FEBRUARY, 1963 50c
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Pl THE BEST OF TEN YEARS With the publication of the December 1962 issue, CE- RAMICS MONTHLY completed ten years of service to the ceramic art and craft field. To commemorate this event, the CM staff is pleased to announce the publication of a new handbook, the fourth in a series that includes COPPER ENAMELING, UNDERGLAZE DECORATION and THROWING ON THE POTTER'S WHEEL. The title of the new book is CERAMIC PROJECTS. From the wealth of material presented in the maga- zine during the past decade, the editor of CERAMICS MONTHLY has selected an outstanding collection of arti- cles by recognized authorities in the ceramic world. Each of these articles has been carefully edited for presenta- tion in book form and is complete with large, clear photographs and step-by-step text. Among the many unusual and exciting projects in the new text are hang- ing planters, clay toys, unusual bottle shapes, holiday ornaments, rolling pin sculpture and jewelry. Priced at only two dollars per copy, this stimulating compilation will find wide circulation among hobbyists, craft groups and schools. Publication date is March 1. If you would care to reserve your copy of CERAMIC PROJECTS in advance, send two dollars to CERAMICS MONTHLY Book Department, 4175 North High Street, Columbus 14, Ohio. Your copy will be mailed immediate- ly upon publication.
2 Ceramics Monthly ~,y ...... ~,,~. I
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Ode to Doubting Thomases Some folks have the mistaken idea that because our potter's wheel is portable, weighs only 75 pounds and costs just $230... it won't hold up to the test of time. Nothing could be further from the truth. It's so rugged and trouble-free a performer that it's used for production line duty! At Pacific Stoneware, Portland, Oregon, professional potters use standard Skutt's Model B Potter's Wheels eight hours a day turning out as many as 200 pieces.., year after year. These potters particularly like the way they can both start and stop, set and hold speeds with the Skutt foot pedal. Isn't this the kind of performance you want in ~/~ 2~our classroom or studio? Please write for more information.
• 2618 S. E. STEELE STREET • PORTLAND 2, OREGON
February 1963 3 SCHOOLS-CRAFT CENTERS-INSTITUTIONS
have you tried Westwood's stoneware cone 5 glazes? )color may be added) W 501 LIDO SATIN (mottled beige) W 504 ITALIAN STRAW (mottled beic W 502 SEMI-CLEARMATT W 505 POLAR BEAR (eggshell white) W 503 MOONMIST (opaque white) W 506 HORIZON (opaque white glos 16 TRANSPARENT
- - - and our Stoneware Bodies SCMO - 10 BROWN (reduction) (cone I0) WC-8 White (cone 6-10) SCRH BROWN (reduction) (cone 10) WC-40 BROWN (cone 5) WC-33-10 BROWN (reduction) (cone 6-10) SCMO BUFF (cone 10) WC-33 BUFF (cone 6-10) WC-5 RED (cone 5)
WESTWOOD Stoneware is used by leading potters and ceramic schools everywhere. PRICES ON REQUEST POTTER'S WHEELS and KILNS
610 VENICE BLVD. VENICE, CALIFORNIA
NEW MATERIALS FOR FUSED GLASS-
GLASS-COAT ... the ideal undercoating for one-stroke or detail techniques. Elim- inates spreading of water-base pigments; burns out in firing. The perfect adhesive for copper enamel lamination .... 60c per jar.
OPAQUE GLASS ENAMELS . . con- centrated liquid enamels for surface dec- oration at bending temperatures. WHITE, JET, LEAF GREEN, BLUE GREEN, TUR- QUOISE, DEEP BLUE, SUN YELLOW, told them that Kewara-s ilqula preparea glazes unu ~u,v,> LIME, PINK, ROSE and BROWN . . . 45c. go twice as far and offer truly foolproof firing results. Is your school or craft department practicing "false economies" without realizing it? FLAME RED ... 60c. Reward glazes and colors fire at "standard" temperatures (Cone INTRODUCTORY OFFER m 06-04) in regular school and institution kilns, and are highly recommended ALL 12 only $5.00 pp., at retail for their foolproof characteristics and high quality. Send for price list only. and literature. KAY KINNEY I CONTOURED GLASS 72S Broadway Laguna Beach California REWARD CE,AM,c COLO, MFRS., iNC. 6811 Washington Blvd., Elkr|dge 27, Maryland 4 Ceramics Monthly MONTHLY
Volume 11, Number 2 February 1963
Letters to the Editor ...... 7 Suggestions from Our Readers ...... 9 Answers to Questions ...... 10 CM's Picture of the Month ...... 11
Sculpture: The Human Head (Part 2) by Edris Eckhardt 12 Firing Glass on Fire Bricks by Kay Kinney ...... 16 Carving Clay by Didier Journeaux ...... 18 The Albany Institute's Dutch Room ...... 21 Ceramic Escutcheons by Elise Chapman ...... 22
The Art of Firing Enamels by Kathe Berl ...... 23 The Pottery and Sculpture of Santo Mignosa by Hal Riegger ...... 24
Brush, Wax and Sgraffito demonstrated by Marc Bellaire 28 Glazes for Cone 6 by F. Carlton Ball ...... 30 Show Time: Ohio Ceramic and Sculpture Show ...... 31 Kansas Designer Craftsman Show ...... 32 Itinerary ...... 33 CeramAetivities ...... 35 Ceramic Shopper ...... 38 Index to Advertisers ...... 38
On Our Cover Authentic Delft tiles decorated with animals and tulips are part of the fireplace in the Albany Institute's reproduction of a late seventeenth century Dutch Albany citizen's home. A view of the room and some of its ceramic treasures is pictured on page 21.
Editor: THOMAS SELLERS Art Director: ROBERT L. CREAOER Business Manager: SPENCER L. DAVIS Circulation Manager: MARY RUSHLEY Advisers and Special Contributors: F. Carlton Ball; Marc Bel- laire; Kathe Berl; Edris Eckhardt; John Kenny; Kay Kinney; Zena Hoist; Karl Martz; Ken Smith; Don Wood. Western Advertising Representative: Joseph Mervish Assoc., 5000 Lankershim Blvd., North Hollywood, Calif. TRiangle 7-7556
Copywright 1963 Pro[essional Publications, Inc.
CERAMICS MONTHLY, February 1963, Vol. ll--No. 2. Published monthly except July & August by Professional Publications, Inc--- S. L. Davis, Pres., P.S. Emery, See.; at 4175 N. High Street, Columbus 14, Ohio. Entered as second class matter at the post office at Athens. Ohio. U.S.A. Subscriptions: One year $5; Two Years $9; Three Years $12. Copyright 1963. All rights reserved.
February 1963 5 ....:.:i...... :...+;::. ..
...... NON FIRING BtSQ-WAX WAX SEALER Bisq-Wax is an easy-to-use Clear Wax Sealer to be applied over ceramic bisque, fired opaque and translucent underglazes. It elim- inates the need of a second glaze firing as it seals and protects with Ilth a semi-permanent finish. The soft finish of I3isq-Waxwill be pre- ANNUAL ferred in many decorating techniques over that of a fired, gloss finish. Apply 1-thin coat and let dry. Ira soft sheen is desired, buff EASTERN when thoroughly dry. ((Rgml( SHOW7 Sponsored by CERAMIC LEAGUES, INC. for fun for profit
MAY 16-19, 1963 BUY MINXIE MOLDS AND CONVENTION HALL, ASBURY PARK CERAMIC ACCESSORIES NEW JERSEY * LIGHTER INSERTS * HANOVIA GOLD & LUSTRES * DESK PENS * MINXIE MOLDS * ANIMAL EYES * MINXIE GLO Lifts * CLOCK WORKS * MINXIE GLO STARS MAKE SURE YOUR FIRM * MUSIC BOX MOVEMENTS * MINXIE GLO SNOW * JEWELS FOR DECORATING * MINX KITS: IS REPRESENTED * SPONGES Omamenfs for Ceramics * PORCELAIN BISQUE FLOWERS ehi,.~.o Co,~me Jew,l,-y (WRITE FOR INFORMATION TODAY) WHOLESALE -- MAIL ORDER ONLY. NO RETAIL!
Contact your supplier for Minx Molds, Accessories and Supplies. If nat available, write direct for name nearest you. "k MINX, Box 989, Glendale 5, California
6 Ceramics Monthly LETTERS
Share your thoughts with other CM read- Since I am rather greedy for any infor- things you have in a particular issue, I am ers--be they quip, query, comment or ad- mation on clay work, I would like to kno~v interested in nearly everything you pub- vice. All letters must be signed, but names what has been published in the magazine lish. I have tried many of the CM projects will be withheld on request. Address: The up to now. Has an index been made? If and these have been successful, probably Editor, Ceramics Monthly, 4175 North so, how can I get a copy? I would appre- because you have the best people to teach High St., Columbus 14, Ohio. ciate this information very much. the particular phases of ceramics. Right ].B. Martin now I am working with glass sagging, but NEW CONNECTICUT CONCEPT North Hollywood, Calif. I also am interested in handcrafts for the you very much for the copy of grandchildren and for use in volunteer Thank Ceramics Monthly has completed ten magazine in which was printed the work in the Occupational Therapy de- the years o[ publication and there has been of the Society of Connecti- partment of a hospital. Mrs. Lou Houlle announcement a tremendous variety o/ articles on nearly cut Craftsmen's Traveling Show (Decem- St. Louis, Mo. every subject. A .nine-year index was pub- ber 1962). This particular article has al- lished in the January 196l issue and the ready brought inquiries about the show. NEW INSPIRATIONS index [or 1962 was published in the De- receiving CERAMICS MONTH- This year we are using small shows to I have been cember issue. Both o[ these back issues years and look forward to present the best talents in the state and LY for many still are available. See list o[ Back Issues to help in my teaching. this is a new concept for our group. We new inspirations on page 38 of this issue. -- Ed. Everett C. Bennett plan more of these to follow, in which Huntington, N.Y. there will be more potters included. LONG-TIME SUBSCRIBER I have been a long-time subscriber and Thank you very much for your coopera- SOMETHING IN EACH MAGAZINE . . . tion with the Society's efforts. want to tell you how much I enjoy the I have been reading your magazine for I Mrs. Philip Lees magazine. I find it gives me just what some time now and, while I particularly The Society of Connecticut Craftsmen want in a magazine. I work on the wheel like your "Answers to Questions," I al- hints Manchester, Conn. and find many helpful suggestions, ways find something in each issue to in- and projects in the pages of CM. terest me. I am teaching ceramics in my Macquolyn ]acoby shop classes and don't always have time INDEX AVAILABLE Fla. I received the January issue of Ceram- Warrington, to experiment and try out new ideas, ics Monthly, the first I have seen. It is THE BEST PEOPLE however. Please continue your fine mag- very impressive and I am looking forward I have taken the magazine from its start azine. Clyde Cole to a year of exciting projects in ceramics. and, though I may not be working on the Biglerville, Penna.
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February 1963 7 SELECT m 20 TITLES from the CM BookDepartment
GLASS CRAFT DESIGNS AND HOW A WORLD OF PATTERN CERAMICS by Kay Kinney TO USE THEM by Gwen White by Glenn C. Nelson The complete book on fusing, by Joan B. Priolo This volume offers the beginner An important addition to the laminating and bending glass. Top.notch decorating can be a wealth of ideas and infor- list of books for both student Basic techniques, step-by-step achieved by following the mation on design and color. and teacher. Many step-by- proiects and a "Glass Clinic" simple motifs which may be A sound approach to the art step photographs of clay-form- to help solve problems. Hard enlarged or transferred. .~ of decoration. Color and line ing and decorating techniques. covers, 200 pages. $7.50 complete list of subjects: birds, illustrations. $3.75 Review of studio equipment. fish, etc. $5.95 $s.gs DECORATIVE DESIGNS A POTTERY SKETCHBOOK CLAY AND GLAZES FOR FOR CRAFT AND HOBBY DESIGN MOTIFS OF by Aaron Bohrod , THE POTTER by Frances Johnson ANCIENT MEXICO Bohrod, one of America s dis- by Daniel Rhodes The author, a designer and by Jorge Enciso tinguished painters, ;s well Two complete books in one! potter, presents 350 designs, A compilation of 766 examples known in the pottery field for Fundamental details on both many in full size, with sug- divided into geometric, natural his decoration at pottery CLAY and GLAZES make this gestions for proper colors. and art;f;cial forms. Includes thrown by Carlton Ball. Thou- book a "must" for every Many Pennsylvania Dutch de- designs based on flowers, ;ands of sketches, photos. $7.50 hobby - craftsman, student, signs included. 72 pages, birds, fish, human figures and teacher and potter. Illustrated. paper-bound. $3.00 many others. 170 pages. $1.85 HANDBOOK OF DESIGNS $7.50 AND DEVICES DESIGN FOR ARTISTS CERAMICS AND HOW by Clarence Hornung CERAMICS BOOK AND CRAFTSMEN TO DECORATE THEM Over 1800 sketches of basic by Herbert Sanders by Louis Wolchonek by Joan B. Prielo designs and variations ;nclud- This excellent introductory book One of the best books on de- Mrs. Pr;olo gives detailed de- ing the circle, line, scroll, fret, describes methods and ma- sign, it will prove to be in- scriptions and illustrations of shield, snow crystals and many ferials for hand forming, wheel- valuable to pottery and sculp- dozens of decorating tech- more useful symbols. 240 throwing and casting. Covers ture enthusiasts as well as niques and shows exactly how pages. $1.90 ceramic jewelry, decoration decorators. Geometric, flower, to go about using them. Starts and firing. 96 pages. $1.95 bird and animal forms in where other books leave off. detail. $4.9S SS.9S MOSAIC, HOBBY AND ART ENAMELING ON METAL by Edwin Hendrlckson by Oppi Untracht THE ART OF MAKING FREE BRUSH DESIGNING This profusely-illustrated hand- Step-by-step photos are used MOSAICS by Egbert and Barnef book for the beginner and to describe fundamentals on by Jenkins and Mills The authors' exciting approach advanced hobbyist includes through to newly developed This fascinating book shows the to painting and designing de- step-by-step instruction on 12 experimental styles. This com- beginner how to make unusual velops confidence in the new basic projects. 111 pages. plete guide is a major con- and beautiful mosaic pieces art;st. Extremely well adapted $3.s0 tribution to Enameling. $7.50 in home or workshop. $5.95 to ceramic decoration. $3.95 CERAMIC SCULPTURE Order any of these select titles by John B. Kenny Contains over 1000 photos and on CERAMICS MONTHLY'S Money-Back Guarantee sketches covering all phases of the sculptor's art. A valu- able aid for all craftsmen. i- .... Large format (7" x 10"). 302 -- ...... -I pages. $9.95 THE COMPLETE BOOK Ii BOOK DEPARTMENT I, OF POTTERY MAKING by John B. Kenny 4175 N. High St., Columbus 14, Ohio J The "best seller" in the ceramic fie[d| Step-by-step Please send me the following book(s): photo lessons cover all of the J [] Kinney-Glass Craft $7.50 [] Parmelee--Glases ..00 [] Wolchonok--Designs $4.95 J s pottery- making techniques. I Clays, [] |ohrad~Sketchbook $7.50 [] Prio|o--Desigas ss.gs [] Jenkins & Mills--Mosaics $S.95 I glazes, firing, plaster, etc. 242 pages. $7.50 | [] Hornung~Dasigns $1.90 [] Rhodes--Clay & Glazes $7.50 [] Nelsae~CeramJcs $5.95 J CERAMICS [] Hendrlckson---Mosaic $3.50 [] Sanders--Ceramics Book S1.95 [] Enci~Dasign $1.8S FOR THE I ARTIST POTTER j [] Kenny--Sculpture$9.95 ["] Untracht.--bameling ST.S0 ~ Prlolo--CeramlcxSS.9S IJ by F. H. Norton [] Keney--Pottery $7.50 [] Whtte~World of Pattern $3.75 [] Egbert & Barnett--Brush $3.95 The most complete book on [] Norto~Artist Potter $7.50 [] Johnson--Designs $3.00 the subiect, from choosing the proper clay to putting the J I enclose [] check [] money order J final touches on a piece, all clearly explained. Ceramics at Nclme ...... its bestl 320 pages. $7.50 CERAMIC GLAZES J Address...... by Cullen W. Parmelee J This invaluable reference book I ...... completely covers glaze mak- z...... State ...... I in.a. Includes formulas and Ohio residents add 3% Sales Tax. WE PAY POSTAGE ._j batch recipes for glazes. 314 pages of technical informa- I_ tion, handsomely bound. $8.00 8 Ceramics Monthly SUGGESTIONS [rom our readers
DRYING AID FOR CUPS A rubber or soft plastic ball of just the right size can be placed in the top of a freshly-cast cup or bowl and thus keep it perfectly round while it dries. Although there is enough "give" to most of these balls to prevent cracking of the ware, it is advisable to lift and replace the ball occasionally. --Mary Pruden, Riverdale, N.].
IMPROVISED TURNTABLE We improvised a banding wheel from a child's record player that no longer was being used. The only work involved in changing this from a music maker to a decorator's aide was NATURALLY!
the addition of a plaster bat. I made the bat in a ten-inch pie tin and mounted it over the spindle of the turn table. This has been a useful piece of equipment, particularly since it has three "speeds." --Doris R. Birchall, Atlantic Beach, Fla.
SUN GLASSES FOR CONE WATCHING When it is time to peer into the kiln to check on the pro- gress of the cones, I grab for the sunglasses! I find that this is an easier method to "see" the cones than to hold a piece of blue glass in one hand, blow into the peep hole and try to balance myself all at the same time. I simply keep the sunglasses hang- ing near the kiln and put them on for my cone watching. ~Lou Houlle, St. Louis, Mo.
DISPOSABLE "SPONGES" Used tea bags make handy disposable "sponges" for clean- ing and dampening greenware and for shaping edges. In addi- tion to this, the home craftsman will find that their use elimi- CERAMICHROME is designed for all clay nates the possibility of washing clay down the drain! Tea bags bodies . . . Outstanding results on artwore, won't spo~l if they are stored after being removed from the tea porcelain, or stoneware! Fires from cone many others, is cup; they can be stored moist in an extra tea pot or a covered 06 to 6*. This feature, plus It offers the hobbyist, teacher, jar. They do dry out if they are left uncovered, but they can be important. student a new freedom in the ceramic a few drops of water and are soon ready or moistened again with arts. Choose from over 250 colors and tex- for use. -- P.H. Adams, Menominee, Mich. tures in exclusive "color-balanced" palettes. Send today for valuable FREE information GOLD AND DECAL REMOVER about CERAMICHROME "READY-TO-USE" The commercial rust removers now available for the re- Ceramic Colors. Write Dept. CM-5. moval of rust from bathroom fixtures can be of additional help to the ceramist. I have found that they will remove fired gold and China paints without damaging the glaze underneath. They also will remove decals from the glass bottles (such as soda pop bottles) that I sometimes use for glass sagging. Just use these products as directed on the containers. --Helen Welsh, N. Hollywood, Call[. "FINEST PREPARED CERAMIC COLORS" CERAMiCHROME, iNC., 15215 S. BROADWAY YOUR IDEAS DOLLARS FOR GARDENA, CALIFORNIA Ceramics Monthly pays up to 85 [or eac.h item used in this column. Send your suggestions to CM, 4175 North High St., Columbus 14, O. We cannot acknowledge or return unused items.
February 1963 9 Answers to QUESTIONS Conducted by the CM Technical Staff
@ 1 have seen somewhere a re]erence to a ceramic "'pencil" with which one can sign his name, the date, etc., on ceramic pieces. Can you furnish any details about such a product?--C. R.C., Biflerville, Penna.
There are two products available at most ceramic supply shops or studios that can be used to write on clay. These are THOMPSON is THE NAME underglaze crayons and underglaze pencils. They are made from clay and underglaze color and are available in a variety of col- ors. While they can be used on either greenware or bisque, they work most satisfactorily on bisque. In addition to their use for in ENAMEL writing identifications on pieces, they can be used quite effec- tively for decoration. When it comes to enamel, you're looking for two basic things. First... you want the @ I have promised to help some Boy Scouts with ceramic pro- widest possible selection to fit any job you jects so they can earn their Merit Badges. Can you suggest any projects that might help me with this work? Have any have in mind. Second . . . you want the kind articles been published in the magazine specifically [or this kind of work?--G.B., of perfection in materials that assures the Denver, Colo. best possible results with every finished piece. The June 1957 issue of Ceramics Monthly contained an article by Joe Saling that was directed particularly to those That's why Thompson has been the world's working with Boy Scouts. It should give you some excellent ideas for projects. largest supplier of art enamel colors for more than 70 years. Ever since 1890, folks have @ Can clay sculpture made around a wire armature be fired safely in a kiln?--A.A., looked to Thompson for the widest possible Buffalo, N.Y. selection of top quality enamels. No. If left in the clay, the shrinking clay will tighten around this solid substance and crack even before you can get The new Thompson catalog puts this excep- it to the kiln. The wire should be removed as soon as the clay is firm enough to stand by itself. tional selection of enamels right at your fingertips.., plus everything you need in the @ Can you explain the dif[erence between a slip, engobe and underglaze? These terms seem to be used rather loosely and way of materials, tools and supplies. I am con[used about what they are and when to use a specific product.--Mrs. L.S., Charlottesville, Va.
Slips and engobes are the same. They contain a large amount of clay and a small amount of colorant. Underglazes are mostly colorant with just a small amount of clay added as Send the coupon a binder. The underglaze is more intense in color and more versatile to use. It can be used either on greenware or bisque; today slips or engobes cannot be safely used on bisque ware.
for your free Q We have ordered two infra-red lamps of 250 watts [or drying personal copy. newly-poured plaster of Paris molds. What is the recom- mended distance from the lamps to the molds and the distance between each lamp for sale and effective dryin.g of wet molds? --1. R. MAD., New York, N.Y.
Kenny suggests using a pair of infra-red lamps set so that they shine on the object from a height of three feet. He suggests m B also that the shades be so arranged that the rays do not reach I THOMAS Co THOMPSON CO° m Dept. CM any other part of the room. Another authority recommends using 1S39 Deerfleld Road, HighlandPark, IlL I the heat source quite close while the plaster is wetter, but re- moving the heat to some distance as the plaster mold dries. The J Please rush my FREE catalog of aomplofe enameling and craft J main care is to prevent the plaster from becoming overheated, j supplies. I as it will start disintegrating. The plaster surface should not become hotter than 150 ° F. NAME All subscriber inquiries are given individual attention at CM; I ADDRESS" I and, out of the many received, those of general interest are selected [or answer in this column. Direct your inquiries to i CITY 70N l gTATE I the Questions Editor, CM, 4175 N. High St., Columbus 14, Ohio. Please enclose a stamped, sell-addressed envelope.
10 Ceramics Monthly CM'S PICTURE OF THE MONTH "Man With Lute," ceramic sculpture by Mary Ceramic Guild of Bethesda, Clay Pigeons Cerinda Hart, was given an Honorable Men- Ceramic Workshop, Potomac Craftsmen and tion award in the Fifth Biennial Creative the Kiln Club of Washington. Judges for this Crafts Exhibition at the Smithsonian Institu- competitive exhibition were Barbara Markey, tion, Washington, D.C. The 216 craft items weaver and designer; Robert Turner, potter; displayed were the work of members of the and Hellene Poole, decorator. Alfred Stefferud sponsoring craft organizations in the area: was the General Chairman for the event.
February 1963 11 THE HUMAN HEAD... developing the features
by EDRIS ECKHARDT
EDRIS ECKHARDT'S current You will notice in Photo 1 that the thumb has been series of articles on sculpture used to push the clay to define the area between eye is concerned with that most and eyebrow. The modeling tool is being used to define complex of anatomical areas, the first plane that slants from the inside of the eyebrow the human head. In the first down the side of the nose. installment (January 1963), The nose is made from added clay. It is a small, she suggested a method [or soft button of a nose that is pushable-appearing. The working out the basic pro- upper lip, also made from added clay, protrudes above portions and completely di- the lower lip and has the same soft appearance of the agrammed the positions of nose (Photo 2). eyes, nose, mouth and ears More clay is added to form the lower lip, the chin [or the head of a child (in- and the soft, fleshy cheek (Photos 3 and 4). The lip, set). She continues in this chin, nose and cheek are very soft in appearance, as they article with the development of the features, finding of are in a child. The only harsh feature on the head is the planes and the creation of expression. the forehead. AFTER THE EAR is diagrammed on the head (inset), the Notice how the guide lines help in locating the face and skull areas are definitely set and our next proper places for the clay additions. On the average head, step is to locate the cheek bones and some of the basic the corners of the mouth are under the center of the planes that are so important in the sculpture of the eyes. If the head has large, wide-set eyes, there usually human head. is a generously-proportioned mouth beneath. This is not From the outside edge of the eyebrow we draw a always true, however. The nose of an adult usually is line outward to meet the line that marked the location as wide as the space beneath the inside comers of the of the eyes. From there we drop a line to the comer of eyes, but this is not so in the case of a baby. the mouth. Now this gives a basic division from side to The jaw bone is now defined. This is rather soft front and creates what is called the frontal view of the for the head of a child or a female, but has more face. angular authority in the case of a male face. I generally We also drop another line from the mouth to the use a modeling tool to define these angular planes in chin and draw in a line from the end of the eyebrow a male face, but sometimes I use a finger to define the up to the hair. This charts the side area into a series of softer planes in the face of a child or a woman. triangular planes which further separate the side and When the eyes are added the head begins to assume the front of the face (Photo 1). a more complete appearance. The eye is an elliptical With this much diagrammed we know where we half-round that is not too deep-set in a young child. At are in the modeling. We have established where the either end of the ellipse I use a slight pressure of the cheek bone will be and we also know where to locate index finger to indent the corners of the eye (Photo such important areas as the temple, the eye and brow, 5). The inside corner, by the way, is higher than the and the cheek and the mouth. In short, we have mapped outside. You must remember that the eye is set on a out all important areas and features of the human head. curved cylinder and therefore the outside comer must be The features are modeled after they are drawn on lower to avoid a flat appcarance of the face. The top the clay. Some of the features are modeled by pushing lids are added at this time; they extend beyond the eye- the index finger and thumb across the clay for dimpling ball at the outer edges. The lower lids are thinner and or deeper or darker effects. Other features are made by decidedly less projecting than the upper lids, and they adding clay; cheeks, nose and lips are formed in this way. blend softly into the cheeks.
12 Ceramics Monthly 1. Thumb is used to push the clay to define the area 2. Nose and upper lip are made by adding clay to the between eye and eyebrow. Modeling tool is used to de- head. The nose is simply a button of clay; upper lip fine the first plane along the side of the nose. protrudes over the lower lip.
3. Lower lip, chilz alzd cheek bone are formed by adding 4. More clay is addea' to gently round ttle check bone more soft clay. The modeling tool is used to define the and thus suggest the soft, fleshy cheek of a child. Planes jaw line and to firm up the chin. on a small child can best be defined with the finger.
February 1963 13 5. 7'he eyes arc added [rom elliptical hal/-ro.unds o[ clay. 6. A so[t transitional plane is added to join the cheek to The corners are indented to make the eyes [it the curve the nose and a slight indentation is made by thumb o[ the [aciaI cylinder. pressure o[ the corners o[ the lips.
The face must "hang together," and to this end some additional work is done now. A pressure indenta- tion is made at the nose bridge and the nose is joined to the cheeks by soft transitional planes (Photo 6). The neck for a child is short, delicate and slim, but it must not be cut down completely until the very end unless the head is braced with a block to keep it from sagging. The hair is suggested at this time but will not be finished until after the sculpture has stiffened and been hollowed in preparation for safe firing (Photo 7). In sculpting children you must remember that their bones never appear as hard as they do in a man. Children and females should appear to be softly and delicately boned, while the adult male bones usually show a firm, almost polished, appearance. Bony areas should appear hard and flesh must seem soft in any sculpture of a head. The ruggedness of the bone structure underlies the face and is symmetrical. But the nose and ears, being cartilage rather than bone, can have differences in shape from one side to another and not appear to be perfectly symmetrical. You will find sometimes that the nose swings quite a bit to one side, thus giving the face an interesting appearance. The sculptor must decide where the face is not symmetrical in order to give the head personality and individuality. The infinite variations upon the so-called standard or normal proportions are what make each person look 7. 2"he hair line is indicated at this time but will not different from his fellow man. be finished until alter the head is hollowed. The head is Another quality that gives a person the individuality braced with a block alter the neck is cut down to the or character that we record in clay is what I call emo- desired size and shape. tional tone. This is the presence of expression which
14 Ceramics Monthly might be mournful, gay or suspicious, and this records of what makes them interesting and easy to recognize. character just as much as do the features. Still another In addition to observing the heads and faces of observation that must be made by the artist is what actual people, the sculptured heads of all periods in art identifies a boy or girl child, a man or a woman. history should be studied. I like to use pictures of Egyp- Children do not have the records of their lives writ- tian, Etruscan and Greek heads; some of the Epstein and ten on their faces as do middle-aged or older persons. Modigliani portrait heads; Congo masks to teach ab- Their behavior is written in a transitory way, showing, as stract design of the head; and drawings of heads that are the expression comes and goes, whether they are ill- especially interesting. The French made many delight- tempered, unhappy or kind. ful portrait heads that were done in warm terra cotta We can easily recognize an older person who has colors and with a great deal of detail and delicacy. Some been ill-tempered, unhappy or gay because of the struc- of the children's portraits are very charming. The ancient ture of the face which he himself has modeled throughout South American and Mexican sculptors made a number his lifetime. It is the sort of thing an artist looks for of very, very interesting heads of warriors and these were and it is one of the things that young people must be highly stylized. Refer also to the sculptured heads of the taught to see and record in their minds. Incas and some of the clay heads of the Mexicans to Anyone -- be he a child or adult -- must learn to learn the true meaning of simplicity. These collections observe many things about people if he hopes to record are very valuable sources of material to give sculpture their character in clay. In this country we see many lessons richness and meaning. naore mixed types of faces than we would in a country I do not suggest copying these heads, of course. The such as Italy or England where people of a like kind proper way to use them is by trying to understand them. marry. In America we are likely to see Slavic cheek They will give an idea of the richness of styles that can bones and an English nose on one face! Therefore, the be used in sculpture to portray the human head. proportions I have given are rather general and would fit very few of the people we see. Many of the stars In the next issue of CM, Miss Eckhardt will con- of stage and screen who have the most individual faces clude this series o[ articles with a discussion and demon- have what I would call off-beat faces where some feature stration of cutting and hollowing the head and o[ glazing or other is out of the general proportion. This is part and firing portrait sculpture.
......
"Paznted Head," of the Classic Mexi- can Veracruz style, shows the true meaning o[ simplicity in sculpture. Author Eckhardt suggests turning to the collections of sculptured heads o[ all periods in art history in order to ~ive sculpt.ure lessons richness and meaning. Photo: Courtesy, The Cleve- land Museum o[ Art.
February 196,5' 15 FIRING GLASS ON FIRE BRICKS
by KAY KINNEY
THE USE OF FIRE BRICK in controlling the ultimate form providing that they are not longer than the brick. of kiln-fired glass has been mentioned in earlier articles, Liquid glass glazes in emerald, chartreuse, sea green usually in connection with techniques requiring single and absinthe shades are applied to the top of the glass glass pieces or blanks. Advantages are that soft, porous shards (Photo 4). Vertical edges should be cleaned thor- fire brick can be easily cut or carved with ordinary tools, oughly. and that there are no drying, firing or shrinkage problems The triangular shards are placed on the brick form. to be considered. They should be aligned with the edge of the brick and A simple, yet effective, project consists of curved adequate spacing should be left between the shards (Pho- glass grasses to complement flower arrangements. These to 5). To prevent turning or swiveling of the glass pieces, slender shards of glass add sparkle to either delicate or a band of rubber cement at the apex (or area where the massive blooms without seeming too obtrusive. Desired glass contacts the brick) will eliminate any possible move- curves can be estimated in a quick thumb-nail sketch, ment of the shards. and the properly-scaled measurements cut from card- Photo 6 shows some fired glass grasses on three dif- board. A cut-out cardboard pattern can be used as a ferent brick forms. At the left are some flat-fired grasses. guide to mark the fire brick with a soft lead pencil. The These were simply fired on a kiln shelf, protected by pattern is reversed to outline the shape on the opposite separator. side of the brick, and the corresponding arcs are con- The photo of the finished piece shows the fired nected by a straight line at both ends of the brick. grasses used as part of a simple arrangement of three Since pencil marks are easily smudged on porous Blood Lilies on a chartreuse disk. As this is a dry ar- surfaces, the outlines are first incised with a kitchen par- rangement, a small spherical tumbler was packed with ing knife to preserve accurate measurements. Photo 1 florist's clay (plasticine) and the stems of the two highest shows how the incised lines are deepened with a short lilies inserted into the clay. Weight of the clay-filled keyhole saw on all four sides of the brick. These prelim- tumbler is sufficient to steady the arrangement. The inary cuts will serve as guide lines when the longer saw stem of the third lily is bent around the tumbler, thus (shown in the foreground) is inserted and the final sepa- screening the holder to some extent. Background is a flut- ration is done. Hacksaw blades can also be used for ed fan of glass, slightly bent to enable it to stand alone. sawing, but usually a small-handled saw provides better The disadvantages of the fire brick forms are the balance and control. After the sawing is completed, any abrasive characteristic which dulls knives and saws, the slight irregularities can be scraped with the top edge of limitation of the length, and the fact that the brick is not the saw or smoothed with a hard clay brick. as durable as fired clay. Used with reasonable care, how- Separator is next applied to the brick form. The ever, the brick forms will last a long time, and will with- first coat is rubbed into the brick immediately, acting stand the low-firing temperatures for bent glass. as a filler, and the second is merely brushed on (Photo As seen in Photo 5, until the heat is enough to soften 2). The last coat provides the necessary separator be- the glass, the shards extend into space. Because this por- tween the softening glass and the brick. Dry separators tion of the glass is exposed to the full atmosphere of the are undesirable, as they have a tendency to dislodge from kiln, the glass softens much earlier than flat panels or the slanting porous surface. blanks which are sagged into protective mold cavities. While the coated brick form is drying, the glass These shards softened to the contour of the brick at shards are prepared. A rectangle of single strength glass 1418°F. (or cone 017) in a kiln which ordinarily bends nine inches long (the length of the brick) is placed slant- window glass at 1500°F. There is considerable leeway in ingly on a sheet of paper, so that the glass extending selecting the temperature; edges of the shards were well beyond the paper forms a slender elongated triangle rounded at cone 017, but noticeably angular at cone 018. (Photo 3). The edge of the paper serves as a cutting The latter perhaps sparkles more along the edge outlines. guide, and the cutter is manipulated from the broader Fire bricks can be utilized for other projects, espe- width at the bottom to the point at the top. (For more cially in instances where one-of-a-kind items would not detailed cutting instructions, see the glass article in the justify the time involved in constructing, drying and fir- September 1962 issue of CM.) Shards which result nat- ing a clay mold or form. The next article will stress serv- urally from other cutting projects can be used, of course, ers, spoons, and ladles fired on fire bricks.
16 Geramics Monthly 1. Fire brick is cut with a kcy/~olc saw to make an 2. Brick /orm is coated with separator to prevent /ired improvised mold [or ]iring glass shards. glass /rom sticking to the brick mold.
3. Glass shards are prepared by cutting elongated tri- 4. Liquid glass colors are applied to the tops o[ the angles /tom a piece o/ single strength glass. glass shards and the edges are cleaned.
5. Triangular shards are aligned on the brick [orm 6. A variety o~ shapes /or /ired glass grasses results ]rom preparatory to being placed in the kiln. the use o[ di][erent b:riek [orms.
February 1963 17. )
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CARVING CLAY by DIDIER JOURNEAUX
WOULD YOU CARE to carve? This is For a first project in carving, I ing on the wheel, I would say that the not an invitation to a turkey dinner suggest making a free-form bowl or an clay should be a bit too stiff for throw- but, rather, a way to express your ashtray from a block of solid clay. ing. This clay should be wedged and decorating instincts on a hunk of moist Since the clay for this project must formed into a block about the size clay. be firm enough to hold its shape and and shape of a building brick. Most clay workers already have still be soft enough to carve easily, I The first step in carving the ash- used carving to help determine the would describe it as being of the tray or bowl is to use a round-or oval- shape of a clay piece. The wheel consistency of mild Cheddar cheese. shaped tcol to gouge a controlled worker carves a footrim on his thrown If you have had experience in throw- cavity shape in the top of the brick ware and the sculptor generally carves on his work at some stage of its de- velopment. However, carving also can 1. Carving can be used as a primary technique to shape a piece o[ pottery. be used to great advantage as a pri- Here a brick o[ solid clay is carved away to [orm an ashtray. mary technique for shaping a pot or for decorating a piece made by any other method, and these are the tech- niques with which this article is con- cerned. Carving generally is done when the clay is leather hard. I feel that this description is not specific enough, however, since we all know that leath- er itself can be as soft as that in kid gloves or as tough as the soles of hik- ing boots. Since the character of any piece will depend on the stiffness of the clay when it is formed, I will try to be a bit more specific about its consistency.
18 Ceramics Monthly of clay. You may wish to leave the tool marks visible or rub them out with scraping strokes or with your fingers. One or more grooves can be made in the top for resting a cigarette (if this project is an ashtray) and these can be made with a knife blade or wire cheese cutter. Since the block at this stage is too heavv for convenient use and too thick for safe firing, the sides can be cut down and shaped so that the clay thickness at any place will not exceed ½-inch. The sides mav be smoothed or they mav be left with a whittled appearance (Figure 1). It may be necessa~- to place a prop of some kind under the piece so that you can better judge its appearance and test its thick- ness. The piece should be turned up- side down when the foot or base is finished. Remember that the foot or cara'cd pattern, base must be left large enough to give 2. Carving also can be used for deco- 3. To emphasize tt~e be stability to the form! ration. Here a small bottle is cara'ed the rid~,es le[t by the tool may with the same tool that was used in brushed with an underglaze or an Since a carved shape such as this Figure 1. engobe. one does not have uniform walls, it nmst be dried slowly and carefully if warping is to be avoided. After the bisque firing, the piece may be glazed a glaze clash with the pattern of the Since the exposed clay at the rim and fired again. If the clay color is a carving. dries faster than that in the rest of pleasing one, you may leave it unglaz- A more ambitious carving project the pot, it is a good idea to start work ed or glaze only the cavity area. is presented in the hanging planter near the rim and complete it before For pieces made on the wheel, cast in Figures 4-6. The rim of this piece the rim stiffens. When the rim will from a mold or made from slabs, was given more interest by a slight support the weight of the pot, it can carving may be used for decoration rise at the three points of suspension, be inverted and the bottom can be instead of determination of the shape. made just after the pot was formed. trimmed and carved. No matter what Figure 2 shows a small bottle being Holes were drilled at least ~-inch design you start with in this type of carved with the same trimming tool from the edge for added rim strength. carving, the result produces a sort of used in Figure 1. For a deeply-cut A planned line design is painted on negative imprint and becomes almost decoration such as this one, the clay the surface of the planter, using a abstract; therefore, no pretense need wall should be about ~2-inch thick. brush and a dye solution that will be made of getting an accurate repre- The point of the carving tool is burn out in the firing (Figure 4). The sentation. Here, as in the second ex- dragged over the surface of the bottle, design is tied in with the rises in the ample of carving, a white engobe is swerving right and left, to carve rim. When the design lines are sketch- brushed over the ridges of the design branching grooves, swirls and other ed in. carving is done by gouging out (Figure 6). random designs. On the narrow neck, clay between the lines, leaving the If this type of design is too fanciful the grooves straighten out and become lines intact. Where the lines are rela- for your taste, you may prefer the shallower. The resulting pattern is tively far apart, branched grooves are carved design in the next example. reminiscent of primitive wood carv- made for added interest. For variety, This is another planter, this time with ing. the point of the tool is used to gouge a simple cylindrical shape decorated To emphasize the carved pattern, out occasional depressions and sharp- with a simple, repeated geometric de- the ridges left by the tool may be en some of the grooves. Since there sign. The design consists of four half- brushed with an underglaze or engobe are no flat surfaces an)a~'here on this ellipses dropping from the rim to meet (Figure 3). The greemvare bottle piece, there is no painstaking smooth- four other half-ellipses rising from the could have been sprayed with an en- ing to do. There is one caution about base at different levels. This pattern gobe or underglaze before carving, but the carving of this decoration: the is repeated and a flange at the rim the result would certainly be less free rim must be left rather thick and not ties together the string of design ele- and mistakes would be quite difficult be weakened bv deep carving. I would ments. to correct. The glaze selected for a suggest that you taper off the grooves Here again it is helpful to start with carved piece should not be a glossy to mere scratches as they near the the brush and dye (Figure 7). The one because the reflections of such rim (Figure 5). main decision to be faced here is
February 1963 19 CARVING CLAY . . . continued
4. A planned line design is brushed 5. Carving is done by gouging out 6. Pot is i~zccrtcd a/tcr carving is on a pot drilled with holes [or a hang- clay between the lines, leaving the [inished and a white engobe is brush- ing planter. Ink .used here will burn lines intact. Care must be taken not ed over the ridges o/ this carved out in the [iring. to weaken the rim. abstract design. whether to carve away the half-ellipses removed by means of a trimming tool. decoration is stronger, simpler and or the intervening areas; since the The tool being used in Figure 8 is an separated by larger background areas. intervening areas seem to have the improvised one made by attaching a In addition, the rim was bent into a most interesting shapes, I suggest al- piece of bent hacksaw blade to a hexagonal shape to form anchoring lowing them to stand out from the handle. The carved areas and the points for the forms of the design. background to form a pattern that is design edges can be smoothed with The background was grooved, dug sure to attract the eye. the squared ends of sticks of various out and leveled, as in the last example. The ellipse shapes are carved by sizes. However, the background was given a first drawing a groove of uniform As the pattern is established by rela- texture of vertical grooves since the depth at all outlines. (A special tool tively few lines, the half-ellipses design was simple and strong enough may be made for this purpose by should be fairly deep and cleanly fin- to stand the competition of this attaching a blunt point of some sort ished to give strong shadows. corduroy effect. so that it protrudes ~-inch from the The planter in Figure 9 was deco- You will find that almost every de- end of a flat stick. When the tool rated by the same process, but it has sign needs its own special treatment. is dragged over the clay surface, the a completely different feeling. The There is no end to the textures avail- point gouges out a rough groove.) form itself has a bulging shape that able by using fingernails, spoons, When this is done, the background is adds softness and interest and the combs, sticks, stones and rope.
7. Simple cylinder shape is decorated 8. Special tool (described in the text) 9. Planter with a sligl~tIy bulging with a repeated geometric design. is used to incise grooves at a uni/orm shape is decorated by the same pro- Flange at the rim ties together the depth [or all outlines of this design, cess but the decoration is stronger design elements. then background is removed. and simpler.
20 Ceramics Monthly !?, :.
Above: Del[t plaque o[ the late seven- teenth century is one of the authentic ceramic pieces exhibited in the Albany Institute's Dutch Room. Right: View o[ a portion o[ the room shows the massive fireplace with its back- ing o[ Dutch tiles. Detail of the fireplace tiles ts pictured on this month's cover.
THE ALBANY INSTITUTE'S DUTCH ROOM
THE DUTCH ROOM recently installed in the Albany, N.Y., Ceramic objects, both utilitarian and decorative, Institute of History and Art is a reproduction of the best played an important role in the home life of the early room in a Dutch Albany citizen's home at the close of Dutch inhabitants. The focal point of the Institute's the seventeenth century. Dutch Room is the large fireplace with its backing of Albany was colonized in 1624 by the Dutch West Delft tiles painted with primitive animals and tulip Indies Company with a boatload of thirty families. While designs. Authentic decorated earthenware plates and a governments changed and wars threatened, Albany's jug are seen on the high, overhanging mantle. Repeat- citizens gave their attention to keeping the streets clean, ing the color of the decorated tiles, the woodwork is a the children educated, the Sabbath unsullied and to deep blue, a color the housewives believed would dis- maintaining their long and friendly relationship with the courage flies and mosquitoes. A pair of Delft jars and a neighboring Indians. By the turn of the century, Albany bowl are among the other authentic ceramic furnishings was English by law; but in appearance, language and exhibited in this fascinating reproduction of a seven- manners it still was a solidly Dutch small town. teenth century room.
February 1963 21 MANY OF US become so accustomed and thus it seemed to me to be a started the actual work by rolling out to seeing certain everyday objects splendid area for which to create a clay slab no thicker than ~ inch. made from wood, paper, metal and something unusual. Still another rea- When the slab had stiffened a bit, I plastic that we completely fail to con- son was the fact that so many of these marked the clay for the outline of ,ider the possibility of experimenting plates are used in a house that their the shape I had selected and for the with them in our ceramic work. Some design and construction would offer center hole through which the spindle of these objects, such as lamps and a strong and lasting challenge to the would pass. On some of my shields, chandeliers, already have begun to ceramist. They are found on both I made the shield unit in two or more attract the attention of potters and sides of a door and both inside and pieces in order to create smaller pieces the resulting ceramic pieces are both outside of the house. that would fire without warping. beautiful There and functional. are very few limitations to After the clay shape was cut out An object that caught my attention consider when making one of these and the edges smoothed, the piece recently was ceramic the metal plate or shield shields. The size is not limited was allowed to dry slowh and care- that goes around the doorknob or in any way except that the plate must fully so as to avoid an}" warping. keyhole to protect the wood of not extend beyond the edge the of the I discovered that the decorating door from fingernails, keys or any door and its thickness must not inter- and finishing of these escutcheons was other sharp object that might be held fere with the operation of the knob a wonderful way to use up odds and in the hand. These shields are given in opening and closing the door. Fi- ends of glazes that couldn't be used the rather fancy name, "escutcheon." nally, there should be no sharp pro- for larger projects. The different col- This seemed an ideal area of ceramic truding parts that might endanger ors and textures can be separated or explor_:tion for several reasons. First, either the hand or the shield. Beyond they can be blended for special ef- there was no functional reason why these restrictions, the ceramist is free fects; small areas of clear glaze can a ceramic plate wouldn't be just as to use any size or shape he wants. be placed between colors and later be good as a metal one. Its position is The design of the shield can be covered with metallic overglaze. well protected and it isn't subjected either symmetrical or free form, but The round plate pictured to any undue shock. Second, the im- I found that the swnmetrical ones here was made from a slab of rolled-out clay portance of the doorknob leads the were best suited to nay use. When I eve -- as well as the hand -- to it decided on a particular shape, I Continued o,n Pa,~e 37 CERAMIC ESCUTCHEONS
by ELISE CHAPMAN
Escutcheon abo;, a a, mad, /~,~ tiles; one at right [rom a single clay slab.
22 Ceramics Monthly THE ART OF FIRING ENAMELS by RATHE BERL
THERE IS AN OLD, old story about an "I he enamelist is certainly lucky to have certain areas that are underfired enamelist who worked very hard and have the advantages offered by the and other areas that are overtired. for a long time on one of his pieces. modern kilns, but even the most up- On such a piece, the opaque red may [t promised to be so beautiful that, to-date kiln cannot do all of the work become a spotted black, the opaque as he put it into the kiln, he could for him. Setting the controls of the turquoise or gray" color may disappear picture its shining glory and think kiln to a certain temperature only altogether, and an opaque yellow may about the fame and money it would means that it will stay at this tem- be sandpaper-textured. About the only bring him! When he took the enam- perature. This is wonderful, of course, charitable thing one can say about eled piece from the kiln, however, but it doesn't guarantee that the piece such a piece is that it has texture! there was no glory at all, since the will fire correctly. It will be overtired The hard fusing enamels should be beauty was ruined by the firing; in- if it is left inside for too long a time, applied first; they do not have to be stead of going to The Museum, the and it will be underfired if it is taken fused completely if another color is piece went to the dump. out too soon. The enamelist is fortun- to go over them since they will mature This old story is one that seems to ate just to be able to open the kiln later. The mediums should be used slay eternally new, since there can door as often as he pleases; this is an next, and the soft fusing enamels hardly be an enamelist on earth who advantage that potters are not given! should be fired last. has not experienced this tragedy. The My Second Law is to check your The enamelist who is firing his work best designing ability and decorating ambition and do not load your kiln nmst adopt a motto that paraphrases techniques cannot give the enamelist to capacity. If a piece is placed too the famous one of the Post Office: any success in this art unless he also near the elements, the edges will be "Neither phone nor stove nor doorbell masters the art of firing. And this is overtired before the enamel in the shall stay the enamelist from the com- what we are going to talk about in center has a chance to mature. Kilns pletion of his appointed firing." His this column. that do not have elements in the door mission is to stay with his enamel and The First Berl Law is: Depend on, tend to be cooler toward the opening; take it out of the kiln at precisely the and trust in, your eyes. Do not depend therefore, if a piece starts to mature proper moment. If the telephone upon mechanical devices when firing in the back of the firing chamber rings, the enamel piece either should your enamels. What you see tells you sooner than it does in the front, it is be taken out of the kiln (no matter when a piece is ready to come from a good idea to take it out of the kiln what stage it is in) or else the ringing the kiln. First it turns dark red and and turn it around for more even should be ignored. An inopportune the grains of enamel are still separated distribution of the heat. This is par- phone call has caused many a piece so that they look like the grain of ticularly true when firing large pieces of enamel to be overfired! The same coarse sandpaper. Then it turns bright that nearly fill the kiln. Some of the is true for other interruptions, and the red and glossy, and has the little pin- large commercial enameling kilns craftsman must use every precaution holes in it that we call orange peel. have built-in revolving shelves that within his power to resist these inter- Then, and very quickly, the pinholes can be rotated during the firing! ruptions. disappear and the surface is com- The Third Berl Law is to know These are but a few of the many pletely glossy. This is the precise your enamels. Enamels are supplied basic rules for firing but they are moment to remove it from the kiln. to us as hard, medium and soft fusing. most important ones. Later on in this Fired in this way, a piece can with- This accounts for the fact that pieces series of articles we shall discuss other stand numerous firings. with many colors on them sometime problems in firing enamels.
February 1963 23 POTS AND PEOPLE -- sixth in a series by Hal Riegger
SO FAR in this series of articles about potters we have self. In achieving self-ness one cannot help but be differ- described the work of four different people. In three of ent. Changes occur in the evolving artist and this the four articles, work shown was made by hand from modified inner character is manifest thru the work he previously-formed slabs. This month's article departs does. Actually it is quite simple, in view of the above from a description of pure slab construction. observations, to explain not only the differences between There are so many ways to hand build pottery and the works of various potters, but also in their work of sculpture that any such series might extend indefinitely different periods. and in such a case the question well might be asked, Here is a partial listing of the factors that might "Why so many different examples of hand building?" contribute to the character of any piece of work. When The answer is found in the word different, for each of you look at it as a mathematician might, intent upon dis- the potters discussed has his own individual way of covering all the possible combinations, you will realize working and has developed a style of his own. what a great wealth of variety and individuality is It already has been brought out that it is proper possible. for the beginner to emulate traditional and contempo- Human factors include emotion, intuition, intellect, rary work in order to help him achieve craftsmanship and education, experience, age, past conditioning and purpose. a broader understanding of his craft. There comes a Material factors include clay, glaze, color, texture time, however, when imitation no longer satisfies the and temperature. growing potter. He wants to do something different but Manipulative factors include construction, decora- feels that everything has been done before. tion, tools and firing. In the first place, all basic forms, all basic techniques, By taking any one of these factors and expanding it, all basic color combinations and organization have you will realize the immenseness of the matter and the probably been done sometime, somewhere, by somebody endless variety possible. Love, hate, fear, anger, serenity before him. If this dulls his enthusiasm, he must look at and assurance are but a few of the human emotions. it in a different light and think how interesting it is that White, black, red, smooth and rough are but a few of two different people, in two different times, have the kinds of clay available. Slab, coil, pinch and thrown reached essentially the same solution. I have used the are but some of the construction techniques known to us. words basic and essentially with purpose. In detail, in As a potter it will be valuable for you to consider these subtle interpretive ways, the two examples are not, of factors. Think about them and try to separate out those course, the same. which seem to apply to you and your work. Then, let Secondly, to succeed as a maturing potter one's aim your subsconscious take over for you. It is much more cannot be to be "different," but rather to become one's accurate than your conscious mind.
The Pottery and Sculpture of Santo Mignosa
SANTO MIGNOSA was born of a family of Sicilian potters British Columbia in Vancouver. Because of his ability about thirty years ago. As a child he knew the squishy and forceful character, it was only a short time before feeling of clay-between-the-toes and through his maturing he was teaching ceramics instead of studying. More years he has retained a childlike delight in this sensous recently, he moved to Nelson, B.C., where he became earth material. associated with the new Kootenay School of Art. Canada, Mignosa's emotional ties with his ancestral heritage as well as Europe, has accepted Santo Mignosa's work are strong, so that his work combines both the classic enthusiastically. Among many exhibitions to which he and contemporary point of view. "I have a special feel- has contributed and which have in turn honored him ing towards my ancestors," he says. "There is a little with awards are the Ostend, Belgium (1959), the Cana- statue at the archaeological museum in Florence, of an dian Ceramic Exhibition in Montreal (1961) and the Etruscan soldier; it has the same facial characteristics of Third International Ceramic Exhibition in Prague my own face: big nose, big eyes, mouth and chin just (1962). like mine. So, since the first time I saw that statue I Although Mignosa's work is strongly emotional, it have felt I must have Etruscan blood, which of course is not of the subjective kind we are currently seeing in pleases me." this country. It is, I think, quite refreshing to see this In a way it is ironical that Santo should end up in type of work and contrast it to the general trend of British Columbia, where he has been teaching since 1959. sculpture in the United States. Concerning the techniques Two more differing cultures could hardly exist. But the he uses with such expressive freedom, he says, "First of contrasting environment has merely sharpened the keen- all, I do use a special technique that nobody else uses, ness of attack on his work. at least on this continent. I learned this in Italy while When he first came to Canada, Mignosa attended studying at the Institute of Fine Arts in Florence. It is classes at the Extension Department of the University of a technique which was used extensively by the Romans,
24 Ceramics Monthly '~,'~• <,~i ~!.i~i~ i~iiii~i,, ~;i~~iili ~ '~'' ~i ~:,• ~ ~~:,~ ~ ~, i,
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Santo Mignosa at work opt tDe potter's wheel.
Far le[t: Mignosa at work on one of his li[e-size figures, "'Ica- rus." Working on this scale requires mastery o[ the cra[t and a thorough knowledge o[ mate- rials. L e [ t : Construction o[ the sculpture, "Watch Dog." Note the inner structure that such a piece re- quires [or additional strength.
February 1963 25 Hand-built vase, "The Swim- reefs," is 16 inches high. It has a gray-blue glaze with black figures; cone 8 stone- ware. and especially by the Etruscans, to create the enormous part of fire clay, plus 30 to 40% grog. To this I add a statuary that decorated their tombs." small percentage of a low-fire clay for color and fluxing When asked why he particularly liked this technique, purposes." Mignosa replied, "Probably because with it I can express It takes Mignosa about five hours to complete a my feelings better than using any other method; because piece about 20-inches high. He couldn't tell specifically this way I can express my ideas directly. There is nothing how long it takes to complete one of the larger pieces, between me and the work as in the case of wheel throw- because he works on several at a time, letting some stiffen ing. I like it because it represents the pure transformation while he works on others. He warns, "While waiting for of a thought into three-dimensional representation." a piece to set, always remember to keep the upper edges Santo Mignosa's sculptures are big. Most of them are soft enough so that additional clay may be added. Do not life size, a scale requiring of the artist thorough use dripping wet cloths but, rather, damp ones as any knowledge of materials and mastery of his craft. water over the surface might crack the work." In describing the technique used to build such large Mignosa also recommends: "To join the pieces of hollow clay forms he says, "It consists of just building clay, slip or water should not be used. It would destroy anything you want by adding a piece of flat clay on top that particular quality of surface treatment which is of another and, in doing that, giving a specific direction created by the fingers." When completed, and the piece to the line of the sculpture." The beginning of a sculp- has lost most of its moisture to become leather hard, ture "is a flat piece of clay, shaped in such a way that it is dried very slowly. it will represent the base of the finished work." To this As to the size possible by the use of this technique, the previously noted pieces of clay are added as the he says, "I don't think there are limitations to it, as the sculpture gradually takes form. "In doing so, it is piece grows gradually on a steady base. The only necessary that the clay be placed in such a way that it limitation is the size of the kiln." follows the direction of the plane of the desired piece, Although glazes and surface decoration are very as it cannot be changed very easily at a later stage. It is important to his pottery, Santo Mignosa's sculpture necessary that the artist have a very clear picture in his derives its color and textural interest essentially from the mind of the finished work, as second thoughts are not clay he uses. He glazes only occasionally, and then spar- allowed. Of course, experience makes everything easy." ingly with matt, earth colors. Easy as it may be for him, there are some questions The character, the inner motivations, and the inter- we have in mind about large pieces. What kind of clay ests of this artist are revealed in his statement about the should be used? Must the piece be dried in a particular origins of the technique he uses so well. "The Etruscans, fashion? Is an internal structure necessary? who lived in the northern part of central Italy from 800 The accompanying photograph showing "Watch to 100 B.C. have left exquisite examples of terra-cotta Dog" under construction illustrates how internal structure sculptures, which they had built by using this method. is designed. Concerning the clays Santo uses, he relies Figures of kings and warriors, strong and severe, together upon locally-available clay mixtures. "I use a cone 8 dark- with cinerary urns, speak clearly of the technical knowl- brown-burning clay which is used commercially to join edge they possessed in shaping and firing clay. Most of sections of sewer pipe. It is available from the plant and them are large figures, not glazed, and the freshness of is mixed from various clay deposits on their property. their modeling is a source of inspiration to anyone I also use a mixture of 3 parts of stoneware clay, one truly interested in clay."
26 Ceramics Monthly °, .~
..... ~ ~
i • i
Mignosa'~ "Mermaid'" was awarded a silver medal at the Prague International Ceramic Exhibition. It has a turquoise glaze that was fired at cone 8.
"'The Girl" is a li[e-size ceramic sculpture that Mignosa made in Italy in 1956. He says o[ such large work: "It is necessary that the artist have a very clear picture in his mind o[ the [inished work, as second thoughts are not allowed.'"
February 1963 27 Marc Bellaire demonstrates a
Mardi Gras Mask decoration using . . . BRUSH, WAX AND SGRAFFITO
MARG BELLAIRE combines three distinct decorating tech- If any drops of wax adhere to the surface, the)' niques for his underglaze project of Mardi Gras Masks. should be removed by gently touching them with a Two of these techniques are familiar ones in every damp sponge. decorator's repertory--brush strokes and sgraffito. The To create the effect of a Mardi Gras celebration, third, wax resist, is also familiar in its basic form but the brush strokes are converted into masks by the use it is used here in a slightly more complex technique that of the sgraffito technique. Marc Bellaire uses the scratch produces effects that are unusual and exciting. or sgraffito tool to cut through the wax and color with A slightly flaring greenware vase shape is selected various styles of simplified mask faces. Some of these for this project. After it has been cleaned, it is centered faces are full front, some are modified profiles and a on the decorating wheel for the first step of the few are not masks at all but simply a decorative cross- decoration. hatching. The profile lines are done with a single line. The first step is the placing of areas of brush starting at the top; to these are added eyes and eye- strokes in alternating rows on the upper and lower brows. It is suggested that the easiest way to work is to portions of the vase. The large water color brush is skip around the surface at random and make all the dipped into aqua underglaze to fill it, then is put down masks of a single type at one time. cm the greenware with just enough pressure to widen If any crumbs of color remain on the surface after tile stroke as it moves briefly downward. Then it is the sgraffito work is finished, they can be removed by lifted up, giving a small tail at the bottom of the stroke. gently brushing the surface with a large dry brush. This process is repeated with a darker blue or teal Because the piece has a small base, it is inverted underglaze, creating the same strokes in some of the on the wheel for the spinning on of the background color. areas not filled in with the first color. Now a third color, Black color is selected to cover the entire outside brown, is used in the same manner to complete the surface of the piece and any area that is not covered filling in of all the spaces. As you can see from the with wax will be this darkest color. This means, of course, photo of the finished piece, the brush strokes are of vary- that the black will go into the sgraffito lines where the ing sizes and they are staggered on the surface in an wax was removed. If by any chance the black should not informal manner. completely fill these lines, it does not matter because The next step is to use the same brush and apply the sgraffito is done through a color and the white of a coating of liquid wax emulsion over each colored brush the line will show up clearly. stroke already on the greenware surface. The wax stroke With the decoration complete, all that remains to should cover the color completely and even extend a be done is to bisque fire the piece and then glaze and little bit beyond it; therefore, a slightly heavier brush fire it again. The bisque firing is necessary in this par- stroke pressure is used for this step in the decoration. ticular decoration in order to burn out the wax so that Since the background will be covered with a darker the entire piece will be covered with glaze. Marc Bellaire color later on, the small areas of white around the initial uses a transparent matt for his glaze, but a glossy glaze colors will impart a feeling of freshness to the design. might be desired for this particpular gala decoration.
28 Ceramics Monthly 1. Series o/ ~hort brush strokes arc' alternalcd olz upper 2. Two more colors arc added i1~ thr samr way to jill i1~ and lower portions of greenware vase. When brush is all vase areas. Next step is to apply a coating o[ wax li[ted it gives small tail at bottom. resist over each brush stroke.
3. Brush ~trokc ar~'a,~ arc made iltto masks by ll~c sgra/[ito 4. Black underglaze is brushed o~'rr rl~tilc out,~idc ,sur/acr technique. Marc Bellazre suggests cutting all masks of a so that any area not covered with wax will be black. single type at one time. Underglaze also goes into cut lines.
February 1963 29 the complete SCHOOL GLAZES FOR CONE 6
SUPPLY by F. CARLTON BALL HOUSE /or oil IN ANSWER to many requests for cone 3% Copper Carbonate and ~% Co- balt Oxide 6 glazes, here are recipes for some for pale speckled green that have a rather wide range of #20 FRITTED GLAZE (Cone 6) Feldspar • Ceramic Supplies textures and colors. All of these glazes 20.9% Kaolin 8.9 are good ones that have • Mosaic Tile Supplies been tested Whiting 13.9 and used many times, and I hope Frit #71 • Metal Enameling 32.0 Supplies that they will be of interest to other Frit #3124 24.3 • Gravel Mosaic Supplies potters. 100.0% "X" MATT (Cone6) White Lead 11.3% This is a clear glossy glaze. For colors, WRITE FOR OUR -1~6 Whiting 12.9 add : Feldspar 15.6 CATALOG 3% Copper Carbonate for clear green Kaolin 18.4 'A% Cobalt Oxide for clear blue Zinc Oxide 7.9 send S0c refunded on first 4% Red Iron Oxide for tan-brown order Flint 5.3 6% Ruffle for an opaque tan matt Nepheline Syenite 27.5 5% Chrome Tin Red Glaze Stain for Rutile 1.1 an excellent translucent red Van Howe Manganese 100.0% 4% Dioxide for clear brown Ceramic Supply This glaze gives a dry matt with a 2% Manganese Dioxide and ~% Co- 118S SO. CHEROKEE slightly bubbled surface. For colors, balt Oxide for transparent char- DENVER 23, COLORADO add : coal 3% Ruffle and 1~9 Copper Car- 7% Tin Oxide for warm white bonate for curdled green 4% Red Iron Oxide for mottled tan- The final glaze for cone 6 is an MINNESOTA CLAY CO.-- brown Y2% Cobalt Oxide for muddy blue- excellent dry matt. This one should 1832 E. 35 St., Minneapolis 7, Minn. green be applied thinly; it is especially good 3% Copper Carbonate for muddy STONEWARE THROWING CLAY .... cone S-I0 on a red-firing clay. green RED THROWING CLAY ...... cone 06-04 2% Red Iron Oxide and 3% Ruffle VA MATT (Cone 6) SCULPTURE CLAY (red or white)..cone 06-10 for orange-brown White Lead 44.0% CASTING CLAYS (red or white)...cone 06-04 1~2% Copper Carbonate and 3% Ru- Whiting 13.7 tile for a bubbly yellow-green. A Feldspar 18.6 very good glaze. Kaolin 13.7 2% Red Iron Oxide and 5% Yellow Flint 5.5 Patronize CM Advertisers Glaze Stain for a "Kaki" color Tin Oxide 4.5
The "Kaki" glaze mentioned above is 100.0% a beautiful yellow-green-brown NEW MIDWEST WAREHOUSE color. The following colors are suggested for Distributor of MAYCO COLORS - JACQUELYN "A" MATT (Cone 6) a dark clay body, either stained or STAINS - HAEGER SLIP - BUTCHER CLAY and Feldspar CERAMIC SUPPLIES for hobbyist, dealer, schools, 33.2% covered with engobes: institutions. White Lead 15.0 Central Ceramic Art Supply Dolomite 10.7 39 Copper Carbonate for a strong Batavia Rd., East of Rt. 59 (Lust north of Rt. 59 Whiting 5.9 green on a dark body exit of EW Tollway), Warrenville, III. 4% Red Iron Oxide for EXbrook 3-0171 WHOLESALE- RETAIL Kaolin 14.7 dark rust Flint 5.0 4% Manganese Dioxide for dark vio- Albany Slip Clay 14.0 let-brown on a black background Granular Manganese 1.5 7% Tin Oxide for dry white on an orange background 100.09 6% Rutile for a cream on an orange body Suggested colors for this glaze are as ~2% Cobalt Oxide for medium powder follows: blue 3% Copper Carbonate for speckled 2% Red Iron Oxide and ~% Cobalt translucent gray Oxide for gray-green on a brown 4% Red Iron Oxide for tan background 4% Manganese Dioxide for warm 2% Red Iron Oxide and 3x~9 Tin brown Oxide for russet 6% Ruffle for an opaque satin cream 2% Red Iron Oxide and 2% Manga- 5% Tin Vanadium Yellow Glaze Stain nese Dioxide for charcoal black for yellow 29 Manganese Dioxide and ~% ¼% Cobalt Oxide and 2% Manganese Cobalt Oxide for mlst-violet over Dioxide for pale speckled violet a black background
30 Ceramics Monthly SHOW TIME Ohio Ceramic and Sculpture Show
A RECORD 507 entries were submitted to the 15th Annual Ohio Ceramic and Sculpture Show now on view at the Butler Institute of American Art in Youngstown. Entry in this show is limited to present and former residents of Ohio. Juror Charles Lakofsky, Professor of Art at Bowling Green State University, chose 284 pieces by 145 exhibitors for the display. This includes ceramics, enamels, mosaic, jewelry, and sculpture in metal, clay, wood, stone and marble. Cleveland area craftsmen dominate the show, with over 50 of the exhibitors being from that area. Top award went to Henry Lin, Athens, for a stoneware vase. Other winners include Claude Conover, Cleveland, with a stoneware bottle; Howard Kottler, Columbus, with a stoneware bottle; M. F. Goslee, Cleveland, with a cera- mic sculpture; Lynn Schwing, Greenville, Pa., with a tea set; Toshiko Takaezu, Cleveland, with a stoneware pot; Jack Earl, New Bremen, with a stoneware bowl; and Floy Shaffer, Bowling Green, with a footed pot.
Abo~.e: Stonewarc Bottle by Claude Conover, Cleveland
Slom'rcarc Bntt[¢ by Ho;card Kotll,r. (,'olumbu~ Bclorc: Sto~e:carc la~c by Mid,a P~ l,'~d a~. Kent
February 1963 31 SHOW TIME Kansas Designer Craftsman Show
Handbuilt Stoneware Vase (le[t) by Galen H. Flora, Liberal. Handbuilt Oblong Form (right) by Rex Hall, Wichita
Below: Tea Pot by Charles Fager, Lawrence
Tail Pot by .]err~' Campbell. l,au'rcnc~
THE 1962 Kansas Designer Craftsman Show was the ninth edition of this annual event sponsored by the De- partment of Design at the University of Kansas, the Kansas Union Activities, Delta Phi Delta and the Uni- versity Extension. The show is open to anyone who has resided in Kansas for a year and to residents of Greater Kansas City. According to show chairman Marjorie Whitney, the purpose of the show is to encourage the fine craftsmen of the area, stimulate interest in fine crafts, encourage the purchase of fine crafts and to help establish high standards in design both for the craftsman and the con- sumer in the State of Kansas. Over 100 craftsmen submitted 296 pieces of work to this competition and, of this number, 161 pieces were accepted for showing. Awards in ceramics went to Jerry Campbell, Lawrence; Rex Earl Hall, Emporia; Charles Fager, Lawrence; and H. Galen Flora, Liberal. Honor- able Mention awards were given to Larry Peters and Herbert Schumacher.
32 Ceramics Monthly ITINERARY
Send your show announcements early: Media: Ceramics, textiles, metals, enam- "'Where to Show," three months ahead els, glass, mosaics, wood, plastic and of entry date; "Where to Go," at least leather. Purchase prizes; Jury; Entry fee. We Make It Possible For six weeks before the opening. Deadline for entry is April 1, 1963. For information, write: Brooks Memorial Art Anyone To Own A Perfect WHERE TO SHOW Gallery, Overton Park, Memphis 12. Production Kiln With Our Famous Pre-Cut Kiln Kits CALIFORNIA, SACRAMENTO SPECIAL FOR HOBBYISTS March 16-April 28 California Crafts CALIFORNIA, Lo:,-o BEACH III, sponsored by the Creative Arts League March 8-10 14th Annual California at the E. B. Crocker Art Gallery, is open Ceramic Fair, at the Lafayette Hotel, is to California residents. All crafts media; sponsored by California Ceramic Hobby Jury; Awards. Entry card and fee due by Crafts, Inc. Classes, exhibits, demonstra- Feb. 16. Out of town work due Feb. 16- tions and educational features. For infor- 23; deliveries by hand due Feb. 22-23. For mation on hobby entries, write: Eleanor complete information and entry forms, Mauro, 1821 W. Verdugo Ave., Burbank, write: Creative Arts League, E. B. Crocker Calif. Art Gallery, 216 "O" St., Sacramento 14. ILLINOIS, CHICAGO FLORIDA, WINTER PARK August 24-27 Fourth Annual Chicago March 8-9 Fourth Annual Sidewalk Ceramic Show, at the Morrison Hotel. Arts Festival of Central Florida is open Competitive exhibits, demonstrations and to all artists and craftsmen who bring classes. For information, write: E. Kane, their own exhibits and remain with them Box 115, Wilmette, Ill. during show hours. Exhibition space must be reserved in advance. Entry fee; Jury; ILLINOIS, ROCK ISLAND Cash awards. No commission is deducted March 16-17 Sixth Annual Show of Bricks mitered, grooved, and drilled on work sold. Information may be ob- the Mississippi Valley Ceramic Associa- every part, Hght down to the last nut tained by writing to the Sidewalk Arts tion, at the Masonic Temple. and screw, included. With blueprints, Festival, 333 N. Park Ave., Winter Park. and fidng instruc- ST. Louis and concise building MISSOURI, tions.... Order from this ad or write KENTUCKY, LOUISVILLE July 18-21 The Ceramic National for detail sheet. April Art Center Annual Exhibition, at Trade Show, sponsored by the NCMA the J. B. Speed Art Museum, is open to and open to the trade only, will be held artists and craftsmen of Kentucky and at the Chase Park Plaza Hotel. For in- Kits Media include crafts Southern Indiana. formation, write: LeD Smith, Executive and sculpture. $1500.00 in awards; Entry All Kilns and Kits now fire to 2350°F. Secretary, 33 Lincoln Ave., Rutherford, fee for non-members of the Art Associa- 12"x12"x]3t/2 '' deep ...... $ 62.50 due March 10. For com- N.J. tion. Entry forms 18"xi 8"x18" deep ...... 99.50 plete information, write: Art Center Asso- ASBURY PARK ...... $17S.00 ciation, 2111 S. First St., Louisville. NEW JERSEY, 24"x24"x221/2 '' deep May 16-19 11th Annual Eastern Ceram- 24"x24"x27" deep ...... 195.00 ic Show, sponsored by Ceramic Leagues, NEW YORK, NEW YORK ALL PRICES F.O.B. SEATTLE Annual Juried Inc., will be held at Convention Hall. February 15-March 7 Hall, presented by the Society of Artist- Write: Jerry Gasque, Convention Show Asbury Park. Craftsmen of New York. The competition Distributors For: In addition to is open to members only. OHIO, DAYTON • ALBERTA'S MOLDS the competition and exhibition, there will April 6-7 Fifth Annual Midwest Ce- be demonstrations and gallery talks. At ramic Show, sponsored by the Midwest • ARNEL MOLDS the Cooper Union Museum. For informa- Ceramic Association, will be held at tion, contact Roxa Wright, Publicity Chair- Wampler's Ball-Arena. For information, • BELL PORCELAIN man, 330 Fort Lee Road, Leonia, N.J. write: Midwest Ceramic Show, P. O. Box CERAMICS 52, Station A, Dayton 3. • CALIFORNIA NEW YORK, PLATTSBUROH • DOUBLE.B TOOLS April 16-May 7 "Jewelry Internation- OREGON', PORTLAND al '63," second annual competition spon- March 15-17 The Oregon Ceramic • GRUMBACHER BRUSHES sored by the State University of New Association Show will be held in Memorial York College, is open to craftsmen working Coliseum. For information, write: Doro- • HOLLAND MOLDS 15, Wilsonville, Ore. in all jewelry media. Jury; Awards; Entry thy Seely, Box TOOLS fee. Entry card and work due by March • KEMPER RHODE ISLAND, CRANSTON 31. Write: William Benson, Department • KEN OCORR MOLDS of Fine Arts, State University College, April 4-6 Second Annual Rhode Island Plattsburgh. Ceramic Show will feature competitive • MALLORY MOLDS exhibits, demonstrations and lectures. For NEW YORK, SYRACUSE information, write: John M. Carpenter, • MARGLOTEX STAINS Route 102, Victory Hwy., Coventry, R. I. March 9-April 7 llth Annual Syracuse • MAYCO COLORS Regional Exhibition, at the Everson Mu- TEXAS, DALLAS seum, is open to artists and craftsmen liv- April 19-21 Southwest Ceramic Show. • PEMBERTON.NEAL ing within a 100-mile radius of Syracuse. demonstrations write: The Competitive exhibitions, PRODUCTS All media. For information, booths. For information, write: Helen • PIERCE Everson Museum of Art, Syracuse. and Chappell, 3516 Kingsford, Dallas. • REWARD COLORS TENNESSEE, MEMPHIS WHERE TO GO May 4-31 Mississippi River Craft Show, CALIFORNIA, PASADENA sponsored by the Memphis Branch, Amer- through February 9 Ceramics by Har- POTTERY BY DOT of University Women, ican Association rison Mclntosh, at the Pasadena Art Mu- 408 N.E. 72nd St. Tel. LA 3-8300 will be held at Brooks Memorial Art seum. Gallery. Open to craftsmen residing in SEATTLE 15, WASH. states touching the Mississippi River. Continued on Page 36
February 1963 33 llANDBOOKS THROWING ON THE POTTER'S THROWING ON THE POTTER'S WHEEL WHEEL This complete manual on the use of the potter's BY THOMAS SELLERS wheel includes basic steps, from wedging clay to the making of specific shapes. Clearly described and il- lustrated. By Thomas Sellers. 80 pages. $4.00
UNDERGLAZE DECORATION Marc Beltaire creates a startling variety of new de- signs before your eyes- teaching the ultimate in quality underglaze decoration. 37 projects in all; 286 lively illustrations. 64 pages. $3.00
COPPER ENAMELING Proclaimed the best in basic instruction, this hand- book includes fundamentals as well as illustrated how-to-do-its on jeweh'y. 21 projects by Jean O'Hara and Jo Rebert. 64 pages. $2.00 r m ~ m R m ~B m ~ m m ~ m "11 II CERAMICS MONTHLY Book Department 4175 N. High Street Columbus 14, Ohio • Please send me the following: copies of THROWING ON THE POTTER'S WHEEL @ $4.00 II copies of UNDERGLAZE DECORATION @ $3 a copy. copies of COPPER ENAMELING @ $2 a copy I NAME (cM pays postage) II ADDRESS...... CITY..... ZN. STATE IBB I I enclose [] Check [] Money order IOh;o residents add 3% sales tax.) I
34 Ceramics Monthly CERAM-ACTIVITIES people, places and things
TIFFANY COMPETITION NEW JERSEY EVENT for its annual show. to be held at the The Louis Com/ort Ti//any Foundation A slab-built stoneware entry was award- National Guard Armory in Pensacola, on has announced that the 1963 competitive ed the Best of Show trophy in the Scotch June 1 and 2. scholarships in the crafts will be awarded Plains (New Jersey) Ceramic Show held metal design. The the work in ceramics and creative recently. The winning entry was G|FT TO CANADIAN MUSEUM is particularly interested in of Somerville, N. J. Foundation of Mrs. Glen Peacock, The 400-odd art objects remaining in crafts and has allotted $15,000 for also was given an Honorable the Mrs. Peacock the F. Cleveland Morgan collection have craft fields for this year's com- a slab-modeled stone- the two Mention award for been donated to The Montreal Museum petition. o[ Fine Arts in one of the most important The competition is open to craftsmen gifts ever made to a Canadian museum. are U. S. citizens. The scholarships who Earthenware ceramics of certain areas-- are intended for experienced, mature notably China, Japan and Persia--are craftsmen of unusual talent who are es- probably the most significant part of the tablished and whose work has received collection. Dr. Evan Turner, director of recognition. Craftsmen who are interested the Museum, noted that it was througi~ in the scholarship competition can write "spectacular gifts" such as that of Mr. for application forms to The Ti[[any Morgan that the Museum is gaining in- Fifth Ave., New York Foundation, 1083 ternational prestige. 28, N. Y. The form must be returned to the Foundation by May 1. DELAWARE CRAFT SHOW The Delaware Art Center presented it~ VOULKOS SUMMER SEMINARS sixth annual Contemporary Cra[ts Ex- Peter Voulkos presented seminars and hibition [or Christmas Giving, November demonstrations in pottery during the sum- ware pitcher (both pieces are pictured). 25-December 21. The purpose of the mer at the Ohio State University and at Accocding to Mrs. Kay Chisholm, director exhibit is to stimulate interest in con- Greenwich House Pottery in New York. of the Tranquility Studios, which sponsor- temporary crafts and to provide an op- Mr. Voulkos has established an interna- ed the event, "The show was a good one portunity for the invited craftsmen to tional reputation as a potter and sculptor for exhibitors and all have agreed to do sell their work. There were more than and has won many awards. His work is it again next year. More than 800 people 150 pieces by local craftsmen and out-of- included in the collections of the Baltimore attended." town professionals in the show, and they Museum o[ Art, Cranbrook Academy, Los included pottery, jewelry, weaving, and Muse- Angeles County Museum, Syracuse NEW EXHIBITION AVAILABLE silver items. Potters who exhibited were um o[ Fine Arts, the Den Perm~nente of Institution Traveling r2~ j'~ [] (',openh;lucn and the Folk Art Museum in The Smithsonian Exhibition Service has assembled an ex- hibition conceived as a tribute to tradi- tional craftsmen whose lives are devoted to the perfection of skills acquired through years of painstaking effort and expe- rience. "Craftsmen of the Cities" repre- sents the work of 12 featured craftsmen, many of them trained in Europe, who work in or near New York, either in- dependently or as employees of commer- ! enterprises. The exhibition consists of cial "iktor 85 mounted photographs by Charles Van Olln Russum, Ronald Burke, l Maanen and was designed and produced Weinmayr, Rudolph Sta[[el, Bernard Edith by Irving Sloane. Mr. Sloane says that he FeIch, Wynn Breslin, ]ames Grevan, Pictured chose to show the work of these men be- Conwell and Robert G. Koch. featured cause the avante-garde school tends to is a section of the exhibit that forget them and their discipline. For in- poltery. formation about rental and availability ot the exhibit, write Mrs. John A. Pope, NEW ORLEANS SHOW Chief, Traveling Exhibition Service, Smith- The New Orleans Ceramic Society held sonian Institution, Washington 25, D. C. its Ninth Show in St. Paul's Episcopal Tokyo. Mr. Voulkos is a professor of Church auditorium on January 26. The Ceramic Design at the University o[ Cali- event included competitive tables for [ornia, Berkeley. His appearance at Ohio FLORIDA GROUP ELECTS members, children and guests; ribbons State was sponsored by the Graduate The Pens-Warr Ceramic Club, made up were given to the winners. Mr. Jack Kirk- School and the School of Art as a part of of members from Pensacola and Warring- land served as show chairman and Ethel its Ceramic Art Workshop. In addition to ton, elected officers for 1963 at the De- Wyatt was the publicity chairman. demonstrations and discussions on clay cember meeting. The new president is working, Mr. Voulkos presented a demon- Julia Amodio, and Nancy Sheridan is vice- stration-lecture on "The Contemporary president. Other officers are Eleanor Har- Send news, and photos i[ available, about Movement in Pottery-Sculpture." He is rison, corresponding secretary; Margaret "People--Places--Things" you think will pictured as he worked during the Colum- Massey, secretary; and Edna Adkinson, be o/ ceramic interest. We will be happy bus workshop. treasurer. The group is now making plans to consider them /or use in this column.
February 1963 35 KEMPER TOOLS MOSAICS Recommended and designed for ITINERARY utility, quality, durability COPPER ENAMELING Continued [rom KEMPER CLEAN.UP Page 33 TOOL N.S. (for new style) ~r Huge RETAIL PRICE 7Sc Each Stocks FLORIDA, TALLAHASSEE Fast Service through February 18 American Crafts- • " Qualify Merchandise KEMPER CLEAN.UP TOOL (as) man Exhibition, at Florida State Univ. RETAIL PRICE 8Sc Each Write now for FREE literature ..,~-.~~~:,~--~~ ILLINOIS, CHICAGO February 16-April 7 Ceramics and Sil- KEMPER TRIMMER KNIFE ver by Robert yon Neumann, at the Art iLLINI CERAMIC SERVICI RETAIL PRICE 50c Each Institute. "Quality Ceramic INDIANA, EVANSVILLE Supplies" February 3-17 Mid States Craft Ex- 439 N. Wells, Chicago I0, Ill. KEMPER LACE TOOL hibition, at the Museum RETAIL PRICE 75¢ Each of Arts and Sci- Phone MI 2-3367 ences. MASSACHUSETTS, BOSTON February 1-28 "Tutankhamun Treas- KEMPER ZIG-ZAG SAW..Retail Price 50c ea. ures," Smithsonian Institution Traveling Illustrated Instruction Book Exhibition, at the Museum of Fine Arts. "WORKING WITH GLASS"...... $2.50 Ppd. MICHIGAN, DETROIT CATALOG of Supplies ...... 10 Ppd. February 12-March lO TRIAL COLOR SET -- 8 Colors, Medias, OTHER KEMPER TOOLS: Michigan Artist- Rogers Inst. Book...... SS.S0 Ppd. Craftsmen Exhibition, at the Detroit In- Kemper Fincjnt- Tool ...... Retail Price 75c ea. sthute of Arts. NARDCO GLASS COLORS Kempnr Incisin9 Tool ...... Retail Price 75c ea. 3002 Huldy, Houston 6, Texas Kemper Twin-Line Sgraffita Tool .... 75c ea. MICHIGAN, MIDLAND Sprin9 return plunger equipped flower cut- through February 15 "Japan: Design ters, various sizes and patterns. Flower tools Today," Smithsonian Institution Traveling and other popular ceramic utility tools. Exhibition, at the Midland Art Assn. MODELTEX Ask your Moist Clay dealer for these Kemper Tools. MISSOURI, KANSAS CITY Red or white. For throwing on wheel, mold making, delicate Write through February sculpture or largest pieces. for FREE catalogue ta: 28 "Artist-Crafts- 200 lb..07/Ib; 300 lb..06/Ib; 1000 lb..051/2/ men of Western Europe," circulated by Ib: 2000 lb..0S/lb. F.O.B. Mamaraneck, N.Y. KEMPER MANUFACTURING CO. the American Federation of Arts, at the Specify color when ordering. William Rockhill Nelson Gallery of Art. P.O. Box $4S, Chino, California GARE CERAMIC SUPPLY CO. 16S ROSEMONT ST., HAVERHILL, MASS. NEW HAMPSHIRE, DARTMOUTH February 21-March 14 "Young Amer- icans," circulated by the American Federa- tion of Arts, at Hopkins Center. ILLUSTRATED CATALOG Patronize CM Advertisers of Molds and Pafferns. Included af no extra NEW JERSEY, NEWARK cost m many pages of How.ta-do-if ideas. through April "Ancient Greek Vases-- Send S1.00 tadayl Their Shapes and Uses," illustrates the BEE BASCH DESIGNS, INC. versatility of the clay vessels of 2000 years ago. At the Newark Museum. K,N.-eARC) ¢ 70 Pine & First Sis., Englewood, Fla. NEW YORK, BUFFALO February 3-27 Annual Exhibition of the work of the Ceramic Section of the Science Museum features hand-buih ce- ramics and demonstrations. At the Science P.O. Box 1055 Jacksonville Beach, Fla. Museum, Humboldt Park. NEw YORK, NEW YORK February 4-15 Pottery and Sculpture ART CRAFT SUPPLIES, INC. by Holt, King, Cooper, Bryant, Meentzen, Distributor for Israel, Baker and Broecker. At Greenwich Paragon -- Duncan -- Drakenfeld House Pottery. -- Bergen Brush -- Symphony -- Jacquelyn's Stains -- NEw YORK, NEW YORK CERAMIC through March 10 "22nd & ENAMELINGSUPPLIES Ceramic 180 HW. 62nd St. Miami, Florida National Exhibition," sponsored by the Everson Museum, at the Museum of Con- temporary Crafts. NEW YORK, SYRACUSE through March 3 Contemporary Ce- ramics, selections from the Museum's per- manent collection, at the Everson Museum. NORTH CAROLINA, WINSTON-SALEM February 26-March 19 "Picasso: Ce- Mold Catalog 50¢ ramics and Posters," circulated by the Decal Catalog 50¢ American Federation of Arts, at the Pub- lic Library. Supply Catalog 50¢ (post paid in U. S. A.) NORTH CAROLINA, CHAPEL HILL through February 12 "Picasso: Ce- \t . !,~; e- e~fc.:tl',c February ramics and Posters," circulated by the 1. 1962 American Federation of Arts, at the Aek- land Art Center. Continued on Page 37
36 Ceramics Monthly NEW 1963 CATALOG! Over 100 Pages of the Finest Qualify JEWELRY SETTINGS ESCUTCHEONS Many new ideas to show you Continued from Page 22 How to Make Real Money MONEY BACK GUARANTEE! cut to a round shape. When it wa~ BIG DISCOUNTS! dry, I made the design by drawing KILNS from the Send S0c for your copy one-inch bands radiating cut-out center. I painted these bands NATIONAL ARTCRAFT SUPPLY CO. with black matt glaze and then fired 12213 Euclid Ave., Cleveland Ohio the piece to cone 06. When it came WHEELS from the kiln, I painted the remain- ing areas with a gold-flecked, semi- matt brown glaze; over the black matt CREEK-TURN turquoise glaze that CLAYS I put a textured GLAZES-MOLDS separates to let the underneath color Catalo~l $1.00 show through. To separate the colors BE A DEALER and to define the outer edges, I ap- N.J. GLAZES Rt. 38, HAINESPORT, plied thin lines of clear glaze. After the piece was again fired, a gold over- JEAN LEONARD CERAMICS glaze was brushed on the fired clear CERAMIC COLORS 96-24 Corona Ave. Corona, L. I., N. Y. glaze and the piece was given a final MAGIC GREENWARE RELEASE (8 oz.)..S1,2S Save yourself aggravation. Releases green- gold firing to finish it. stick. ware in half the time, will not The rectangular shield was made KILN SURFACE BRICK HARDENER METAL ENAMELS (16 oz.) ...... S1.75 by another process. I started with two Will harden and prolong the life of your kiln. Stops the kiln brick from shedding and bisque tiles and used tile cutters to flaking. 60 PAGE CATALOG ON REQUEST nip off the corners and cut out half- circles to accommodate the spindle of TWO NEW 1963 CATALOGUES the knob. The design was painted on NEW ENLARGED GENERAL CATALOGUE with full color charts. Complete line of ceramics, the tiles with transparent black un- mosaics and copper enameling. MOLD CATALOGUE contains mold pictures derglaze and the background was from many leading mold manufacturers, plus many originals by us. SEND S0c FOR BOTH 9ainted in with scrap glazes: golden CATALOGUES• Free to instructors. color, light speckled brown, blue and ~SEELEY'S CERAMIC SERVICE~ was careful not to 9 River Street Oneonta, New York textured yellow. I let any of the glaze flow into the leaf areas. After firing the tiles to cone 06, * Marbles A- Rhinestones I glazed the leaves in a mottled green 4: ~;i ~i!i ~ * Jewelry Findings * Crushed Glass and over this glaze sprinkled a few * Copper Enameling white crystals. The black transparent GLASS CUTTING FRAME • . • for cuffing geo- metric shapes for kiln or mosaic work, plus 10 underglaze was used again, this time colors of 8" x 8" stained gloss only S9.95 ppd BERGEN ARTS & CRAFTS INQUIRIES INVITED to accent the leaf and add some trail- DEALER BOX 689 DEPT. CM SALEM, MASS. ing vines. After another firing to cone THE MOSAIC SHOP the Allies, Pittsburgh 13, Pa. 06, the plate was finished and ready 3522 Blvd. of Nearly 1,000 illustrations of items in our to be mounted on the door. NEW CERAMIC & ART SUPPLY CATALOG I used a good paste mastic for at- SUMI BRUSHES on your first pur- the escutcheons to the door. Price - S1.00, refundable taching • . . are best for glazing and china paint- chase of S10.00 or over. Immediate mailing. They are easy to install and they are ing. Set of 4 sizes only $1.00 postpaid. FREE lists of art and craft materials, art books BUFFALO CERAMIC & ART SUPPLY CENTER as permanent as they are unique. all prices postpaid in U.S. 437 Franklin Street Buffalo 2, New York "OFF THE SQUARE" - Sonoma, Calif. ITINERARY POTTERY Continued from Page 36 1962 REVISION OHIOj YOUNGSTOWN through February 24 Fifteenth An- representing TOOLS num Ceramic and Sculpture Show, at the Butler Institute of American Art. 6 7 ]000 35 companies PENNSYLVANIA~ CI'IAMBERSBURG February 4-28 "Shaker Graftsmanship," IN ONE CATALOG...... $1.25 and catalogue CM Smithsonian Institution Traveling Exhibi- A real freight saver Write for information tion, at Wilson College. Manufacturers, World's Most New! Do's and Dont's of Ceramics Complete Sculptor's Supplies PENNSYLVANIAj PHILADELPHIA St.00 ORecjon 9-7474 through February 28 "Artist-Craftsmen CERAMIC of Western Europe," circulated by the MIDWEST CENTER American Federation of Arts, at The Com- Blvd. Kansas City, Missouri mercial Museum. 722 Southwest
Fcbruarr 196,7 37 [] n ®@® Advertisers Index February 1963 CERAMIC Alpine Kilns ...... 5 American Art Clay Company ...... 37 Anderson Ceramics Co ...... 38 OF THE MANY SHOPPER Art-Craft Supplies, Inc ...... 36 HAND MADE TOOLS Basch, Bee, Designs ...... 36 70 CHOOSE FROM IN OUR CATALOG Bergen Arts & Crafts ...... 37 CRAFTS DESIGN BOOK Available at your local Buffalo Ceramic & Art Supply Center..37 suppliers. "Crafts Design" is a comprehensive Write for our latest FREE catalog. and Central Ceramic Art Supply ...... 30 handsome new book from Wadsworth Pub- Ceramic Expositions, Inc ...... 6 lishing Co. Illustrations of historical and Ceramichrome ...... 9 contemporary crafts complement the step- Craft Students League YWCA ...... 38 by-step instruction in the areas of design, Creek-Turn ...... 37 paper, bookbinding, weaving, decorated Double B Tools ...... 38 textiles, leather, clay, mosaics and enam- Duncan's Ceramic Products ...... 6 Applied Design, Bookbind- eling. CRAFT ing, Ceramics, Jewelry & According to the publishers, "Per- Francoise Ceramics ...... 38 Enameling, Lapidary, haps the most STUDENTS valuable aspect of 'Crafts Gare Ceramic Supply Co ...... 36 Painting, Sculpture, Silk Design' is that it finally lifts the relatively LEAGUE S c r e e n, Silversmithing, Illini Ceramic Service ...... 36 Tapestry, Weaving, Wood low-esteemed crafts to the estate of fine Kemper Mfg. Co ...... 36 YWCA Sculpture, Woodworking. art--a position Catalog C. Men & Wom- the authors prove by evalu- Kiln-Gard ...... 36 840 8th Ave. en. Day, evening. Glass ating in terms of design rather than tech- Kinney, Kay ...... 4 at Slst, N. Y. Fusing Workshop Jan. 28 nique. Circle 6-3700 th-u Feb. 6. For instance, Pre-Columbian Mex- Klopfenstein, H.B. & Sons ...... 38 ican sculptures have been arranged by L & L Mfg. Co ...... Cover 4 chapter alongside carefully thought-out Leonard, Jean, Ceramics ...... The Famous 37 descriptions of how to make the related Mayco Colors ...... 7 KLOPFENSTEIN craft object." The authors, all members Midwest Ceramic Center ...... 37 POTTER'S WHEEL of the Fine Arts faculty of the University Minnesota Clay Co ...... 30 of Washington, are Spencer Moseley, Minx ...... 6 Write for FREE Information Pauline Johnson and Hazel Koenig. 436 Mosaic Shop, The ...... 37 H. B. KLOPFENSTEIN & SONS pp. Wadsworth Publishing Co., Inc., Bel- Nardeo Glass Colors ...... 36 mont, Cali[. National RFD. ~2 Dept. A Crestline, Ohio Arteraft Supply Co ...... 37 Norwest Novelty Co ...... 38 Off the Square ...... 37 SIT-DQWN WHEEL FRANCOISE CERAMICS-- Ohio Ceramic Supply ...... 36 A combination Distributor for sit-down wheel and Pottery by Dot ...... 33 UNCAN PRODUCTS stand is being offered - Delta Brushes by the American Reward ...... 4 A. B. C. Glozes - Star Stilts Art Clay Co. The potter sits on a con- Rhode Island Ceramic Show ...... 38 Atlantic - Holland - Arnel toured seat and flips the switch which and Sculpture House ...... 37 Ludwig Schmid Molds operates the wheel at 65 and 95 r.p.m. arc Bella|re Seeley's Ceramic Service ...... 37 Brushes - Paragon Kilns The balanced stand rt Books - Clay - Slip - Greenwore framework is con- Skutt & Sons ...... 3 3 49th St., So. St. Petursburq 7, Florida structed of green enameled steel tubing, Tepping Studio Supply Co ...... 36 I Thompson, Thomas C., Co ...... 10 Trinity Ceramic Supply ...... 36 Norwest Novelty Co. Van Howe Ceramic Supply ...... 30 32480 Northwestern Highway Walker Jamar Co ...... 30 Formington, Michigan Westwood Ceramic Supply ...... 4 Hours: 9 to 5 OPEN SUNDAY Closed Monday Phone MAyfair 6-6003 Back Issues The ]allowing back issues o[ Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 3% sales ANDERSON CERAMICS COMPANY tax). We pay postage. • . . has moved into their new building located 1953 January, March, July, August, De- cember on S. McDuff;e St., corner of Hale in Anderson, shaped and welded for strength and rigid- South Carolina. 1954 March, July, August, We carry a complete and ity. At the top of the stand are round December tremendous amount of ceramic supplies. Seed 1955 August, metal cups in which the rubber feet of December $1.00 for our pictured mold and supply catalog. 1956 May, August, the portable wheel rest. Balance is pro- October 1957 April, May, vided by the four legs which terminate in June, July, August, September, December wide, chromium-plated feet to prevent marring of 1958 April, May, June, September, No- It's A Date . . . 2nd Annual floors. The combined weight of wheel and stand is 95 pounds. Ameri- vember RHODE ISLAND CERAMIC SHOW can Art Clay Co., Indianapolis 24, Ind. 1959 November 1960 June, November, December "The Mecca of Ceramics" 1961 January, February, April, June, Oc- tober, November, APRIL SELF-POWERED SPRAYER December 4, 5, 6, 1963 A new non-clogging, self-powered spray- 1962 January (9-year Index issue), Feb- Rhodes, Cranston, Rhode Island er using a replaceable can of pressurized ruary, April, May, June, September, October, November, UNIQUE and OR G NAL In its Scopel Demon- propellent has been introduced by W. E. December strations, Lectures, Competitive Exhibits. EXHIB TS Metzler. The unit is suitable for spraying 1963 January 3 classes: Professional, Hobbyist, Scholarship. Please send remittance (check money PR any properly thinned liquid, including or VATE PARKING for Exhibitors m Free park- order), with list ]ng for 5000 cars. For information write or call: materials that are incompatible with pro- o] issues desired. RHODE ISLAND CERAMIC SHOW, c/o John M. Carpenter, Route 102, Coventry, Rhode Island. pellents in pressurized cans. The W. E. CERAMICS MONTHLY Area 401 m Express 7-7241 Metzler Co., 11143 Budlong Ave., Los 4175 N. High St. Columbus 14, Ohio Angeles 44, Call].
38 Ceramics Monthly JUST PUBLISHED
CRAFTS DESIGN b, MOSEL,:Y. JO,,,,SON and KOENIG is a wonderful in- This exciting book, written by accomplished well-known artists, book will show you troduction to crafts design. The rich and varied substance of this fine art of crafts the art and technique of creating through crafts. Rarely has the been presented so completely and simply. instructions Over 1,000 illustrations with simplified and detailed step-by-step papers, the reader the processes used in pottery, mosaics, enameling, decorated show paper-roach& Each weaving, bookbinding, decorative fabrics, paper sculpture and and texture. craft is introduced with detailed discussions of color, line, shape this handsome book is well organized enabling the beginner to The material in ex- the step-by-step directions with ease and understanding. Many outstanding follow craft and traditional art are included as well as examples of contemporary amples of book! In- art. Every craft center and school should have a copy of this new children's DESIGN looking for an outstanding text on the crafts will want CRAFTS dividuals Price: $13.00. for their library. Over 1,000 illustrations, 436 pages, hard binding. m i m ii m m m I i 1 ~ m m m i I m 1 i i ~ ORDER NOW WE PAY POSTAGE ~ MONEY.BACK GUARANTEE CERAMICS MONTHLY BOOK DEPT., 4175 N. H;gh St., Columbus, Oh;o per copy. Please send me: -- cop;es of CRAFTS DESIGN @ $13.00
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ZN STATE CITY Order [] Other add 3% Sales Tax. CM pays postage, f enclose [] Check [] Money Ohio Residents: m m 1 i Ii nil m m ~e I i m m I~ I I I i1~ m I ~1 UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but thetr kilns are not! TOP LOADERS IN A COMPLETE NEW LINE - ONE UNIT 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 H-8800
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WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER 11, PA. DEALER INQUIRIES INVITED