Ceramics Evans Ceramic Supply Port Chester, NY 10573 Studio Supply 2100 N

OCTOBER 1979 $1.25

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ARIZONA COLORADO KANSAS Clay Art Center SOUTH CAROLINA 40 Beach St. A & A Potter's Warehouse Mile Hi Ceramics Evans Ceramic Supply Port Chester, NY 10573 Studio Supply 2100 N. Wilmot Rd. 1155 S. Cherokee 1518 S. Washington Box 546 Tucson. AZ 85712 Denver. CO 60223 Wichita, KS 67211 Dollman Ceramics Supplies Columbia, SC 29202 Char Mar Ceramics Van Howe Ceramic Supply 663 Walden Ave. 3454 N. 1st Ave. 11975 E. 40th St. KENTUCKY Buffalo, NY 14211 SOUTH DAKOTA Tuscon, AZ 85719 Denver, CO 80239 Owl Creek Pottery Earthworks Arts & Crafts West Sioux Ceramics Hill Brothers Van Howe Ceramic Supply 11416 Shelbyville Rd. 1667 Penfield Rd. 2315 W. Madison 4450N.42ndSt. 2602 Durango Louisville, KY40243 Rochester, NY 14625 Sioux FalIs, SD 57104 Phoenix, AZ 85019 Colorado Springs. CO 80910 MAINE Hilco Ceramics Marion Ceramic Shop CONNECTICUT 16 Elain Terrace TENNESSEE Portland Pottery & Gallery Camillus, NY 13031 Gallery 111 Phoenix,AZ3434W. Earl185017Dr' GayC°lest.CeramicRt. 41Lab°rat°ties 20portland.WestSt.ME 04120 Seeley's Ceramic Service, Inc. 122 Stadium Dr. Shop of Art Sharon, CT 06069 9 River St. Hendersonville, TN 37075 26 E. University Dr. Rusty Kiln MARYLAND Oneonta. NY 13820 House of Ceramics Tempe, AZ 85281 80 Garden St. Wurzbacker Ceramic Supply 1011 N. Hollywood ARKANSAS Wethersfield. CT 06109 Eagle Ceramics 213 Mineola Blvd. Memphis. TN 38108 12264 Wilkins Ave. Box 534 Boston Mountain Pottery Supply DELAWARE Rockville, MD 20852 Mineola, NY 11501 The Potter's Mark Rt. 1 Buckhorn Rd. 225 N. Gregg Eagle Ceramics MacMillian Arts & Crafts NORTH CAROLINA Gatlinburg. TN 37738 Fayetteville AR 72701 B Colonial Ave. 9645 Gerwig Lane Oak Slab Pottery Wilmington. DE 19805 Columbia, MD 21046 Eagle Ceramics 325 Adcock Rd. FLORIDA MASSACHUSETTS Route 2. Box 287 TEXAS Hot Springs. AR 71901 Wendell, NC Bennett Pottery Supply Clay Art Center Graham Ceramics 2442American Ludelle Ceramic Supply Co. CALIFORNIA 707 Nicolet 342 Western Ave. 1319 Central Ave. Ft. Worth, TX 78105 Aardvark Winter Park, FL 32789 Brighton, MA 02135 P.O. Box 12462 1400 E. Pomona St. Charlotte. NC 28205 Santa Ana. CA 92705 Clay Factory Rare Earth Mudworks Avery's Art Studio 804 S. Dale Mabry 70 Merrimac St. Wildcat Creek Pottery San8607 Antonio, N. New TXBraunfels 78217 Bena's Ceramics. Inc. Tampa, FL 33609 Amesbury, MA 01913 Route 1 Fearrington Farm 7042 Village Parkway Dublin, CA 94566 Miami Clay Co. MICHIGAN Pittsboro, NC 27312 Bateman Ceramic Supply 18954 N.E. 4th Court NORTH DAKOTA 718 Pierce St. Branch's Pottery & Supplies Miami, FL 33179 Rovin Ceramics Dallas. TX 75211 77 N. 4th St. 6912 Schaefer Rd. Northwest Ceramic Supply Ceramic Store San Jose, CA 95112 Potter's World Dearborn, M I 48126 P.O. Box 1175 702 Richmond Ave. 4930 Distribution Dr. Fargo, ND 58102 The Crackpot Tampa, FL 33618 Runyan Pottery Houston, TX 77006 540 E. Main St. P.O. Box 287 OHIO Venture, CA 93001 Topferei Main P.O. Clayfield's V.R. Hood Ceramics Creative Ceramic Supply 9328 N.W: 131h St. Flint, MI 48501 6047 Stone Rd. Box 1213 2556 Albatross Way No. 15 Streetsboro, OH 44240 San Antonio, TX 78294 Sacramento. CA 95815 Miami, FL 33172 World of Ceramics 7200 15 Mile Rd. 301 South Salado St. Creative Pottery GEORGIA Sterling Heights, MI 48077 Eagle Ceramics San Antonio,TX 78207 1931 Old Middlefield Way 1300 W. 9th St. Houston Arts & Crafts, Inc. Mountain View, CA 94043 Kickwheel Pottery Supply MINNESOTA Cleveland, OH 44113 1435 Westheimer Duncan Ceramics 1428 Meyson St. NE Minnesota Clay Company Houston. TX 77006 5673 E. Shields Atlanta, GA 30324 8001 Grand Ave. Earthen Vessel Fresno, CA 93727 HAWAII Bloomington, MN 55420 7116 Miami Webeo Supply Co. Cincinnati, OH 45243 P.O. Box 6054 Paramount Ceramics 829 Lindsey Lane Leisure Craft Ceramics Hawaii, Ltd. 220 N. State St. Ohio Ceramics Supply Inc. Tyler, TX 75711 P.O. Box 61 543 South St. Fairmont. MN 56031 P.O. Box 630 Compton, CA 90221 Honolulu, HI 96813 Leslie Ceramics MISSOURI Kent, OH 44240 UTAH 1212 San Pablo ILLINOIS Good Earth Clays, Inc. OKLAHOMA Capital Ceramics Berkeley, CA 94706 A.R.T. Studio 501 Atlantic House of Clay 2174 S. Main St. Martin Chodos 921 Oakton St. Kansas City, MO 64116 1100 N.W. 30th St. Salt Lake City, UT 84115 913 W. Fern Dr, Elk Grove Village, IL 60007 L & R Specialities Oklahoma City, OK 73118 Utah Ceramics Fullerton, CA 92633 Dick Blick 202 E. Mt. Vernon 985 W. Riverdale Rd. Nasco West, Inc. P.O. Box 1267 P.O. Box 309 OREGON Ogden. UT 84403 P.O. Box 3857 Galesburg, IL 61401 Nixa. MO 65714 Art Pak Products Modesto, CA 95352 MONTANA P.O. Box 17356 VERMONT Cardinal Supply Co. 8106 Denver Ave. Old Adobe Ceramics 2401 Delta Lane Clarice's Studio Portland. OR 97217 Ted Seatchard 805 B. University Ave. Elk Grove Village, IL. 60007 1415 W. Aluminum Form & Fire Los Gatos, CA 95030 Butte, MT 59701 Richard's Pug Mill P.O. Box 340 CECAS Enterprises, Inc. 8065 S.E. 13th St. Charlotte, VT 05445 Pot Farm 29 W. 555 Batavia Rd. NEW JERSEY Portland. OR 9;7202 2909 Santa Monica Blvd. Warrenville, IL 60555 Santa Monica, CA 90404 Pupick Pottery Supply PENNSYLVANIA WASHINGTON Shep Stoneware Supply Pyramid Paper Co. 365 Edgewood Ave. Arch T. Flower Clay Art Canter Route 1, Box 365H P.O. Box 27 Teaneck. NJ 07666 Queen and Ivy Hills Road 4320 Pacific Hwy E. Arroyo Grende, CA 93420 Urbena, IL 61801 Salem Craftsmens Guild Philadelphia, PA 19104 Tacoma. WA 98424 3 Alvin Place Blakely Ceramics Seattle Pottery Stewart's of California Robbins Clay Upper Montclair, NJ 07043 400 E. Pine 16C55 Heron Ave. 1021 W. Lill St. 1500 Evergreen Ave. La Mirada, CA 90638 Chicago, IL 60614 NEW MEXICO Pittsburgh, PA 15209 Seattle, WA 98122 Potlatch Pottery WEST VIRGINIA Stoneware Pottery INDIANA Anhowe Ceramics 722 W. Erie Ave. Salem Pottery Supply P. O. Box 92 Creek Bend Art Works of Albuquerque Philadelphia, PA 19140 179 Valley St. Escalon, CA 95320 5484 Central Ave. 3825 Commercial St. N.E. Waycraft Portage, Indiana 46368 Albuquerque, NM 87107 PUERTO RICO Salem, W. Virgina 26426 394 Delaware IOWA The Salamander Case del Barro, Inc. WISCONSIN Imperial Beach, CA 92032 Artcraf~ Clay111 Carlsbad& Fiber - White Rock TresFinal Monyitas F.A. Costa, Nasco Inc. Western Ceramics 1620 Commercial St. 1601 Howard St. Waterloo, IA 50702 Los Alamos, NM 87544 Heto Rey, 00918 Fort Atkinson, Wl 53538 San Francisco, CA 94103 NEW YORK Puerto Rico Sex Arts & Crafts 316 N. Milwaukee St. Westwood Ceramic Supply Co. 9ardwin Pottery Milwaukee, Wl 53202 14400 Lomitas Ave. 540 La Guardia PI. City of Industry, CA 91746 New York, NY 10012

SHIMPO-WEST INC. 14400 LOMI'I'AS AVE., DEPT. B101, CITY OF INDUSTRY, CA 91746 The Ultimate Extruding Systems

System III Double Action Air Drive wiFoot Pedal Control (100 psi ... by Bailey Compressor optional) Mounted on: Optional Floor Stand w/External Extruding Fixtures Extrusion Capacity: Consider this: 8"L x 8"W x Any Length An extruder that is Power Driven and Foot Pedal Controlled to offer effortless extruding, while leaving both hands free to manipulate the form. An extruder capable of extruding slabs 24"wide, boxes, tubes, % and multisided forms up to 8"across, spheres, etc. Interchangeable Extrusion Barrels that clip on and off for easy cleaning or multiple clay body extruding System I Rust Proof Barrels for porcelain clay bodies 1,81 Manual "Ratchet Drive" Extruder/Wall Mount Vertical and Horizontal Extruding Extrusion Caoacity: Ratchet Drive on manual extruders 3 8"L x 8"W x Any Length A power drive extruder that is light enough to be manually held while extruding into press molds or slab surfaces External Extruding Fixtures for cutting, guiding, and separating finished forms

.,q~.llll ~ System II Single Action Air Drive wJFoot Pedal Control/60 psi Compressor Mounted on: Optional Floor Stand w/External Extruding Fixtures The fact is, Bailey Extruding Systems are a Extrusion Capacity: 4" & 6" breakthrough which makes all other diameter x Limited Length extruders inferior by comparison. To investi- gate more of the advantages of using Bailey Bailey Pottery Equipment, an innovator in slab Equipment, write or call us, or contact your machines, has designed a new standard in local dealer and ask them for a demonstration. clay extruders by which all others will be Find out why Bailey Pottery Equipment is measured. Up to now, extruders have been hailed as "the Professional's Choice". considered a useful tool for making handles and not much more. Bailey Extruders create For more information on Bailey Slab Rollers, new dimensions in forming clay that were refer to the September '79 issue of Ceramics never before possible at a low cost. The Monthly. possibilities are endlessJ Bailey Pottery Equipment Corporation C.P.O. 1577 Kingston, NY 12401 914 339-3721

October 1979 3 We have extended our family of Free Freight items for the pottci: Xox~; in addition to our discount Free Freight Program for equipment, we are pleased to offer glaze chemicals with free freight. With a minimttrn order of $15.00 and a maxi- munl weight of g0 lbs., we will ship ),our order to you UPS prepaid anywhere within the continental USA. The glaze chemicals included in the program are listed beloxx: Use our toll-free phone number to ask for any price. All Chemicals are of the highest quality available and suited to potter3" uses. We have been in the supply business for 5 years and the free freight business for 2 years. We know how that extra slam fronl the freight companies can really hurt. We are out to 1hake your life easier by taking away the pain expensive freight bills cause. Give us a free call at 1~800-241-11q95 and make your day brighter. With us you won't have that "freight hangover." Free Freight equipment: Crusader electric kilns, with or without optional Kilntronics; V~¥ap gas kilns; ShlmI)o-V~ est Bantam, RK-2 Basic & RK-2 Super wheels; Brent models A, B, C & CXC wheels; Crusader 101 & 102 wheels; Brent SR-14, SR-20 & SR-36 slabrollers; Brent handextruders; Ohaus scales & books. All at discounted prices! 1-800-241-1595 Free Freight Glaze C hemical.~ Dolomite l.ead-Chronmte (Yellow) IW Clay (Plastic Vltrox) Albany Slip Flourspar Monosfltcate Pyrophrolite Alumina Hydrate Frits-- 3134 (P54) ( H 14) Oxlde-L ltharge Rutlle-Powd. Alumina Oxide 3819(P25) (H25) Red Rutile-Gran. Antimony Oxide 3110 Lepidolttc Silicon Carbide (FFF) Barium Carbonate 3124(P31 l) (H90) Lithium Carbonate Sodium Carbonate-Soda Ash Barnard Blackbird Slip Gersfley Borate Macaloid Spodumene- Chemical Grade Bentonite -Western Grog-20 Mesh Magnesium Carbonate Superpax Bone A sh Gum Arabic Manganese Carbonate Talc-Ceramic Grade Borax Ilemenite-Granular Manganese Dioxide-Powd. Titanium Dioxide Boric Acid Iron -Chronmte Manganese Dioxide-Gran. Tin Oxide Cobalt Carbonate Oxide (Black) N epheltne Syenite Ultrox Cobalt Oxide Oxide(Red) Nickel Carbonate Umber - Burnt Chrome Oxide Oxide (Spanish) Nickel Oxide-Black Umber-Raw Copper Black Oxide Jordon Clay Ochre (Yellow) Vanadium Pentoxide Copper Carbonate Kiln Wash-'High Fire Petallte WoUastonite Cornwall Stone Lead-Btsilicate Potassium Carbonate-Pearl Ash Zinc Oxide (Calcined) Cryolite (Synthetic) Carbonate (White) Pumice-Volcanic Ash Zlrcopax

Please send the tbllowing: Throwing Apron: S8.50 plus [] New catalog-$1.50. $1.50 handling [] Throwing apron. &Duckshipping C~anvas i KICKWHEEL [] T-Shirt S, 3I, L, XL. $5.00T-Shirt:plus POTTERYSUPPLY® (Orders outside continental USA: $1..50handling 83.50 shipping and handling) &shipping 1428 Mavson St. XE S,M,L,XL ~ Atlanta, Georgia 30324 N anlc ~E~;~E}/(404) 873-3366 Address Toll Free, out of state: ( P1ease Pri nt) 1-800-241-1895

4 CERAMICS MONTHLY chinese brushe-- l Multi-Stem Hake These hake brushes from mainland China are made from pure sheep wool. The thick bristles are 2" long and the burnt bamboo ~ MO N T H L Y stem handles are 41/4" long. B241503 - 3 stems - 11/2" wide - $2.25 Volume 27, Number 8 October 1979 B241505 - 5 stems - 2" wide - $2.80 B241506 - 6 stems - 21/f ' wide - $3,35 Letters to the Editor ...... 7 B241508 - 8 stems - 2%" wide - $4.50 Itinerary ...... 9 B241510 - 10 stems - 3~" wide - $5.60 B241512 - 12 stems - 4" wide - $6.75 Where to Show ...... 17 B241514 - 14 stems - 41/2 " wide - $7.85 Answers to Questions ...... 21 B241516 - 16 stems - 51/2 " wide - $9.00 Suggestions ...... 23 Austria's Klaus Ziegler ...... 26 The Conover Warm Clay Dryer ...... 30 Cone 10 in One Hour bv Bill and Nancy Malcolm ...... 31 The New Zealand Pot Burner by Bill and Nancy Malcolm ...... 34 Potters' Ribs by Ric Swenson ...... 37 To The Home of Grolleg by Larry Adlerstein ...... 38 Low-fire Salt, Paraffin and Porcelain ...... 40 Harrison McIntosh: Studio Potter by Catherine McIntosh ...... 42 A Century of Ceramics in the United States Cone Shaped Brush by Barbara Tipton ...... 49 Chinese sheep wool calligraphy brushes with a bamboo handle Syracuse University by Robert Barrie ...... 59 and cord. The ferrule is hand carved from genuine ox hom. Handles are between 7" and 7~'4" long, News & Retrospect ...... 67 B234635 - 2" x ~" - $3.90 Yellow Glazes for Cones 5-10 B234633 - 21/s " x 1/2" - $5.00 by Harold J. McWhinnie ...... 96 B234631 - 21/2" x %" - $6.20 (actual size shown) Index to Advertisers ...... 98 B234645 - 2¥4" x 11/16" - $9.50 B234643 - 3" x 7/8" - $15.75 Cover "Honeycomb," 20 inches in height, handbuih low-fire white : * U.S. mail orders include $1.00 postage. earthenware with underglaze pencil, glaze, and gold lustered / honeybee, by Margaret Ford, Seattle. Additional information * non-U.S, orders include $2.50 postage about this artist begins on page 87. Photo: Ed Marquand. (please use international bank draft drawn • in U.S. funds). free catalog on request. Publisher and Acting Editor: SPENCER L. DAVIS Managing Editor: WILLIAM C. HUNT Art Director: ROBERT L. CREAGER Copy Editor: BARBARA HARMER TIPTON Assistant Editor: CAROL LEFEBVRE HAOELEE Circulation Manager: MARY RUSrlLEy Advertising Manager: CONNIe BELCHER ceramics main office and warehouse Editorial, Advertising, and Circulation O/rices: 1609 Northwest Blvd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236 12266 wilkins avenue rockville, maryland 20852 West Coast Advertising Representative: Joseph Mervish Asso- (301) 881-2253 ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. (213) 877-7556 other locations Copyright © 1979 Pro/essional Publications, Inc. 1300 west 9th street All rights reserved. cleveland, ohio 44113 C£RAMICS MoN'rI~Ly (ISSN 009-0328) is published monthly except July and August by (216) 241-4767 professional Publications, Inc.- S. L. Davis, Pres.; p. S. Emery, See.: 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals and change of address should be mailed to the Circulation Department, CERAMxcs MON'rHLy, BOX 12448, 8 colonial avenue Columbus, Ohio 43212. Second Class postage paid at Athens, Ohio, u.s.a. Subscriptions: wilmington, delaware 19805 One year $12; Two years $22: Three years $30. Add S2 per year outside u.s.a. (302) 654-2344 The articles in each issue of CERAMICS MONTHLy are indexed in the Art Index. Microfische, 16ram and 35ram microfilm copies, and xerographic reprints are available to subscribers from University Microfilms, 300 N. Zeeb Rd., Ann Arbor, Michigan 48106. )Re rt.-2 box 287 Manuscripts, photographs, color separations, color transparencies, graphic illustrations'and news 1aped wendell, north carolina 27591 releases dealing with ceramic art are welcome and will be considered for publication. A booklet is available without cost to potential authors, describing procedures for the preparation and 'ush (919) 266-1348 submission of a manuscript. Send manuscripts and correspondence about them to The Editor, CERAMICS MO~;THLY, BOX 12448, Columbus, Ohio 43212.

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Meet the family. The Robert Brent Family of potters' this family has become a modern wheels and equipment. tradition among potters.

Quality that comes from the latest You can meet them all at any of the engineering techniques, the finest dealers shown here. Check the list materials and a lot of pride. for one near you or write for a free brochure to 128 Mill Street, Designed by craftsmen for craftsmen, Healdsburg, CA 95448. LETTERS

NORTHEAST CRAFT FAIR tion--the historical section; and Basics-- deserves more than that and could cer- Today's pottery seems to be an example the educational section (questions, sugges- tainly take the place of ceramic hippo- of our unsettled society--abstract and un- tions, glaze recipes and "how-to" articles). potami or cactus/hot plate sculptures. God certain. One problem is that juries of the Then picky readers could skip those areas help us if true, honest craftsmanship has big shows do not accept much traditional in which they have no interest and stop become old-fashioned. stoneware. Rhinebeck '79 [Northeast Craft writing complaining letters, lira Allen Georgeanne Hanna Fair, Rhinebeck, New York] was mainly Traverse City, Mich. Goleta, Calif. porcelain, bright oxides and intricate decorating. I was crying for some good, solid CARDEW RELEGATED TO BACK PAGES Share your thoughts with other readers. old-fashioned stoneware. Pottery gives me Why, with such a beautiful cover on the All letters must be. signed, but names a warm feeling of past roots; delicate or May issue, do we find the related story on u'ill be u'ithheld on request. Address: The bright porcelain turns me off. I guess the Michael Cardew relegated to the back Editor, CERA.~[mS MO.XTHLV, Box 12448, majority must please modern juries to sur- pages in small print ? Such a master potter Columbus, Ohio 43212. vive. Phyllis ]ohns Kent, Conn.

LITTLE VALUE GAINED I think it's about time that the editors of CM review its editorial policy. I find the written introduction to pages of illustrations is nothing more than a simple, non- specific description of the article's contents. I would welcome--as I'm sure would other potters--a more precise precis of the artist's technique, studio setup, kiln and firing ACCENT specifications, and above all--the artist's aims and objectives. It must be agreed that little value can be gained from looking at only finished examples. Keith Ryding Laverton, Victoria, Australia

JUNE ISSUE "A Thrown Basin and Fixtures" is a useful article, but how about letting us know about the author. Who? Where? Not even a picture of--I presume, her--(the ! most flexible hands I've ever seen). CRE E. B. Thorn Harvest, Ala. ]uin Whipple Foresman is an avocational potter. She currently resides in Claremont, Cali[ornia.--Ed.

I loved the pictures of Paul Soldner's work, but thought NCECA/SuperMud Teachers and students can concentrate on must have been a colossal waste of time. Edwin Todd the truly creative with Mayco Colors, pro- Rica Santiago De Dnriscal, Costa ducer of America's finest colors. Mayco's FUNK OR FUNC great spectrum of thoroughly tested prod- I love the articles that show potters' studios and their work, because it keeps ucts take the tedium and frustration out of one's spirit going to see how others tackle ceramic preparation. Students are fasci- similar obstacles. It helps to be able to see nationally or internationally known potters' nated with Mayco Glazes, Underglazes, One ceramics and brief insights into the way Strokes, Accents, Stains or Crystal Clear they work. So whether it is "funk" or "func," humorous or serious, fun or tech- Glazes. All Mayco Colors are homogenized nical, keep it all coming. Stephen Cosgrove for easier application and fire at Cone 06. Midland, Tex. There's a Mayco color, shade or texture I sure hope you'll be returning to some for every need imaginable. Send for your classical pottery in future issues vs. present, free color chart and see why teachers who far-out stuff. Deidre Shibano San Francisco use Mayco Colors get such exciting results!

SOLVING REQUIREMENTS I have a suggestion to solve the many opposing reader requirements. Change the MAYCO COLORS format of CM into four sections, each with 20800 Dearborn St., Chatsworth, Calif. 91311 a color plate cover: Funk--the art section; Functional--the practical section; Tradi-

October 1979 7 The Progressiue 9tep

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Send announcements of ecents, exhibitions, California, Ventura October 4-November Geoffrey Pagen; at Contemporary Crafts workshops, or juried [airs, [esticals and 9 A multimedia exhibition including birds Gallery, 3934 Southwest Corbett Avenue. sales at least seven weeks before the month and beasts in stoneware and bronze by of opening to The Editor, CErAMmS Ruth Husted Johnson; at Ventura County Pennsylvania, Pittsburgh through October Mox'rI-rLV, Box 12448, Columbus, Ohio Historical Museum, E. H. Hoffman Gal- 4 "Crystals on Porcelain" by Missouri art- lery, I00 East Main Street. 4.7212; or phone (614) 488-8236. ist George Smyth. October 8-November I An exhibition of Colorado, Denver October 1-31 An exhi- ceramics by Dorothy Hook; both at the EVENTS bition of wheel-thrown and faceted porce- Clay Place, 5600 Walnut Street. lain by Sarah James; at the Artisans' Cen- Georgia, Atlanta October 25-27 Annual ter, 2445 East Third Avenue. Texas, Ft. Worth October 15-30 Recent meeting of the Southeastern College Art works in raku by John Segell; at Unicorn Conference includes seminars, workshops Gallery, 4915 Byers Avenue. and exhibitions; at Georgia State Univer- Florida, Hollywood through October 9 sity. For further information contact: "Recent Sculpture," a multimedia exhibi- Cathy Fox, Georgia State University, De- tion which includes clay by Claire Jeanine GROUP EXHIBITIONS partment of Art, Atlanta 30303, or call: Satin; at Art and Culture Center of Holly- (404) 658-2257. wood, 1301 South Ocean Drive. Arkansas, Little Rock October 12-Novem- March 28-April 2, 1980 The National Art ber 11 "22nd Annual Delta Art Fxhibi- Education Association's annual convention, Georgia, Atlanta October 27-November 25 tion"; at the Arkansas Art Center, Mac- "Atlanta: An Agenda for the 80s," will be "100 Glass Objects by Charles Lotton": at Arthur Park. held at the Hyatt Regency Hotel. Entry the High Museum of Art, 1280 Peachtree deadline for proposals: November 1. Pro- Street, Northeast. California, Oakland through October 11 posals must he submitted on standard "Functional Ceramics '79," an exhibition 8y2xll white paper (one side only). An Illinois, Winnetka through October 25 of works by members of the Association of abstract of the proposal, not to exceed one Crystalline- and alkaline-glazed porcelain San Francisco Potters; at Holy Names Col- page, must be submitted with the name, by Phyllis fhrman. lege, 3500 Mountain Blvd. position or title, mailing address and both October 26-November 24 An exhibition of home and office telephone numbers of the raku by John Natale; both at Synopsis, 931 California, Pasadena October 13-28 applicant. Send proposal to: National Pro- Linden Avenue. "Smoke, Flame, Sumi-e," a two-man exhi- gram Coordinator Thomas A. Hatfield, bition, includes ceramics by Clifford W. State Dept. of Education, 705 Rutledge Indiana, Indianapolis October 16-Novem- Jacobs; at del Mano Gallery, 492 Lake Building, Columbia, South Carolina 27201. ber 17 Altered, wheel-thrown bowls; sculp- Street. tured wall reliefs and slab-built arch forms Connecticut, Avon October 7-November 3 Louisiana, New Orleans ]anuary 30-Feb- by Jim Cantrell; at Artifacts Gallery, 6418 ruary 2, 1980 The annual meeting of the North Carrollton. "Collaborations," an exhibition of clay and College Art Association includes sessions on fiber works by Mary Barringer and Diane art history and studio art. A placement Michigan, Birmingham October 12-No- Brawarsky; at Farmington Valley Arts service is provided for those interested in vember 14 "Clay and Paper Works" by Center Gallery, Avon Park North. college teaching, art administration and Margie Hughto; at James Yaw Gallery, related fields; at the Hyatt Regency Hotel. 550 North Woodward. Connecticut, Greenwich October 30-No- For further information, write: The Col- vember 24 A multimedia exhibition which lege Art Association of America, 16 East New York, Bronx through October 30 "A includes salt-glazed pottery by Steve 52 Street, New York City 10022, or call: Sculptor in the Garden," ceramic sculpture Howell; at the Elements, 14 Liberty Way. (212) 755-3532. by David Silverman; at the New York Bo- tanical Garden, Enid A. Haupt Conserva- D.C., Washington through October 31 New Jersey, Newark October 27 A sym- tory's Palm Dome. "John Paul Remensnyder Collection of posium on Chinese export porcelain spon- American Stoneware," includes 150 exam- New York, Buffalo through October 19 ples of 18th and 19th century salt-glazed sored by the Newark Museum. Fee: $25, ceramics. including luncheon; at the Van Houten "Clay and Paper Works" by Margie Library Theatre of the New Jersey Insti- Hughto; at Nina Freudenheim Gallery, October 15-December 30 "The Afro- tute of Technology, Newark. 560 Franklin Street. American Tradition in Decorative Arts," includes ceramics; both at the Smithsonian Tennessee, Gatlinburg October 10-13 New York, Mamaroneck through October Institution's National Museum of History "American Craft Council Southeast Con- 7 "Whorls," coil work and ceramic jewelry and Technology. ference" is open to all. The program in- by Mimi Okino; at Mari Galleries of October 21-27 Recent works in clay by chides multimedla demonstrations, slide Westchester, Ltd., 133 E. Prospect Ave. Nancy Jurs; Limoges and bas tallies enam- lectures and panel discussions. There will els by Bill Helwig; at Jackie Chalkley Gal- also be ceramic presentations by Rick Ber- New York, New York October 4-20 A lery, 3301 New Mexico Avenue Northwest. man, Jamie Davis, Bill Gordy, Julie and ceramics exhibition by Stevenson Burke. Tyrone I,arson, Sally Prange and Wally October 23-November 10 An exhibition of Florida, Jacksonville October 6-November Smith. Contact: Arrowmont School of Arts ceramics by Susan Tunick; both at Green- 18 "The First 4000 Years: The Ratner and Crafts, Box 567, Gatlinburg 37738, or wich House Pottery, 16 Jones Street. Collection of Judaean Antiquities"; at call: (615) 436-5860. Cummer Gallery of Art, 829 Riverside New York, Roslyn through October 7 A Avenue. selection of ceremonial ceramic objects through November 13 "Turn, Turn, Turn," SOLO EXHIBITIONS celebrating Jewish holy events by sculptor includes ceramics; at Crown Craftsmen Jonathan Craig; at Off the Beaten Path, Gallery, Contemporary Village, 2736 Uni- California, Orange through October 24 1441 Old Northern Boulevard. versity Boulevard West. Ceramics by David Middlebrook; at Gug- genheim Gallery, Chapman College, 333 Ohio, Columbus October 2-28 An exhibi- Florida, Orlando October 12-November 9 North GlasseIl. tion of ceramics by Ban Kajitani; at Co- "Recent Clayworks" by Barbara Joiner, lumbus Museum of Art, Designer/Crafts- Grady Kimsey and Roberta Marks. California, Santa Monica October 1-31 man Shop, 480 East Broad Street. October 29-December 12 "Contemporary "Earth," an exhibition of pots and prints Crafts," an exhibition of works by Pied- by Vida Freeman; at the 26th Street Gal- Oklahoma, Oklahoma City through Octo- mont Craftsmen members including ceram- lery, 225 Twenty-sixth street. ber 3l An exhibition of poreelaln and ists Cynthia Bringle, Penland, North Caro- stoneware by Lynn Smiser Bowers; at Ok- lina; Jamie Davis, Six Mile, South Caro- California, Studio City October 2-31 lahoma Art Center, 3113 Pershing Blvd. lina; John Frantz, Fries, Virginia; Becky "Retrospection~Japan," an exhibition of Gray, Burnsville, North Carolina; Julie salt, raku and vapor firing by Tony Evans; Oregon, Portland October 4-27 An exhi- Larson, Bakersville, North Carolina; Sally at Garendo Gallery, 12955 Ventura Blvd. bition of works by potter-in-residence Continued

October 1979 9 Recommended books on ceramics Order Any of These Select Titles on Our Money-Back Guarantee.

THE RESTORER'S HANDBOOK OF DESIGN MOTIFS OF ANCIENT MEXICO HAMADA, POTTER CLAY AND GLAZES FOR TI'~E POTTER by Bernard Leach. This well-crafted volume con- CERAMICS AND GLASS by Jorge EncLso A compilation of 766 exam by Darnel Rhodes This termed edition covers tains 80 biographical photos and an impressive by Jean-Mx:he] Andre An excellent guide for pies divided into geomemc natural and arhfi all the fundamentals of clays and glazes An section of 40 full-page color photos of ware. a those wLshmg tO repair broken pots Cleamng clal forms Includes designs based on flowers important reference source $12 50 selection of ware in black and white, and six fractures gluing pieces tocjelher, retouching birds, fish etc 170 Pages $2 50 pages of sketches $$5.00 and reconslTu,c'ting missing pieces are described KILNS: DESIGN. CONSTRUCTION & ELECTRIC KILN CONSTRUCTION FOR in detail $2000 OPERATION POTTERS THE POTTER'S CHALLENGE by Daniel Rhodes. Everything you need to MAKING POTTERY WITHOUT A WHEEL by Robert Fournier. If you felt that the Job of by Bernard Leach This text contains an analysis know about kilns -- sett~g up. firing, types -- is by F Carlton Bali and Janice Lovoos This designing and building an elect~c kiln was too of a pot and the hallmarks of sound design. descnl~d and demonslzated. $12 95 richly ,llustrated book covers every phase of difficult, then you will appreciate these clear, There is also an evaluative essay on ware by concise directions. $11.95 handbuilding and decorapng clay pieces No historical and contemporary potters including STONEWARE AND PORCELAIN book covers the subiect of texture and form so Leach's own work $10 00 ILLUSTRATED DICTIONARY by Daniel Rhodes Descnbes techniques and effectively h =s a book every teacher should PRE-COLUMBIAN DESIGNS FROM have $1695 OF PRACTICAL POTTERY materials used in high-fire pottery, includes sec- by Robert Fournier This work is exhaustive in PANAMA tions on clay bodies, glazes, colors, textures and FINDING ONE'S WAY WITH CLAY scope and detail There are nearly 1200 entries by Samuel K Lothrop A compilation of de- decoration. $12.50 by Paulus Berensohn This unique book offers and over 450 illustrations. $15.95 signs and motifs represented on potten] SpeCl a new approach to makmg pots It is a clear mens unearthed in central Panama $3 50 STEP-BY-STEP CERAMICS RAKU: ART & TECHNIQUE readable, and definitive book on making pots by Jolyon Hofsted. A complete introduction to by Hal Riegger. The first complete book on using the pznch method $11 95 ceramics! There are special sections on the Pot- Raku. Covers clay and glaze preparation, kiln PIONEER POTTERY ter's Wheel. GLazing. Firing a Kiln, Building Your building and fring techniques $7.95 by Michael Cardew The main purpose of this Own Kiln. and Raku $295 book is to help craksmen who want to make HANDBOOK OF DESIGNS AND Money-Back Guarantee pottery using natural matenals v,nthout depend- DEVICES THE WORLD OF JAPANESE CERAMICS lng on customary sources of supply Covers by Clarence Hornung Over 1800 sketches of clays, glazes. ~ns. $6.95 basic designs and vanations including the circle by Herbert Sanders This handsome book illus- line. scroll fret. shield snow crystals and many trates the forming and decorating processes and THE POTTER'S COMPLETE BOOK OF more useful symbols $300 the unique tools used by the pot~ers of Japan. CLAY AND GLAZES Includes American equivalents of Japanese glaze by James Chappell This cross referenced COMPLETE BOOK OF POTTERY compositions $19 50 handbook contains 1 500 clay body and glaze MAKING SELLING YOUR CRAFTS GLAZES FOR SPECIAL EFFECTS formulas with lnsITuctlons for mixing appllca by John B Kenny This m a revmed and up- by Norbert N Nelson This book leads you lion and finng Glazes covered include st~me- dated edition of John Kennys ongmal versK)n through the actual slages necessary to sell suc by Herbert Sanders Covers the theory and ware earthenware single hre wide-firing which has been a standard lext in the ceramic cessfully what you produce Covers such di- produchon of crystals in glazes the technique range porceLam, slip salt and vapor glazing art field for over two decades $15 IJ0 verse channels of sales as wholesale retail, mall ol copper reduction glazes, the accumulation and cup and spoon measure glazes $27.501 order and spec,alty markets $3 95 and use of ash for wood and plant ash glazes, KERAMOS and embelhshments such as luster and under- A CENTURY OF CERAMICS IN THE THE KILN BOOK by Franz Knwanek All of the bas,c areas of glaze decoratK)n. $18.95 UNITED STATES 1878-1978 ceramic work are covered in thLs revised edi. by Eredenck L Olsen Covers in detail both POTTERY DECORATION by Garth Clark and Margie Hughto. This book tlon The examples of pottery are impressive the technical and aesthet)c aspects of kiln con by Thomas Sharer. Focusing exclusively on the is based on the exhibition of the same name There is a refreshmg treatment of subtect matter struchon and finng Easy to follow and informa- staged by the Everson Museum of Art, Syra- that makes the book unlque $5 50 tively lllusttated Paperback $9.50 decorative aspects of pottery. This helpful text presents descriptive and explanatory interpreta- cuse, New York, in the spring of 1979. Com- CERAMIC GLAZES ments by the authors, photos of pieces in the tion of materials, tools, and techniques used to by Cu[Jen W Parme[ee A carefully revised embellish clay. $17.50 show and a section of extensive bfographies of t A Potting= edition of one of the standard texts on glazes It the artists represented provide an impressive THE PROFESSIONAL POTTER review of the period. A valuable reference Is a comprehenslve sludy of every aspect of the source. $12.95 subiecl Wlth clear concise explanations An es- by Thomas Sharer. This practical book takes an sentla[ reference $19.95 in-depth look at six potteries that all have one PENLAND BOOK OF POTTERY thing in common: the potters are earning a CERAMIC ART ! living solely from selling their work. $18.50 Comment and Review, 1882-1977 Nine master potters of The PenLand School of edited by Garth Clark. A review of dominant Crafts demonstrate their methods of working CERAMICS influences on contemporary ceramics An ex- with clay and include glaze formulas sources of by the editors of Sunset mageane An excel tremely informative and thought-provoking supply etc $12 95 lent text for beginners and those teaching be- anthology. $9 95 THE LIVING TRADITION OF MARIA ginners Well-planned pro]eels carry the reader MARTINEZ through basic handbuilding and throwm 9 tech- CERAMIC FORMULAS: CERAMIC SCHENCE FOR THE POTTER THE COMPLETE COMPENDIUM by Susan Peterson. A major book about the tuques using a minimum of tools $2 45 by W G Lawrence The best source for in- great potter of San [Idefonso and her bLack-on- by John W Conrad Thm very useful text con SALT-GLAZED CERAMICS formation on producing flameware and oven- black pottery. Over 190 color plates. $3995 tams over 700 tested formulas for clay br)dles ware complete vath body and glaze formulas by Jack Troy This is the first book on the and glazes in all finng ranges Features speoal A technical volume wntten for those havmg techmque of salt gLamng Technical information coded color charts $10 qs limited science background $12 95 SHOJI HAMADA. A POTTER'S WAY deals with clays and slips glazing, and special AND WORK salt kiln Also dLscussed are sodium bearing POTTERY WORKSHOP A POTTER'S BOOK substitutes for salt $17 95 by Charles Counts. A study in the making of by Susan Peterson. Contains a wealth of detail pottery from idea to finished form. Detailed by Bernard Leach No~. m its eighteenth about Hamada's forming, glazing, and fittn9 GETTING INTO POTS instructions in all areas, along with diagrams for Amencan edition this book should be m the techniques and includes a very useful glossary by George and Nancy Wettlaufer A personal. building your own kiln and wheel. $5.95 [ibrary of every potter $f5 00 index. A great gift $19.95 direct style and awareness of "real life' problems and solutions illuminate this appealing [] Peterson---Maria $39 95 [] Fournier--Electric Kiln $11.95 and very practical basic pottery book $4 q5 [] Fournier--Dictionary $15.95 [] Peterson--Sho)i Hamada $19.95 [] Hoisted--Step by Step $2.95 [] Rhodes--CLay & Glazes $12.50 THE CRAFTSMAN'S SURVIVAL [] Homun~--Designs $3.00 [] Rhodes---Kilns $12.95 MANUAL Box 12448. Columbue. Ohio 43212 [] Renny--Comp]ete Book $15.00 [] Rhodes---Stoneware $12.50 by George and Nancy WetrJaufer This man [] Andre--Restorer's Handbook $20.00 [] Kriwanek--Keramos $5.50 [] Rieg9er--Raku $7.95 ua[ is directed to those potters who wish to [] BaiI--Pottew $16.95 [] Lawrence~ience $12.95 [] Sander~Japanese $19.50 make a full or part-time living from their craft [] Berensohn--Finding. $1195 [] Leach--Potter's Book $15.00 [] Sanders~SpecLal Effects $18.95 Contams practical business and marketing in- [] Cardew---P1oneer $6.95 [] Leach--Hamada $55.00 [] Shafer--Decorabon $17.50 folTnallon $3 45 [] Chappell~lay & GLazes $2?.50 [] Leach--Challenge $10.00 [] Sharer--Professional $1850 [] Clark -- Century Ceramic~ $12.95 [] Lothrop~Pre-ColumbLan $3 50 [] Sunset editors---Ceramics $2 45 THE INVISIBLE CORE [] Clark~Ceramic An $9.95 [] Nelson--Selling Crafts $3 95 [] Troy--Salt-GLazed $17 95 A POTTER'S LIFE AND THOUGHTS I-I Conrad~Formulas $10.95 [] Olsen--Kiln Book $9.50 [] Wettlaufer [nto Pots $4.95 by Marguente Wlldenhain A very readable [] Counts~Workshoo $5.95 [] Parmelee--Glazes$19.95 [] Wettlaufer---Surviva] $3.45 book ]n which the author offers her phdosophy [] Enctso--Design Motifs $2.50 [] Penland Book--S12.95 [] Wifdenhain--lnvisible $12.95 and strong oplmons about art and artists, art [] Woody--Handbullding $20.00 educat;on and nature $1295 NAME I enclose [] Check ~ Money Order HANDBUILDING CERAMIC FORMS ADDRESS Apt #_ I )m r~,.~d.,nl~ ~dd 4" S~L~,s Tax) by Elsbeth Woody. Provides informa~on on the nature of clay and the various tools one can use. Explains the different hand-forming CITY STATE __ ZIP methods A very practical book. $20.00

10 CERAMICS ~ONTHLY ITINERARY "Made in New Jersey," an exhibition of "Marietta College Crafts National '79"'; at art objects made or used in New Jersey, Grover M. Herman Fine Arts Center, Bowen Prange, Chapel Hill, North Caro- includes pottery. Marietta College. lina; Ron Propst, Winston-Salem; Edward October 27-December 31 "Collector's O'Reilly, Penland; Donna Polseno, Floyd, Choice: Chinese Export Porcelain from Ohio, Zanesville through October 31 All Virginia; and Tom Suomalainen, Walnut New Jersey Collections," an exhibition of exhibition of historical ceramic works in- Cove, North Carolina; both at Valencia works which date from the 17th century cluding Zanesville area turn-of-the-century Community College Art Gallery, Building through 1850; both at the Newark Mu- pottery, European and Oriental ceramics 1, 1800 South Kirkman Road. seum, 49 Washington Street. and glass works; at Zanesville Art Center, 620 Military Road. Georgia, Atlanta October 22-November 25 New Jersey, Trenton through October 7 a multi- an exhibition which Pennsylvania, Philadelphia October 6-No- "Avant-Garde 12 in Atlanta," "Friends Collect," an exhi- at the High Museum of includes blue Staffordshire pottery, Orien- vember 2 "Three Perspectives," media exhibition; vessels by Bennett Art, 1280 Peachtree Street, Northeast. tal cloisonn6 ware and porcelain; at New bition including pit-fired Jersey State Museum Cultural Center, Bean; at Sign of the Swan crafts gallery, Avenue. Georgia, Savannah October 21-November West State Street. 8433 Germantown 14 "Annual Juried Exhibition" by Georgia South Carolina, Columbia through Octo- Designer Craftsmen; at Exhibit A Gallery, New Mexico, Taos through October 20 of Art and Design, ber 10 "Contemporary Crafts," an exhibi- The Savannah College An exhibition which includes ceramics by mem- Bull Street. tion of works by Piedmont Craftsmen 342 Jim Cook. ceramists Cynthia Bringle, Ceramics by bers including October 27-November 24 Penland, North Carolina; Jamie Davis, Six Idaho, Pocatello October 1-25 "Big Sky Paul Soldner; both at Clay and Fiber at Idaho State Mile, South Carolina; John Frantz, Fries, Biennial: Crafts '79"; Gallery, North Pueblo Road. North University, Transition Gallery. Virginia; Becky Gray, Burnsville, Carolina; Julie Larson, Bakersville, North New York, Great Neck through October Carolina; Sally Bowen Prange, Chapel Illinois, Chicago through October 28 "Vi- including ce- an exhibition 18 A multimedia exhibition Hill, North Carolina; Ron Propst, Win- enna Moderne: 1898-1918," and glass; at the Artisans Gallery, Penland; of 450 objects, includes ceramics. ramics ston-Salem; Edward O'Reilly, Sculpture Exhibi- Ltd., 6 Bond Street. Donna Polseno, Floyd, Virginia; and Tom October 6-27 "Ceramic Caro- tion," by graduate students Brad Barring- Suomalainen, Walnut Cove, North ton, Andy Dallstream, Jim Dugdale, Ellen New York, Larchmont October 5-13 An lina; at the University of South Carolina; Hillburg, Butt Isenstein, Harris Nathan exhibition of ceramics by twelve members of the School of the Art of the Hudson River Potters, includes Tennessee, Memphis through October 28 and Tom Riley Craft Institute of Chicago; both exhibitions at wheel-throwing demonstrations October 5- "10th Biennial Mississippi River the Art Institute of Chicago, Michigan 6; at the Pot Holder, 140 Chatsworth Ave, Show"; at Brooks Memorial Art Gallery. Adams Street. Avenue and 2l-]anuary 6, New York, New York through October 20 Wisconsin, Madison October 1980 "Chinese Export Porcelain," an ex- Illinois, De Kalb October 2l-November 3 "Architectural Dimensions," a multimedia by Bill Abright, hibition of 200 pieces of 18th century "Awiky," an exhibition of contemporary exhibition including clay in Conover, Richard Hirsch, Steven porcelain which was manufactured functional pottery by Reed Bakken, Robert Claude Market; at Elveh- Sam Rosby; at and Susan Kemenyffy, Jay Lindsay, Ro- China for the Western Blue, Donald Johns and jem Museum of Art, 800 University Ave. Northern Illinois University. berta Marks, Billie Walters; glass by AI Garber and Kent Ipsen; at the Elements Iowa, Lamoni October 5-26 "Graceland Gallery, 766 Madison Avenue. FAIRS, FESTIVALS AND SALES National Clay Exhibition"; at Graceland through October 7 Arkansas, Bella Vista October 19-21 College. New York, Rochester at A multimedia exhibition including clay "Bella Vista Arts and Crafts Fesitival"; Blowing Springs Park. Massachusetts, Boston through October 6 works by Frans Wildenhain. mem- 9-November 18 "Teapot Exhibi- An exhibition of ceramic works by October 12-14 Clay Dragon Studio; at Sans tion," an invitational show of works by Arkansas, Heber Springs October bers of Frontier Trail Festi- Regret Gallery, 131 Newbury Street. fifty artists; both at Memorial Art Gallery, "14th Annual Ozark University of Rochester, 490 University val and Craft Show"; at the fairgrounds. Massachusetts, Lexington through Decem- Avenue. Export Wares," an Florida, Cocoa October 6-7 "Cocoa Vil- ber 2 "Early Oriental at Cocoa of goods brought back from the New York, Scarsdale through October 22 lage Autumn Art Festival"; exhibition Village. Orient during the late 18th and 19th "Art Deco Influence in Contemporary porcelain; at Museum at the Craftsman's Gallery, 16 centuries, includes Crafts"; October 6 of our National Heritage, 33 Marrett Rd. Chase Road. Louisiana, Shreveport through Red River Revel, "A Celebration of the Parkway. Michigan, East Lansing October 7-28 An New York, Schenectady through Decem- Arts"; at 700 Clydefant by Louis Raynor; at American Folk Pottery," exhibition of ceramics ber 30 "South 5-7 "Pump- Freeman Gallery, Hagadorn Road at Lake includes drawings and photographs of Maryland, Frederick October Lansing Road. South American potters at work. kin Craft Festival"; at Frederick Fair- October 27-January 6, 1980. "Seventh Re- grounds. Missouri, St. Louis October 7-31 "Raku gional Craft Show" sponsored by Designer includes works by both at Schenectady Mu- Maryland, Gaithersburg October 17-2l Forms and Dyed Fiber" Crafts Council; Fair"; at ceramist Lucia Jahsmann; at Craft Alli- seum, Nott Terrace Heights. "4th Annual National Craft ance Gallery, 6640 Delmar Boulevard. Montgomery County Fairgrounds. Ohio, Canton through November 4 "All- through October 5 An exhibition; at New Jersey, Morristown October 5-7 Montana, Billings Ohio 1979," a multimedia at Na- exhibition which includes ceramics by Kay Canton Art Institute, I001 Market Avenue "1979 Morristown CraftMarket"; Feist. North. tional Guard Armory, Jockey Hollow Rd. October 7-26 "Boardwalk Room Exhibi- tion," includes ceramics by John Banks. Ohio, Cleveland October 6-27 A muhi- New York, New York October 6-14 "Na- October 28-November 16 An exhibition media exhibition including ceramics by tional Arts and Antiques Festival, "includes which includes ceramics by George Dun- Jim Rothrock and Salamandra Glass; at ceramics; at Seventh Regiment Armory, bar; all at Gallery '85, Billings Heights, Sylvia Ullman's American Crafts Gallery, Park Avenue and 16th Street. Emerald Drive. 13010 Woodland-Larchmere. North Carolina, Asheville October 17-20 Nebraska, Omaha October 26-November Ohio, Columbus through November 3 "32nd Annual Guild Fair" sponsored by 16 "Clay Fantasies," an invitational exhi- "Beaux Arts Designer/Craftsmen 1979"; the Southern Highland Handicraft Guild; bition; at Old Market Craftsmen Guild, at Columbus Museum of Art, 480 East at Asheville Civic Center. 511 South 11th. Broad Street. Ohio, Cleveland through October 26 A New Jersey, Newark through December 31 Ohio, Marietta October 27-November 25 Continued

October 1979 11 <

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12 CERA~IICS MONTHI.Y ITINERARY "Form Design and Surface Treatment for Middlebury 05753, or call: (802) 388-4871. Potters" with Robert Turner. Write: Eve- multimedia exhibition including pottery by lyn Zimmerman, League of New Hamp- Washington, Spokane Octo]aer 25..26 A Bette Drake; at Green Mansions Gallery, shire Craftsmen, 205 North Main Street, ceramics workshop with John Glick; at 12302 Woodland Avenue. Concord, N.H. 03301, or call: (603) 22-t- Fort Wright College. Fee: $25. Contact: 3375. School of Art, Fort Wright College, West Pennsylvania, Bedford through October 7 4000 Randolph Road, Spokane 99204, or 328-2970. The Pennsylvania Guild of Craftsmen's New Jersey, Demarest October 20-21 New call: (509) "Southern Alleghenies Craft Festival," in- Jersey Designer Craftsmen is sponsoring a cludes demonstrations; at Old Bedford Vil- ceramic workshop with David Leach. Con- lage. tact: Old Church Cuhural Center, 561 INTERNATIONAL Piermont Road, Demarest 07627, or call: Texas, Plainview October 12-14 "Run- (201) 767-7160. Canada, Ontario, Brantford October 5-21 ning Water Draw Arts and Crafts Festi- "Form, Function and Fantasy," an exhibi- Potters val"; at Hale County Agricultural Center, New York, Piermont October 13 Clay tion by members of the Brantford Lubbock Highway. Callas includes wheel Guild; at Glenhyrst Arts Council Galleries, workshop with Peter Road. demonstrations, slide lecture and a talk on Glenhyrst Gardens, 20 Ava Peter's woodburning, hill-climbing kiln. Vermont, Montpelier October 5-7 "Ninth Canada, Saskatchewan, Regina October Fall Festival of Vermont Crafts"; at Mont- Fee: $15. Contact: Barbara Stanger, New Designer Craftsmen, Inc., 119 19-20 A workshop on decal technology pelier High School. Jersey Shaw. Write: Dave Dor- Maple Street, Summit, New Jersey 07901. with Richard rance, University of Regina, Department Vermont, Mount Snow October 6-8 "The of Visual Arts, Regina $4S 0A2. Fourth Annual Mount Snow Foliage Festi- Texas, Midland October 26-28 A work- val of Craft"; at the Base Lodge, Mount shop with English potter David Leach will Italy, Faenza through October 7 An exhi- Snow Ski Area. begin with a slide lecture, films and discus- bition of works from the "37th Interna- sions and conclude with wheel-throwing tional Competition of Artistic Ceramics"; Virginia, Alexandria through October 28 and handbuilding demonstrations in porce- at the Exhibition Palace. An exhibition of raku, stoneware and por- lain and stoneware. Fee: $30. Contact: celain by potters of the Kiln Club of Stan Jacobs, Midland College, Ceramics Switzerland, Geneva through October 31 Washington, D.C.; at Scope Gallery in the Department, 3600 North Garfield Street, An exhibition of works by Swiss ceramist Torpedo Factory, King and Union Streets. Midland 79701, or call: (915) 684-7851. Philippe Lambercy and his students; at Ville de Gen~ve, Mus6e Ariana, 10 Avenue Vermont, Middlebury November 9-10 de la Paix. WORKSHOPS "Sculptural Handbnilding," a participatory session for professionals or advanced stu- West Germany, Dusseldorf October 3-De- New Hampshire, Plymouth January 20-26, dents in flmctional and nonfunctional clay. cember 30 Ceramic works by English artist 1980 "Seminar Eighty" offers workshops with ceramist Sabra Segal. Write: VerL Lucie Rie: at Hetjens Museum, Sehul- for the advanced studio craftsman, includes mont State Craft Center at Frog Hollow, strasse 4. Spinning tiger" Potter's Wheels • Complete portability - utterly rigid • Solid state feedback speed control circuitry - 0-200 RPM's • Maintain any desired speed with the foot pedal control - ~; infinitely variable. • 3 wire grounding for your protection • 12 inch diameter aluminum wheel head

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October 1979 13 We've made the BEST Crusader Wheel even BETTER Here's, how:

Crusader's all new electronic speed control now provides you with constant performance regardless of the drag placed on the clay or the weight of the clay. The ...... new electronic speed control combines ...... the steady power of a cone drive wheel with the easily adjustable speeds of the conventional electric wheel. This unique combination gives the potter an easier and better throw because as weight and pressure are applied or reduced the speed and torque remain uniform. In making the Crusader wheel better, we haven't forgotten what made it the best: f • Hardened Steel Bushing to Prevent Head Wobble • Removable Aluminum Head • Removable Lock-Down Splash Pan • Completely Self-Enclosed Bottom Pan • Welded Steel Frame With Polyproplyene Covers for Easy Clean Up You deserve the best and there's nothing better than a Crusader. Write for the name of your dealer.

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14 CERAMICS MONTHLY I'Ll I Its Crusader kilns keep their cool and still give ~ I II .... ~,~-,~" ...... I(" I I |! you an efficient firing because each Crusader k n ],4 Iit ~ ~~ ii ~_ ~ is insulated with ThermArmor', a special heat I! I~ I ~t ~ ~ ~I II, resistant fiber used exclusively by Crusader. ~'i I~ ! 'l :~7 "~J ~I I j~ the in- # Keeping the heat where it belongs--on [] ~II J~IiI~ I ~I |7 side of the kiln-- means you reduce excessive t~ ] ~ ~ |. I---~ heat loss by as much as 30%, and more im- I I ...... ~--~ ...... i ~.' l ~, portantly save money on operating the kiln. I FZI~J ! I ~ ThermArmor '~ restricts the heat loss so effec- I ~- I I tively that you can even work comfortably in the I ~ ~ ! I vicinity of the kiln during a firing, i II.!I /, II ! Crusader !eatures ~.~ ...... I!~ ...... ~ --I; • . ;~..-~ ...... ~. that keep their ¢ool firing ai / ...... :: afteR' firing are: ¢/ • Kanthal A-1 elements made from the most chemically resistant wire • Expanded metal air flow switch boxes for longer switch and wire harness life • Infinite control switches for maximum heat -~ffi F control Switch on to efficient temperature control with Kilntronics High heat sealant on all tops to prevent sifting Controllers. Completely electronic kiln shut-off, soak and rate of climb controllers. No cones or kiln sitters neces- True dropped-recess element grooves to elimi- sary, Three Kilntronics models to fit virtually any new or nate the need for pins existing kiln on the market. Available from reputable dealers throughout North • Available with Kilntronics for a total America. Write us for the one nearest you. electronically controlled firing CSA and UL Approved Models Crusader CRUSADER Corporation 331 KoHen Park Drive Holland, Michigan 49423 U.S.A. Phone (616) 392-1888 "SIR-AMIC"

October 1979 15 recision _ ILNS GAS KILNS from 4 to 160 cubic feet capa- cities. All fire to 2500 ° F - Cone 14. All models will fire with oxidation or reduction at- mospheres. Some salt kiln models available, ELECTRIC KILNS from 2 to 160 cubic feet capa- f iZ.r zr~ zr x cities. Temperature ranges from 2300° F - Cone 9 - to 2800 °F Cone 20. Many sizes and types to choose from.

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16 CERAMICS MONTHLY WHERE TO SHOW Send announcements o/ juried exhibitions, permanent medium; not to exceed 125 deadline: December 1. Write: Nancy Gru- /airs, [estiz'als and sales at least four cubic feet or 500 pounds. Bas relief not to ver, Old Market Craftsmen Guild, 511 months before the entry deadline to The exceed 24x36 inches or 100 pounds. Juried South l lth, Omaha 68102. by 8x10 unmounted, glossy black-and- CERAMICS Editor, NIONTHLY, Box 12448, white photographs. Entry fee: $10 per Ohio, Lakewood November 17-December Columbus, Ohio 43212: or phone (614) sculpture. $5000 in cash prizes. Entry 16 "Proscenium '79" is open to Ohio area 488-8236. deadline: February 12, 1980. Write: artists and craftsmen. Juried by work; North American Sculpture Exhibition, hand-delivered only. Entry deadline: No- Foothills Art Center, 809 Fifteenth Street, vember 2-3. Write: Jayn Wells, Creative EXHIBITIONS Golden 80401, or call: (303) 279-3922. Studios, Beck Center for Cultural Arts, 17801 Detroit Avenue, Lakewood 44107, Arkansas, Little Rock November 30-Janu- ary 6, 1980 "Toys Designed by Artists Florida, Cape Coral January 6-30, 1980 or call: (216) 521-2540. Exhibition" is open to all artists. Juried by "National Cape Coral Annual Art Exhibi- tion" is open to sculptors. Juried. Fee: Pennsylvania, Philadelphia January 20- up to 3 entries; no color slides accepted. "Light Work" is open to Fee: $5 for each entry. $1000 in purchase $15 for 3 slides. $1000 in awards. Entry March 2, 1980 all media. Entries must deal with giving awards. Entry deadline: November 9. deadline: October 10. Contact: Julie An- off light. Juried by slides or photographs. Write: Townsend Wolfe, Arkansas Arts zelmo, 4417 Southeast 9th Avenue, Cape Coral 33904. Commission. Entry deadline: October I0. Center, MacArthur Park, Box 2137, Little Contact: Jane Blend, Sign of the Swan, Rock 72203, or call: (501) 372-4000. 8433 Germantown Avenue, Philadelphia Massachusetts, Worcester February l- 19118, or call: (215) 242-5300. California, Los Angeles January 19-Febru- March 14, 1980 "It's About Time" is ark' 17, 1980 "Westwood Clay National open to artists and craftsmen who are not Tennessee, Memphis February 24-March Exhibition" is open to American ceramists. now full-time students. Entries: Three- 27, 1980 "Works on or of Paper or Clay" Juried by slides. Jurors: Lukman Glasgow, dimensional work in any medium (or is open to artists and craftsmen. Juried by artist and director of the Westwood Clay mixed media) that invohes timekeeping in slides. Juror: Robert Smith, director of National; and William Hunt, managing some form. Submit 3 entries maximum the Institute of Contemporary Art of Los editor of CERAMICS MONTHLY magazine. with no more than 2 views per work. Angeles. Entry fee: $5. Entry deadline: Cash and purchase awards. Entry dead- Juried by 35mm color slides. Cash awards. November 13. Write: Nancy Sharpe, Art line: November 19. Write: Lukman Glas- Entry deadline: October 15. Commission: Department, Memphis State University, gow, Westwood Clay Nat'l., 14400 Lomitas 20'~. Contact: Graft Center, 25 Sagamore Memphis 38152. Avenue, City of Industry, Calif. 91746. Road, Worcester 01605, or call: (617) 753-8183. Colorado, Golden April 6-May 7, 1980 FAIRS, FESTIVALS AND SALES "North American Sculpture Exhibition" is Nebraska, Omaha February 1-27, 1980 open to American, Canadian and Mexican "Sculptural Clay," a national invitational California, Northridge December 8-23 artists. Limited to hard sculpture in a exhibition. Juried by 3-5 slides. Entry Continued announcing, A NEW FILM"

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Each model includes: 1. 2" flame retention nozzles 2. Continuous duty blowers 3. Brass valves 4. Atmospheric pilot burners (can be used for preheating kiln) Both models are quickly adaptable for use with either natural gas or propane at high or low pressure by simply unscrewing and changing the orifice.

Write: Kilns Dick Butz P.O. Box 8659 Portland, Maine 04104

October 1979 17 the most versoti le kckwheel yet

Ask about .

/t at you r/°ca/

' dee~at or Write Us d~rect/y

w -.m •

"If you plan to own just one wheel."

A portable heavyweight for schools and serious potters which when disassembled can be transported in any small car. There is simply too much to be said for this wheel to do it here, so, write for our free brochure.

Carlos Frey Potters Wheels L)uslqnvd end bunt by a potler

Distributed by Mid-America Art Studio 7rh & Logan, Wayne, Nebraska 68787 Phone." 402/375-4141

18 CERAMICS ~'[O,'N' T H I. "t" Move up to the WHERE TO SHOW "Homespun Holiday Fair," is open to craftsmen. Juried by up to 3 photographs. Booth fee: $30 for weekend, $60 for entire fair. Commission: 20%. Entry deadline: BII ON ! November 1. Contact: April Brandes, Show of Hands, 9040-J Tampa Avenue, Northridge 91324, or call: (213) 886- 7530. More than 30 years' experience Florida, Miami Beach February 9-10, 1980 "Miami Beach Festival of the Arts," is lets us understand what kind of a open to artists and craftsmen. Juried by up Lots of room. Our!DK 1029 kiln busy hobbyists need. to 3 slides or photographs. Exhibition fee: $50. Cash and purchase awards. Entry saves your time and expensive THE DK 1029. deadline: December 1. For application energy -- one big load over Duncan's experience lets us write: City of Miami Beach Fine Arts Board, Box 0, Miami Beach 33139. several small kiln loads! manufacture kilns for • good Here at Duncan, we fire about 45 results, • simplicity of operation, New Jersey, East Rutherford November 25 "Super Crafts Sunday 3" is open to crafts- kilns every working day, testing and • easy maintenance. men. Juried by 5 slides. Fee: $55-$65, new products and making pieces Duncan's experience lets us meet depending on space. Entry deadline: Octo- your firing needs! ber 25. Write: Creative Faires, Ltd., Box for Duncan's magazine and our 1688, Westhampton Beach, New York ads. Five different models available 11978, or call: (516) 325-1331. We know the problems a hobbyist from your local Authorized New York, New York November 30-De- can run into. We solved them Duncan Kilns & Equipment cember 2 "The New York Contemporary when we designed our own kilns. Craft Fair." Juried by 5 slides. Fee: $140- Dealer or Distributor! $175, depending on space. Entry deadline: October 30. Write: Creative Faires, Ltd., Box 1688, Westhampton Beach, N.Y. 11978, or call: (516) 325-1331. December 7-9, 14-16 "American Crafts Holiday Festival" is open to craftsmen. Juried by 5 color slides. Fee: $85 for each three-day weekend. Entry deadline: Octo- ber 20. Write: American Concern for Artistry and Craftsmanship, Box 20, Has- brouck Heights, New Jersey 07604. .Q New York, Syracuse November 24-25 ~!!i !ii~ Jlil "First Annual Holiday Art and Craft 1t Fair." Juried by 5 slides. Fee: $60 per 9x10 space. No commission. Entry deadline: October 28. Contact: Village Artists and Craftsmen, Box 292, Hamilton, N.Y. 13346, or call: (315) 824-1343. New York, Uniondale November 16-18 "5th Annual Harvest Crafts Festival" is O open to craftsmen. Juried by 5 slides. Fee: $150-$210, depending on space. Entry deadline: October 16. Write: Creative Faires, Ltd., Box 1688, Westhampton i Beach, N.Y. 11978, or call: (516) 325- 1331. North Carolina, Asheville November 23-25 "The High Country Christmas Art and Craft Show" is open to all media. Juried by slides and photographs. Entry fee: $55. Entry deadline: November 15. Write: Betty Kdan, 40 Hyannis Drive, Asheville 28804, or call: (704) 253-6893. Wisconsin, Milwaukee November 23-25 "8th Holiday Craft and Gift Show" is open to craftsmen 18 years or older. Juried by 5 slides accompanied by current rdsumfi and self-addressed, stamped envelope. En- UL listed; CSA certified. DUNCAN KILNS & EQUIPMENT try fee: $50 for 10xl0 foot space. No All the flexibility of a collar! A Diwsion of Duncan Enterprises commission. Entry deadline: November 1. PO. Box 7609 March 8-9, 1980 "4th Craft Fair U.S.A. All the strength of one-piece construction! Fresno. California 93747 Indoor Spring Show" is open to artists 18 All the features that grew out of Duncan's years or older. Juried by 5 slides accompanied by current r~sum$ and self-ad- more than 30 years' experience with kilns, dressed, stamped envelope. Entry fee: $40 plus something special! Our DK 1029 is for 10xl0 foot space. No commission. Entry deadline: March 1. For both shows about the only big kiln with a collar that's write: Dennis R. Hill, 1655 South 68 really locked onto the main body so it never slips! Street, West Allis, Wis. 53214, or call: (414) 774-1639.

October 1979 19 in case of emergency f; use Bickner Extruder

"*.. ~.~ b

..... ~ ...... ~, iF-'~L--,,~ -.~,~ THE IMAGINATIVE TOOL FOR POTTERS: The Bickner Extruder makes much more than this -- handles, vases, ~ g tiles, slabs, coils, posts, tubes, and other shapes limited only by your imagination. This is the simplest and highest quality extruder available to potters today. No more collars or plastic parts. Dies are held by ball-lock pins and BICKNER EXTRUDERS an adjustable inner die holder. Dies are 4 inches wide and include circular and square shapes as well as blanks for RO. BOX 852 your own shapes. 15 dies in all. Complete extruder $100. Extruder minus dies $75. Calif. residents add 6% sales SANTA CRUZ, CA. 95060 tax. All shipments sent freight collect.

Send check or money order to:

20 CERAMICS MONTaLV Answers to QUESTIONS

Conducted b)' the CM Tect~nical Sta.ff

0 I mix clay from slurry, let it set oz'ernight, then drain the shapes in that forms with corners tend to cook unevenly. You excess water before drying the clay on bats. Occasionally the might consider producing shapes with a central tube--similar to slip has deflo~culated: it runs off my fingers in streams--great for an angelfood cake pan--eliminating entirely the slower cooking casting, but unthrowable after drying. Can anything be added to center. Avoid hollow handles or a porous clay body because these the slip to flocculate it?--A.B. can trap water which gets excessively hot in the microwave. Deflocculation of your clay body could be a resuh of alkalies in the ingredients or soluble salts in the water. Try adding a small 0 How do you achie~'e the particular blue color that zinc oxide amount of vinegar or calcium chloride (from 0.5-1% of dry and black nickel oxide produce in a barium glaze? Do you ingredients by weight) to the water before mixing your clay. ha~,e any recipes for Cone 9?--~$I.G. Richard Behrens's article "Nickel Blue Glazes" in the June 1972 1 want to make ovenware for microwave use, and am wonder- CM discusses the use of this combination; he suggests additions zng if there is an easy method of determining whether my pots of 0.5-2.0% black nickel oxide in a high zinc glaze. You may wish are suitable. Are there other special considerations in producing to use the following recipe as a starting point, adjusting the microwa~'e forms?--N.L. amounts of nickel and zinc as necessary. NICKEI, BLUE GLAZE (Cone 9) According to an article in the May issue of "Ceramic Industry" Barium Carbonate ...... 24c$ magazine, the potter may test clay bodies and glazes by placing a Potash Feldspar ...... 54 fired work in the microwave oven along with a separate cup of Whiting ...... 8 water (in a glass container": turn the oven on high for one Kaolin ...... 5 minute. To be safe for microwave use, the pot should feel cool Flint ...... 9 and the water warm after this cooking. If the water is cool and the pot is warm, the latter is absorbing microwave energy and 100 ~c thus should not be used in such equipment. Add: Black Nickel Oxide ...... 2% Generally speaking, unsuitable ware contains metal, either in Zinc Oxide ...... 7% the form of luster, heavily reduced oxides such as those found in Some potters calcine the zinc oxide in a bisque firing to help some raku ware, or fuming (a selectively placed thin layer of tin prevent glaze crawling. chloride fuming, however, is used to create the extremely hot area on microwave browning pans). Subwribers' inquiries are welcome and those of general interest Thrown ware or other circular forms should prove ideal for will be ans.:~,e~ed in this column• Send questions to: Technical microwave use--they have an advantage over square and oblong Staff, CEaA.~CS MoxT~Lv, Box 12448, Columbus, Ohio 43212.

BERMAN GAS KILNS

I • Nhwl--elays, glazes, I

FL12 PROFESSIONAL MODEL J M co- d,.,.b.tor., mya,... I This 12 cubic foot cone 10 kiln operates efficiently on gas or ProPane. The heavy duty construction allows the kiln to fire very inexpensively and last years longer. Berman kilns are safe, easy to operate and will fire evenly in both oxidation and reduction. We sell direct to save you money. 6 and 20 cubic foot models also available.

send for a brochure or phone: (213) 766-4618 BERMAN KILN CO. I . I 567.2 Cahuenga Blvd., No. Hollywood, CA 91601

October 1979 21 New-Improved WCS Equipment From A Potter's Viewpoint

Fluorescent Lamp With Cover (opt.) Heavy-Duty Fan Switch

Heavy Galvanized I Sheet Metal Construction ~ \ ~ 1250 CFM \ Exhaust Fan 39" / 8" Banding Wheel _~__~

WCS Spray ! i Booth Stand L

WCS Spray Booth & Stand T | replacable filter, heavy-duty fan The improvements we made switch and an 8" WCS Banding in re-designing our WCS Spray Wheel. Booth were primarily to expand A 32 inch high welded steel its size in every way. We 32"I stand is also available with or increased the height to 39 inches, / without a galvanized sheet metal width to 30 inches, and depth shelf. And if you need to light to 34 inches, to accommodate a up your subject, we will install a 30 inch pot. The draw of the 24 inch fluorescent lamp with exhaust system was more than cover. doubled, from 600 to 1250 CFM. If you're looking for a spray Its other features remained the booth, you need look no further. same; riveted, heavy galvanized This one is all quality and will sheet metal construction, large give you years of glazing service.

WCS Bending Wheel Our latest model WCS Banding Wheels have been improved by: A) replacing the cast aluminum wheelhead with a heavier precision machined cast iron wheelhead, epoxy coated; B) adding a friction free A/ D~~--~---~- B Teflon ball bearing for the wheelhead to rest on; C) increasing the shaft diameter; and D) knurling the wheelhead stem for nonslip turning. The 1) concentric rings, 2) sturdy cast iron painted base and 3) locking set screw on the shaft/stem have not been changed. Wheelheads are available in 8, 10 and 12 inch diameters. This improved model now offers potters an effortless banding and decorating action that is not available in other wheels in this price range.

WCS Pottery Equipment & Supplies, 14400 Lomitas Ave., Dept. B107, Industry, CA 91746

22 CERAMICS ]~[ONTHI,Y I

SUGGESTIONS [rom our readers

ACCURATE CONES IN SALT proved a simple bt[t effective means of making handles, rims Cones fired in a salt kiln are rarely accurate because the and other parts for addition to studio production. residual salt build-up fluxes cones prior to salting, and thereafter --Name withheld by request, San Diego they are obviously well-fluxed, bending too soon. But cones placed deep inside a tall vase tipped on its side will read accu- GETTING THE MESSAGE ACROSS rately because the vase protects them from the kiln atmosphere; After painting the doors of our college's front-loading kilns nor is there any noticeable temperature difference because of this with heat resistant alnminum paint, I sprayed them with aerosol protective enclosure. A vase thrown with clay with a high per- chalk board paint. Now we can write firing procedures, schedules, centage of alumina hydrate (wedged in) will last through many or just leave notes about current firings. Since the doors are firings, or standard ware may be used to enclose the cones, reasonably insulated the painted chalk boards do not seem to be according to preference. affected by heat. --Terry Plasket, Salem, N.J. --R. Clayton Baker, Columbus, Ohio RESIST REMOVAL FINDING LOCAL CLAY A helpful method of removing unwanted spots of wax resist is I've been firing nmd dauber nests as a test and novelty: some to hold the offending area directly in front of a peephole for a found in barns contained too much humus to remain intact after brief moment while the kiln is operating at red heat. This is bisque firing, but nests gathered from daubers who mined lake excellent for small areas and eliminates having to put tip with sites and creek bottoms fired with great success. Clay from their soot or a poor job of cleaning. digs has yielded a primitive but plastic body that fires a bright --Greg Moore, Sioux City, Iowa orange at Cone 10 and another which makes a green-gold Cone USING INCOMPATIBLE GLAZES 10 glaze. --Sweet)' Hathcox, Roanoke, Texas Try mixing dry glaze with any oily or waxy substance for decorative application. The mix will resist other wet glaze--a PUGMILL EXTRUSIONS g(~od way to use two incompatible recipes successfully. It is difficult to extrude small shapes from a pugmill because --R. Smith, Chicago of the great force exerted as the clay presses on the nnpierced part of the die. To overcome this, cut the die with the desired DOLLARS FOR YOUR IDEAS shape and an adjoining "waste" shape. A wire may be installed CERLXIIr:S ~'IONTHLY pays .~5 [or each suggestion used; submis- between these shapes so the desired portion will be cut, then fall sions are u'elcome individually or in quantity. Send )'our ideas to away or can be lifted from the rest of the pug. This principle CM, Box 12448, Columbus, Ohio 43212. Sorry, but we can't applies to any shape with a straight cttt along one side, and has acknou'ledge or return unuwd items.

POTTER'S PRIDE

u'u- "7"=

0 Kiln Kits I Kilns

o GAS CONE 10 Nat. or L.P. Gas

• • Vimll Bm ~V. Kiln Kits Ceramic 4 cubic ft ...... $330. 8 cubic ft ...... $410. Materials and Equipment 12 cubic ft ...... $57S.

Write for our Free CaCalog WRITE FOR LITERATURE A-1 KILN MANUFACTURERS 369 MAIN STREET 724 Meeker Ave., Brooklyn, N.Y. 11222 RAMONA, CALIFORNIA 92065 (212) 387-3604 PHONE (714) 789 - 3310

October 1979 23 ALABAMA St Petersburg Francoise Ceramics, Inc New Orleans Delrs Ceramics. inc. NEW JERSEY Birmingham The Pixie Pollery 113 491h $1 S (8131321-1225} 8032 Townsend Place 1504/241-4567) Clifton Do8y Ceramic Art Studio 2720 Fifth Ave S Irondale Shreveport Shreveport Ceramic Supply 30 Montgomery St. (2011772-3854) West Palm Industrial Park (205/956.42701 4634 Hwy 71 North (318/424-7480) Long Branch Midi's Ceramic Shoppe Beach Florida Ceramic Supply Corporation Glencoe Donna's Ceramic Crafts Sulphur • Boehm Ceramic Supply 343 Broadway (201/229-2771) 1698 Donna Rd (3051684-0129) Hwy 431 Glencoe Shopping Center 916 POSt Oak Rd (318/825-3511) MIIIvllle Brown*s CMlml¢ Supplies (205'492-38421 819 N. Second St. (609/825-7653) Hazel Green Hazelhufsl Ceramics GEORGIA MAINE Mr. Laurel Creative Hobbies. Inc. P O BOX 110 (205~828-46711 Augusta CSRA Ceramics Bangor Smith's Ceramics Rt 73 S of Turnpike (609/235-2540) Mobile Jewel Box Ceramics 510 Greene St (4041722-7231) 268 Mare Street (207/945-3969) Somerdlle Weidllch Ceramics, Inc. 600 Merwma Ave (205/479 4763) Columbus Allison Ceramic Supplies Scarborough French's Pineview Ceramics & Crafts 2230 W Camplain Rd. (2011725.8554) 931 McBride Dr (404/561-1349) Montgomery The Pixie Pottery of Montgomery Rt 114. Box 157. 475 Gotham Rd NEW MEXICO Georgia Ceramic Supply, inc. 1751 UDDer Wetumpka Rd Hapeville (207/839-63061 Albuquerque . Anhowe Cerlmic Supply. Inc. 528 S Central Ave. (404/767-6589( Cap,lal Parkway Shoppmg Center MARYLAND 3825 Commerical NE (505/345-8421) (205/264 1800) Macon House of Hobbies & Gifts. Bel Air Naomrs Ceramic Supply, Inc. NEW YORK Sheffield Hazelhurst Ceramics of Sheffield Unlimited. Inc. 4035 San Carlos Dr. (912/781-1391) 501 Granary Rd (301/879-1707) Albany The Ceramic Touch, Inc. 201 Anapohs St 1205/383-0266) Savannah Galaxy Ceramics. Inc. Laurel Chesapeake Ceramic Supply, Inc. 345 New Karner Rd (5181456-9770) ALASKA 26 Eisenhower Dr (912/354-6208] 14301 Baltimore Bird, Rt. 1 Breniwood. (301/776-1222) Washington area Anchorage Alaska Mud Puddle Valdosta Parrish Ceramics Long Island . Susie-O Ceramics 9034 Hartzell Rd 1807'344-20281 2428 S Patterson St. (912/242-4004) {301f792-2120) Baltimore area 1083 Suffolk Ave (516/273-6440} ARIZONA HAWAII Mount Airy Dottie's Art Corner, Inc. Brooklyn CeI-Art Ceramics, Inc. 8750 Fifth Ave. (212/8338188) Phoenix Marion Ceramics, inc. Honolulu Hawaii Modelcraft Distributors 508 S Main St (301/829-1642) Skeets Ceramic Supply, Inc. 3434 W Earll Dr (602!272-65851 1220 Kaumaulii St (808/847-4234) MASSACHUSETTS 894 Coney Island Ave (212/438-1616) Tucson Marion Ceramics Terra-Ceramics. Inc. Chicopee Terry's Ceramics Buffalo Buffalo Ceramic & Art Supply 428 W Alturas (602!624-2872! 3035-C Koapaka St (808/841.1161) 833 Chicopee St. (413/536-3182) Center. Inc, Quincy Gloria's Ceramic Center ARKANSAS IDAHO 437 FrankLin St (716/884-4442) 125 Montclair Ave. (617/328-97871 Fort Smith Fort Smith Ceramic Supply Co., ~nc. lone Potpourri Intermountain Dollman Ceramic Supplies. Inc. Westboro . Diamond Ceramics. Inc. 7318 Rogers Ave 1501i452-23401 342 E. Rockwood (206/522-1689) 663 Walden Ave (716/894-0084) 255 Worcester Rd Rt 9 Little Rock Ceramic Art Center. Inc. Wilder Treasure Valley Ceramics Corona Jean Leonard Ceramics (617/366-0578) 1217 Rebsamen Park Rd Highway 95 N (2081482-7386) 96-24 Corona Ave (212/699-5570} Woburn Woburn Ceramic Supply (501~688 74471 ILLINOIS Cortland Red Barn Ceramics Texerkana Ben's Ceramics 23 Conn St (617/935-2860) Chicago Metropolitan Ceramic Supply Rt 13 South (607/756-2039) 1602 E Ninth St (501/772-7966) Chicago MICHIGAN 5332 N Elston(312/283-5757) East Rochester • Runion Ceramic Supply Dearborn Joy Reid Ceramic Studio CALIFORNIA East Maline Hobby House Ceramics 236 W Commercial St 2016 N Telegraph Rd. (313/561-0119) Bakersfield Crest Ceramics 1911 158th St (309/792-9017) (7161586-2019) Grand Rapids Tare Tan Ceramic Supply. Inc. 1808 N Chester Ave (805;399-2439) East Peoria Mid-Ill Ceramic Supply Liverpool Central New York Ceramic Supply Calpella Pelitt's Ceramics 2260 29th St. SE (616/458-9369) 213.215 Second St (315f457-2150) Spnng Bay Rd 1 RR # 1 (3091566-8723) Marquette Girs Ceramics, Inc. 8240 Moore St (7071485.0290! Grayslake Town S Country Ceramic Supply Co. North 832 W Washington {9061226-2377) Escondido Conley's Ceramics 1 Norlh U.S Rt 83 & Center St Massapequa 1039 W MISSIOn 1714'745-2968i (312/223-2688) MINNESOTA Long Island Marian's Ceramics, Inc. Eureka B,J. Ceramics Joliet Joliet Ceramic Arts & Crafts Duluth D & H Ceramics 946 N. Broadway (516/799-1330) 2169 Broadway 64 N Desplaines Street 6301 Grand Ave (218/624-2483) Oneonta Seeley's Ceramic Service, Inc. (707~443.13641 (815t723-8818) East 9 Rtver St (607/432-3812) Fresno Duncan Hobby & Craft Center Springfield Mid-Ill Ceramic Supply South Grand Forks Point Ceramics Rouses Point Jackie's Ceramic Studio 5649 E Shields Ave (209/291-4444) 2404 E. Cook (217/753-8056) 320 Demurs Ave. (218/773.1746) 106 Lake St (518/297-5961) Hawthorne S.L. Clutter Warrenville Cecil Enterprises. Inc. Fairmont Paramount Ceramic. Inc. Saugerties Lezette Ceramics 13112 Inglewood Ave Q13~E76.74541 29-W 555 Batavia Rd (312/393.9468) 220 N. State St. (507/235-3461) Rt 212. Saugerhes-Woodstock Rd La Mirada Stewarr s of California, inc. Richfield T.J.'s Ceramics. Inc. (9141246-7968) INDIANA 18055 S Heron {714,'523 2803) 918 W 77~.'~ St (612/861.3414) Scarsdale Glad-Well Ceramic Studio & Supply Fort Wayne Indiana Clremic Supply Mar-Le Ceramics St. Cloud Towne House Ceramics 868 Scarsdale Ave (914/725-0804) Northridge 1815 S. Harrison St. (2191744.4748) 8806 YoIonda Ave (213/993-82751 28th and Division (612/253-5850) Gritfith Northern Indiana Ceramic Supply. Inc. Staten Island Staeten Ceramics St. Paul C S C Ceramic Arts 6833 Amboy Rd (212/356-1173) Paradise Cummings Ceramic Supply 208 E Main St (219/924-4180) 1537 Wagstatf Rd (9181877-6148) 962 Arcade St. (612/774-7007) Indianapolis Edith's Ceramics. Inc. Syracuse Slank's Ceramic Supply Paso Rabies Paso Rabies Ceramic Shop 6511 Julian Ave (317/353-8141) Ceramics by Dee 2704 Lodi St (3151471-0271) 3 mdes norlh of Paso Rob~es oq Lafayette Ginny's Ceramic Supply Center 695 Front Ave (612/489-6404} Webster Rochester Ceramics S Greenware Old 101 (805t238-23281 8t7 Woodmere (3171448-1212) MISSISSIPPI 102 Commercial St. (7161872-6190) Sacramento Avanty & Imco Ceramic Supplies Osceole Neely's Cerlmicl Bay St. Louis Redglo-Murphy's Coastal Ceramics NORTH CAROLINA 1214 Howe Ave (916;929-91921 10106 McKinley (U.S 20) Route 3. Highway 90 (6011467-4076) Charlotte Graham Ceramics. Ltd. San Diego Ceramic Supply of San Diego (2191674-5996) Columbus Bill's Ceramic Supply 1319 Central Ave. (704/375.2539) 4100 Poplar St /714;281-88071 Vincennes Clifton CMamJc Art & Craft Rt 5. Box 242-B (601/327.7979) Durham Durham Ceramic Supplies Santa Clara Bay-Shore Ceramic Supply f750 WHIow St (812/882-9692) Jackson Double L Ceramic Supply 1347 Avondale Dr. (919/688,64211 590 Aide Ave (408'988-6252) Hwy 80 West (601/922-8441) Fair Bluff Fair Bluff Ceramics Santa Rosa Sues Ceramics IOWA Laurel Murphy's Ceramics. Inc. P.O Box 96. Elm St (919/649-7443) 1433 OI,vel Rd (707'52583351 Burlington Norma's Ceramics 1003 Wdson Ave (601/425-1381) Fayetteville Creative Crafts Ceramics. Inc. Spring Valley Back Door Ceramics 1107 N Eighth St (319/75237051 6316 Yadkin Rd (919/867.7393) 1047 E~ Ke~tor~ Blvd 1714,482 29801 Cedar Rapids Riverview Ceramics M ISSOU R I Waynesville Muse Ceramics South Gate Betty's Ceramics 1860 W POSt Rd. SW (319/396-5555i California Thomas Ceramic Supplies 106 Frazier St (704/456-8107) 13333 S Paramount BIvO Des Moines Parker Ceramic Supply Co. Hwy. 87 South (314/798-4484) Winston-Salem Ceramics by Omeda ,213,6349'6 * } 2204 W 23r{3 St (5151255-7166) Cassvile Robinson Ceramics 2630 Peters Creek Parkway Soulh San Mason City Lyle's Ceramic Center Rt 2, Hwy. 248 East (4171847-4274) ~919/722-7213) Francisco Dahm Ceramics 1615 S Federal (615/424 1712) Raytown Four Corners Ceramics, Inc. 924 El Cammo Real (416,583.86901 McGregor Scotlin, Inc. 10008 E 50 Hwy. (816/353-1956) NORTH DAKOTA Vallelo North-Shore Ceramic Supply 236 Mare St (3191873-2289} Springfield Douglas Ceramic & Christmas Shop Fargo Northwest Ceramic Supply 1065 Bahama B~vC r707,642 8904) Sanborn Lyman's Ceramics Rt 6, Box 667-B. Melville Rd 221 223 Broadway (701/232-1794) 407 W PlrSl St (712/729-3020l (417/833.2611) Mandan Siouxland Ceramic Supply COLORADO St. Louis Genevieve's Ceramic Studio. Inc. 410 E Main (7011663-3682) Colorado KANSAS 6514 Wet~er Rd (314/838-9400) Minor Siouxland Ceramic Supply Spr,ngs Van Howe Ceramics Kansas City Mid-America Ceramic Supply Co. MONTANA 18 Third St. SE {7011852-5074) 2602 Durangc Dr 1303'392 14851 817 Central Ave {913i621-6262) Billings Montana Ceramic Supply Williston Arlene's Ceramics Denver Van Howe Ceramic Supply Company Norton Prairie 009 Ceramics 2016 Alderson Ave. (406/656-6023) Hwy 2 (701/572-7573) '1975 E 40th Ave ~303,371 40301 RFO #1 (913t877.3022) Great Falls Joanna's Ceramic Supply OHIO CONNECTICUT Saline Shadow-Box Ceramic Studio 807 Second St S (406/761-0827) Cincinnati Maxheld Ceramic Supply. Inc. Farmington Elmwood Ceramic Studio 308 W Cloud $1 (913/825-4140) 4761 Creek Rd (5131793-5545) 62 Farm,nq~on Av~ ,203.577 8477] Wichita Evans Ceramic Supply NEBRASKA Village Ceramic Studio Croton Jean's Ceramic Studio 1518 S Washmglon (316!262 25511 Kearney Su-Lon Ceramic Studio 2215 Ave -G (308/234-9621) 8112 Blue Ash Rd (513/791 52821 1673 6u~dm~tQn RC ,203'445 6055) KENTUCKY Lmcoln Bernlce's Ceramics Columbus Karshner's Ceramics Hamden Whitney Ceramic Center Bowling Green Sandys Ceramics 8805 Hwy 8 NF (4021464.2949) 673Wdson Rd (614/276-3267) 233 ~, A Whitney Ave [203281 1955 R! 15 Lovers Lane (502'8429171! Norfolk Granada Ceramics Kent Ohio Ceramic Supply. Inc. Covington Tom's Ceramic Studio FLORIDA 505 Norfolk Ave. (4021371-1630) 2861 State Rt 59 (2161296-3815) Holly Hill Dolphin Art Ceramics 15 W 34th St i606,291 8281) Ralston Paintin Place Ceramics New Knoxville G & H Ceramics 309 S ,fP St ,904 252 4616b Henderson Lois Ceramics 6700 S 78th (402/331 1744) Box 287. Botklns Angle Rd Jacksonville Dolphin Art Ceramics & Cratts II 1508 Washrtgton $1 (502/827 2271) (419/753-2363) 1943 Blanq,~g Bird (904'389 0919 Louisville Polly's Play House Ceramic Studio NEVADA New Lebanon The Village Ceramic Studio Largo JB achieve Enterprises 9806 Taylorsvllle Rd 1502/2E7 77421 LaS Vegas Ceramic Ar|s. Inc. Supply. Inc. 6150 1261n Ave N (813J535 1177J Paducah West Kentucky Ceramics & 1906 Western SI (702t384.2063) 278 E Mare St t5131687-2"~1*q Mlam, Miami Art-Cralts Supplies Cratts Center Sparks Nic Nac Shelf New Ruthe' Ceramics 6701 NE Se~.'~-q Courl 1101 Jefferson St (502'443 3434) 630 Greenbrae Bhoppmg Center Washington 4343 Carey Rd (4191988 2201) 1305 757 2685 (702/358-6636) LOUISIANA OKLAHOMA Panama City Callaway Craft Center at Alexandria Wllmars Ceramic Supply NEW HAMPSHIRE Oklahoma City Dollie's Ceramics & Porcelain 6925 E Hi0haa I 22 '904 785 3873= '121 ~OIton Av~ ~318,4426250) Manchester Dora's Ceramic Studio 3011 S Shields Blvd (405163293171 Callaway Craft Center #2 Pensacola Baton Rouge Wilmars Ceramic Supply 87 Broadway Ave (603i622 7179) Tulsa Ceramic Cottage SI 1904 433 6658, ]'05 ~ ~ 9526 S Choclaw {5041923 1924J Westmoreland Superior View Ceramics 748 S Wheeling (9181584 15801 Sarasota Poly Crafts Monroe Wilmars Ceramic Supply RI 12 {603/399 4848) • 2,r ~ c ~.- ,,,,, C)l ~1;~~£7 C7CF OREGON UTAH Bend Bend Ceramics Sail Like Cily Capital Ceramics, Inc, MANITOBA 1050 NW Bc nd (5031389-7755) 2174 S Mare St (801/466.6471) Winnipeg . The Ceramic Greenhouse, Ltd. Junction City CLarke's Ceramics VERMONT 31 Trottier Bay (204/474-0565) For your 1585 Juniper (503/998-2297) Rutland Vermont Ceramic Supply Center Jonasson Ceramic Supply, Ltd. Portland Dobe Depot, Inc. 451 West St (8021775.4540) 267 Marytand St. (204/786-6495) Christmas decorating! 2809 SE Stark St (503/233-6207) VIRGINIA NEW BRUNSWICK PENNSYLVANIA Norfolk Pottery Art Studio, Inc. Frederlcton Cobequid Ceramics, Ltd. # 2 Avis Ceramics by Latorce. Inc. 4401 Killam Ave (804/489-7417) RR # 1. Hanwell Rd, (506/455-7043) Rt. # 150 (717/753-3320) Richmond M-C Studio, Inc, NOVA SCOTIA Oillsbur9 Bell's Ceramic Arts, Inc. 4115 Hopkins Rd (804/275-1821) Truro , Cobequid Ceramics. Ltd. 725 Rt 15 (717/432.57141 Roanoke Dig-Hawk CeramiCl. Inc 43-47 Forrester St. (902/895-5313) Du Boas Dun-Car, Inc. Rt 2, BOx 436. Hey 117 ONTARIO Rt 322 (814/583-5178) (7031366-0701) Ksrs The Village Ceramics, Ltd. # 2 Hegins Elsie's Ceramic Shoppe WASHINGTON P.O. BOX 350. RR#1 (613/692-3924) BEAUTIFUL 669 E. Main St (717/682-3138) London The Village Ceramics. Ltd. # 3 Johnslown Koch*s Ceramics Darning.. Ceramic Hut 3996 Valley Hwy #9 (206/592 5604) 148 Newbold Court (5191681-3011) HOLIDAY COLORS 624 Grove Ave (814/535-5480) ThunderBay . Verchi|'a Place Ceramics Levittown The Art Shop Everett .... Ceramic Arts. Inc. (Everett) 84 Oswald Street (8071345-6284) 2660 Trenton Rd (215/946-4078) 11016 Chennault Beach Rd. • Traditional whites, greens Mill Village Le Boeuf Ceramic Supply (206/353-5000) Toronto ...... The Village Ceramics, Ltd. # 1 S Main St (814/796.2651) Seattle Lloyd's Ceramics & Pottery 25-10 Connell Court (4161252-5751) and reds, including Red- Moscow Sunshine Ceramics 318 Westlake Ave N (206/623-7350} QUEBEC Coats TM specialty Rt 307. RD #3 (717/842-4591) Spokane Ceramic Arts, Inc. Boucherville, Nazareth Heater's Ceramics W 38 Third Ave (509/624.0867) Montreal .... Uniceram, Inc. underglazes and brand-new Tacoma Miller's Ceramics 15.19 Tatamy Rd (2151759-1929) 1356 Newton St, (514/655-9911) 4828 Pacific Ave (2(~/475.8166) Liquid Crystals! New Oxford Backer Ceramic Supply Co.. Inc, SASKATCHEWAN Yakima Ceramic Arts, Inc. 426 Lmcolnway W. (717/624-7311) Saskstoon Ceramic Supply Depot 404 S. Second St. (5091248-1526) • Wonderful Crystaltone Norristown Sneddon's Ceramic Studio 837-B 50th St, E, (306/652-9617) Appledale Rd, RD #1 (21~/539-8190) WEST VIRGINIA Regina .... Regina Ceramics, Ltd, Glazes for quick and easy Philadelphia Liberty Bell Ceramics, Inc. Clerksbur9 Town & Country Arts & Crafts 1733 McAra St. (3061352,8380) 4511 N Broad St (215f324-3434) Crooked Run Rd.. 112 mile off Rt #19 Christmas decorating! Pittsburgh Mitchell's Ceramic Supply at Gore (3041622-5335) COLOMBIA • Sparkling, shimmering Corporation Kenova Todd's Ceramic Supply. Inc. Modellin Admitec 57 Noble Ave (4121922-2606) 2029 Poplar St (304/453-1071) Calle 36 #46-23 metallics and pearls, and Washington Custom Craft Ceramics Mullens Mullens Ceramic Shop DOMINICAN REPUBLIC other fast-finishing Bisq- 70 South St (412/228-1351) 1011 Moran Ave (304/294-5807) Santiago.. Industria de Ceramica Orquidea, S, A, West Chester Ettore'$ Ceramics WISCONSIN CalledelSol, No, 148 Stains ® for decorations 175 E, Boot Rd (2151692-7258) Beloil Marcella's Ceramics. Inc. Apartado Postal 775 (582.5366) Williamsport Ameigh's Ceramic Studio and gifts! 1150 Inman Parkway (608/362-5056) EL SALVADOR 1910 Roosevelt Ave (717t322-1098) Brookfield Fireside Ceramic Market Selection -- over 500 RHODE ISLAND 2805 N. Barker Rd. (414/782-2888) SenSllvador . .. Ceramics Maggie de el Salvador, S. A, Pawtucket Louis' Ceramic Supply Company Green Bay Rolene Ceramic Studio. Inc. 33 Av. Sur 659, Colonia Flor Blanca glazes, underglazes and 114 Smithheld Ave. (40tl726.1634) 2522 W Mason St (414/497-1133) (316569) Portsmouth Ceram-Art Studio Milwaukee A.C. Ceramics FRANCE Bisq-Stains! ® 3103 E Main Rd (401/683-1466) 5219 W Villard Ave (414/463,8882) Paris ...... Socor, s, A, Quality -- consistent SOUTH CAROLINA Sun Prairie Marcella's Ceramics. inc. 130 Rue de Mont-Cenis, Cedex 18 Anderson Anderson Ceramics Co., Inc. Rt 1. Hwy. 151 (608/241-2952) (606-4199) from jar to jar! 1950 S. McDuffie St (803/226-0321) Tomah Waugh's Ceramic Studio. Inc. Rt 3.2 miles E el Tomah on GUATEMALA Preferred by hobbyists Charleston .. Rourk's Ceramic Studio, Inc. GuatemalaCity Ceramics Maggie 2475 Ashley River Rd, at Pierpont Hwy. 12-16 (608/372-5211) for more than 30 years! WYOMING 5A Cal(e 5-34, Zone 9 (62569) (803/766-3842) ICELAND Columbia House of Ceramics Casper Ceramics and Supplies NEW CHRISTMAS MOLDS 3035 Broad R~ver Rd (803/772 1115) 146 S Elk (3071234-3877) Hafnerfjordur. , Keramikhusid, Ltd, SOUTH DAKOTA P.O. Box 275. Reykjavikurvegur 68 • Trend-setting designs!' OUTSIDE U.S.A. JAPAN Rapid City Ceramics Supply Center • Popular ornaments! 2923 W Rapid (605/342-0824) AUSTRALIA Tokyo ...... Jal~ln--Ounean Ceramic Products Inc. SIOUX Falls Ceramic Hobby Supply, Inc. QUEENSLAND 76 24-8, 1 Chorea Nukui-Machi, • Perfect for home and gifts! 1005 W. Itth St (605/334-5821) Mooloola ba .... Duncan Ceramic Products Nedma.Ku (03-999-2545) TENNESSEE Queensland NEW ZEALAND NEW STOCKING STUFFERS Bristol Twin City Ceramics, Inc. Mooloolaba Hobby Ceramics Napier . Heather's Ceramic Studio, Ltd. Rt 2. Box 214-A. Hwy. 11-W 68 River Esplanade, 4557 Ford Road, Onekawa (58-892) 3 new Duncan Library of (615/323-4031 ) (071 441107) PANAMA Chattanooga Mountain View Ceramic Center, Inc. Ceramic Decorating TM SOUTH AUSTRALIA Panama ...... Productol Superlorel, S. A. 4712 Dayton Blvd. (615/875-8796) Findon . . Duncan Ceramic Products P.O. Box 655 (25-9100) Memphis House of Ceramics, Inc. Technique Books! (Austrltle) PHILIPPINES 1011 N Hollywood (901/324-3851) 7 Wanda Avenue, 5023 (356-9155) Metro Manila • Translucent Underglaze Nashvitle Dorothy Lamer Ceramics VICTORIA 3302 Gallahn Rd, (615/262-2645) Makati ..... Saranga Ceramics Mfg. Corp. Boronia Duncan Ceramic Products Victoria Decorating Techniques Singer Ceramics 7441 M. Santillan Street (89-39-18) Jonan Ceramics 952 Main St (615/227-0134) PUERTO RICO [DB 707] Oak Ridge Cerametique 2 MacOuarie Place, 315(03 7296640) HatoRey .... Case del Berro, Inc. 66-1/2 Outer Dr (615/482.3858) WESTERN AUSTRALIA • Bisq-Stain ® Decorating Finat Carte Federico A, Costa # 1047 Linda's Ceramic-Korner, Inc. Balcatta , , The Clay Kitchen Urb, indust rial Tres Monjitas Techniques [DB 708] 134-136 Randolph Rd (615/482.3055) Balcatta Close (8091754-6585) TEXAS 160 Balcatta Rd . 6021 (09 3442646) • Cover.Coat ® ~Red.Coats TM BELGIUM SINGAPORE Abernathy The Ceramic Peeples Decorating Techniques 718 Ave C (8061298-2412) Brussels . . Bouvier & Company Singapore , , Rod Lucky S'Porepte, Ltd. Abilene The Hobby Shop Rue de la Senna 76 G63 G64 International Plaza, [DB 712] 911 N Mockingbird Lane Bruxelles, 1000 Anson Rd. (915/673-4852) CANADA VENEZUELA AND THE MOST-WANTED Corpus Christi C.C. Ceramics ALBERTA Caracas ..... Ceramlca Zues 4343 Kostoryz Ave. (512/852.42471 Calgary , , Terra Ceramic Supplies, Lid, Apartado 80387 (77-01-20) GIFT OF ALL -- A Dallas Bateman Ceramics 518 42rid Ave, SE (4031243-8998) DIstribuidora "Kenny" S.R.L. 716 P~erce St (214/946-4343) Edmonton , Alberta Ceramic Supplies, Ltd, Apartado Postal 30026 Carla DUNCAN KILN! El Paso Lama Ceramics. inc. 11565-149th St, (4031451-0410) (89-51-94) Choose from 5 different 8048 N Loop (915/598-8089) GrandCentre Zarecki Leisurecrafts. Ltd, La Pinata, S. A. Fort Worth Bateman Ceramics Calle Real de Sabana, Grande 25 models! 6615 E Lancaster (8171451-2601) Box 711. 5218-55th St. (4031594-4121) Lethbridge ..... Carpenter Ceramics (71-95-31) Ceramic Arts Supply. Inc. of Texas • 240 or 208 voltage system. 1515 JacksbOro Hwy (817/625-5141) 2926 Eighth Ave. N. (403/328-1410) Maracllbo ..... Ceramics Alexandra Houston Houston Arts & Crafts, Inc. BRITISH COLUMBIA Calla 77 Con Av 16 • UL listed; CSA certified. 1435 Westhelmer (713t523-2807) Burnaby ..... Adanec Ceramics Edificio Caiven Local #2 San Antonio House of Ceramics Corporation 7289 Curragh St. (604/438-6196) (518502-22325) • All the features that grew 218 E Rapsody (5121341-2303) Nanaimo .... tsland Ceramic Supplies out of Duncan's more than Laurine Brock Studio fsland Hwy. 2 miles S of Nanaimo 1651 W Woodlawn Ave (604/754-4921) 30 years' experience with (512/733.0861 ) Prince kilns! Waco Family Affair Ceramics & Crafts George Ceramic Wholesalers--Prince George 3008 Frankhn Ave (8171752-43211 1552 Lyon St, (6041564-3650) AVAILABLE IN YOUR AREA FROM Wichita Falls Ceramic Art & Antique Shop AUTHORIZED DUNCAN DEALERS & 2004 Allen Dr (8171692.1473} Surrey .... Ceramic Wholesalers 12138 86t h Ave, (6041596-2225) DISTRIBUTORS! Austria's Klaus Ziegler

THE AUTUMN WOODS and fields of Wetzawinkel, Gleis- Stoneware Casting Body (Cone 9-11) dorf, Austria, were the setting for "About a Son," a recent Whiting ...... 0.5% four-part exhibition of ceramic objects by Klaus Ziegler. Kinsman Feldspar* ...... 12.0 IIis comments follow: White Stoneware Clay ...... 12.5 "Wetzawinkel, a small village in a hilly landscape, is Stoneware Clay ...... 50.0 our home, the living area of my son, the essential back- Kaolin ...... 12.5 ground for my work. A son has surface; I try to capture Flint ...... 12.5 this and put it at a certain time in a special arrangement 100.0% in natural surroundings in the fall, when nature breaks up Add: Soda Ash ...... 0.2% according to human sensitivity in an explosion of color." Sodium Silicate ...... 0.2% The artist displayed multiple cast and altered body parts of glazed porcelain and stoneware clay, the latter *Klaus uses Call Feldspar, available in Europe; Kingman is a good direct composed of the following ingredients: substitute.

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Above Ob),.~t., /,, .~om,' o/t/z(, a ork, i,~ t/~e /o,~-pa~t outdoor e, hibition, "About a Son," were constructed by brushing casting slip into a mold, layering a ~/~-inch-thick wail.

Left Klaus Ziegler checks the progress of glazes in his propane-fired kiln, cons[ructed last ),ear. Left and below For one portion o[ the exhibition, 28 torsos were arranged within a triangle on a section o[ [lat meadow ("The Field o[ Unwanted Facts") bordering on a woods. Spacing between the [orms was approximately 11 leer; the objects were cast, bisqued, then glaze [ired to Cone 11 with a thin application o[ the celadon glaze given in the text. The deflocculants were added to water (approximately White Barium Matt Glaze (Cone 6) 40Q of the weight of the dry clay!, the mixture blended Barium Carbonate ...... 24.0G and allowed to rest for one day before use. Klaus then Whiting ...... 11.0 cast the forms to ¼-inch thickness: after separation from Zinc Oxide ...... 3.0 molds, the objects were altered, allowed to dry several Lead Silicate ...... 12.0 weeks, bisque fired at approximately Cone 07, then glazed Kingman Feldspar ...... 30.0 with the following: Clay ...... 4.5 Kaolin ...... 4.5 Celadon Glaze (Cone 9-11, reduction) Flint ...... 11.0 Mixed Wood .\sh ...... 9.05{. 100.0% Whiting ...... 13.0 .\dd: Tin Oxide ...... 9.0~;: Kingman Feldspar ...... 56.0 Flint ...... 22.0 100.0~ All forms were glazed by pouring; finished multiples Add: Yellow Ocher ...... 0.5% were triangularly spaced in a flat meadow: "The Field of Occasionally Klaus constructs forms by brushing de- Unwanted Facts": placed on stakes: "The Wood of 333 flocculated slip into sections of plaster molds, gradually Manipulations": scattered in fallen leaves: "The Grounds building the desired ¼-inch thickness. After bisque firing of Coherence"; or arranged in fi'eshlv turned earth: "The he uses another glaze on them: Field of Silent Things."

Detail, "7"he Grounds o[ Coherence," 500 glazed bod)' parts arranged in the woods. Stated the artist, "In thi3 exhibition my son is [or me the example o[ a competence.'"

98 CERAMICS 3,fONTHIA" Left In "The ~l'ood o[ 333 Manipulations," east and altered head; were grouped in variou; related sit u atio n~.

Below Klaus Ziegler arranged 99 frontal torso~ in a [ormation resembling [lying birds for "The Field o[ Silent Thing,~.'" The cast objects were [ir~ d tcJ C'on~ 6 :cith ll'hit~ Barium Matt (;lazy.

October 1979 29 The ConoverWarm Clay

STUDIO POTTER Claude Conover, of Cleveland, has devel- k..._ ~ ~ID oped a method for fast drying clay using a heated surface ~ --~'- constructed from readily available materials. After cutting and assembling a 21- x 60-inch (inside measurements l frame of lx4 lumber, he cut four pieces of ~2-inch pipe, each 21 inches long for interior reinforcement. Four evenly spaced ¼-inch boles were drilled on both sides of the frame and ¼-inch threaded rods were pushed through the frame and pipe, then tightened with a nut and washer on both sides• The frame was then placed on a thin plastic sheet on the floor, a clay seal packed all around the base. and plaster poured inside the fl'ame until the pipes were barely covered. After removing its thermostat, a hotbed heating cable purchased from a garden supply store was positioned with small pieces of wood on the wet plaster: additional plaster was poured to fill the frame, then smoothed. As further refinements to the basic dryer, Claude suggests covering the exposed nuts and rod ends on each side with a board (to save shins), and equipping the dryer with short legs, casters and a handle to facilitate movabil- ity and storage in tight studio situations. He is considering adding a canvas top to avoid plaster contamination. Claude can place soupy clay on the dryer, plug it in. and continually have plastic batches for production.

Below and below right Soup), clay is spread on the Above Plaster is [irst poured to partially Jill a heated plaster .cur[ace; the dryer may be inverted i[ 21- x 60-inch wooden [rhine (covering pipe eros, damaged. Claude o[ten leaves the element continually members). ,4 garden hotbed heating cable is positioned, pl~,~ed in to dr)' the plaste~ bet:teen daily batches. then the frame is [illed with plaster.

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30 CERAMICS MONTHI,Y Cone 10 in One Hour New Zealand Potters are Fast-Firing a Production Kiln by BILL AND NANCY I~'IALCOLM

~'E FIRE TO CONE 10 in one hour, just to save time. Some furniture in its path from burner to chimney. A fast-fire potters truly enjoy the 12 to 18 hours of a traditional potter insulates his kiln to save time and also fuel. Unhap- stoneware firing, but we live on a farm and face long jobs pily. though, both potters stand the chance of reaping a on most days. We can load just before dinner, fire while "cold corner" or "hot floor" along with the expected eating, and open the kiln before breakfast the next day. savings of fuel and time. After all, with the walls insu- Fast-firing doesn't mean broken pots or crazed glazes. lated, an even firing relies entirely on a uniform flame It's utterly common, too; commercial tiles are fired in and ware stack. The traditional potter can eliminate thirty minutes, and the firing portion of raku can take as cold spots by firing slowly and soaking at the end, but little as two minutes. Fast-firing does have its problems, that's no solution for the fast-fire potter, and cold or hot though, and to solve them we had to modify our kiln. It's spots are fast-firing's most worrisome problem. Our constructed of ceramic fiber, shelf and all. Many potters original kiln fired three cones cooler at the top than at are lining older kilns with such fiber, usually to save fuel the bottom, and two cones cooler from the side to the and extend kiln life, and so our design may interest them, center of a shelf, so we had to make some changes. We even though they don't intend to fast-fire. retreated to a single shelf for more even heat vertically. A traditional potter squanders about a quarter of his By doing that, we lost half of the kiln's capacity, but with fuel just in heating kiln walls; by lining the kiln with the tenfold faster firing, we were still ahead. And besides, insulating refractory fiber, flame heats only the ware and we no longer needed kiln furniture, a savings in cost,

Any kiln can be fast fired if insulated adequately (with interior ceramic fiber blanket at least 2 inches thick), and fitted with a sufficiently powerful burner. The authors" top-loading, updraft kiln has a 5-cubic-foot ware chamber with forced air from a vacuum cleaner exhaust and is fired with diesel oil at 2.4 gallons (9 liters) per hour in a pot burner. Large or fragile forms can be heated slowly to quartz inversion (I060°F) by spilling air and cutting back fuel. At full-bore the kiln passes that temperature in 8 minutes and reaches Cone 10 in one hour.

October 1979 31 2. Fasteners for ceramic fiber blankets may be constructed of the following: (g) 3-inch-diameter disk 1. The authors' kiln: (a) burner of ~-inch thick ceramic fiber paper; 3. Shelf cells (d) are cut from a chamber; (b) refractory castable slab (h ) 2-inch doughnuts of the same blanket of !/8-inch ceramic fiber with venturi; (c) firebox: (d) paper; (i) I/4-inch bolt (and washer, j) paper (k), scored to facilitate bending honeycomb shelf: (e) ware chamber; long enough to fit through the (1). Each 2-inch-square ceil (m) has ([) lid with refractory blanket and chamber wall plus another 13/8 two 2-ply sides for strength. When ceramic fiber paper insulation. The inches. The doughnuts and disk are refractory gluing the honeycomb, firebox and ware chambers are lined refractory glued over the bolt head position the 2-ply sides of adjacent with 2-inch ceramic fiber blanket. inside the kiln. cells together. loading time and fuel. To even the heat horizontally, we pipe, angle and box-section tubing, and like the rest made the single shelf a honeycomb--the flame no longer of the kiln, is insulated with 2-inch (50mm)-fiber blan- had to go across the shelf to reach pots at the center, but ket. The holes in the lid double as fasteners for the instead enveloped all the pots equally from their bases. blanket, which otherwise sags into the ware chamber. To To ensure that the flame passed through the kiln uni- load the kiln, the lid is lifted in a frame and slid back formly, we added a large firebox below the shelf, and on steel wheels to rest on one wall. made the lid another honeycomb. Ceramic fiber shrinks about five percent on its first At the bottom of the kiln is a firebrick chamber for a firing, and our shelf sagged noticeably at its center. We standard pot burner--forced-air, burning 2.4 gallons (9 turned it over and retired it with four fiber props under- liters) of diesel fuel per hour. (Its construction is ex- neath to get a flat surface again. We've since replaced the plained in the next article in this magazine.) The flame fiber props with firebrick (soaps or splits rated at 2600°F spreads through a venturi in a 4-inch (100mm)-thick slab will suffice), because the temperature at the base of the of castable refractory placed 2 inches (50mm) above the props (close to the burner) is well above the continuous burner. The rest of the kiln is lined with 2-inch (50ram)- service temperature of the fiber. The shelf has stayed flat thick ceramic fiber blanket. The blanket fasteners are since; although it feels brittle, it stands up to considerable bolts protected from oxidation by refractory paper. The abuse, but can be weakened by absorbing glaze during a flame mixes in a chamber between the venturi and the firing, so any pots with experimental glazes are fired in honeycomb shelf. Each cell of the shelf is constructed shallow fireclay bowls. separately from 0.078-inch (2mm)-thick ceramic fiber If you want to fire higher than 2280°F (1250°C), into paper. The cells then are glued together inside a tempo- the high stoneware or porcelain range, another 20 or 30 rary frame to form the honeycomb. After the glue dries, minutes burn on top of the usual hour gives you Cones 11 the honeycomb is rigidized, again dried, released from its or 12. However, we found that the fiber shelf won't stand frame, and set on the mixing chamber. The ware chamber that sort of thermal load, and had to substitute silicon is built around the shelf with bricks on their edges, lined carbide shelves, unhappily risking the loss of even heating with refractory blanket, and topped with the perforated provided by the honeycomb shelf. To minimize that loss, lid. Our lid has 49 holes of 1-inch (25mm)-diameter at we exploited the honeycomb nature of our kiln's lid. By 3-inch (80mm) spacings, but only 24 holes are needed firing after dark we can easily see the reduction plumes around the perimeter. The lid is welded from steel plate, coming from the holes in the kiln lid, which tell us if the

32 C~Ra~ics MONTHLY I pipes (q) and hole liners (r) as fasteners for the fiber blanket lining on the underside of the 4. The lid corner: (n) ~-inch mild kiln lid. Weld the pipe sections over steel sheet; (o) the frame is lx2-inch the lid holes, cut holes in the blanket 6. The frame for removing the kiln box tubing, continuously welded to to correspond, cut squares of lid (t) is welded from 2x2x~-inch the lid on both sides; (p) 1-inch refractory paper, roll and insert. The angle iron, suspended from the ceiling angle iron fastens the interior blanket paper doughnuts (s) are glued and hinged at the supports (u). Steel edge; (q) 1-inch inside diameter together and rigidized before gluing wheels (v) enable the lid to move steel pipe; (r) ceramic fiber paper them to the paper cylinder on the easily; the 1-inch pipe lifting handle liner. lid underside. (w) is welded to the frame. kiln is heating evenly. When the kiln reaches about It also helps to fire fragile bodies slowly up to quartz 1830°F (1000°C), we reduce, and if the holes on one inversion--1060°F (573°C). Once past that critical point, side of the lid emit stronger plumes than the others do-- most can stand a very rapid heat rise without damage. an indication that more flame is passing through that With complex forms, we spend a half hour climbing to side--we flop a piece of fiber blanket over it until the l120°F (600°C) with the burner on idle, then go full- plumes equalize. The lid holes can thus fine-tune a firing bore to Cone 11 in another hour. To recoup the extra --it's as though you can reach into the kiln and correct time and save more fuel, we now single-fire everything, hot spots. Another way to produce more even horizontal even thin-wall cast forms. Glazing the greenware of course heat is by using two shelves side-by-side with a half-inch takes a light touch, but the savings in time and fuel are space between them rather than one big shelf (you can well worth it. bridge the gap here and there if necessary with fragments Any kiln that fires fast tends to cool fast as well, but hot of high alumina or silicon carbide shelves). We expected spots are much less of a problem on the way down. the SiC shelves to crack under the stress of fast firing, but Nonetheless, at the end of a firing, we cover the lid with we've had no trouble. Apparently a hot spot on the shelves strips of fiber blanket to lessen the natural draft. Even is quickly evened out because of their high heat conduc- without the blanket on the lid, though, we don't lose pots tivity. However, it's important not to overload or to jam to cooling cracks. Indeed, to fill urgent pottery orders, them into the side of the kiln so far that the fiber insula- we occasionally fire three times a day, leaving off the tion drapes over their ends, causing an intolerable heat blanket, opening the kiln three hours after shutdown, buildup. unloading the hot pots with heavy gloves. Some typical ceramic bodies are excellent in fast-firing Fossil fuels for kilns are steadily rising in price. Some, circumstances; others won't stand fast-firing, or they like oil, may run out, but it seems certain that substitutes shrink so much that even modest heat variation causes like gasified coal will reliably replace them. So even noticeable warping; bodies high in kaolin content are though it may cost a considerable amount, you'll probably particularly troublesome that way. If you wish to fast fire always be able to buy fuel for kiln firings. Time, though, and your clay body warps or cracks even though glaze cannot be bought, and it runs out steadily for each of us. maturation is uniform throughout the kiln, it is best to Using time efficiently has to be a good idea and, for select another one. A raku clay or any body with high potters, fast-firing is a sensible, if modest, step in that fireclay content is a good starting point for a replacement. direction.

October 1979 33 The New Zealand Pot Burner by BILL AND NANCY ~IALCOLM

MOST POTTERY IN NEW ZEALAND is fired with diesel fuel quantity of ten, the pot costs about $9 to cast at a com- and forced air in pot burners. Like a lot of things in New mercial foundry in New Zealand (you supply the blank). Zealand, pot burners are simple, cheap and rugged. Easy Adding 20~ chrome to the metal costs another $11, but to use and smokeless from start-up, they also burn at gives more than twice the life. If the foundry has some top heat within seconds of lighting up, and yet can be chrome alloy scrap, that price would be lower. The cast- "idled" at any time just by spilling air and reducing fuel ings are cheaper by the dozen, and it would be nice to flow. With reasonable caution, they can be shut down stash some extras for gifts to friends (or for your own safely and restarted at any temperature between ambient replacements, but they last for years and hundreds of and maturation. Once adjusted, they can be left for' long firings). In a pinch, you could weld the pot out of mild periods, and control of reduction is highly sensitive. steel plate and pipe, but under heat stress its surface They'll burn diesel, heating oil or waste crankcase oil. would erode more quickly than cast iron. Any do-it-yourself potter can build a New Zealand The "pot" of a pot burner looks like a hat turned pot burner. Skills and equipment are required to cast the upside-down and drilled with small holes around the pot itself, but you could at least construct the casting headband. The pot is set into a steel air jacket that looks blank (model from which the cast is taken), the most like a saucepan, and a pipe carries oil to the pot through expensive part of the process. In cast iron and a minimum the wall of the air jacket. A thick wad of ceramic fiber

Top view of the New Zealand pot burner shows oil inlet The burner's oil reservoir is led/rom a distant tank: (~n, aller pipe.) and air supply pipe. Air holes are visible the over[low pipe drips into the can on the le/t, and inside: a wad o/ceramic [iber at the bottom o[ the oil/rom the reservoir [lows into the pot burner through pot aet~ a~ a u'ick for fuel. a pipe wit!' a ,halI,);c l-hcnd.

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34 CV;aAMmS ~IONTHI.Y ~-~ O.S 't< lim "++ I/ 0.6 in. blanket in the bottom of the pot acts as a wick to allow Uc ' ~ I L ~ 0.5 in. the oil to burn readily even at low temperatures (without that fiber, you'd have little joy trying to light up). Air ;.2 ~n. 0 0/0 / i is forced into the jacket through a pipe from an ordinary -f-- oleT-o -'- / vacuum cleaner exhaust, entering the pot through the o?i ? /t°? holes, where it meets oil burning on the fiber wick. This produces an intensely hot column of flame which can be directed into the base of an updraft kiln, or up along the +_...... +_,__,,+_,-:_I'_+. ] J bag wall of a downdraft kiln. Two or more pot burners can be fed from one air source of sufficient capacity. Control of the air supply is accomplished by placing the tip of the vacuum cleaner exhaust hose on a solid base like a brick, about two inches (50mm! from the end of the pipe that feeds the air jacket. With the hose aimed right at the pipe, you'll get maximum air blast and therefore top heat. (By jamming the hose right into the pipe you get less air, because secondary suction of air at the mouth of the pipe is lost.'1 Offsetting the hose reduces the Ic air going into the pipe and in that way you can spill any fraction of the air down to the point where the oil threatens to burn with a sooty flame---a rate suitable for drying damp pots in the kiln. Building the pot burner's oil supply requires some soldering or brazing, bending copper pipe, and making two flare fittings. The oil is piped from a remote tank by gravity through neoprene or copper tubing and a needle valve into a reservoir with an overflow. A stout-walled -,c lO in. can will suffice for the reservoir: for the overflow, drill a l( 5in. >1 hole close to the can's top, and solder or braze into it a I I short copper pipe at a drooping angle. Next, solder or I ~i 'l I I I I I I braze to the reservoir another short copper pipe ninety I - 4 in. degrees around the circumference from the first pipe and ( > 12 ;n. "~ I i I slightly below it about half an inch (15mm). Then bend a - medium length [about 35 inches (900mm)] of soft copper I pipe into a shallow U and flare both ends. That U-shaped copper pipe fits between the reservoir and the pipe that in. feeds oil to the pot burner. The U fills with oil and prevents blow-back of air during a firing, or escape of • > 121n. vaporized oil after shut-down. So now you have a reservoir-with-overflow attached to the pot of the burner through a pipe with a shallow U-bend and two flare fittings. The fitting on the burner side is pulled up tight, but the other one is left loose enough so that the reservoir can be rotated without suffering an oil leak at the fitting. That completes the burner, except for the vacuum cleaner and a tin can to catch oil from the overflow. Install the burner in the kiln, and prop up the oil pipe so that when the reservoir is level and its overflow is just starting to drip, the oil level in the pot of the burner is comfortably below the bottom holes. The ceramic fiber wick must not be submerged, or the oil won't light. (If oil does reach the holes, it drips into the air jacket, and once it starts to vaporize, you'll get more flame than you want. You can remedy that only by shutting off the fuel and boosting the air until the extra oil burns out.) 1. Cut-away o[ the burner pot; its [lat top should be After the burner is in the kiln and leveled, it can be at least 2~3-inch thick to withstand direct heat. controlled during a firing in two ways. First, rotating the reservoir and lowering the overflow spills oil, and raising 2. An exploded view o[ the burner with oil (a) and air it retains oil, but remember that raising the overflow (b) supply pipes. The pot is centered in the air jacket beyond the level position can pour oil into the air jacket with three metal dowels (c), as shown in [igure 1. (although above red heat, that's not likely to happen 3,4. The side and top views o/the assembled pot and because the oil vaporizes quickly in the pot). Small ad- air jacket, showing measurements.

October 1979 35 justments of the reservoir show up only after a delay of perhaps half a minute. Second, you can leave the reservoir alone, and instead alter how much oil flows into it from the oil tank. However, don't turn it down so far that the overflow stops altogether, or you could be headed for burner cut-off without realizing it. It may seem that any increase in oil would just spill off because the overflow drips faster, but at least some of the increase goes into tile burner, and indeed at high kiln temperatures, even small increases (:an strongly affect temperature climb and kiln atmosphere. As a rule, once you've reached red heat, make only modest adjustments and wait a few minutes between each to avoid overshooting the effect desired. If it is necessary to shut down quickly, turn off the fuel and spill the reservoir: to prevent soot or vapor pollution, slide a steel plate at least ~/4-inch (6mm) thick over the top of the burner and cap the end of the air pipe (a tin can will do). If it is desirable to start up again, set up the air supply ready to go but not turned on, slide the steel plate sideways exposing about one-quarter of the pot, and t t wait for the escaping oil vapor to ignite from radiated kiln heat (if the kiln is too cool, you'll have to light up with a match held in long tongs). Once you have a flame in the pot, pull off the steel plate and turn on the air. You cou]d restart by just pulling off the plate, but at high heat the ignition is exciting enough to raise your pulse. Diesel fuel isn't so tricky as gas, but once vaporized, it can cause memorable explosions. The New Zealand pot burner is clean from start-up, which may make it attractive to urban potters who favor oil or can't get gas, and who don't want to pollute their surroundings.

About the authors Bill Malcolm received his doctorate in botanical science [rom Michigan State University, and k was on the teaching research staff at Rutgers for eight ),ears, where Nancy studied for her master's degree with Ka-Kwong Hui. The Malcolms emigrated to New Zea- land in 1971, where they now breed cattle for export to .-lmerica. and make fart-fire domestic ~toneware and raku. 2 -

1. The oil supply assembly: a. Neoprene oil supply pipe from remote tank; b. needle valve; c. oil-filled reservoir at level position; d. overflow; e. soft copper pipe bent into U-shape; f. flare fittings; g. 0.5-inch black pipe oil supply to pot (through air }acket) ; h. pot; i. air jacket; j. air supply pipe.

2. Cross section, view from reservoir to burner; the burner may be controlled by tipping the oil reservoir: b. oil supply from remote tank; k. top of burner; c. oil reservoir. On the left, the reservoir is level, allowing a good [low to the burner through pipe g. On the right, the rate has been cut back by tipping the reservoir toward the overflow, increasing spillage and decreasing [low to the burner.

36 CERAMICS MONTHLY Potters' Ribs by RIC SWENSON

ORIGINALLY, ANIMAL RIBS were used by ancient potters to Care must be taken in cutting the metal to leave a shape and smooth handbuilt forms. As man's interest in smooth edge; if making a non-flexible rib, the blank can specialized clay shapes increased and the potter's wheel be finished with files or a bench grinder after being cut came into use, he sought other materials for this purpose. with a saw or torch. For cutting thinner ribs, a pair of In the history of ceramics, ribs have been made of every heavy shears may suffice. Almost an), piece of discarded conceivable material. The name "rib" has remained, but metal can be turned into a useful rib if the proper shaping now they are made from materials other than bone-- and finishing tools are available. An old garden spade or wood, stone, rubber, clay, slate, metals of all sorts, and piece of flat iron can be shaped into several metal ribs, a myriad of plastics. Most ribs are between ~- and which are more often used to shape or scrape clay rather 1 ~-inches thick. Two specialized examples are the bowl- than to compress it. or plate-making rib, and the "bottom knocker." Edges of Wood is easily shaped into ribs, with preference for the former are slightly beveled so that the clay will be slightly oily hardwoods. These last the longest; teak is shaped and compressed, but not sharp enough to cut or superior but black walnut will perform well. scrape the clay walls. A "bottom knocker" is a rather flat- A file, saw and a bit of sandpaper are the only tools edged, dull thick rib that is used for compressing wide, required to make even the more solid plastic ribs. Acetate flat surfaces such as a saggar bottom. of sufficient thickness can also be very useful to the potter. Ribs are also used to smooth handbuilt forms, burnish Companies that deal in Plexiglas or similar materials will surfaces, add texture, rid slip-cast forms of their mold have small scraps from which you can make ribs; plastic lines, thin clay walls--they perform many functions. Ma- from restaurant and bakery buckets can also be used to terials may be chosen by availability, workability, the make flexible ribs. desired effect of the rib's edge, and the ability to resist Slate can be cut and finished with masonry saw blades abrasive qualities and not crack or deteriorate through and files to make sturdy ribs, or while out prospecting for constant soaking and drying. clay, you might stumble across a smooth, flat stone with Metal scraps for making ribs are available through the right shape--carved by nature--for a rib. sheet metal shops, roofers, or sheets of new metal can be You can, of course, buy all manner of ribs from manu- purchased at hardware stores or automotive supply houses facturers. But if you are in need of a specialized shape (shim and gasket metals). Stainless steel, aluminum, brass or want to save a few dollars, making your own ribs can or other alloys will work nicely and will not rust. add a lot of satisfaction to pottery production.

Some o[ the wooden ribs 13 shown are copies o[ those used [or [orty years by Japanese "'Living National Treasure," Kenkichi Tomimoto. 1-4. ill I 14 Stainless steel ribs, 33 gauge. 41 5. Walnut bowl rib. 6. Bowl rib, 0.6 inches thick. 7. Bowl rib. 8. Bowl rib. 9. All- purpose rib. 10. Large bowl rib, 0.6 inches thick. 11. 5 6~ 15 I~ Teak salad plate rib. 12. Dinner plate rib. 13. Small teak general purpose rib. 14. Walnut comb-textured 22 rib. 15. Small plate rib, m teak. 16. Large platter rib. 17. Small bottom knocker, 21 0.8 inches thick. 18. Teak planter rib. 19. Bottom knocker, 1 inch thick. 20. Q Bottom knocker, I inch thick. 21. Plate or cylinder rib, 0.4 inches thick. 22. 9 10 Large teak bottom knocker, 1 inch thick. October 1979 37 and is the principal exporter of Cornwall's white clays. To The Home of "Take me to the Grolleg pit," was my first request. "Sorry, Mr. Adlerstein, Grolleg, as most of our clays, is Grolleg a blended product. There is no Grolleg pit." So off we scooted in Mr. Arthur's Ford Cortina to one of the by LARRY ADLERSTEIN twenty-three operating clay pits. The result of a century of high-pressure water hoses washing china clay can be a pit as much as 400 feet deep and half a mile wide. The hoses dislodge and float the clay. The slurry, along with fine mica, feldspar and quartz, washes down the slope of the pit and collects at REGINALD ARTHUR met us at the train station at 10:00 the bottom where it is pumped to one of eight processing a.m. With the severe British winter and intermittent rail plants. The heavy rock that remains is carted away and service (the unions were on strike), twenty minutes notice piled atop one of the many flat-topped hills that dot the was the best we could do. We had come to the home of Cornish countryside around Saint Austell. Grolleg---Saint Austell, Cornwall. We had come to see Let's talk about the slurry as it arrives at the processing the mother lode. plant fresh from the clay pit: china clay, quartz and mica Cornwall is a land of gentle hills and quiet old villages are all mixed together in the wet slurry. Fortunately, the connected by narrow winding roads. Our guide nego- relative weight of the ingredients varies, so gravity is tiated the numerous blind corners with the skill of a New called upon to sort things out. York City taxi driver. Our first stop was the corporate At the plant, a slowly rotating arm moves around a headquarters of English China Clay, Ltd. circular settling tank. Larger (sand-sized) debris falls From Mr. Arthur we learned that white clays have been down, water floats off the top, and china clay is piped dug in Cornwall since 1746. English China Clay, Ltd., from the middle. As noted, the first tanks allow the un- formed in 1919, resulted from the merger of five earlier wanted material to drop out and thicken the mixture by companies, controls about ninety percent of the output, floating off extra water. Successive tanks size the clean.

The West Carclaze china clay pit, Cornwall, England. The miner in the lower right suggests scale.

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38 CERAMICS MONTHLY thick clay. Fine clays float off; their coarser cousins sink. Arthur, "How much china clay is there left?" He ex- The fine clays are piped off to one storage tank, the plained that the clay supplies will not dwindle, but coarser clays to another• because of the geology of the pits, the mining process As potters, we know that particle size is a crucial factor becomes increasingly more difficult and expensive. The in determining the usefulness of a clay. But to the largest clay was formed by extremely hot gas escaping from the consumer of English china clays--the paper industry-- depths of the earth through granite rock. As the gas rose, raw (unfired) brightness is as important. The whitest of it altered the granite drastically in funnel-shaped areas• the clays is reserved for them, to be used as coatings and Consequently, English china clay deposits are wide at the fillers. Therefore, the clays in the many storage tanks that surface and narrower as the digging deepens. line the hills are classified not only by particle size, but Test borings indicate that the clay deposits are indeed also by brightness• deep--extended below the depth of the deepest tests. But Imagine that a quantity of Grolleg is ordered. The the deeper the deposit, the narrower it becomes. As a laboratory chief, a man named Mike Cooper, blends the matter of safety, the sides of the clay pits cannot be too clay in storage by use of an elaborate computer. The steep• As a result, the deeper English china clay is mined. lights, dials and gauges of this impressive machine tell the the wider the pit must be dug. actual specifications of the raw clays stored in the tanks. Widening requires much rock moving, and that costs He directs valves miles away to open and allow the money. Also, the clay near the edge of the deposit con- selected clays to flow and blend, producing a finished clay tains more contaminants. A 2 million dollar magnetic with the right brightness, particle size and chemical analy- separator (American-made) was recently installed to at- sis and--Grolleg is born. tract iron out of the edge clays. That also costs money. The liquid Grolleg flows to a drying plant where it is So the outlook is for centuries of more clay at increasingly filter-pressed into slabs of throwing consistency. These are higher prices. shredded, then dried to moist lump or dry powder form, The American visitors had cost Mr. Arthur the better at which point the clay is ready for shipment. part of a day. The kindly gentleman put us on the after- By now, it was well after noon and time for lunch. Over noon train and we continued west, exploring Cornwall, a Saint Austell ale in an old seaside pub, I asked Mr. the home of Grolleg.

A remotely controlled power hose, or monitor, washes raw clay [rom the pit [ace.

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October 1979 39 Low-fire Salt, Paraffin and Porcelain

LOW-FIRE SALT-GLAZED OBJECTS were among the works ware at this point causes a strong spotting effect, ranging shown by Berry Matthews recently in an M.F.A. exhibi- from gray to purple. tion at the Ohio State University, Columbus. These in- Also included in the exhibition was a 20- x 5-foot fence eluded a series of six handbuilt chairs, salt-fired at Cone hung with 400 thin porcelain slabs, fired at Cone 10, 010, displayed with six commercial wooden chairs of the then dipped in paraffin and wicked with string. The sculp- same design. The effects of the low-fire salt process ture was ignited by the audience at the opening. Com- resemble the subtle staining of sawdust firing, but with an mented the artist, "My initial idea reiterated the miles of extended palette. The heavily glazed, orange peel surface fence that I saw when driving cross-country, and the of high temperature salting is not present, but in its place lights that appear and disappear in the distance. I used is the look of ancient clay. fire to intensify the experience . . . no longer in the kiln, To salt at low temperature, Berrv stacks greenware of but actually working on the surface of the clay, changing the following composition: it before the eyes of the audience-participators." Berry Matthews is now on the faculty at the College of Low-Fire White Clay Body (Cone 1) Fine Arts, Ohio University, Athens. Talc ...... 105/< Ball Clay ...... 31 Edgar Plastic Kaolin ...... 10 Fireclay ...... 41 Sand ...... 8 100~ Add: Bentonite ...... 2~ Cotton or wool rags (synthetics leave a bubbly black residue) soaked in heavily salted water are placed across the objects, then covered with shards to contain the salt vapors and cause local reduction. In addition to rags, the artist sometimes uses magazines dipped in salt water and sprinkled with coarse salt (~-inch chunks), or coats clay areas with the following: Copper Slip (;erstley Borate ...... 14% Kaolin ...... 57 k~ Flint ...... 29 100~, Add: Copper Carbonate ...... 5% This recipe is responsive to local reduction, and areas of red or pale green are its occasional effects. Salt-soaked vermiculite was used to impart a pinkish blush to some of the objects; forms were buried in the soaked material during loading. The 50-cubic-foot gas kiln was salted at Cone 010 with 8 to 10 pounds of salt, followed by heavy reduction, then more salt for a total of approximately 15 to 20 pounds. Salt which lands on

40 CERAMICS MON'rHL'¢ I

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Top "'Fence," 20 [eet in length, wire [encing hung with thinly rolled porcelain slabs [ired at Cone 10, then dipped in para[[in and wicked with string. Guests at the exhibition opening participated in * / igniting the sculpture.

Above "'The Real and the Ideal," six handbuilt low-[ire clay chairs, and six commercial wooden chairs o[ similar design.

Left Detail, "The Real and the Ideal," white low-[ire clay, handbuiIt, salted at Cone 010.

Right "Drawing," 30 inches in width, [ired clay on paper, by Berry Matthews. October 1979 41 Harrison McIntosh: Studio Potter by CATHERINE ~'[CINTOSH

..~ retrospective exhibition o[ works by Harrison Alcln- landscaped with Inostly native plants, is a peac'eful envi- tosh was shown through June 23 at the Rex Wignall ronment. Delicately trained trees and curtains of lush Museum o[ Cha[[ey Community College, Alta Loma, bamboo line the brick walkway from the house to the Cali[ornia. 7"his was the first major assembly o[ the adjoining studio. The potter's ~heel, designed by a local artist's ceramics since his exhibition at the Pasadena Mu- friend, faces out over a view of the valley. Tools, green- seum o[ Art in 1963; objects in this article are [rom the ware and labeled bottles of slips are neatly arranged on e u r r e n t s h o w.--Ed. the shelves above. Harrison's ceramics, like his environment, evolved out Rte, OVD .~IOI'.',TAI~,'Srise above the silent rolling foothills of a concern for natural form, order, rhythm and growth; overlooking acres of natural chaparral and some of the his love of natural simplicity seems to have been a guiding remaining orange groves of southern California. Twenty force in the development of his style. Many of his surface years ago Harrison McIntosh chose this quiet spot near decorations strike a resemblance to basic elements of the Claremont in which to build his house and studio. His natural surroundings. Patterns of circles, seldom perfectly home in Padua Hills has become a very personal place round, are reminiscent of beach pebbles, while recurrent around which he has centered his life and work. stripe designs recall rows of bamboo or snake grass. A quiet man of small stature, Harrison has designed his Working with a deliberately limited range of materials surroundings to suit his individual lifestyle. The garden, and design elements. Harrison explores variations of a

Below tlarrison McIntosh applies slip to a covered jar Right Stoneware and chromed metal sculpture, 14 in hi~ studio near Claremont, California. The artist's inehe~ in height, thrown, ze'ith slip~ and matt glaze. zvheel [aces a view o[ the valley below; greenu'are and labeled bottles o[ slip line the shelves. Below, right Mishima bowl, 14 inelws in diameter.

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L __ ,-- ,-~ i IT ...... Above In the studio, a simple bowl shape is thrown in a spray booth; thickness checked at intervals with repeatedly, each piece an exploration in contour, a knife. To complete the process, Harrison dusts volume and balance. Following preliminary pencil lines, excess glaze [rom the foot with a brush. Harrison incises greenware with a dental tool; circles and lines are recurrent design elements often used in Below Commercial dinnerware designed by Harrison in repetition. Sometimes the incised lines are/illed with collaboration with Marguerite Mclntosh /or the Mikasa colored slip, the excess later rubbed o[[ with steel wool, Company. The hand-decorated pieces are produced in creating a line o/color (mishima). Bisqueware is glazed .lapan in fifteen color and glaze combinations.

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44 CERAMICS MONTHLY Lidded jar, approximately 9 inches in height, wheel-thrown stoneware, cobalt blue and black slip brushwork, white matt glaze. theme through repetition and modification. The footed glaze colors. Working with Lukens, he began to develop bowl, the vase, the lidded jar and the shallow bowl or an understanding of the intimacy between the potter and plate have been his basic forms. A simple bowl shape is his materials. thrown over and over again, each piece a new exploration During the forties, Harrison set up a small studio in his of variations in contour, volume and balance. parents' garage in Los Angeles and began producing Simplification rather than elaboration is the basis of low-fired ceramics in a small Denver muffle kiln. At this Harrison's style. His manner of working is not by spon- time he was doing a lot of experimentation with form, taneous performance, nor by mechanical perfection; design and materials. His filing system of technical infor- rather he works towards the deliberate expression of an mation, kiln records and glaze formulas dates back to intuitive understanding of natural order and sensuality. 1941 and continues to the present. His earliest work in ceramics, under the instruction of In 1949 Harrison studied ceramics with Richard Petter- Glen Lukens at the University of Southern California, son at Scripps College where he was introduced to wheel- involved mostly slip-cast and handbuilt pieces with glossy thrown pottery and the use of stoneware clay bodies.

October 1979 45 4

Stoneware covered jar, 8 inches in diameter, mishima design.

Working almost exclusively with a red stoneware body of cobalt, copper, iron or manganese oxides with water fired to Cone 5 and decorated with colored slips and and dry clay trimmings, which are then poured through sprayed matt glazes, he began to employ wax resist deco- a 60-mesh screen. Lead-based matt glazes are used with rative techniques, and adopted a single-fire method with titanium serving as an opacifier, or tin added for a his partner Rupert Deese when setting up their first studio warmer tone. while students at Scripps. Sitting on an adjustable typist's chair, Harrison throws After participating in workshops and summer seminars on an electric wheel. A wooden rib is used for throwing with Bernard Leach and Marguerite Wildenhain, Harri- the basic form, while metal ribs cut from tin cans are used son's style began to solidify. By this time he had estab- for refining the shape. Trimming with peach and pear lished a range of materials, tools and techniques which pitters, the foot is finished by burnishing the leather-hard would remain the framework of his ceramics. clay with a metal rib while the piece is turning on the As with many West Coast ceramists, Harrison has wheel. chosen to use a commercial body---his is a smooth red Slips are applied with Japanese brushes and l~2-inch- stoneware clay without grog (Westwood Ceramics wide paint brushes, or stippled with a sponge. Occa- WC-5). Colored slips are made by mixing combinations sionally, slips are sprayed onto the greenware with a

46 CERAMICS ~[ONTHLY \ 0 \ \ \ \ IX, t

Bowl with mishima design, appro.timately 5 inches in height, wheel-thrown stoneware. hand-pump sprayer similar to those used for insecticide. has had to bisque fire recently because of changes in the Linear decorations are drawn in pencil directly on green- clay formula. While this means that some of his familiar ware; these guidelines are followed when incising the dry uses of wax resist cannot be recreated, the change has clay with a blunt dental tool for sgraffito. Sometimes the opened new decorative possibilities. incised lines are filled with colored slip, and the excess In the late sixties, Harrison began producing a series of rubbed off with steel wool, creating a fine line of color. closed sculptural forms which developed as a natural This technique, known as mishima, is characteristic of outgrowth of the vase. For him, these abstract objects, Harrison's more recent work. with their clean contours, are a direct progression from Glaze is applied to the bisqueware with slow, even his traditional vessels, yet they are freed from functional strokes of a spray gun; the glaze thickness is tested at concerns. Spatial spheres, balanced on wood or chrome frequent intervals with a knife blade and the form is bases, they seem to challenge gravity. Harrison speaks of finished by brushing excess from the foot. his work as a reflection of man in a mechanical age. Since 1950 all Harrison's work has been fired in a small Geometric patterns are tempered by the curves of the 5-cubic-foot, top-loading muffle kiln. Although he had ceramic forms. In his sculptural pieces the warm-toned worked for many years with a single-firing technique, he colors and subtle textures of the matt glazes are reflected

October 1979 47 in the polished planes of chrome, creating an equilibrium between the contrasting media of clay and metal. While many artists have adopted teaching as a second profession, Harrison has become involved in commercial design work. In the early sixties, he was asked to apply his abilities to conceive commercial tiles for the Interpace Corporation. More recently, Harrison and his wife Mar- guerite have been commissioned to design dinnerware and crystal for the Mikasa Company. While some of the basic forms are designed directly on the potter's wheel, much is also done on paper. By working directly with the production staff at the manufacturer's facilities, details of each shape and decoration can be reworked and refined up to the final form. Working within the limitations of commercial production techniques and designing for a large popular market have provided a new and interesting challenge for Harrison beyond his personal work in ceramics.

Right Footed bowl, approximately 11 inches in height, thrown stoneware with blue and black slips, mishima patterns, white matt glaze.

Below Harrison McIntosh

48 CERAMICS MONTHLY A Century of Ceramics in the United States

by BARBARA TIPTON

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"'Bank," 3~2 inches in length, earthenware, by George E. Ohr, Biloxi, Mississippi, ca. 1900. An early example o[ American Funk.

The "Century" exhibition is scheduled to re-open No- to sculptural objects in a decade-by-decade presentation. vember 9 at the Renwick Gallery, Washington, D.C. The circular gallery, specifically constructed for the show, be[ore continuing its two-year tour. Check Itinerary [or allowed viewers a leisurely flow-through to peruse forms listings. In conjunction with the exhibition, Garth Clark in context with other ceramics of the same period, along and .~Iargie Hughto have authored a catalog/book, pub- with brief notes and relevant photographs. To many, the lished by E. P. Dutton. For [urther in[ormation, see the exhibition provided first-hand viewing of works from the New Books section o[ the September CM.--Ed. past and present which had been previously available only through magazines, books and slides. According to co-curator Margie Hughto, the guidelines OVER THREE HUNDRED ceramists, historians, critics, au- in selecting the 160 artists to be represented in the exhibi- thors and collectors converged at Syracuse, New York, in tion were "the extent to which their work has commanded June to participate in the Ceramics Symposium: 1979, critical attention or deflected the course of ceramic art. and to view the exhibition which spawned it, "A Century We chose works of quality and stature by those artists of Ceramics in the United States 1878-1978." who, in our opinion, posited the major problems and solutions in the contemporary ceramic tradition." The Exhibition Exemplifying the growing support for the arts through Termed by co-curator Garth Clark a "kamikaze event," corporate involvement, the exhibition received major the exhibition at the Everson Museum of Art (through funding from Philip Morris, Inc., and Miller Brewing September 23) presented approximately 400 diverse works Company. Besides what was perhaps the largest business in clay ranging from functional and non-functional vessels donation for a ceramics exhibition, Philip Morris also

October 1979 49 directed funds toward promotion, which included adver- world; among examples were that technical questions tising the exhibition in Time, Neu,~u'eek and Li[e. Addi- at the recent NCECA/SuperMud conference had been tional financial support was provided by the New York laughed at, indicating that aspect of clay was no longer State Council for the Arts as well as the National Endow- such an obstacle. The real issue for ceramists, he said, ment for the Arts, which additionally awarded a grant to was a concern over their position in the art world. More enable publication of transcripts of lectures and panels clay has been appearing in art magazines, and clay is being from the symposium. used in an art context, but according to Garth, in the ceramic art movement there have been failures--lack of The Symposium critical standards and of historical appreciation. Addi- "The Ceramics Symposium: 1979" was organized by the tionally, the greatest challenge for ceramists is to seek a Institute for Ceramic History, Claremont, California, and broader audience. From the 1900s onward, ceramists co-hosted by the Everson Museum of Art and Syracuse began to drift toward educational institutions; this is still University; the international co-ordinator was Ann Morti- true today--nearly every top ceramic artist is tied to an mer, Newmarket, Ontario, potter and president-elect of institution. Thus, "we have lost an audience in that the the Canadian Crafts Council. Garth Clark and Margie security of the university has not forced the artist to the Hughto served as co-chairpersons. marketplace." Participants presented and listened to papers, served on Acceptance by the art world was a theme also taken up panels and engaged in lively interim discussions for three by Clement Greenberg, who said that while "opinion days, which also included a private viewing of the exhi- changes, achievement remains" and that it was up to bition the first evening. contemporary ceramics to win respect on its own. The Critic Clement Greenberg delivered the keynote ad- critic recollected that when he first started writing, pho- dress; Jim Melchert, executive director of the visual arts tographers were worrying about their status in the art program, National Endowment for the Arts. presented a world---a panel of painters in the 1950s concluded that special address the following day. Open sessions ap- "photography was all right but really sort of a minor proached areas of current/contemporary interest: "The medium like printmaking." Greenberg added that photog- Role of Ceramics in Sculpture," "Ceramics: the Direc- raphy as a fine art form is no longer questioned, and that tions of Patronage," "The Vessel as Contemporary Meta- he thought the same effects would be felt by ceramists. phor" and "Collaboration." Smaller closed sessions were Quoting from Margie Hughto's preface to the exhibition keyed to artists and movements represented in the exhi- catalog ("The number of ceramists working continues to bition. expand, yet the criticism evaluating the work does not.") Garth Clark set the theme for the conference by stating he said that he didn't think the complaint was justified-- that he had noticed a change of mood in the ceramics Leonardo, Michelangelo, Titian, Rembrandt got along

50 CFRAMIGS ~'[ONT H I.'~" NN7?" - ! ~'-' :"NN

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Opposile page, left l'or( clailz z'a~c 11 ira~., il, /~ i~/t! Above "Tile l :nit," glazed carthcnu,are by Rudolf Staffel, Philadelphia, 1972. and wood, approximately 6 feet in height, by Kenneth Price, Taos, New Opposite page, right Stoneware jar, 10 inches in Mexico, I972-77. height, thrown, altered and glazed, by Robert Turner, Alfred, :\Tea, York, 1976. Above, left "Shallow Painted Bowl," 13½ inches in diameter, thrown Top "'Apocalypse '42," 15 inches in height, handbuilt Japanese stoneware clay with multiple earthena, are, with Barnard slip and opaque low-fire glazes, by Toshiko Takaezu, Clinton, glazes, by Viktor Sehreckengost, Cleveland, 1942. New Jersey, 1962.

October 1979 51 Right Salt-glazed porcelain vase, 27 inches in height, by Betty Woodman, Boulder, Colorado, 1975. Center "Untitled Ceramic Number 21," painted porcelain, 15~ inches in height, by Robert Hudson, Stinson Beach, Cali[ornia, 1973.

Far right Earthenware vase, approximately 12 inches in height, matt green glaze, Grueby Pottery, Grueby Faience Company, Boston, 1898-1902.

Near right "American Women's League Tea p ot,'" g lazed porcelain, 7 inches in height, by Frederick Hurten Rhead, People's University, University City, Missouri, 1910.

Right "Double Lady Vessel," 28 inches in height, stoneware with black and white slip, by Rudy Autio, Missoula, Montana, 1964. Opposite page, center "Gourd Vase," porcelain with matt glaze, 9 inches in height, by Taxile Doat, University City Pottery, Missouri, 1912.

Far right Raku-[ired platter, 15~ inches square, by ]un Kaneko, Claremont, Cali[ornia, 1971. 52 ~ERAMICS MONTHLY October 1979 53 _ at

Right "'Fan 5," handbuilt compo- Y sition o[ colored stoneware clays, 25 2~. ~ ~'-... inches in height, by Margie Hughto, Syracuse, New York, I978.

Far right "'Death ['alley Plate," approximately I9 inches in diameter, earthenware with alkaline glaze, by (;len I, ukens, Los Angeles, 1940.

Below, left "Losanti,'" porcelain jar, 5 inches in height, by Mary Louise ,¢¢ ¢ i 3IcLaughlin, Cincinnati, 1898-1902.

Below, right Thrown, glazed stoneware [orm, 22 inches in height, by Ka-Kwong Hui, New York City, 1967.

without written criticism (though the)' did get attention with two divergent roads: craft, and craft in art. and and esteem). In summary: "If ceramic art achieves expressed concern for active criticisnl ill ceramic art. anti enough, makes itself good enough in this time, that's all attracting talented students. it will have to do. For the rest it will have to bide its time Panelist Jerry Rothman. ceramic sculptor fi'om I,os in the matter of recognition or acceptance--at least wide- Angeles, added: "I think it's important to be trained as spread recognition and certainly in the matter of truh' artists, not ceramists. We're not limited by technology; helpful enlightening criticism." we're limited bv our heads. We should push bevond what's Clay and its position as a fine art form was also dealt comfortable." with in the panel, "The Role of Ceramics in Sculpture"; Perhaps the panel which drew the hottest debate was Ton)" Hepburn, head of the division of Art and Design. "'The Vessel as (1ontemporary Metaphor." In his theme Alfred University. outlined events leading to the present paper. Garth Clark said in part that in the early 1960s position of the medium "'in order that we may establish ceramists thought the way to make the art form respect- whether there is any role at all, or if so, what it is." Tra- able was not by making pots, or not calling the objects they ditionally, he said, clav was used in sculpture to make made pots. There was a subtle movement against pottery sketches or models for objects to be cast in other mate- in the schools and the weight of opinion supported this: rials. When clay began to come into its own as a sculptural ceramists felt with arrogance they had to leave their" roots material, there was a tendency for the content of the work to produce art. Today, he said, achievement in clay sculp- to be technique. The most daring risks in clay were taken ture is questionable, while the vessel (very quietly in the in relation to pottery, which made the art world consider last twenty years) has made subtle advances, showing a clay sculpture a ceramic spinoff. Other predominant growing self-confidence. We Westerners have a difficult)" views: until Claes Oldenberg, sculpture was taught as with function, Garth added, but in Japan one of the being tight and hard; sculpture could not be important if highest art forms is the tea bowl. Vessel makers are closer it was less than two feet--then it was a maquette. Both to their roots than those dealing with clay in a sculptural criteria eliminated clay (until recently! from serious con- sense: they have looked at their roots far more deeply, sideration as sculpture. finding a very real place for themselves dealing with the In the panel discussion that follo~ved, Tony Hepburn vessel as a contemporary metaphor. said the problem with small work is that it usually pro- He concluded by saying "The cutting edge of ceramic poses the question "How did he do it?" rather than art is and always will be the vessel, which is our primary existing on a small scale because it has to be that size to mode of expression, where there is no ambiguity in the work. use of form and where in the words of Herbert Read, "We Judith Schwartz, New York University, drew from the can function as the most abstract of all the artists.' " statement "There is always craft in art but there need not In response to ensuing questions. Garth replied that he be art in craft," saying that she saw ceramic sculpture had not made a statement against sculpture, but instead

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October 1979 55 Right Earthenware vase with matt green glaze, approximately 13 inches in height, Grueby Pottery, Grueby Faience Company, Boston, 1898-1902.

Center "Century Vase," porcelain, 22~2 inches in height, by Karl Muller, Union Porcelain Works, Greenpoint, New York, 1876.

Far right "'Lea[head," handbuilt stoneware, 251/'2 inches in height, by Mary Frank, New York City, 1972.

Below, right "'The Lap Dog," earthenware sculpture, 6y2 inches in height, by Reuben Nakian, New York City, 1927. had said that clay sculpture is suffering from a crisis of sity as a patron was responsible in part for the higher identity, while it is just the opposite for the vessel. prices of ceramics. Panelist Richard DeVore, ceramist at Colorado State In general, the symposium approached issues which had University, stated that he could not imagine a vessel being been broached at last spring's NCECA/SuperMud confer- significant today without acting as a metaphor. Richard ence: the need for ceramists to establish a sense of their and panelist Wayne Higby, Alfred University, both felt roots, a knowledge of their history; the need to establish they were children of their time/culture and couldn't critical standards and a common vocabulary for aesthetic make "just pots." Another panelist, Gerry Williams, of discussion. The art/craft controversy was brought up sev- Studio Potter magazine, disagreed, saying he saw the same eral times, but as Margie Hughto noted in her preface to sensibilities in DeVore's work as in southwest Indian the exhibition catalog, "In every decade, there was a pottery. discussion of 'is it art--or craft?' And this debate is still The question of separation first brought up in the going on in the 1970s, although I think to a much lesser sculpture panel arose again when an audience participant extent. This is a time when we are more open and flexible asked why it was necessary to have the labels "potters," about what art can be made of--and just because it is "vessel makers" and "ceramic sculptors"--the reply was made of clay does not mean it isn't art." that "these words allow communication; there is no point However, real acceptance by the art world was an issue grouping all three together--we've become such a diverse with no apparent solution except that offered by Clement group." Greenberg--when ceramic art is good enough, it will Throughout the "Vessel" panel, there was continued succeed. discussion as to the meaning of the word "metaphor" and Many saw the symposium as a beginning for ceramics its application to vessel forms: i.e., could a metaphor to overcome its role as "the art with the inferiority com- function as a pot, and be used to serve mashed potatoes? plex" and as a continuation of recognizing issues and Both Richard DeVore and panelist Betty Woodman, assis- dealing with them through dialogue. Three intense days tant professor at the University of Colorado, admitted of lectures, panel discussions, slides and conversation gen- they could see their works performing that function; but erated considerable enthusiasm; hopefully participants this prompted the question of accessibility: if a vessel departed carrying a portion of these feelings home--in were a metaphor, would not a high price relegate it to this way, perhaps, the dialogue will continue. the sideboard or mantel? The panel closed following conversation about pricing, About the author Ceramist Barbara Tipton is a graduate a subject already touched on in previous sessions, with o[ the Memphis Academy o[ Arts and The Ohio State mention made of galleries which couldn't afford to show University, receiving an M.F.A. [rom the latter in 1975. pots (because of their low price and thus low profit She has taught at Denison University, Granville, Ohio, margin)--though this is changing--and that the univer- and is currently copy editor [or CERAMICS MONTHLY.

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,k. Above, left Earthenware vase, 7 inches in height, by Jacques Sicard, Weller Pottery, ca. 1903.

Above Glazed earthenware vase, 12 inches in height, by George Ohr, Biloxi, Mississippi, alter 1900.

Far Left "'Poppy Vase," 6~ inches in height, porcelain, with inlaid clay, by Adelaide Alsop Robineau, Syracuse, New York, 1910.

Left "Viking Vase," 7~ inches in height, porcelain, by Adelaide Robineau, 1905.

.58 CERAMICS MONTHIA" 2

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Collendale Hall houses the university's ceramics [acilities on the south campus.

Syracuse University by ROBERT BARRIE

This is another in a series o[ articles designed to ac- goals. However, most of the studies are in the chosen quaint our readers u,ith schools, colleges and universities field, working under the guidance of a faculty composed o[[ering programs in the ceramic arts.--Ed. of practicing professionals. Ceramics courses range from pottery techniques to SrrV.aTED on a 200-acre hilltop main campus, Syracuse ceramic sculpture, glaze chemistry and kiln construction. University, New York, is the home of the oldest degree- granting fine arts school in America. Founded in 1873, New York. the College of Fine Arts first offered courses in art, archi- The main campu~ o[ Syracu,e l'niversity, tecture and music. Today the building called Crouse College houses the College of Visual and Performing Arts, and is now a national landmark, having been placed on the National Register of Historic Places in 1974. The School of Art is divided into various departments, each concerned with the aesthetic and technical disciplines of its field. The Studio Arts Department includes the areas of ceramics, sculpture, painting and drawing. But because the college functions as an art school within the context of a liberal arts institution, it offers students a range of academic electives in addition to professional studio courses. After completing the first year foundation course, art students at Syracuse University may major in one of the studio arts disciplines, such as ceramics. In addition to requirements in their major field, ceramics or sculpture students choose from electives in commercial art, printmaking, metal crafts, etc., while pursuing their principal

October 1979 59 Current enrollment consists of eleven undergraduate ma- formats. Knowing that artists such as Gauguin, Mir6, jors and four graduate students. Picasso and Pollock had made ceramics, she proposed that The ceramics facilities in Collendale Hall on the uni- for the next show they arrange the execution of clay works versity's south campus provide individual working space by contemporary non-ceramists. Her feelings were that for undergraduate majors and private studios for graduate artists were "makers," and given the materials, facilities students. Firing facilities include three large gas-fired and time, they would make art. Syracuse University sup- kilns, four electric kilns, a raku kiln, a salt kiln and a plied the space and firing facilities, the National Endow- ~ood-burning kiln. There are fifteen electric wheels and inent helped fund the event with travel fare. The ten eight kickwheels, clay mixers and a large spray booth for artists involved stayed three to seven days working from glazing. nine to five: prepared clay and other materials were A distinguishing aspect of the ceramics program is the supplied so that all they had to do ~-as create. (_:lay Institute, begun in 1974 by Margie Hughto through After the first successful workshop and the resultant the university and the Everson Museum of Art. Margie exhibition, "New Works in Clay by Contemporary Paint- first came to Syracuse as a high school art teacher and ers and Sculptors," Margie received a Ford Foundation helped the Everson with the last Ceramic National and Grant to continue the idea on a workshop basis through other exhibitions. When the decision was made to suspend the university's College of Visual and Performing Arts. the Nationals, she suggested presenting shows with new The Clay Institute now occupies the third floor of the

Below Graduate student Nick Start unloads one o[ [our Right, above Stoneware box, 17 inches in width, electric kilns in Collendale Hall: three gas-[ired kilns handbuilt construction with sgra[[ito embellishment, a~c ;~ the ba( k~round. b)' Henry Gernhardt. ccramic~ facult), member.

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Henry Gernhardt di,~cusses a large Dandbuilt /orm u'itD Nigerian graduate student Moses Fowowe.

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Right Ceramics student Audrey Lazewatsky throws on one o[ the [i[teen electric wheels at Collendale ; eight kickwheels are also available. Additional/acilities include clay mixers; a spray booth [or glazing; gas, electric, salt, raku and wood-burning kilns; and individual working space [or undergraduate majors.

October 1979 61 Continental Can Company, an old downtown factory school for American Craftsmen, Rochester, New York; building owned by the university, creating a workshop and Syracuse University. He uses clay and glaze to explore atmosphere that provides students the opportunity to work space, line, color, texture and utility; and says that the with established artists and to watch and participate in nature of clay allows him to exploit the options of mold- the making of art. ing, casting, painting and drawing on the surfaces. Last year ceramists were added to the roster of visiting Besides being director and resident ceramist for the artists, and Garth Clark and Kenneth Carpenter joined Syracuse Clay Institute, Margie Hughto has taught all the workshop to give lectures on ceramics history and levels of ceramics at the university. Additionally, she serves aesthetics. Visiting artists for this segment of the Clay at the Everson as adjunct curator of ceramics. As a ce- Institute were Anthony Caro, Stephen DeStaebler, Frie- ramic artist, Margie has been interested in coloring clay del Dzubas, Mary Frank, Shiela Girling, John Glick, and in the painterly aspects of the medium. Her recent Margie Hughto and Kenneth Noland. Additional lecture- work involves relatively flat slabs intended to be viewed demonstrations on building large-scale ceramic sculpture vertically--usually as wall pieces. were offered by Robert Arneson, Sandra Shannonhouse, David MacDonald received degrees from Hampton In- David Middlebrook and Wayne Higby. stitute, Virginia, and from the University of Michigan, Three faculty members direct the ceramics program at Ann Arbor. In his own words, he's primarily concerned Syracuse University--Henry Gernhardt, Margie Hughto with containers--their functional nature and spiritual and David MacDonald. Henry Gernhardt, the senior full qualities in connection with humanity. professor in the ceramic studios, received degrees from the The goal of the ceramics faculty is that students gradu-

7'he Syracuse Clay Institute occupies the third floor o[ the Continental Can Company, a [ormer [actor),, and o[[ers students the opportunity to participate with, established artists on a workshop basis.

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62 CERAMICS MONTHLY 4

Above "Eagle Flies on Friday," stoneware plate, 27 inches in diameter, with photographic silk-screen image, metallic lusters and rayon [locking, by David MacDonald, ceramics faculty.

Top Margie Hughto, ceramics faculty and Clay Institute director, with her work in the Continental Can Company studio.

Left Faculty member David MacDonald.

October 1979 63 ate from Syracuse fully capable of pursuing a career in continue to mature as artists and are encouraged to inves- ceramics, whether running their own studios, or con- tigate the aesthetic possibilities of ceramic materials relat- tinuing their education on the graduate level. Following ing to their own directions in art. Upon completion of the a foundation )ear, ceramics courses in studio arts are third ).ear, successful students should full)" understand the structured into three levels. The first year is devoted to management and technical operations of the ceramic learning the basics of glaze chemistry and application, and studio. the exploration of clay as a medium for handbuilding, In addition to their study at Syracuse, students may throwing and mold work. Use of decorative techniques, apply for one or two semesters at foreign institutions kiln firing and studio maintenance are also taught. through the university's International Programs Abroad Second-year students explore traditional and experi- with opportunities for study at seven schools in London, mental techniques with ceramic materials as a medium for or the summer program in Florence, Italy. production work and one-of-a-kind objects in potteD" , Several university fellowships and assistantships are ceramic tiles and sculpture. Students at this level mix offered. Ceramics students are encouraged to take advan- their own glazes, clays and slips and also fire their own tage of the resources of the entire School of Art and the kilns. College of Visual and Performing Arts, as well as those In the third )ear, students may direct their studies of the other colleges that make up the diverse world that toward production, individual works of art, or both. They is Syracuse University.

Below In[ormal space inside the Clay Institute's Right Ceramics student Susan Eyster and graduate building allows [Iexible studio arrangement to meet student Nick Start discuss work in progress at the chan.~in~, nccd~ of ~rork~hop participant~. the Clay Institute studios.

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Above I.|'all tile, 21 inches square, stoneware, porcelain and slips, with incising, combing, by John Glick while in residence at the Syracuse Clay Institute. Right Iron-stained stoneware with wire and ra[[ia, 14 inches in height, by student Nancy Judge.

October 1979 65 The shape of an ancient heritage.

The story of civilization endures in ceramic art,

You can make a lot of things out of clay. Ancient civilizations have used clay to make a record of history. From prehistoric times through the Golden Age of Greece, our heritage lives in clay. Because once fired, it will not rot or corrode. Ceramic art can last.., practically.., forever. The H. C. Spinks Clay Company is proud to be a part of this tradition. We supply today's craftsmen with quality clays for the ceramic arts. So they can shape a heritage for tomorrow.

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66 CERAMICS MONTHLY m

NEWS & RETROSPECT

SUSAN SONZ home in Garrison, New York, following a has created work that is an integral part For the first time since its inception short illness. She was 87. of himself and his surroundings." twelve years ago, a ceramist was chosen to Mrs. Webb first became interested in The artist often employs visual associa- participate in New York City's "Ten crafts during the economic depression of tions and anecdote, such as in "Shooting Downtown," a three-weekend exhibition the 1930s. She organized Putnam County Mistakenly at the Impression of a Genuine held through May 6, which allows the Products, a small cooperative designed to public to view the work of ten emerging market the wares of rural craftspeople in artists in their studio environments. Se- the Hudson River community where she lected by previously accepted alumni of lived. From this modest beginning, she set the event, ceramist Susan Sonz stated: "I up, in 1939, the American Craftsmen's find myself concerned with scale relation- Cooperative Council which, in 1940, ships as well as the general movement, opened America House in New York City, which is why many of the pieces are a retail outlet for the marketing of Ameri- tilted. The desire for movement in a stag- can crafts. nant medium is partly the result of my In 1941, "Craft Horizons" magazine work with dance and choreographers. The (now called "American Craft") was first published under her editorship. In 1943, the American Craftsmen's Council received its charter as a non-profit educational or- ganization which Mrs. Webb chaired until 1976. In 1956, she established the Museum of Contemporary Crafts (now called the American Craft Museum) in New York City. The School for American Craftsmen, founded in 1944 under her leadership, is now part of the Rochester Institute of ,d - +-r + Technology. Aileen Webb founded the World Crafts Council, a UNESCO affiliate, in 1964. First as its president and then as an honor- Altered porctlain boal~ ary officer, she was involved in the organi- ~, .+, pieces are involved with form, rather than zation until her death. Serving as an p . function or concept." Shown from the ex- author, lecturer, spokesperson and patron + . hibition are two altered, unglazed porce- for the crafts, until recent years she re- lain bowls, fired to Cone 10, each 12 mained active as a potter in her summer inches in width. Photo: D. James Dee. home. A memorial service will be held in New KAREN MASSARO York City on November 8, 1979, and a Ceramic sculpture, plates and cups by memorial fund is being established to fos- Karen Massaro were among the works seen ter international communication and ex- at Gallery 8 in La Jolla, California, during change between craftspeople throughout her May solo exhibition, "Recent Works in the world. Clay." Karen has been involved with multiples of representational forms such as the series of funnels, shown, slip cast from JOHN CHALKE Yi dynasty [ootprint Canadian ceramist John Chalke recently colored clays, then fired unglazed. She Korean Tea Bowl," shown, above, a two- exhibited 50 sculptural works at the Cal- part salt-glazed sculpture with stamped gary Galleries, Alberta. Included in the lettering and a clay impression taken from show were handbuilt stoneware forms, the foot of a Yi dynasty tea bowl; the altered or cut, many of them salt glazed. section with the archer figure is 11 inches ~. Brooks ]oyner of the "Calgary Herald" in length. Photo: Barbara Ballachey. ~4+ ~j¢ commented that "his large plates, some of ~, which are torn, twisted and metamorphic "~"~ ~*~ ~*ll ~M'~"t in character, are more than satisfying BARRY CRANMER . ~ sculptural forms in themselves. They-are A solo exhibition of ceramic works by ~ .:~.~ ~':" like landscapes, they have both topography Barry Cranmer was held in May at By and landform connotations. Such works Hand Fine Craft Gallery, Haddonfield, reveal the desire to go beyond the tradi- New Jersey. The artist creates forms by -"'~'-- tional context of ceramic containers. His weaving several colors of clay together to plates are sometimes heavily glazed, paint- create a complex, irregular pattern which is erly forms that capture a range of surface left unglazed. Barry says he finds a direct- textures and color. He works with com- ness and immediacy in this method which Sllp-cast clay ]unnels partments and intersecting slabs of clay, was lacking when making pots that re- utilizes repetition of form and surface constructing what appear to be dwellings quired glazing. Shown from the exhibition change to contribute to the abstraction of or primitive habitats. Above all, Chalke is a handbuilt vase of +colored stoneware, her work. fired to Cone 6 in oxidation, 8t/'2 inches in height. Karen is currently on the art faculty at Send news and photos about people, Barry uses a white stoneware which the University of Wisconsin, Madison. places or events o[ interest. We will be tolerates additions of moderate amounts of pleased to consider them for publication colorants and withstands quick stiffening AILEEN O. WEBB 1892-1979 in this column. Send items to: News & with a hairdryer to allow rapid handbuild- Aileen Osborn Webb, founder of the Retrospect, CERAMICS MONTHLY, P.O. ing. The artist's method of mixing batches American Craft Council and the World Box 12448, Columbus, Ohio 43212. Crafts Council, died August 15, at her Continued

October I979 67 NEWS & RETROSPECT

of colored clay follows: Place two quarts of water in a pail, sprinkle colorants on top of the water, cut ten pounds of plastic clay in thin slices into the pail and, without mixing, allow the batch to slake for a few days while the clay and colorants settle to the bottom. After siphoning the layer of TEACHERS clear water from the top, just enough re- ACCLAIMED mains t,~ allow ca%" Mending with mixer #1 THE FINEST LOW COST WHEEL YOU CAN BUY [

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GEORGIA DESIGNER CRAFTSMEN "Border States," a regional invitational craft exhibition, was held earlier this year in Atlanta. Craft guild members in Ala- bama, Florida, Georgia, North Carolina,

Amy Landesburg South Carolina and Tennessee were invited by Georgia Designer Craftsmen to submit works for the muhimedia event. Shown from the exhibition is a raku-fired,

68 CERAMICS MONTHLY slab-built construction, 12 inches in height, by Atlanta artist Am 3 ' Landesburg. Photo: A message to all 3like Lawsky.

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bition, "Herman Carl Mueller: Architec- WE HAVE AVAILABLE the complete RATCLIFFE tural Ceramics and the Arts and Crafts Movement," displayed the artists's draw- line, including jigger wheels,, combination ings, photographs, manuscripts, tiles, tile (throwing/jiggering) wheels, and vertical and settings, sculpture and pottery at New horizontal pug mills in both deairing and Jersey State Museum, Trenton. non- Herman Mueller's encaustic (literally deairing models. In fact, the Ratcliffe Model inlayed) tile process put color in the body R-100 is the only true deairing mill priced with- rather than just on the surface, and was in the reach of artist potters and schools. technically mosaic because the designs were executed in clay tesserae, ~-ineh square in cross sections on a 6-inch square tile. WE HAVE casting slip, ware trucks, glazes and Designs were created first by stamping more. an original sketch with a grid corresponding to the tesserae, then designating which colored clays were to be used in each WE'VE BROKEN every record in the book during ~,~-inch square. From the drawing/grid, a our first 18 months, and now we're set of paper templates (one for each color) looking for with perforations locating the position of more new dealers. each inlay was made; then the paper pattern was cut into six-inch squares. A cellu- IF YOU are growing too, lar framework, corresponding to the sketch and if you are looking grid, was dropped into a solid steel outer for products that work for you instead of the frame which served as a tile mold; next a other guy, we'd like to talk to you. perforated card for a particular color was laid on the framework; dry, powdered clay of that color was shaken onto the frame, George VanBuskirk, Sales Manager passing through the designated perforations and filling corresponding cells below. With each change of template, different colored clay would be used until all of the more than 2,300 ceils were filled. After the cellular framework was removed, a SPENCER SUPPLY, INC. coarser dry clay was packed into the steel outer frame, and the piece hydraulically 5021 S. 144th, Seattle, Washington 98168 pressed, then fired in the usual manner. Although the process sounds tedious and Phone: (206) 242-2372 time consuming in comparison with con- Continued

October 1979 69 This drawing by Da Vinci is one of the most widely recognized symbols in the world. But do you know what it stands for or why we adopted it 10years ago ?

A.R.T. STUDIO CLAY COMPANY 921 ~ Street, Elk Grtwe Village, IL. 60007 (312) 593-6060

IT STANDS AS A SYMBOL OF We are now offering a SAMPLE KIT WHITE RAKU. A Raku body MAN'S HIGHEST ACHIEVEMENTS. consisting of moist 4# samples of each ,with 16% fine sand and grog Originally drawn as an anatomical of the clays mentioned below plus 2 content. Also useful for larger sculp- study of the male figure to aid heavy tfleboards of fired samples as tural work. R126. DaVinci in his paintings, it has tran- shown below plus our 116 page scended its origin to become a catalog for $8.50 plus U.P.S. or Parcel Z RED RAKU. A red version of STANDARD OF EXCELLENCE. Post according to the table below. the above for a carbon black raku reduction look when raku fired. Rl16. We adopted this trademark 10 years / ORANGESTONE. A warm ago so that we would have a constant p orange body with a low shrinkage . BUFF I. A basic buff with 4% reminder of our reason for being in rate which looks as exciting as any sand and grog. A good general business. It's served us well. fired in reduction. Must be seen to be purpose clay. $103. appreciated. Sl18. For example, when the gas shortage BUFF II= Same as above except was all the rage we set out to develop SPECKLESTONE. A light 9o with 8% sand and grog. S104. ORANGESTONE - a cone 5 oxidation ospeckled, body using nontoxic body that looks identical to a good specks which increase in size as the BROWNSTONE I. A warm light cone 10 reduction fired body. It was temperature rises through cone 4-7. I~ to medium brown body with 4% an enormous task. It took one full Sl17. sand and grog. $107. year of formulating and testing and tens of thousands of dollars in re- SPECKLED TANSTONE. A llqBROWNSTONE II. Same as search and development time. But we 3o beige version of Specklestone. ,above except with 8O/o sand and did it because it was a significant $124. grog. S108. development that would aid potters. 4e SPECKLED BROWNSTONE. A When the sulphur content of many of medium brown version of Spe- the old standard fireclays everyone cklestone. S125. was using began to rise we set out to reformulate our electric kiln bodies with cleaner burning clays. No one else in the industry seemed to worry clay - an exceptionally white and ~----"~~ about the problem other than to plastic kaolin mined and processed in suggest extra ventilation. But we the U.S. Fluxed for 1 knew there were many studios and use at lower classrooms where that would still temperatures I;4'R.I • pose problems and we were con- but better at ~ --:i:_~" ~- ...... - L/~ cerned about the health and safety of our customers. So we tested the translucen iii'~ tAll cleanest clays on the market today. cy. P120. ~ .'~,,,- We worked with the engineers at the various mines around the country and we tested and tested in our own

laboratory until we had the cleanest : ~ '~ burning electric kiln bodies without

the least compromise in quality. ||||u|| leee || • niHau n la||H||===,= 0 |,=• unmlumlnn=nnmuu|||o||a|||n||||~||ll|||nn.nHnn||l|n|n||||||||||nH|BIHn| SNIPPING CHARGES 46 pounds U.P.S. {Miles from Chicago} We can honestly state that we have 0-250 250-500 500-750 750-1000 1000-1500 1500- the finest, most exciting, clean 4.30 5.20 6.60 8.05 10.20 15.05 burning, cone 4-7 electric kiln bodies OUTSIDE CONTINENTAL U.S.A. $25.00 on the market today.

70 CERAMICS MONTHLY NEWS & RETROSPECT as clay should he art as well as decorati\c man felt that tile lack of formal training and utilitarian and that "the artist and the for Americans in the crafts was an edu- people temporary industrial processes, it was her- artisan are not so far apart as some cational failing. In spite of this criticism or in him as aided at the time as an inexpensive means imagine." This idea was instilled perhaps because of it, the young and ambi- father, to of producing complex murals. Advantages a boy in Germany where, like his tious craftsman decided to immigrate At age were its unusual celhdar appearance, hard- he studied the old craft traditions. the United States. He had heard how ness, durability and moderate cost. 1 ~, he was sent to the Nurenberg School pleased the Americans had been by the of Industrial Arts to develop his craft, European craft objects they had seen at then to the Munich Academy of Fine Arts the 1876 Centennial Exposition in Phila- to indulge an artistic bent in the study of delphia. ~,culpture; followed by four years of ap- His first ten years in America were spent prenticeship to various sculptors through- employed in a cement works, art pottery out Germany. shop and a tile company. His most impor- Aware that his education at German tant artistic contribution during these years trade schools would be important assets in was the modeling of nine figures of statu- obtaining success in his own career, Her- Continued

q t ontemporary Kiln Co. t Encaustic tile man/t'l The fireplace mantel shown, above, from the Rogge Hotel, Zanesville, Ohio, is an example of the resultant encaustic tile. To demonstrate the versatility of this process Herman designed a series of historical j CONE 10 PRICE motifs from Egyptian, Classical, Persian, Medieval, Italian Renaissance and Ameri- can Indian eras. Additionally, he began 13.3 cu. ft. $845.00 creating larger wall murals such as the coat of arms of Louisiana (detail shown below) installed in the United States Gov-

Flame-Up !!

Detail, characteristic gridwork pattern for 1979 ernment building at Baton Rouge, and the kiln mural over the entrance of St. Nicholas with our C-13.3gas Church in Zanesville, depicting Catholic DEALERS NOW BEING ACCEPTED Phone (916) 927-1823 Columbus landing in America; both works remain intact to this day. Kiln Co. B~ Herman Mueller The Contemporary Throughout his life, P.O. Box 13585, Sacramento, Ca. 95813 believed that traditional craft media such

October 1979 7 l i '!!

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72 (51.:RA.',IIC S ~I(>N'I II I,'," True Venturi Burners NEWS & RETROSPECT These efficient cast iron burners are guaranteed not to back burn even when using propane. ary for the top of the south portico of the They are rated at over 85,000 Indianapolis State House and the design BTU/hr., and can be turned down tu a very small candle of the classical pediments that decorate flame. four sides of the building. industry was just "Write ]or literature" The decorative tile emerging in 1887; when offered a position CALIFORNIAKILN CO., INC. as modeler with the growing American Encaustic Tile Company in Zanesville, 8320 El Camino Real, Atuscadera, CA 93422 (805) 466-5870 Herman accepted, and it was a good match. Here he created relief tile panels which competed with wood and marble in fireplace mantels because the tiles were less expensive, fireproof, easily cleaned and could be mass produced in a variety of • POTTERY designs and colors. The company's earliest designs were 6-inch squares decorated with • SCULPTURE geometrical patterns for use singly or in groups. Later, patterns were extended over • ENAMELING two or more tiles so that several pieces had to be placed together to complete the design. Herman's most outstanding designs were produced for these multiple-tile 1025 N. MAIN ST. panels. He modeled a variety of motifs, but DAYTON, OHIO way yet to use the regarded his classical-figure panels as the = The easiest to 45405 pplg most important; these he often signed. 3-cone system (513) 228-6777 At this point, Herman began receiving = Simply place cones on any flat special recognition from ceramic historian kiln-washed level refractory Edwin Atlee Barber (1851-1916) in "The for a cone Clay-Worker" magazine. (He later wrote surface no need for this periodical.) plaque The renowned ceramic chemist Karl • They are the most accurate LOW PRICES ON Langenbeck joined the Encaustic Tile Company in 1890 and he and Herman cones available productive team. SHIMPO-WEST, BRENT, collaborated as a highly • Setting angle and height is their innovations was a system of Among always correct CRESS kilns and creating portraits that resembled photo- relief-- graphs on a plain surface without IM¢ LECLERC weaving looms I)y engraving or carving the design and All Shipments Factory Direct filling the depressions with colored glaze. Available in to Save You Money During their employment, the company's Box of 25 or " , fifty- Blister pack ~'~1 K For free price llst write: growth was such that an additional seven buildings were opened in 1892. of 5.... THE POTTERS' MARK Although recognized for their work at Route 3. Buckhorn Rd.. Gntlinburg, TN 37738 American Encaustic, Langenbeck and Serving entire Continental United States Mueller realized that to achieve real sig- nificance, they required more indepen- dence; thus, they established a new corporation-the Mosaic Tile Company in POTTERS' WHEELS Zanesville. It was here that Herman, We stock and sell the leading potters' wheels (shown, page 69 with members of the L-OCKERBIE. ROBERT BRENT. CRUSADER., 5HIMPO-WEST, SPINNING TIGER, PACIFICA company) developed and patented the true and CLAY DEVIL. Send large stamped ad: encaustic tile, and Karl published "The dressed envelope for brochures. Pottery," the first book on CAPITAL CERAMICS, INC. Chemistry of 2174 South Main St. (801) 466-6471 ceramic chemistry. Herman was still inter- Salt Lake City, Utah 84115 466.6420 ested in upgrading the quality of ceramic products; he and Karl were among a Write for Orton's new 12-page group of 22 who chartered the American booklet: "Cones for the Potter" Ceramic Society in 1899. Herman soon or pick one up at your dealer. Honey Twirlers for honey peril became disillusioned with the society because it emphasized science instead of addressing the problems of artist/craftsmen. Slanoaro Since 1896 Mueller eventually moved to Trenton and worked for several other tile companies until he saw a growing need for more The Edward artistic tiling; in 1908 he founded his own firm--Mueller Mosaic Company. He began OFITON working closely with architects, helping Jr. Ceramic $2.10 each, wholesale them develop tile and stucco applications (plus ~:% shipping, $1.00 minimum) on exterior building surfaces, and con- FOUNDATION WONDER WOODS tinued to make decorative tiles with clas- 1445 Summit Street • Columbus, Ohio 43201 217 Hartford Ave. sical designs and carved relief panels. Phone (614) 299-4104 • 32018 Daytona Beach, FL Continued

October 1979 73 PARAGON WON'T DISCRIMINATE AGAINST YOUR WARE BECAUSE OF SIZE, SHAPE OR TEMPERATURE.

We can handle all your big Form-fitted, heavy gauge, ideas, and you won't have to size stainless steel jackets offer a rust- them to fit. proof, snug fit. Hand lifts make With our giant capacity mod- them easy to move and operating els you can fire large pieces or instructions make routine jobs a large loads daily to 2300 ° F. And cinch. Safety hinged lid stays in that takes care of stoneware, place with lock-in lid support or porcelain, ceramics, china paints rests on the fall away, adjustable and gold. Prop-R-Vent. You can even add Rugged construction and de- a blank collar to increase your pendable, 4-way rotary switches firing depth. let you control heavy duty ele- If you're looking for a kiln to ments set in dropped, recessed handle all your big ideas, you'll grooves. There's a full inch of need to look at something yellow high temperature block insulation in the bottom, first. Your yellow pages. That's where you'll plus a reversible layer of refractory brick pro- find your local Paragon dealer, available to help tected by a full-formed steel base. Models A-99B in your selection. and A-100B feature a solid steel top that covers Or write us today, and we'll send you our an extra inch of block insulation in the lid, and latest catalog with information on more than 35 the A-28B has special 3 inch insulating firebrick models for ware of Oany size, shape or tem- walls. perature..... :~. Ca~~Industries, Inc.

74 CF.RAMICS MONTHLY Frctnco~Je Cerczln~¢S,Inc. DISTRIBUTOR FOR: Honovia Lusters & precleu8 metals NEWS & RETROSPECT CREEK-TURN'S Paragon Kilns Duncan Ceramic Products I i i i i A this Herman considered his best work from IlP~i v V V i V~l IN STOCK: period to be frost-proof enameled tile that Large selection of Alberta • Arnel • Atlantic of contracting • Fres-O-Lone • Holland • Jamar-Mallory • could withstand the strains Kentucky • Kimple • Ludwig.Schmid • Weaver and expansion. The tile was made from & White Horse Molds earthenware mixed with grog. The clay Slip-O-Mcdic representative was cut into appropriate sizes, pounded SYNTHETIC Complete ceramic supplies. into dies, dried from four to five days, WHOLESALE AND RETAIL fired, then ~lazed with various combina- 113 49th St. South, St. Petersburg, Fla. 33707 ASH KILN/WHEEL SALE ¢i~l~~ 20% OFF LIST INCLUDES KILN SITTER 2 Model 2327 - 7 cu. ft. $512 Model 1727 . 3.95 cu. ft. $364 Model G-2327 • 7 cu. ft. gas S520 FORMULATIONS Model G2927 - 18.3 cu. ft~ gas $644 Herman ~luel[cr KILN KITS 30% OFF LIST Model G331 . 8 cu. ft. gas $290 tions of red lead and other metallic oxides. 2 pounds each Model G931 . 11.84 cu. ft. gas $402 tile mural posts. An example is shown, above--a We carry full assortment of kiln shelves and glaze. 4 Pounds CRUSADER Wheels 15% OFF LIST with multicolored semi-gloss Total Model 101 V3 hp, $345. Model 102 th hp, $404. Other projects completed during this Le Press - Hydraulic Ram presses. polychrome-decorated pools, DELIVERED IN USA Ouanfity discounts available. Shipping extra. time were the Ohio residents add 4% sales fax fountains and walks at the United States POSTERITY STUDIO Embassy in Tokyo and, considered by $5.00 No C.O.D's 2687 Osceola Ave., Columbus, OH 43211 some, the company's most outstanding (614) 263-1319 achievement, the ceramic decoration of the Rotolactor of the Walker-Gordon Dairy in Plainsboro, New Jersey. The latter build- 8rent . Soldner . Muddox . Marathon ing's concept was based on a milking Paragon - Cress . Olympic . Kemper . Orton Gallery Sales . Commercial Firing process that was intended to revolutionize Chemicals & Miscellaneous Supplies the dairy industry by producing the most sanitary and hygienic milk possible. The BLUE SAGE POTTERY use of tile in the dairy fulfilled 4911 w. Clearwater, Kennewick, WA 99336 extensive (S09) 735-1702 the sanitary requirements. In addition, Jesse Greenoucjh, Jr. Nancy Kay Strom Mueller was commissioned to design and Raw Materials construct a series of fifteen colored panels to illustrate various phases in the history of bovine domestication, culminating in the modern dairy. Ten of the murals were Clays & Glazes historical, depicting the cow from prehistoric through modern times, and five scenes represented the major dairying "special" countries. Each mural consisted of eighty- six tiles and measured 3½ feet in height Frits & Glaze Stains Ci;NFEiSin:6R1;g e ~ by 8~2 feet in length; all were placed above the windows in the Rotolactor obser- CUSTOM BLENDING aJ [ of CLAYS and GLAZES WESTERNCERAMICS SUPPLY COMPANY 1601 HOWARD ST. SAN FRANCISCO, CALIF. 94103 WHFFL

KRAFT KORNER O Haus Scales NK-K--~N"Aristocrat~ of Crafts"...... i ~'. ~~) Kemper Tools ew Catalogue $2.00 Sponges • Brushes o charge for schools & institutions 10% discount with first $10 order or more ~~ * Slip Mixers

Specialists in Supplies for for detailed information write: Enameling, Leaded Glass, Fountain ration room. Mueller also created cow- Decoupage, Tole Painting, headed fountains, one of which is shown, CREEK-TURN Smithing. above; he even designed the company's SUPPLY Silver crest and milk carton. Some 4000 people CERAMIC Marge Wennerstrom from across the United States attended the Rt. 38, Hainespor~, N.J. 08036 5864 Mayfield Rd., Clevelend OH 44124 dedication ceremonies, and Thomas Edi- (216l 442-1020 ' Dept. CM Phone: (609) 267-1170 i Continued d

October 1979 75 . a~, ~-

,..,-

Ron Larson has eight strong reasons why you should choose a Skutt kiln.

That's right. Ron owns eight Skutt 280's. loading and firing to smooth his produc- They're the heart of his production tion flow. And, unlike a single large Kiln, ceramics company, R.D.L. Enterprises, his 280's give him versatility and much in Walla Walla, Washington. Ron and his less risk in case of a glaze or firing error. crew keep all the 280's busy, firing bis- And how about firing techniques? que and Final glazes for ceramic wood "We've had super luck with it. Our colors stove plaques and grilles. have not changed -- no problems at all." Why choose Skutt? Ron puts it this Even if you're not a production cerami- way. "We started with another brand kiln cist or potte~ these are important rea- from our glaze manufacturer. We were sons to choose Skutt. Because every looking for the additional size, so we Skutt 240V kiln is built with the same bought two 280's. We feel that we get quality as our Model 280. It means they more even heat distribu- last. And it means they tion. Our color consis- have high resale value tency is so mucfi better. when you are ready to We've had very few prob- move up to your 280. lems, other than occa- Before you buy, visit sional man-created ones." your Skutt dealer. For the What about productiv- name of the one nearest ity? "We can fire 60 of our you, write to Skutt larger 3-piece sets, 100 Ceramic Products, 2618 of our smaller sets in each S.E. Steele Street, 280. Equipped with Portland, blank rings, they've got ~r" • Oregon 11½ cubic feet capacity." It means that while Ron or call has 92 cubic feet total ca- (503) pacity, he can stagger 231-7726.

76 CERAMICS MON'rHLV POTTERSWORKING FOR POTTERS Distributors of ¢,c~_rs;tat AIM • Skuft ~'-',~ .j-.~ Brenf • Soldner Crusader • Max NEWS & RETROSPECT "~ L & L • Walrus -~~ CLAY • GLAZES son, waiting in his home in West Orange, SPIGOTS New Jersey, pushed the button that started TEAPOT HANDLES the Rotolactor several miles away in SPONGES Plainsboro. TOOLS • CORKS few architectural KICKWHEEL KITS Herman Mueller had Send for latest catalog $2.00 commissions thereafter. Ceramic decora- GUILD tions and tiles were being replaced by THE SALEMCRAFTSMENS linoleum and asphalt tile, as ceramic com- 3 Alvin Place, Upper Moutclair, NJ 07043 746.8828 ponents became too expensive for archi- LET M;I tectural applications. Additionally, changing fashion called for a sleek, new look, free of surface pattern. Regardless, Herman Protect your favorite dungarees with Mueller never lost his belief in hand- Throwing Apron crafted ceramics and tried to adapt to the The new style. He clung to the ideal of har- BYRNE'S CLAYS S,M,L mony between craft, art and production. Made of Buckboard -- 100% Vinyl and Cotton At the time of his death, shares in his "Exclusively Designed to protect your legs from splat'toting clay while working at the company were listed as having no value wheel." and within a year the firm was dissolved. ARE SUPER! Machine washable ...... W~ Bib S14.00 Photos: ]oseph Crilley, courtesy of the Rust or Brown ...... W/O Bib $12.00 Adiustable waistband ...... Child's $8.00 New Jersey State Museum, Trenton. For Magic at the Wheel -- Discounts 6-12 10%, 12-24 20%, 24 or more 30% TONY HEPBURN Add 75c for handling & shipping. For Sculpture or Modeling -- Conn. residents add 7% sales fax Sculpture by Ton), Hepburn presented in a recent one-man show at Greenwich For Successful High Firing -- POTTER'S WORKS House Gallery continued to confirm this Box 3, Mansfield Depot, Conn. 06251 P.O. artist's interest in clay with other materials. According to lane Hartsook, Green- wich House Pottery director, Tony's "ana- YOU CANNOT BEAT THEM! lytical framework focuses attention on the formal language of the visual structure-- Stoneware Raw Materials Quality Kemper Tools the tensions complete stock space, mass and surface--and Send 50¢ for catalog Earthenware Minerals CERAMICS & CRAFTS SUPPLY CO. Porcelain Color Chemicals 490 5th St. San Francisco 94107 Glazes Roku Low & High Reduction Firing SLIPS Black Clay Wheels & Kilns NEW -- CORK CIRCLES Grogged Clays Tools etc. NEW s/e" diameter pressure-sensi- 119, tive CORK CIRCLES with adhesive backing to protect tabretops. $14.75 per thousand. 20°/o discount on pur- CUSTOM BLENDING "Slats" chases of S,O00 or more. Minimum Free catalog with quantity pricesl they impose on one another. Shown, above, order 1,000. from the exhibition, is "Slats," 29 inches in length, six blocks of carved brown stone- Phoenix Design Ltd. ware and three reduction-fired white stoneware extruded rods. Box 29048, Chicago, IlL 60629 1312) 436.1977 In his statement for the exhibition, AS WE HAVESAID FOR YEARS: Tony commented, "The recent work concerns itself with the following: "Geometry and a material without form and the impositions they make on each EVERYTHING A other, like square pegs in round holes. "Drawing--the tentative questions that emerge within the overall concept that one POTTER NEEDS can intuitively deal with. "Placing and locating--the geometry IS AT provides the abstract. The placing and locating of the elements is determined by the material at the time of use. "Surface--there is usually one indication of the major surface. Everything else is oll top of or below it, but all three share CERAMIC SUPPLY CO. INC. equal importance. Some aspects of a ce- N.J. 07836 gloss, 95 Bartley Road, Flanders, ramics tradition, such as glaze, glass, (201) 584-7492 Continued October 1979 77 AVAILABLE NOW ,~ Complete line of stoneware and earthenware clays plus glazes at the best price. A full line of ceramic chemicals. Equipment and tools by such people as Robert Brent, Kemper, AIM, Lockerbie, Ohaus, and Amaco--just to name a few.

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Producers of 'True Albany' Slip Clay Blackbird Clay [Qotle,y .gnc. ! of each model avail- un Pottery. 27" w/sitter & timer NE'~VS & RETROSPECT 18" w/si~er & timer surface, interior. Others refer to less spe- FREE 27" w/sitter $600 cific roots, like mapping, signposts and v. -- 9" • 10" In- r $154. drawing." V. -- 6" X 12" in- r $1S4, Tony Hepburn was born in Manchester, 5% discount and has been exhibiting 27" w/slt~er England, in 1942, 18" w/sitter FROM Alpine Equipment Fest Ohio. on, Ohio 45404 (513] 461-2218 IDOS

FLORIDA POTTER'S SUPPLY, Inc. * clay, glaze, equipment Industrial Drive Tallahassee, F1.3a304 (904) 224- 3326 J

Tony Hepburn since the early sixties. He is presently head of the Division of Art and Design at Alfred University, New York. Shown, above, is "Cone," 24 inches in height, a slab-built construction of brown and brown-black reduction-fired stoneware; a plate glass isosceles triangle leans against one side. Photos: Joshua Schreier.

KAREN HOPE The Pug Mill Gallery, Denver, featured ceramist Karen Hope in its first major • • l M%.~VV exhibition of the year. Karen works exclusively with porcelain--her forms are functional with Japanese-influenced brush- catalog work, linear slipwork and faceting. Karen SpecifiCally EVERYTHING FOR THE POTTER.= For Schools clays . Chemicals . Dry Glases KILNS- Crusader, Shut(, Geil, Paragon & Contempo WHEELS ~ Brant, Randoll, Skuft, Shimpo & Institutions Lockerbie, Crusader & Pugmills . Mixers . Kemper Tools Ohaus Scales . Corks . Books We are leaders in the ceramic • • • Much, Much More industry. Our catalog is full of Cbtalog $1, Free to Institutions exciting and challenging prod- L & R specialties :ai ucts. Order your copy today! 202 E. Mr. Vernon, P.O. Box 309 Nixa, Mo. 65714 (417) 725-2606 I WRITE OR CALL: 7 • Karen Hope DISTRIBUTORS WANTED OHIO CERAMIC SUPPLY says, "A focus of my work is the relation- FULL LINE OF CORK PRODUCTS ship of surface to form. I have been work- P.O. BOX 630 WRITE ON YOUR COMPANY ing with brush decoration for four years KENT, OHIO 44240 LETTERHEAD and have been combining slip with brush- 216/296-3815 CORK PRODUCTS COMPANY, inc. work for the past two years. The faceted 250 PARK AVENUE SOUTH pieces are an attempt to manipulate the NEW YORK, N.Y. 10003 Continued

October 1979 79 THE IMCO VARIETY OF COLORS IN FORMULATED CLAYS ARE UNSURPASSED BY ANYTHING AVAILABLE OUTSTANDING WORKABILITY, SUPERIOR DRYING TO PROVIDE THE OPTIMUM IN QUALITY OF FIRED CHARACTERISTICS. AND CONE RANGES TO MEET OBJECTS. RECOGNIZED AS THE STANDARD FOR THE MOST DISCRIMINATING POTTER ARE FUNDA- FORMULATED CLAY BODIES BY MANY SCHOOLS. MENTAL ELEMENTS OF OUR CLAYS. OUR CLAYS COLLEGES AND PROFESSIONAL POTTERS. FIRE TO WHITE, LIGHT BUFF. OR TO A RICH RED BROWN WITH IRON SPECKING. IMCO CLAYS EN- ASK YOUR NEAREST IMCO DISTRIBUTOR OR COMPASS EARTHENWARE, STONEWARE AND THE DEALER FOR THE FULL COLOR DATA SHEETS AND LATEST DEVELOPMENT OF PORCELAIN BODtES. PRICE LISTS ON IMCO CLAY BODIES AND CERAMIC ALL POSSESS GOOD THERMAL SHOCK RESISTANCE CHEMICALS. OR WRITE US. P.S. EXCLUSIVE DISTRIBUTORSHIPS AVAILABLE IN SELECTED AREAS. INDUSTRIALMINERALS CO. 21074 CABOT BLVD., HAYWARD, CALIF. 94545 (415) 786-2674

L V..... iiiiifiii;iffiiiii:ii ...... i LOOK WHAT THOMPSON I]' lr Pu,,, a.s , OFFERS YOU ,,, .....~ ~--.-::.. I/ : I By Kay Healy. Here is a gu de to conducting classes in I l/ ~ ceramics, porcelain, glass and oh,no pa,nt,ng. Th,s II ~' .~ . / / I 104-page book provides step-by-step lesson plans for I .q~'~.~,,,o ~ [ .I the beginning teacher or the experienced professional II r,~ .~JL~'~d~ ~ ~,,. ~ I/ • who wishes to bring something new to her students. Pro- e ~'~,, ~ ( ~ fusely illustrated. For the distributor, it can be used as a | ~,., L II text in seminars for teachers ~. and dealers. $7.00 each. II ::.~- , II II

~: | | I FOR CERAMICS ANDCRAFTS Would you believe that all of the items I pictured above can,.be / / I By G. Maynard Clark. yours . . . and get you sJtar'l'ed The author is a leading authority I enameling . • ..for only $81.70; | / | on airbrushing and Yes, that's correct, carnie imroauces has pioneered in the creative use Thomps.on's ., g .... a new | | I ofthistoolintheceramicfieldHisprofuselyillustrated package cons;sting ot a.n. elect rlc. .kiln ,t ...... |nslae atmensmns ..... I ,,..v 1 1 I book includes instructions and comprehensive 5" wide, 7" deep,. 4 hlgnj ann, m,c,ua,ng ~nforma- I a 1~,/~l~ll;;ruL-~-" J | I tion on equipment and techniques pertaining SELECTED...... group ot enamels metal snapes ann suppqes . • • • to one ; eve rain you need ~:__ .._media.l.el ~ | | , stroke underglaze application,.... • ry g to story enumu, Ily I. I * * " / / • includmg glazing with a I 'For onl laze Y "$81 ' 95 plus shipp ncj charcjes Send your order today |/ I g g q un Bis ue and craft decoraton s explored l with payment for • " Jl .... promp~ sh,pmenL . - ~ . || I ,n deta ~4 UU eden. g The new Thompson . " I catalog, a ong with its ,amous ~;o,o~l~u;a:n ,, ; is waiting for I you . . . just mail the coupon and it wi • [/ I its way . • • absolutely FREE. I ...... ~| I THE WONDERFUL BUSINESS OF CEflAMICS [| I I By Merle Peratis. It's the handbook for dealers and I I| I teachers who need Thomas C. Thompson Co.. help in setting up and managing their I ...... l/ D ios It's a practical Dept. CM 10 1539 Old PeerTiela Koaa cluideto profitable studiooper- I " .-- ...... ~| -I stud ..... Highland Parm, alimO,S ouuaa ation with 20 cha[:)ters brimful of informat~on about studio I. • a~ment for a ~ .. new kiln nackage ~/ I layout, obta n ng customers [] Enclosed ,s ,p I. .... , , . ", • pnclng wares, proper buy- I |illinois ll I Lng methods record resiaents Odd bTo soles TOX.] keeping, etc. This book can start new I ...... I // ' // II dealers off properly " [] Please rush FREI: 1hem son ~,.am ca. or save some shaky businesses. P l/t~ I New edition, revised and enlarged. $5.00 each. II Name .... /11 Address ~ -~. -- [/ I Potluck Publications, City P.O. Box 48643, Los Angeles, CA 90048 I State ,Zip J I ~mm~ ~i~i~i,ma~i~imi~'~m~ ~ ~m~l 80 CERAMICS MONTH L"," NEWS & RETROSPECT

surface in contrast with the circular form of a cylinder. I am interested in contrast arol uzann ® and use clear celadons so that the clay surface is apparent." Karen uses oxides with additions of nepheline syenite or barium carbonate and water which she Ceramic Fiber Easy Step by Step Methods for Adhering Bats to Wheelheads. SPECIAL PURPOSE

12" ALUMINUM WHEELHEAD with one.inch bore $23.00 DECORATOI

~f0~der~'~l~t l~sor~ ~'~ottery SPECIAL Rt. 1, Box 62, Sperryville, Va. 22740 / (703) 987-8625

Porcelain bowl COMMERCI, brushes on bisqued pots before glazing so BAT MOLD S12.95 plus shipping & handling. that she can handle the forms while work- This Bat Mold makes ing on them. excellent plaster ~ / / ~ \ \ bats 12"x11/4 ''. [[,~"- ~"--J / ', " Karen's clay body recipe follows: Fits Wolsh, ~ ~'~( )1 Potash Feldspar ...... 25% 18 cu, ft. 2 plal Brent or other , ~__ Jj~.~ @/,,' 10" hole span heads, ~~,.__.~"/' Kentucky Ball Clay (aM4) ...... 25 Easily adapted to any wheel head. Edgar Plastic Kaolin ...... 25 (CSE-EV.18-2 D[ Walsh Mfg. St. Paul, MN $5113 Flint ...... 25 1984 Cry. Rd. C-2 612-636-5657 100% Add: Macaloid ...... 1% Shown, top, from the exhibition is a SAN DIEGO -- Kickwheel kit -- Mod-e porcelain bowl, 6 inches in diameter and, {me~al parts) $69.S0. Full line of potter's wheels, gas and electric kilns. Gas kiln parts, pucj mill, chemical, scales etc. Catalocj $1.2S. e 10 Brochure on selected items free. Fh. 424-3250. • Portable & light weight WAY-CRAFT 394 Delaware St., Imperial Beach, CA 92032 • 30% to 50% energy savings

We're celebratincj Box, envelope, shuttle, tunnel type. our 27fh year of publication! Carol Suzanne Kilns come in a full range of sizes or custom designed PLASTI-BAT Tough, rigid 100% plastic bats. No warpage, to fit your needs. For free brochure or lasts for years. PERFECT FOR SCHOOLS. 8" S1.30 10" $1.60 further information contact our 12" $2.00 14" S2.7S Shil~ped freight collect. engineering department. Special stzes and squares available. Send for brochure. PLASTI-BAT 1S20 Atlanta, Irving, TX 75062 (214) 2S2-7035 Financing and leasing available

L 6, L KILNS Ceramic Faceted container • . . the most complete line! The only kilns with patented DYNA-GLOW above, a faceted container with blue cela- element holders. Write for information. don glaze, 8 inches in height. L and L MANUFACTURING CO., Box 348 Karen, a self-supporting potter for the Fiber 144 Conchestar Rd., Twin Oaks, Pa. 19104 last three years, attended graduate school at Louisiana State University. Fabrication, Inc. Gare goes Hi-Fire to cone 10 CERAMIC LEAGUE OF MIAMI Berkeley artist Peter Voulkos juried the Gare has cone 10 electric kilns available. The company that pioneered. Extra insulation keeps heat in kiln. 29th Annual Ceramic League of Miami's Simple switches to operate. Write for spring exhibition held at the Metropolitan ceramic fiber kilns. price information, then check our prices. Museum and Art Center. He selected twenty-six works which he found "very GARE INCORPORATED exciting . . . what they show is extremely 878 South Rose Place 165 Rosemont St., Box 830, Haverhill, Mass. 01830 Continued Anaheim, CA 92805 Phone 7]4 • 956.9381

October 1979 81 -- <

...: -r ~---~lfi clavceinc ...... ' ......

* New Clays from J-Clay * The best in Cone 06 Earthenware Clay Bodies! Pueblo While;Avery plastic, asbestos free, talc base earthenware clay body. Very smooth and white. Red Heal; This earthenware clay body fires toa nice red at Cone 06. Very plastic clay with a stoneware feel. Formulated wdh firebrick grog and 60 mesh sand. Medium smooth in texture. Please send for free brochure and J-Kit Sampler information• J-Clay is available from the following distributors: J-Clay Co. Gold Hill Pottery & Art Gallery Marin Ceramics Black Rock Pottery A & A Potter's Warehouse 9323 Activity Rd., Suite B P.O. Box 510 23 Simms 3748 E. Van Buren 2100 N. Wilmont Rd, Units 201-202 San Diego, CA 92126 Virginia City, Nevada San Rafael, CA 94901 Phoenix, Ariz. 85008 Tucson. Ariz. 85712 (714) 566-2562 (702) 847-0737 (415) 456-7330 (602) 244-1403 (602) 885-0894

WITH ODDS LIKE POTTER'S WHEEL

Throw in with a first class wheel I000 TO I YOU'D PROBABLY BET YOUR LAST CENT- ESPECIALLY ON A SURE THING! IO4 CAN GET YOU OVER $ OO

As seen c~ NCECA/SUPERMUD 1979 IN SAVINGS IF YOU'RE ABOUT TO BUY ARCH T.'F~R CO. A QUALITY KILN, POTT~.-fi..t~;FLIES Dealer AUTOMATIC FIRING CONTROL, QUEEN~1~*}~.~ '~ ROAD inquiries OR POTTERS' WHEEL. .~,.... '~:--~,.L/) ~ invited (215) 233-06S3 WANT TO BErT

Please send more information on the versatile DINACK wheel. SEND US A POSTCARD Name THE CLAYPEOPLE Street_ 3345 North Halsted City State Zip Chicago, Illinois 60657

82 CERAMICS MONTHLY Standard Cane NEWS & RETROSPECT "OLYMPIC KILRS Teapot Handles beautiful. They are statements that tran- scend their craft. I found no particular regionalism. "]'his show can stand anywhere." was The Awarded Best in Show Alaria Brito- Z,',lucDa for ""l'lw R,.:~I'" ~,hm~u , a low- Leader in

Phoenix is proud to announce the arrival Large Kiln of our newest product for the professional poffer. We are offering the followincj sized teapot handles (outside diameters) 3", 4", S", 6", 7". Diameters may vary slightly because of natural material. These handles Design have been selected from white skin palasan (best variety of rattan) and steam bended. All sizes are $1.50 per handle. 25% discount on orders over 1,000. We allow customer to mix corl~ and handles to total 1,000. Minimum order $25.00. All orders shipped F.O.B. Chicago. (Customer pays freight) Please enclose check with order. Canadian customers please remit in U.S. f funds. We now have new styles of handles @ $1.50 each -- square, oval, and U-shape. With wraps -- $1.75 each. Please send check with order. Afada lbilo-Z~qu,,i~a Phoenix Design Ltd. fired stoneware slab construction, 24 inches 29048, Chicago, III. 60629 (312) 436-1977 Box square. Maria is an M.F.A. student at the University of Miami. ]ames Herring received a purchase award for the low-fired, handbuih stoneware form, below, 40 inches

See and use the OLYMPIC Model 2831. Over 28 inches wide and 311/2 inches deep. This huge 11.67 cubic foot kiln requires only 47 amps. You can high fire on the same power you would expect a 23 kiln to use. OLYMPIC A Professional Wheel at a Price Yon Can Afford! inch Model E-6 with 2 Side Pans (as shown) .... $255.50 KILNS are both UL and CSA listed. See OLYMPIC KILNS GILMOUR CAMPBELL or write for a free catalog. 14258 Maiden, Detroit, M) 48213 (313) $68-0561

Don't Mess Up Your Bottom! DEATON'S DING BAT

James Hctring Best Bal' you w)ll ever use. Our unique surface in height. Other award winners were causes pots to pop loose when leather hard. No foot trimming or finishing necessary. Doug Adams, Roberta Marks and Tom 12" BATS 14" BATS Morrissey. Redmond, WA 98052 1 - 10 $3.00 each 1 - 10 $4.$0 each Phone (206) 883-7200 11 - 20 $2.75 " 11 - 20 $4.30 " Custom Bats to 22" dla. KANSAS ARTISTS-CRAFTSMEN S.45 a dia. inch Enclose check with order The 1978 Kansas Artist Craftsman Asso- DISTRIBUTORSHIPS Play S~hippedef freigM collect, ciation's Conference was recently hosted by AVAILABLE 12918 Houston, TX 77045 Continued

October 1979 83 ADVANTAGES OF WEST COAST KILNS: • Even firing temperature maintained consistently • You get your money's worth with the long- lasting, more durable West Coast Kiln. • Ho gadgetry. It's the easiest kiln to operate. • Uses less fuel and gives you lower operating costs. • You order direct from Tills is our 12 cubic foot kiln. We factory. You save mid- BennetL measure firing s ¢o only SO our 12 dlemen costs. footer is eqviv~en~t to the 20 foot kiln of others. YOUR BEST INVESTMENT IS A WEST COAST KILN Carries Built for permanence and hand-crafted with finest materials. Reinforced, welded steel frames, extra deep brick lining and hard brick at all wear points. Engineered for top performance with super-fire updraft Everything gas heat and calibrated, lever-conffolled damper. Consistently good results, even with fast firing, and quick cool-clown. •.. Economical, trouble-free operation using fast efficient gas or everything a potter needs• Whether pottery is butane. Eye-level controls eliminate costly valve damage us- your life work or your avocation, Bennett can supply ually caused by heat transfer. all your needs, from de-aired clay to kilns, and everything in between• And we ship large Exact firing space, not air space. Our 24 foot kiln equals the and small orders worldwide. Send $1 50 foot kiln of other manufacturers; our 30 equals their 60 for our catalog (refundable with footer. first order), or call collect for free price list. Visa, Master Charge accepted. Prompt, efficient service. Write for price llst. lluUlell llllllel,y supply Inc. 707 NIcolnt Ave. * Winter Park, FL 32789 • 305/644.0078 (in MIAMI, phone 667.4791; In JACKSONVILLE, phone 384-8071) P.O. Box 6374 Orange, CA 92667 (714) 778-4354

84 CERAMICS MONTHLY WEBCO NEWS & RETROSPECT Now stocking distributor for the Department of Design at the Univer- sity of Kansas-Lawrence. The program included a lecture and Robert Brent KickWheels are easy toassemble and demonstration by ceramist Verne Funk extremely sturdy, The metal parts kit shown below in the foreground costs $69.50 (plus tax and from Texas Tech. University. In his work- freight). The precut wood parts in the background make the job easier and cost $75:06 (plus tax and freight). Write 128 Mill Street, Heeldsburg, Ca. De-airing Pucjmills 96448, for the name of your nearest dealer. Non-de-airing Pugmills Available From: Jigger and Jolly Wheels Wad boxes (Clay Extruders) MILLER CERAMICS, INC. 9/ 8934 N. SENECA ST. WEEDSPORT, N. Y. 13166 WEBCO 689-6253 or 689-3966 DELUXE PUGMILL #11 C ,y t -,.'

Shipping Weight 2S0 Ibs. Pres- enf shipping schedule one week. Shipped open account to Verne Funk schools. All others m cash with shop, Verne (shown) constructed a slab order. $850.00 box machine piece on which he incorpo- DRY CLAY SALE rated a mouth for a human element. He Air Floated also discussed the use of oxide pencils, WEBCO Kentucky Ball Clay underglazes, photo transfer methods he SO lbs bag ...... $3.00 10 bags or more ...... $2.S0 a bag uses on clay; and presented a slide lecture Also Disfribufors for Talc SO Ibs bag ...... $3.00 of his work. I0 bags or more ...... $2.50 a bag " Alpine • Amaco • Bluebird YSERN TILE SHOP 46S0 Old Winter Garden Rood • Brent e Cress • Debcor Orlando, Fla. 32811 Phone 130S) 295-3773 HIS/HERS A summer exhibition at the Elements • Lockerbie • Lyrnan • Max gallery, Greenwich, Connecticut, featured • Norren • Ohaus • Oneco ceramics by three couples who share studios-Andrea and John Gill, Donna Pol- • Orton ° Paragon ELIMINATES seno and Rick Hensley, and Harriet and Tom Spleth. • Randall • Soldner A MESSY Donna Polseno exhibited raku and por- • Shimpo-West • Walker celain baskets; Rick Hensley displayed cas- TABLE • Walsh • Webco Level your ceramic or pottery cups, SILICON CARBIDE SHELVES bowls, vases or tops using the "handy CLAY POSTS 13/4" TRI & ii/2" SO dandy" Ceramic Screen Board. FOR IMMEDIATE DELIVERY

LOCAL CALLS ONLY: DALLAS MIAMI ST, LOUIS 142-4368 371-3838 4S4-0236

"If You Do Not Get Our Prices Before You Buy. We Both May Be Losing Money." WEBCO Send check or money order to: Rick Hcnslc) PRICE LIST WRITE: CHICAGO CERAMICS FOR FREE and teapots such as the 1823 W 35th Street seroles, platters P.O. Box 6054, Tyler, Texas 7S711 Chicago, I1. 60609 porcelain teapot shown, with brushwork or Phone 214/$9S.3426 Collect Continued

October 1979 85 i , 41= KILNS

A I complete info~o'~" ~:~( ' ~l

OCMULGEE

A GRANDFATHER RED CLAY CLOCK MOVEMENTS AVAILABLEIN Ocmulgee Red Clay is a naturally-occurring 120R3 plastic stoneware clay used by potters and EXCLUSIVE ¢~EIGHTS schools. With a firing range of cone 5 to cone IMPORTER OF... 10, it has a rich red color in oxidation, while reduction firing gives an attractive blue-grey. BAH~R~ OP~_RAT[D CLOCK MO',~M[ NI~ HANDS Mixes of red with Kentucky Ball, manganese, I,ans,s~or Quartz Quart,'Alarm Peneulum ;enGulum *it~, Large selection Of sidles feldspar, kaolin and sand are available in any a~rh~,e B,m Barn Weslmmslel ,n black ano golc proportion.

NUMERALSAND MARKERS Ocmulgee Red Clay is furnished in airdried GOLD FACEDON BLACK- PRESSURESENSITIVE. form ground to minus 10 mesh. Red Clay is $4.35. Mixed Clays are $6.50 per hundred I"1 CLASSIC pound bag, FOB Macon, GA. Samples and clay # -~ .MODERN analysis available upon request. U SiZE $/8" TO 1.114"

INNOVATION SPECIALTIES BURNS BRICK CO. 3410 S. La Cienega Blvd. Attn: M.W. VICKERS Los Angeles, California, 90016 (213) 931-1666 P.O. Box 4787, Macon, Georgia 31208 MENTION TdlS AD ~OR FREE LA[ALOG'

86 CERAMICS 1"~¢[O N T I'I L37 NEWS & RETROSPECT

design and rattan handle, 11 inches in height. Also exhibited were majolica vessels by Andrea Gill; wine pitchers, vases The erent handextruder makes thousands of shapes previously impossible: tubes, bars, tiles, and teapots by John Gill; glazed terra- slabs. Construction is all steel with an easy to cotta boxes and trays by Harriet Spleth; remove end cap. The handextruder can be bolted to either a wall or bench. Write 128 MIll Street, and slip-cast vase and bowl forms by Tom i J .. :~-~.t:5"; ~,~ Healdsburg, CA 95448, for the name of your Spleth. nearest dealer. The three couples have been friends Available from: 1 It'--"" since school days at the Kansas City Art Located in the Columbus area. ® Institute and Alfred University. According to gallery directors Kay Eddy and Sue Complete pottery equipment CREEK - TURN CERAMIC SUPPLY Fox, the artists say that in sharing studios RT. 38 - HAINESPORT, NEW JERSEY 08036 sales and service featuring: PHONE: (609) 267-1170 and marketing of work, the benefits far outweigh any problems. "For the most part each feels that their partner's BRENT strengths are in different areas, so influ- SOLDNER ences are inevitable and healthy." AIM A-1 MARGARET FORD BAILEY A recent solo exhibition of ceramic SCOTT CREEK~ sculpture by ]V[argaret Ford at the Foster/ White Gallery, Seattle, marked a number AMACO L.J "~ of conceptual beginnings for the artist. I,,,~ ny m°re Margaret received an M.F.A. in ceramics from the University of Washington in II ~ /---.-'introducing 1974, and is now teaching pottery, ceramic de~ien and color theory at the Factory of I ThePotter's Friend the first potter's \clean-up tool

Arizona's sponge and unique soft bristle Largest brush in a single tool.

Ceramic Supplier Thoroughly cleans hands and KEMPER OHAUS nails without harmful abrasion. ROBERT BRENT RAW MATERIALS 31a~,a~ t l',)~d AMACO PARAGON Visual Art, in Seattle. She established the only $1.95 school's program in handbuilding and ce- WESTWOOD LOCKERBIE ramic sculpture and was recently named includes postage & handling curriculum coordinator for its foundation CLAYS BLUEBIRD (Ohio residents add 4% sales tax) program in drawing and design. DUNCAN RANDALL Her new work reflects a response to SHIMPO MIXERS Asian culture and mythology on a variety Dealer inquiries accepted. Write on WALKER PUG MILL of levels, including subject matter, texture, surface decoration and use of space, in- business letterhead for free sample. spired by the experiences and impressions of a five-month visit to Asia in 1973. Send check or money order to: The sculptures are handbuilt and press MARJON molded of low-fire (Cone 05-06) white The Potters' House earthenware which Margaret puts through 23 East College Avenue multiple firings to achieve surface build-up. Ceramics,inc. "I'm not interested in instant solutions," Westerville, Ohio 43081 she said. "I like the evolving process of Jan & Nancy Williams 3434 West Earll Dr., Phoenix, AZ 85017 decision-making between firings. Since clay (602) 272-6585 fatigues each time it is fired, I try to get (614) 890-4151 426 Wesf Alturas, Tucson, AZ 85705 as much with each firing as possible, yet {602) 624-2872 Continued

October 1979 87 i!iii ~!HH

I> '-

~H!H I " ~ iiiiiiii } iiiiiiii iiii

\i ' ~i!!!iiii!!iiiiii iil 1 r vl, iiiiil T C/~Y ceram s

THE BESt' 6912 ,SCH/~FER RD ~E5 oN DEARI~ORN, MI LI&IZ6 OO 313-5~1- 4~00

CORKS- CORKS - CORKS ROBBINS CLAY COMPANY IMPORTED and ROUGH CORK STOPPERS These Stoppers are of the highest quality and are available for Ira- LILL STREET STUDIOS, mediate delivery at the present time. Please enclose check with order. We a full service ceramics center invite you to compare our prices and qualify. DIAMETER DIAMETER filling the needs of schools, TOP BOTTOM PRICE TOP BOTTOM PRICE 1" 1/2" S .12 4" 31/2" S .60 institutions, and 11/2" !1/4" $ .15 41/2 '' 4" S .70 2" 13/4" $ .20 5" 41/4" $1.05 21/2 '. 2" $ .30 51/2 '' 4¾" $1.20 professional potters. 3" 21/2 '' $ .40 6" 51/4" SI.60 31/:" 3" $ .45 This fall, our weekend workshop program Height of corks varies from 11/2" to 1¾". continues with visiting artist Warren MacKenzie SMOOTH CORKS WITH OR on October 20th and 21st. WITHOUT LEATHER THONGS Phoenix is proud to introduce an ex- If you would like to be on our mailing list, offing new product for the professional potter. Phoenix is offering o finished please fill in the coupon below and send it cork stopper that has a genuine leather thong attached to it enabling the in to us. customer to remove the cork easily from any canister or spice jar the potter creates. The corks are all handmade and we guarantee the leather thong will not come out when pulled, or your money will be promptly refunded. These corks Name will enhance your pottery llne and contribute to increased sales. PRICE PRICE DIAMETER with without DIAMETER with without Top Bottom Hgt. ThongsThongs Top Bottom Hgt. Thongs Thongs City State Zip Code 1" 1/2" 1" $.-- $.15 4" 31/2" 1" .70 .65 11/2" 1" 1" .20 .18 41/2" 4" 1" .80 .75 [] Please put me on your workshop mailing list. 2" 11/2" 1" .30 .28 5" 41/2" 1" 1.20 1.15 [] Please send me a copy of your 1979 catalog. 21/2'' 2" 1" .35 .30 $I/2 '' S" 1" 1.35 1.30 3" 21/2" 1" .45 .40 6" 51/='' 1" 1.65 1.60 31/=" 3" 1" .55 .SO Please enclose check with order. All orders are shipped F.O.B. Robbins Clay Company ~ Chicago (Customer pays freight) Minimum order S2S.SO. Canadian 1021 West Lill Street ~ ~ )) customers please send checks in U.S. funds. Chicago, Illinois 60614 ~--/~---'~°'~/)/ Phoenix Design Ltd. (312) 477-0701 Box 29048, Chicago, Ill. 60629 (312) 436-1977

88 CERAMICS MONTHLY ii ¸~i ~ii!i~:

NEWS & RETROSPECT BLUEBIRD STBY still leave the options open for the next CLAY MIXER one. You constantly have to balance your KILNS ideas against the limits of the clay." She makes use of the full range of sur- All New 3-inch Brick faces available, from underglazes to china paint. Low-fire clay and commercial glazes ELECTRIC are employed to reduce the possibility of CONE 10 KILN KITS technical problems. Thicker Insulation Means m "I'm trying for the highest degree of • Lower firing cost control, and what I use allows me to do • Higher firing temperatures what I want. I am more concerned with • Stronger construction content than impressing with technical • Safer operation virtuosity." • Cools slower m but can still What would serve as an inspiration for the new sculptures was unknown to Mar- be fired daily. garet when, in late 1978, she began to Save up to 40% using a few pleasant prepare for the exhibit. She had taken a hours to fit together one of our easy- year-long break from ceramic work, totally to-assemble kiln kits. Fun to do m efficient fo use. Step by step instruc- absorbed in remodeling her house and tions for assembly and easy beautiful teaching. firing. "When I got ready to work on pieces for Super 28 -- 10 cu. ft. the show, I realized how far away I was FOR FREE INFORMATION 28"x28"x27" deep ...... $395.00 from knowing how to make the ideas in WRITE OR CALL COLLECT: Commercial Kiln Kit clay; they were very literary. I had gotten 24"x24"x27" deep ...... $299.95 away from the language of clay and the metaphors weren't right at first." Sfudio Kiln Kif BLUEBIRD MANUFACTURING CO I8"x18"xlS" deep ...... $165.95 Seeking a subject to reveal the human P• BOX 2307 Send for free brochure. condition but feeling the human form itself was too literal and overused, she chose a FORT COLLINS, CO 80522 WESTBY INDUSTRIES. INC. ~i 303 484-3243 P.O. Box 422 robe as a metaphor, and developed its potential for expressing the absent wearer Clinton, WA 98236 through color, surface decoration and pose. (206) 783.9333 She worked with paper patterns and rolled out thin sheets of clay, learning to fold and drape without moving them once joined. "The robe allows me the pleasure of NOW pattern, color and texture," Margaret said. "Inside the robes is a void, but I see their ATTENTION: National Distributor CERAMIC DEALERS, FOR PROFESSIONAL POTTERS, CERAMIC TEACHERS . . . Reliable glazes , Wide selection of colors and effects , Finest quality , Fast personalized service. Cone 06 ...... 116 glazes Cone 5 ...... 50 glazes Cone 10 ...... 55 glazes THE LARGEST SELECTION OF CERAMIC DECALS AVAILABLE Underglazes ...... 50 colors Joy Reid Catalog ...... $2.00 Duncan Catalog ...... $1.95 Phone (213) 870-6000 CeramiCorner Decal Catalog.• •$2.50 5894 Blackwelder St. Glass Decal Catalog ...... $ •50 Culver City, CA 90230 plus 25¢ ea. Postage ...... Write today for price list.

Name "What Is Lilt Is Right" Address emptiness as potent. A friend pointed out eramic Studio that in Asian philosophy, the useful part of the pot is the empty space inside." City P.O. Box 5367 Shown, above, from the exhibition is 2016 N. Telegraph (US-24) State Zip • Dearborn, Mich 48128 • PhoneLO 1-0119 "What Is Left Is Right," 28 inches in

• • • • • • , • • • • • • • o . Continued

October 1979 89 "ve• Ind ustrles" Here, at Creative Industries, we have been producing a ~ professional quality potter's wheel for over seven years. During this time, our wheel has evolved into one with a level of quality and ruggedness unequalled in the field today. The quality of the components and craftsmanship ~:~ is consistently superior. Our extraordinarily low prices prove what dealing direct with the manufacturer can mean. Our wheels offer performance superior to all ~.~ others on the market, regardless of price. But, when you do consider price, you begin to understand the total value of our machine. The ~ Medium Power Wheel is powerful enough for centering at least 35 pounds of clay. It's an excellent choice for 90% of all potters. Price: $320.00 plus shipping If you're one of the 10% who needs more power, the O, High Power Wheel is for you. Producing 1 1/3 horsepower, this wheel is stronger than you are! Price: $420.00 plus shipping Both wheels offer welded steel construction and smooth variable speed control.

For detailed informationwrite: This 125 pound pot was thrown by David Ferrin at Stoneware 'n Stuff in La Mesa, Calif. Creative Industries, P.O. Box 343, La Mesa, Ca. 92041

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90 CERAMICS MONTHLY LESLIE CERAMICS BOOK NEWS & RETROSPECT

height, handbuilt low-fire white earthen- SUPPLY CO. ware with underglaze, glaze and china Since 1946 paint. Text: Karen Wilson, photos: Ed Marquand.

PHILIP CORNELIUS "Thinware" teapots were exhibited recently at Aarnun gallery, Pasadena, by Philip Cornelius. According to gallery director Ed Nunnery, the work continued Phil's concern with traditional and functional shapes, but because of their size, light weight and extreme fragility, the objects were rendered non-functional. Teapots and other objects were constructed of variegated white and buff A CENTURYOF CERAMICS IN THE UNITED STATES Complete Chemicals Raw Materials & Equipment 1878-1978 by Garfh Clark and Margie Hughto This important text is based on Catalog - SI.00 the show, A Century of Ceramics Free to Schools & Institutions in the United States, which opened earlier this year at the Everson 1212 San Pablo Ave. Museum of Art in Syracuse, New BERKELEY, CA. 94706 York. In the decade-by-decade pre- (415) 524-7363 sentation, the wide variety of styles, philosophies, and techniques of ceramic artists is shown. The book discusses key figures and movements from the early days of Rookwood PoHery through Ade- laide Roblneau, George Ohr, Mary "Mitchell" Chase Perry, to Glen Lukens, Maiia porcelain sheets, with variations in cut-out Grofell, Henry Varnum Poor, Ger- sections, handles and surface pattern. trud and OHo Nat"zler; followed by NOW AVAILABLE Their resemblance to wartime camouflage the 19S0's rise of Otis Art Institute patterns prompted titles from military on the West NEW 1980 CATALOG #10 sources. Shown from the exhibition is Coast and the influen- • RAW MATERIALS "Mitchell," 8 inches in height, handbuilt tial American tour by Bernard porcelain teapot by the artist. Leach, Shoji Hamada and Soefsu • BLENDED & BASIC CLAYS Yanagi. A review of the sixties con- • FRITS AND GLAZE STAINS BAN KAJITANI centrates on Abstract Expressionism Massillon Museum (Ohio) was the in ceramics, then the rise of Funk • LEAD FREE CERAMIC GLAZES scene of a spring exhibition of stoneware Art and Bay Area ceramics. The • SPONGES, HANDLES & BRUSHES sculpture by Ban Kajitani. The wheel- final decade offers the years of least thrown and handbuih neriage (marbled perspective, according to the au- • MORIXCAN SAND GLAZES clay) works were constructed in the landscape motif. Shown, below, from the exhi- thors. An important section of the • KEMPER TOOLS text is made up of over 150 exten- • OHAUS SCALES sive biographies of artists repre- " CORKS 11/2''- 6" sented in the exhibition. Available in hardcover at $19.95, or in paper- • KILN ACCESSORIES back at $12.95, postage paid. • OSCAR PAUL & SKUTT WHEELS ...... CERAMICS MONTHLY Book Dept. • LOCKERBIE KICK WHEELS Box 12448, Columbus, Ohio 43212 • SHIMPO WHEELS Please send A CENTURY OF CERAMICS IN THE UNITED STATES: Complete 60 Page Catalog .r~ Hardcover $19.95 [] Paperback $12.95 "Try us for those Name__ hard-to-find items." Address CATALOG $2.00 (Free To Schools & InstEtutions) City. "Tropical Islands Number 7" State_____Zip____ Ohio residents add 4% sales tax. bition, is an assemblage of handbuih forms I enclose ~ Check [] Money Order entitled, "Tropical Islands Number 7," We Pay Postage--Money-Back Guarantee Continued ! ...... i

October 1979 91 bid CflhlPfiKS IND 0 ENCI..O~E ~,. •~.a FOR r~ TItESE EASY TO U~E, THESE f/8 ~/AI~E/ZT~ .~ 12 OR IB INCH Z OAfG ADJUSTABLE CALIPEI~ CI/A NG ERB~.~ RA I ~ ~- R L/L ~S WILL GIVE. YOU A ff_RFI • PATTERN STA/~IP5 o $6 °0 ~ $6so FITTING LID EVERY Tilt ARE FOR YOUR ~'r~ SMALLER ~ CALIFORNIAPOTTOOLS Z II II ~1 It II 2 4 5 ~f~G~, WARE, ,=,, ,i,b,h~,~,l,,I,~,l,@~l,l,,,l~,~,h,,I,~,l,~,l,£t~hl~, ,I $~Iso

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ST e~

oO {::'..7'$ '.... • 04 ",:.';,:2 :." . • =, CfiNTgRIN6 T001, 0 /:t.~CENTER POTS FOR TRIMM- ~ ".2. 0 ~ESE~S" TO.:.,''.~E IN~ OR DECORATING Nttl/.f- Till- L HIItEELJd.F--&9 IE MOVING/= Ro,,E.RH,,,~D,~ ,,.'~ ,,ou. v,~R,E~-o~ 0 PATTERNS"> rea,ruR~. ~ ~-~ I1

v.c0.80l,l, s% ~" WIDe. ~E.LTS ~l ~ ~, GO ON A 3" DIA. 03 ROLLER, IIIIII1

~,~ OakS!ab Pottery Supply, Inc.

325 Adcock Road Hot Springs, Arkansas 71901

EX Distributor For []Eagle Ceramics A tir []Paul Minnis Clay •Robert Brent Equip. frame [] Crusader Kilns and Wheels fol []Westwood Ceramic Supply lifeti []Kemper Tools I []Orton Cones [] Giffin Grip Thl •Glazes shapes. in diame [] Dry Chemicals or or cut you~ ...... r ...... •...... • ..... ' flutes, etc. Complete set of 12 dies, inserts ond bracket $40.00 F.O.B. Scott Creek. PHONE: 501-767-9300 U S. Patent .4125349 Add 6% sales tax in Calff Send check or money order to: SCOTT CREEK POTTERY 4 82 Swanton Rd. Davenport, Ca. 95017 (408) 426-5091 1 92 CERAMICS MONTHLY POTTERS' NE%VS & RETROSPECT SUPPLIES the largest unit is 21 inches in length; and, below, "Water Erosion Number 1/' the Delaware Valley x~heel-thrown and handbuilt, with carving, in A OHAUS scales R DINACKwheels C BRENT wheels a&a H SHIMPOwheels potter's warehouse STOKER® reduction kiln • L & L kilns

,', ..:r~' ~ ~- " T " ~ ~-v 3"", ~ " v:'@r : _ T J" J ~ J - L" ,÷" KEMPER tools F KINGSPIN turntables L NORMAN kilns & equipment STANDARD CERAMIC moist clays 0 ORTON cones Write - Call or come by for your free catalogue W WALKER JAMAR pug mills E Corks, Sponges R Prepared Lead-Free Glazes a & a potter's warehouse Glaze Chemicals & Colorants

T , l, 3_ -' ,, C Queen St. & Ivy Hill Rd. Philadelphia, Pa. 19118 • (215} 233-06S3

Ban Kajitani fired to Cone 10 in reduction. For more information on this artist's construction Choose methods, see his article in the February 1979 CM. miami t 'om CLAUDIA COHEN San Francisco artist Claudia Cohen held a solo exhibition earlier this year at the the best. Palo Alto Cultural Center, California. CLAY Featured in the show was a mixed media Bailey (OfNPANY, INC. Bluebird t Brent EIIPORTS Randall A FULL LINE OF POTTERY Soldner SUPPLIES ~ EOUIPMENT Walker CLAY. CHEMICALS.GLAZES, KEMPERTOOLS. BRUSHES. The right studio OHAUSSCALES,BOOKS. equipment CORKS.ORTON CONES. to fit your need. TEAPOT HANDLES KILNS 11416 Shelbyville Road AIM, A-I GAS. CRESS, L ~ L. Louisville. Kentucky 40243 502-245-1282 NORMAN, PARAGON, SKUTT BRENT. PA~~A, SHIMPO, RANDALL, SOLDNER, SKUTT write for free catalog (pVgo I Creek I 18954 N.E. 4 Ct. 4446 S.W.74 Ave. ttery "Generals in General" Miami,Fla. 33179 Miami,Fla. 33155 Portfolio $1.00. Free to institutions. sculpture, "Generals in General," (shown) 365 651-4695 305 266-6024 a six-foot rhinoceros-headed doll con- TELEX- 803208 Continued

October 1979 93 Our customers are averaging a

40% FUEL SAVINGS NEWS & RETROSPECT with ceramic fiber kiln insulation/ structed of porcelain, wire and fabric, with military clothing and paraphernalia. Also Letters are coming in from everywhere, attesting to energy displayed was "To Be Continued," a savings from our new space age insulating material, from mixed-media sculpture consisting of five 25% to over 48% with most people claiming a 40% reduc- ceramic-headed dolls of diminishing size. tion in their energy bill. Don't let another day of heat loss The heads, hands and feet of these drive up YOUR costs. works are sculptured of porcelain and the bodies are wire--stuffed and clothed. ~, Inexpensive ,i Low thermal conductivity ,/ Easily installed ,I Thermal shock resistance SAFETY PUBLICATIONS AVAILABLE ,,- Lightweight ,/ High temperature stability Several publications dealing with heahh ,,, ,,- Fits any profile Low heat absorption and safety issues are available which have ~, Eliminates spalling ~, Large or small orders direct application to studio artists. "Safe Practices And... most orders are shipped the same day they're in the Arts and Crafts: a Studio received. Guide," by Gall Coningsby Barazini is designed for use in the studio to supplement Free Brochure & Infoamat/on information about standard occupational safety and Write us today for full descriptions of our products and prices. Please pro- health guidelines. Precautions and warnings are given vide us with the type and dimensions of your kiln, as well as the for specific pro- temperature at which you fire. This will enable us to provide the specific in- cesses, with emphasis on hazardous dusts, formation and personal service that has made us the largest supplier (and vapors, fumes and chemical compounds therefore the least expensive) of our type in this field. and their effects on the skin, respiratory system, blood and other organs. A refer- We to ence section includes sources of informa- Gone and Dolly Muchow tion, guidelines for ventilation and sources of protective clothing and devices. The author states that "this book is a guide to more intelligent handling of hazardous ma- SUPERAMICS terials and processes, not an effort to deter any artist from working with materials 1613 Dixie Highway • S.R. 595 • Holiday, Florida 33590 that satisfy aesthetic needs." The booklet = Phone (813) 937-2776 • is available from the College Art Associa- tion, 16 East 52nd Street, New York City 10022, $3.75, postage paid. The U.S. Government offers two book- lets through the National Institute for ,atented Ga, Kilns by WRA, Occupational Safety and Health: Respira- tory Protection . . . An Employer's Manual [DHEW (NIOSH)] Publication 78-193A Library ($2.30), is written to aid the small employer (studio potter, college or university) in complying with OSHA requirements for Binders respiratory protection, and is meant to complement other available publications. Topics include "Why Respiratory Protec- tion is Required, .... Designed especially for Respirator Selection Ceramics Monthly, Procedure," "Respiratory these handsome binders hold a year's supply(10 Protective Equip- issues) of the magazine. Steel blades hold each ment," "Inspection for Defects,.... Respira- issue firmlyin place -- new issues arequickly and tor Use in Special Conditions" and "Res- easily inserted. These durable casebound bind- piratory Protection Program Surveillance ers are blackwith Ceramics Monthlystamped in Evaluation." A final section is intended for gold on the cover and backbonefor immediate use as the basis of an employee training identification.Your binder will provide conve-a W~rdeoV'~l r~o. ~k~o ttory program. nient way of keepingyour copiesof CM orderly RI, I, Box 62, Sperryville, Va. 22740 / (703) 987-8625 Respiratory Protection . . . A Guide for and easilyaccessible. Order today at $7.50 each, the Employee [DHEW (NIOSH)] Publica- for $14.00 or 3 for $19.50, postpaid. tion 78-193B ($1.50), discusses the aspects ~mmlm m ~ m m m ~ ~ m of respiratory protection from airborne ottt¢.® hazards encountered in the work environ- CERAMICS MONTHLY CRUSADE~ ,~ ~e.~er ment. Discussed are the selection of proper -'i Box 12448 • Columbus. Ohio 43212 respirators, methods of checking equipment Please send me binder(s) as follows: for leakage and proper fit; capabilities, limitations and maintenance of respiratory [] 1 ,,, $7,50 r-] 9' for $14 ~i iiii~ 3 for $1950 protective equipment. Appendices describe and illustrate the various types of respirators. For either NIOSI-I booklet, write Su- ~L Add~e~ perintendent of Documents, Government ~t Printing Office, Washington, c~w st=t~ Z~p D.C. 20402. i~ 1 enclose [] Check [] Money Order Supply Catalog available (Ohio residents add 4% Ohio State Sales Tax. l TOLEDO SUPPLIER LARGE-SCALE CERAMIC SCULPTURE (Add $1.50 per binder outside USA) Kay Wade (419)536-1078 Works by 17 contemporary northern 2637 Greenway California artists were presented early this Toledo, Ohio 43607 spring in "Large-Scale Ceramic Sculpture"

94 CV.RA~ICS MONTHLY Ceramics Monthly's at the University of California, Davis. Price Amerson, art historian and director QUALITY HANDBOOKS of the U.C., Davis, Richard L. Nelson for Schools • Libraries • Craft Centers

~ CERAMIC GLAZE THROWING GLAZEMAKING PROJECTS ~" :.;. ONPOTTER'STHE Richard Behrens Richard Behrens THROWINGONTHE WHEEL POTTER'S ThomasSellers 64$3.95 pages S3.9564 pages NHEEL 80 pages ...... ©...... $4.95 This text will prove valuable to all This unique book covers the formu- A complete manual on how to use those who want practical informa- lation and application of a variety of the potter's wheel. Covers all basic tion on formulating and using LEAD-FREE glazes in all firing steps from wedging day to making glazes. Batch recipes in all firing ranges. An invaluable tool for those specific shapes. Clearly describes ranges are induded, and many who like to experiment with every detail using step-by-step special glazemaking techniques are glazemaking. Includes a special photo technique. covered. glossary of materials which is an excellent reference source. POTTER'SWHEEL ~ DECORATING ~ CERAMIC PROJECTS N POTTERY PROJECTS ~ edited by F Carlton Ball edited by Thomas Sellers Thomas Sellers Sand~a .~/lattmmh,u,, 64 pages 64 pages 64 pages Gallery, selected the exhibiting artists to $2.95 $3.95 $2.95 represent a cross-section of current ceramic directions. The pro;ects m lhis handbook This book explores easy methods An outstanding selection of projects Shown, above, from the exhibition, is provide step-by-step instructions of decorating pottery with day, slip for the classroom, home and "Hatted Figure Number Six," 61 inches in on a variety of special throwing and glaze. Those who lack skill and studio. Each project introduces a bird confidence in drawing and painting in day height, handbuilt porcelain by Sandra techniques. Wind bells, lamps, different method of working houses and feeders, musical in- will find special pleasure in discov- Fountains, planters, jewelry, bottles Shannonhouse. Also included in the exhi- struments and teapots are a few ering these decorating techniques. and several other unique items are bition were works by David Best, Robert items you'll find presented. presented. Brady, Karen Breschi, Tony Costanzo, Stephen DeStaebler, Viola Frey, Ken Little, Joe Mannino, Mark McCloud, ~ COPPER ~ UNDERGLAZE ~ BRUSH David Middlebrook, Daniel Rhodes, ]ohn ENAMELING DECORATION DECORATION Rolof[, Richard Shaw, Gary Smith, Dan FORCERAMICS Jo Rebert Marc Bellaire and Jean O'Hara Marc Bellaire

64 pages $2.95 $3.9564 pages 64$3.95 pages. Recognized as the best in basic in- This complete handbook hasall the A fascinating book on the use and struction, this elaborate handbook answers on materials, tools and care of brushes. Shows how to has over 200 photographs. Rec- technique. Step-by-step projects make designs for decorating ;. ,.a ommended by leading enamelists are profusely illustrated. A practical ceramics using just three basic and teachers. guide for the beginner. brushes -- the watercolor, liner and square shader. Excellent manual for beginners.

Gary Smith Snyder, and Peter Vandenberge. Shown above is "White Columns," 42 inches in height, by Gary Smith. BOOK DEPARTMENT I enclose [] Check [] MoneyOrder (Ohioresidents add 4% salestax) Box 12448 Columbus, OH 43212 WE PAY POSTAGE GOERGE LORIO Name Handbuilt environments by ceramist Please send me thefollowing: Goerge Lorio were featured in a group [] Ceramic Glazemaking$3.95 Jackson- show at Gallery Contemporanea, [] Glaze Projects$3.95 Address ville, in January. "As an artist I use clay [] onthe Wheel $4.95 and have involved in my work the use of Throwing Wheel Projects $2.95 City small-scaled environments. I construct [] Potter's rooms which allude to experiences or per- [] Decorating Povlery $3.95 ceptions of my immediate surroundings," [] Ceramic Projects$2.95 said Goerge. [] Copper Enameling$2.95 State Zip __ His environments are primarily slab [] UnderglazeDecoration $3.95 constructions with. underglaze decoration, [] BrushDecoration $3.95 DEALER INQUIRIES INVITED Please Turn to Page 98

October 1979 95 Yellow Glazes for Cones 5-10 bv HAROLD J. MCWHINNIE

ONE OF THE COLORS students most often ask about for Light Yellow Gloss Glaze IV (Cone 8-10) glazes is yellow, especially the bright yellow available to Barium Carbonate ...... 5.85 c'i painters. There are a variety of sources for this color in Whiting ...... 0.72 glazes, but most are potentially dangerous or toxic if Frit 3134 (Ferro) ...... 7.79 handled improperly. Among such colorants are antimony, Soft Wood Ash ...... 24.25 cadmium, uranium and vanadium; others include iron, Kona F-4 Feldspar ...... 44.05 zircon/praseodymium and chrome/titanium compounds. Edgar Plastic Kaolin ...... 0.21 Yellow in most of the following glazes is based on the use Flint ...... 17.13 of antimony, which may produce the bright color desired, 100.00% especially with small additions of tin and iron. Since anti- Add: Antimony Oxide ...... 3.29% mony is toxic, precautions should be taken to avoid inha- Rutile ...... 0.20% lation or ingestion. Recipes follow: Tin Oxide ...... 0.96% Zinc Oxide ...... Light Yellow Gloss Glaze I (Cone 8-10) 3.10% Barium Carbonate ...... 4.45% Magnesium Carbonate ...... 2.82 Yellow Gloss Glaze I (Cone 8-10) Soft Wood Ash ...... 23.37 Barium Carbonate ...... 6.85% Whiting ...... 1.21 Whiting ...... 0.63 Zinc Oxide ...... 2.36 Frit 3134 (Ferro) ...... 6.84 Frit 3134 (Ferro) ...... 7.11 Soft Wood Ash ...... 23.49 Kona F-4 Feldspar ...... 40.20 Kona F-4 Feldspar ...... 38.69 Edgar Plastic Kaolin ...... 1.69 Edgar Plastic Kaolin ...... 3.08 Flint ...... 16.79 Flint ...... 20.42 lOO.OO% loo.oo% Add: Antimony Oxide ...... 0.42% Add: Antimony Oxide ...... 2.89% Rutile ...... 0.70c~ Tin Oxide ...... 0.91% Light Yellow Gloss Glaze II (Cone 8-10) Whiting ...... 1.59% Yellow Gloss Glaze II (Cone 8-10) Frit 3134 (Ferro) ...... 7.00 Magnesium Carbonate ...... Soft Wood Ash ...... 25.71 5.40% Frit 3134 (Ferro) ...... Kona F-4 Feldspar ...... 39.59 5.67 Soft Wood Ash ...... Edgar Plastic Kaolin ...... 4.84 23.74 Kona F-4 Feldspar ...... Flint ...... 21.27 32.04 Edgar Plastic Kaolin ...... 100.00% 7.33 Flint ...... 25.82 Add: Antimony Oxide ...... 0.96% 100.00% Rutile ...... 1.83% Add: Antimony Oxide ...... Tin Oxide ...... 0.59% 2.17% Rutile ...... Zinc Oxide ...... 7.95% 0.59% Light Yellow Gloss Glaze III (Cone 8-10) Whiting ...... 1'57c/c Alfred Yellow Variation Glaze (Cone 6-7) Frit 3134 (Ferro) ...... 5.23 Dolomite ...... 6.17% Soft Wood Ash ...... 25.72 Gerstley Borate ...... 14.08 Kona F-4 Feldspar ...... 29.57 Whiting ...... 8.53 Edgar Plastic Kaolin ...... 10.45 Soda Feldspar ...... 48.10 Flint ...... 27.46 Edgar Plastic Kaolin ...... 2.57 100.00% Flint ...... 20.55 Add: Antimony Oxide ...... 0.83% 100.00% Rutile ...... 1.83% Add: Antimony Oxide ...... 5.14% Tin Oxide ...... 0.64% Tin Oxide ...... 2.47% Zinc Oxide ...... 8.09% Zinc Oxide ...... 4.11% 96 CERAMICS MONTHLY © Jack's Yellow Matt Glaze (Cone 6) Dolomite ...... 9.6% THE CLASSIC Gerstley Borate ...... 9.6 Whiting ...... 14.5 Olsen 24 Kiln Kit updraft Custer Feldspar ...... 47.1 AND THE NEW Edgar Plastic Kaolin ...... 19.2 100.0% Olsen 36 Kiln Kit Add: Antimony Oxide ...... 5.0% AND Tin Oxide ...... 5.0% Olsen 16 Kiln Kit Pat. 251248 The following two glazes have larger amounts of bar- These 3 kilns offer you the utmost in quality and flexibility -- ium carbonate to increase mattness. Compare and see. • Natural gas or propane (L.P. gas). Yellow Satin Matt Glaze I (Cone 8-10) • Fires evenly to cone, I0, oxidation or reduction Barium Carbonate ...... 9.92c~- KIT INCLUDES: Frit 3134 (Ferro) ...... 6.60 • Angle iron frame • Flexboard cut to fit • K26 or K23 and • Gas Wood Ash ...... 23.49 K20 insulation bricks • Air set mortar • Burner manifold Soft flame retention burners • Damper guide • Pilot Assembly 37.32 Kona F-4 Feldspar ...... PRICES Edgar Plastic Kaolin ...... 2.97 16 cu. ft, stacking: from $1527 Flint ...... 19.70 24 cu. ft. stacking: from S1750 36 cu. ft. stacking: from S217S 100.00~ F.O.B. Pinyon Crest, CA Add: Antimony Oxide ...... 2.79% Please send for our free brochure to further acquaint you with Tin Oxide ...... 1.04% these 3 kits. 50 & 72 & 120 cu. ft. Kit Kilns available. Pinyon Crest, Box 205 Yellow Satin Matt Glaze II (Cone 8-10) Mountain Center, Calif. 92361 Barium Carbonate ...... 12.90% Frit 3134 (Ferro) ...... 5.15 © Soft Wood Ash ...... 23.25 Kona F-4 Feldspar ...... 29.11 Edgar Plastic Kaolin ...... 6.66 Flint ...... 22.93 100.00% Add: Antimony Oxide ...... 2.69% Tin Oxide ...... 2.16%

Iron in oxidation will yield a soft yellow, not quite as bright as the yellow from antimony; however, iron is non toxic, inexpensive, stable and readily available. The following two Cone 5-6 glazes employ red iron oxide as a source of yellow. Warm Tan Glaze (Cone 6) Gerstley Borate ...... 9.58% Magnesium Carbonate ...... 10.64 Whiting ...... 18.08 46.81 Frit 3819 (Ferro) ...... r Kaolin ...... 14.89 100.00% Write For A Fr Add: Red Iron Oxide ...... 1.53% Rutile ...... 6.94% Brochure! Zircopax ...... 21.28%

Yellow Iron Matt Glaze (Cone 5-6) Dolomite ...... 20% Kick Wheels E Frit 3134 (Ferro) ...... 20 Thomas Stuar Spodumene ...... 20 Ball Clay ...... 20 Box 9699 Flint ...... 20 Denver, Color 100% 80223 Add: Tin Oxide ...... 5% (303) 832-2128 Red Iron Oxide ...... 4%

October 1979 97 NEWS & RETROSPECT

fired unglazed. He begins the sculpture with a drawing, then constructs the object to ~calo in light cardboard, which in turn

APPALACHIAN MOVING SOON? If you move, please notify us at CI~NTI-II FOIl (:RAFTS least 4 weeks in advance, giving both new and old addresses, and send your address label from Opening - December, 1979 magazine wrapper to CERAMICS Professional crafts training in MONTI-ILY, Box 12448, Columbus, the five major media including, Ohio 43212. in clay--electric, gas, salt and raku kilns and facilities for hand-built, wheel thrown or slip-cast pottery. For informa- Electric Kiln Elements tion: Appalachian Center for Highest quality Kanthal type wire. Fast, fast Crafts, Box 5106 - Tennessee delivery, below market prices, for all brands Technological University, of kilns. THE BURNS CO., 149 N. Pitt Street, Cookeville, Tennessee 38501 Goe~gc Lori,, Mercer, PA 16137. (412) 662.2333. becomes the pattern for the ceramic environment. Each work follows a proportion of approximately 1 inch per foot of real \ I)t~ I~iurl t)l h'nnl'k~cc "~rt~ ( .nmll~tcln space. Shown above is "Merging Visions," S.,d..,, I 12 inches in height, with underglaze deco- by ration. Goerge Lorio is currently an artist- Authorized in-the-schools for Citrus Cotmty, Florida. ] Other ceramists exhibiting at Gallery Dealers J 1147 E. Elm [ Contemporanea were Leland Shaw, Mari- lyn Taylor, Enzo Torcoletti and Shigeko I W.P. DAWSON, INC" F,,ertan. Calif.'~;ml] [BIG ?REEK POI"I"ERY] Walton.

Index to Advertisers

A & A ...... 93 ])eaton ...... 83 Paragon ...... 74 A-1 ...... 23 Duncan ...... 19, 24, 25 Paramount ...... 91 A.R.T ...... 70 Peters Valley ...... 98 Alpine ...... 16, 86 Eagle ...... 5 Phoenix Design ...... 77, 83, 8~ Amaco ...... 21 Plasti-Bat ...... 81 AppalacHian Center ...... 98 Florida Potters ...... 79 Posterity ...... 75 Potluck ...... Armadillo ...... 78 Flower ...... 82, 93 80 Artex ...... 89 Fox Run ...... 79 Potters' House ...... 87 Potters' Mark ...... Axner ...... 79 Francoise ...... 75 73 Frey ...... 18 Potter's Works ...... 77

Bailey ...... 13 Gare ...... 81 Bat ...... Robbins ...... 88 8 Geil ...... Bennett ...... Robinson ...... 81, 94 84 Giffin ...... 72 Berman ...... Rovin ...... 88 21 Good Earth ...... 90 Bickner ...... 20 Big Creek ...... Salem ...... 77 98 Hammill & Gillespie ...... 78 Blue Sage ...... 75 Scott Creek ...... 92 Shimpo ...... Cover 2 Bluebird Mfg ...... 89 Industrial Minerals ...... 80 Book Department--10, 91, Skutt ...... 76 94, 95 Innovations ...... 86 Brent ...... 6, 85, 87 Soldner _ ...... 78 Spencer ...... Burns ...... 98 J. Clay ...... 82 69 Burns Brick ...... Spinks ...... 66 86 Joy Reid ...... 89 Butz ...... 17 Sun Valley ...... 9x Superamics ...... 9 l Byrne ...... 77 Kemper ...... 12 Kickwheel Pottery ...... 4 California Kiln ...... 73, 90 Kraft ...... 75 ThomasoStuart ...... 97 California Pot-Tools ...... 92 Thompson ...... 80 Campbell ...... 83 L&L ...... 81 Tuscarora ...... 98 Capital ...... 73 L&R ...... 79 Ceramic Fiber ...... 81 Leslie ...... 91 Van Howe ...... 84 CeramiCor ner ...... 77 Ceramics & Crafts ...... 77 Manson Kennedy ...... 17 WCS ...... 22 Chicago Ceramics ...... 85 Marjon ...... 87 Wade ...... 9~ Clay Devil ...... 68 Mayco ...... 7 Walker Jamar ...... Cover 3 Clay People ...... 82 Meneo ...... 13 Walsh ...... 81 Contemporary ...... 71 Miami Clay ...... 93 Way-Craft ...... 81 Cork Products ...... 79 Minnesota Clay ...... 68 Webco ...... 85 Cornell ...... 73 West Coast ...... 84 Creative ...... 90 Oak Slab ...... 92 Westby ...... = ...... 89 Creek Turn ...... 75 Ohio Ceramic ...... 79 Western Ceramics ...... 75 Cress ...... Cover 4 Olsen ...... 97 Wolfe ...... 23 Crusader ...... 14, 15 Olympic ...... 83 Wonder Woods ...... 73 Orton ...... 73 Dawson ...... 98 Owl Creek ...... 93 Ysern ...... 85

98 CERAMICS ~{ONTHI?f ~ix "New" Clay, Reclaim Scrapsand Mistakes, Add Gro~ PourIn Dry Clay AdTdrimmingsMistakes, i AddGrog i ~Add Water U..jseorStore MixedClay

=l=b=and Save MoneN 'ill

THE ONE COMPLETE CLAY [ PROCESSOR ~; .

FOR SCHOOL .-~,~ OR STUDIO. q Mixing clay by handwastes time and effort. Buying pre-mixed claywastes money. Instructors and potters throughout the nation f- "" - and in many foreign jr countries, have found the better way tomix r~'~ -; r clay. They're using J: this modern machine i~-.irji~ that releases time and talent for teaching, learning, creative production and experience. They've discovered, too, that the Walker Pug Mill A single pass through pays for itself. the Mill renders clay of consistency perfect for throwing or modeling.

Send us your name now and we'll rush further Information and detailed sl~ecificalJons. The Easiest-To-Fire Kilns in the World • FX23 Model: New Cone 10-2400°F. 3-Coat baked process to finish lid; Heavy duty fixed hinge with rating. Full 221/2'' deep by 17" wide beveled to reduce chance of -k automatic lid venting system. ipping No need to return to close lid on i Locking, non-wobble lid support \ most bisque and glaze loads for sturdy, full-opening lid \ \ Fall-away, non-pinching, adjustable Premium, hand-selected, insulating\ lid venting prop for decals, gold firebrick for maximum heat storage. \ and lusters • New Coating between lid and Kiln Permanently attached operating for longer wear ------._. instructions always ready for use • Ventilated panel for increased MOTORIZED wiring life ~ FIREMATE POWER ..... J, ~.__ CONTROL (Exclusive patent • Coated tapered peepholes for pending, a Cress 1st) not necessary | to come back to turn kiln wide view and less heat loss up! It turns itself up automatically. • Mirror finish, stainless j= form-fitted for strength Dawson Kiln Sitter and limit timer / standard built-in extra safeguard. Chrome-plated, full-size for easy lifting Exclusive push-to-turn safety knob //" (a Cress 1st) Quality 392°F plated SF-2 wiring / ///* Exclusive Firemate electric speed • Pilot lights control (Patent pending, a Cress 1st) J • New fully illustrated two-color, Less heat shock on ware, due to step-by-step, 50-page instruction gradual increase--not step power and service manual, complete with increase. wiring diagrams, firing schedule, firing record sheets, and parts ~ill¸~,ii~ Q New UL & CSA approved extra identification. / heavy duty cord • Electrically welded, pre-assembled stand packed separately to avoid The easiest kiln to fire damage to kiln interior during ~v manually with one dial transit. control

Preprogrammed automatic ~r Tuned elements and -k minimum soaking for better reds exclusive electric circuitry and firing excellence--another 1 1 to distribute power evenly exclusive Cress feature--patent and precisely where pending feedback circuitry. required for the most accurate temperature • Firemate automatically uniformity available. Better compensates for voltage than any other hobby kiln in fluctuations (within design limits) anized steel base plate the world! Another Cress during operating. for safety exclusive.

Patents pending in the U.S.A., Canada, Mexico, Venezuela, Japan, Australia, Great Britain, etc. The Cress FX23 -- Its exclusive features, quality and new firing excellence make it the best firing, longest-lasting kiln you can buy-- also the easiest. We are excited most that FX kiln users will find the enjoyment of perfect firing results from the very top to the very bottom, better porcelain, better bisque, better ceramics. We figure that's exactly what you expect from a Cress. *Shipments made from our Hopkinsville, Kentucky plant, when closer to you. Contact us (at our California plant shown below) for a free catalogue and your nearest stocking Cress dealer. CRESS MANUFACTURING COMPANY 1718 FIoradale Ave. also shipped from South El Monte, Calif. 91733 Hopkinsville, Kentucky (213) 443-3081 AUTOMATEDFIRING