... 32 enameled portrait- plaque entitled Leonard, Jean, Ceramics ...... 34 Enamel plaque (fronf)--Dorothy M. Fuldner "'Mimi" (shown at left). • Mason Instrument Co ...... 28 Master Mechanic Mfg. Co ...... 29 Mayco Colors, Inc ...... 4 Model Ceramics, Inc ...... 34 Norwesf Novelty Co ...... 12 Old Viking Shop, the ...... 28 Paragon Industries, Inc ...... 6 Paffyprlnf Pottery ...... 30 Pieper Pottery ...... 34 Pillef, Nellie E...... 36 Potter's Wheel ...... 32 Potter's Wheel, the ...... 30 Pottery Workshop, the ...... 33 Re-Ward ...... 1 Roder Ceramic Studio ...... 30 Rouse Engineering Co ...... 28 Schmid, Ludwig, Molds ...... 29 Sculpture House ...... 36 Sea rarnics ...... 28 Seeley's Ceramic Service ...... 30 Snead, Jane, Ceramic Studio ...... 33 Sorlano Ceramics, Inc ...... 36 Specialized Ceramics Corp ...... 2 Stewart Clay Co ...... 9 Tepping Studio Supply Co ...... 34 Thompson, Thomas C., Co ...... 1 Trinity Ceramic Supply ...... 30 Van Howe Ceramic Supply Co ...... 34 Wilton Pottery ...... 28 Wolfe, Jack D., Co., Inc ...... 3b X-Acto, Inc ...... 3S

Florida pottery winners: (I to r, back row) pair of wheel-thrown lamp bases--Melvin H, Caspar, Merrlft Island; and fall bottle by Charles M. Brown; (front row) covered jar--A. J. Spencer, St. Petersburg: wheel-thrown porcelain jar, Eleanor Dorman, St. Petersburg. mug- and-plate set--Dorothy Darbee, Fort kauderdale.

FEBRUARY, 1957 37 w

It's in the national spotlight!

The CM Handbook On Copper Enameling

64 Pages of Instruction* Over 200 Illustrations* Completely Indexed* 81/2 x 11 Format

The articles on copper enameling by Jean O'Hara students. The step-by-step projects ill this volume make and by Jo Rebert appearing in CM since June 1954 have it an excellent working handbook; the text and detailed been proclaimed the best in basic instruction. Twenty- index make it a valuable source of reference. one of these articles, representing basic fundamentals as well as illustrated how-to-do-its on jewelry, have now CONTENTS been combined in book form and carefully indexed. Let's Get Started Copper-Wire Accents The publishers are proud to present this material Tools and Equipment Fitted Necklaces under one cover as a service to teachers, hobbyists, and All About the Enamels Wireless Cloisonne Sift-and-Stencil 3lethod Jewels from Broken Glass Wet-Inlay Method Jewels Plus Foil Gold and Silver Foil Plaques for Compacts CERAMICS MONTHLY BOOK DEPT. 4175 N. HIGH ST., COLUMBUS, OHIO How to Get Special Effects Mobile Earrings Defects--Causes and Cures Simple Link Bracelets Please send me ..... eopies of the COPPER ENAMELING Designing with Bits of Foil 3-D Bracelets Handbook @ $2 per copy. (CM pays postage). Modern Cloisonne Pieces Make Large Plaques NAME Lines for Designs Index

ADDRESS

CITY ZN STATE

Ohio Residents : add 6e Sales Tax per copy. emclose [] Check [] Money order ...... Other ORDER TODAY ~l Dealers Write for ln.for~ltioT~