Over-the-Summer Issue JUNE, 1963 50c It's in the national
g spotlight!
The New CM Handbook on Ceramic Pro _<
64 Pages of Instruction * Over 200 Illustrations * 3-Color Cover * 81kxll Format From the wealth of material presented in CERAMICS Here's A Partial List of the Projects Included MONTHLY during the past decade, the editors have se- CLAY TOYS THAT MOVE ...... by Earl Hassenpflug lected an outstanding collection of articles by recognized COIL BUILDING VASE ...... by Richard Peeler authorities in the ceramic world. Each of these articles CLAY WHISTLES ...... by Helen Young has been carefully edited for presentation in book form HAND-FORMING USING A PADDLE ___ by Don Wood and is complete with large, clear photographs and step- LEAF-PRESSED POTTERY ...... by-step text. by Edris Eckhardt BUILT-IN SLAB HANDLES ...... by Irene Priced at only two dollars per copy, this stimulating Kettner compilation will find wide circulation among hobbyists, CERAMIC SCREENS ...... by F. Carlton Ball craft groups and schools. BOTTLE INTO A TEAPOT ...... by Tom Spencer AN INDOOR FOUNTAIN ...... by John Kenny
z ~ HANGING PLANTERS ...... by Alice Lasher SAND BAG MOLDS ...... by Louise Griffiths CERAMICS MONTHLY BOOK DEPT. -mEt USE A STONE FOUNDATION .... by Lucia B. Comins 4175 N. HIGH ST., COLUMBUS, OHIO SEVEN DECORATING TECHNIQUES ___by Karl Martz DECORATION ON GLYCERIN ...... by Marc Bellaire Please send me ...... copies of the CERAMIC PROJECTS BALLOONS AS MOLDS --- by Reinhold P. Marxhausen Handbook @ $2 per copy. (CM pays postage.) CARVED GREENWARE MASKS .... by Phyllis Cusick ROLLING PIN "- ~ME SCULPTURE ...... by John Kenny KACHINA DOLL JEW-ELRY ...... by Peg Townsend ADDR~q~ CHILDREN OBSERVED ...... by Ann Entis BOTTLE-DRAPED SCULPTURE by Virginia Schreiner CITY ZN STA'I~ add 6c Sales Tax per copy. ,laeck [] Money order ...... Other only $2 ORDER TODAY Dealers Write /or In/orrnation UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not! m '['] ' '['I;I "] :1i~-"-- IN A COMPLETE NEW LINE - ONE UNIT 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNA- GLOW porcelain element holders... 4-way switches ...2 peep holes.., pilot lights.., and they are designed with your safety in mind. MODEL H-8800
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WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER I1, PA. DEALER INQUIRIES INVITED MAYCO" COLORS Make All Your Ceramics Outstanding • Teachers and students get better results with MAYCO COLORS and GLAZES because they're • Underglaze • One-Stroke • Art Glazes • Hesitation • extra-smooth, homogenized for easy application. Satina~ • Satin Matts • White Drape • Foams • Klay Klatch MAYCO COLORS are brilliant, fire-proven. MAYCO is your best buy -- and there are dozens • NEW . . . :~105 Dual Tone Crystal Clear Special Glaze of colon to select from! America's Finest Colors DEALERSHIPS AVAILABLE MAYCO COLORS See Your Nearest Mayco Distributor or Write Us 10645 CHANDLER BLVD., NORTH HOLLYWOOD, CALIF.
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• Accurate Temperature Control, Fast heat-up • Rugged, Lasting Steel Construction • Ceramic Shelving Included NEYER A DISAPPOINTMENT/ • Five inches Tongue-Groove Insulation • Shipped Ready For Operation Your students need never be disappointed with the final results of their ceramic creations when they decorate with an E-Z Send for new catalog todal/! Flow GLAZE COMEINATIONI Each "Combination" is truly a gem and one your students will nse with pride. The piece shown above is decorated in ~16S "Whispering Leaves"; to bisqued piece apply 2 coats of .'#'2000 ElueSpeckle: HYDOR Subsidi..o, H.,pack tone glaze and then 2 coats of ~624 Antique vreen ~laze aria THERHE CORP. fire to cone 06. 71SS-B Airport Circle Indus. Park, Pennsauken, N.J. • DEALER INQUIRIES INVITED • SOLD THROUGH AUTHORIZED DEALERS
4 Ceramics Monthly MONTHLY
Volume 11, Number 6 June 1963
Special OVER-THE-SUMMER Issue
Letters to the Editor ...... 7 Suggestions from Our Readers ...... 8 IS Itinerary ...... 9 Answers to Questions ...... 10 THE Summer Workshops ...... 11 A Combed Slip Variation by F. Carlton Ball ...... 12 Plant Life in Laminated Glass (Part 2) by 16 TIME .i Edris Eckhardt ...... Lamps for the Patio by Sylvia Hyman ...... 19 Greek Vases in the Metropolitan Museum ...... 22 Adding Grog to Clay by Richard Peeler ...... 24 An Experiment in Glass Lamination by Kay Kinney .... 26 Harold Nosti--Painter with Clay by Hal Riegger ...... 28 Packing Enamels for Shipping by Kathe Berl ...... 31 Texture in Decorating by Marc Bellaire ...... 32 The Clay Art Center by Rita Grunbaum ...... 34 Ceramics in the School Shop by William Weiss ...... 36 CeramActivities ...... 37 Ceramic Shopper ...... 42 Index to Advertisers ...... 42
On Our Cover Prlze-winning pieces from the fifth biennial Canadian Ceramics exhibition, which originated at the Montreal Museum of Art Guild of Potters, include under the auspices of the Canadian wonderful a with copper glaze; Louise Now is the time to learn just how Bailey Leslie's thrown porcelain bottle be. Ceramichrome has the dishes; and Jack Herman's ceramic color can Doucet's three stoneware souffle difference that means finer results The show currently is "built-in" thrown stoneware sculpture, "Lady." ..... time after time! Ceramichrome products on view at Stewart Hail, Pointe Claire, Quebec, through are formulated to fit most clay bodies and June 15. will fire successfully from cone 06 to as high as cone 6. They will respond to any method of application .... brushing, spraying, or dip- ping ..... they cover smoothly, and will Editor: THOMAS SELLERS not chip or flake. There are over 200 colors available, including underglazes, CREAOER and textures Art Director: ROBERT L. glazes, antiques and specialty products. Business Manager: SPENCER L. DAVIS Write today for complete information. Please ..... Circulation Manager: MARy RUSHLEY indicate your interest in ceramics whether followed as a hobby or whether you Advisers and Special Contributors: F. Carlton Ball; Marc Bcl- are teaching in a school ceramic program. laire; Kathe Berl; Edris Eckhardt; John Kenny; Kay Kinney; Zena Holst; Karl Martz; Ken Smith; Don Wood. Western Advertising Representative: Joseph Mervish Assoc., 5000 Lankershim Blvd., North Hollywood, Calif. TRiangle 7-7556 Copyright 1963 Professional Publications, Inc. "FINEST PREPARED CERAMIC COLORS" CERAMICS MONTHLY, June 1963, Vol ll--No. 6. Published monthly CERAMICHROME, INC., 15215 S. BROADWAY except July & August by Professional Publications, Inc.--S. L. Davis, Pres., P. S. Emery, See.; at 4175 lq. High Street, Columbus 14, Ohio. GARDENA, CALIFORNIA Entered as second class matter at the post office at Athens, Ohio. U.S.A. Subscriptions: One year $5: Two Years $9; Three Years $12. Copyright 1963. All right reserved.
]une 1963 5 SECRET INGREDIENT in every THOMPSON ENAMEL
Here's where Thompson experience really shows up . . . in your finished work. Our told them that Reward's liquid prepared glazes anal colors careful formulation and preparation of the go twice as far and offer truly foolproof firing results. Is your school or enamels you start with make a noticeable craft department practicing "false economies" withoat realizing it? Reward glazes and colors fire at "standard" difference in the quality of the piece you temperatures (Cone 06-04) in regular school and institotlon kilns, and are highly recommended end up with . . . whether you're a beginner for their foolproof characteristics and high quality. Send for price list or a seasoned craftsman. and literature. This experience in making Lhe best possible enamels is the main reason for Thompson's REWARD c RAMIc COLOR MFRs., inc. reputation as the world's largest supplier of 6811 Washington Blvd., Elkridge 27, Maryland art enamel colors . . . a title we've enjoyed for most of our 70 plus years• The new Thompson catalog puts the widest selection of these top quality enamel colors available anywhere right at your fingertips • . . plus everything you need in the way of materials, tools and supplies.
I TT Send the coupon
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for your free personal copy. The Kay Kinney VISUAL KILN For GLASS And ENAMELING • . 7; Features the quartz window: fusion of glass or enamels is observed without loss of heat. Advantages are shorter firing cycles, elim;natian of glass fracturing or metal oxidation m caused by opening the door. Firing chamber: !1" x 11" x 61/2" • Operates on 120 volts; THOMAS C. THOMPSON CO. m Dept. CM -1 16 amperes • 10" shelf and elevating strips 1539 Doarfleld Rood, Highland Park, included • IlL Approximate shipping weight: 60 |bs.
Please rush my FREE catalog of complete eeameln'g and craft supplies. $98.S0 F.O.B. Laguna Beach, California ($s.00 crating charge) Calif. residents add 4% sales tax. NAME KAY KINNEY m CONTOURED GLASS J ADDRESS 725 Broadway Laguna Beach California I_" 2"- STATE i 6 Ceramics Monthly LETTERS Share your thoughts with other CM read- IN PRAISEOF RIEGGER article by Hal Riegger on page 14. The have been a subscriber to CM since ers--be they quip, query, comment or ad- I December issue had a marvelous picture and every issue has been vice. All letters must be signed, but names its beginning of a della Robbia "Madonna and Ghild" in some way. Recently I had the will be withheld on request. Address: The helpful on one page and a bas-relief by F. Scott fortune to study with Hal Riegger Editor, Ceramics Monthly, 4175 North good on the reverse side. I am a teacher and taught at the Gulf Coast Art High St., Columbus 14, Ohio. when he would have loved to mount both of these Center in Bellair, Florida. He was a most side-by-side to show the old and new ways who WANTS U.S. POTTERYEXHIBIT inspiring teacher and those of us of handling a bas-relief. You've done the I am the president of the Wellington worked with him regret that he returned same thing in both the February and Association, which has just fin- Potter's to California. You can imagine how March issues. a most successful summer exhibition. ished pleased I have been with the series of Would you please consider putting the own exhibiting has included invita- My articles by Mr. Riegger that have been "Itinerary" or "Letters" on the back side from the World Craft Exhibition tionals published in your magazine. They are of the "Picture of the Month"? These Washington Kiln Club in Columbia, the unique and most helpful in inspiring are only of current interest and soon be- Smithsonian Institution, Exhibition at the people to do original work -- the kind obsolete. Laura Callow Now we come and the Melbourne Art Gallery. that expresses something of the individual. Livonia, Mich. exhibition of good would like to have an This is a most important contribution. Yes.--Ed. American pottery here (in New Zealand). Let's have more of such articles. we Can you suggest the names of persons Sadie DePasquale WORLD OF INTEREST could approach about this? Pass-A-Grille Beach, Fla. Until last fall, when I started taking Mrs. Nan Berkeley BADLY PLACED Pottery classes at the Nova Scotia College McFarlane St. "PIC" 21 Here is my renewal for three years of of Art, I had no idea what a world of Wellington, E.4., N.Z. CERAMICS MONTHLY, SO yOU can see that interest there is in ceramics. Now "it is Your group might write to the art gal- I like your magazine very much. How- in my blood" and I feel that I must have leries and museums that regularly schedule ever, I must lodge a complaint, or rather a kiln so I can work at home. I am en- pottery shows in the U.S. (See the Show a cry of anguish! joying the CM articles, including the ads. Time [eatures in CM). 1[ any o[ our read- Why, oh why do you put the "Picture I feel that the Questions column will be ers know o[ exhibiting groups that might of the Month" on one side of a page and invaluable and worth many more times be interested in such an exhibition or an the beginning of an article on the other the subscription price of CM. exchange showing, please contact Mrs. side? In the November '62 issue you put Mrs. Edna Smedley Berkeley.---Ed. the "Picture" on page 13 and started an Westphal, N.S.
SCHOOLS-CRAFT CENTERS-INSTITUTIONS
have you tried Westwood's stoneware cone 5 glazes? (color may be added) Q W 501 LIDO SATIN (mottled beige} W 504 ITALIAN STRAW (mottled beige) W 502 SEMI-CLEAR MATT W 505 POLAR BEAR (eggshell white} W 503 MOONMIST (opaque white} W 506 HORIZON (opaque white glos 16 TRANSPARENT
- - - and our Stoneware Bodies SCMO- 10 BROWN (reduction) (cone 10) WC-8 White (cone 6-10) SCRH BROWN (reduction) (cone 10] WC-40 BROWN (cone 5} WC-33-10 BROWN (reduction) (cone 6-10} SCMO BUFF (cone !0} WC-33 BUFF (cone 6-10} WC-5 RED (cone 5}
WESTWOOD Sfoneware is used by leading porters and ceramic schools everywhere. PRICES ON REQUEST POTTER'S WHEELS and KILNS
610 VENICE BLVD. VENICE, CALIFORNIA
June 1963 7 EVERYBODY but EVERYBODY WILL BE IN JULY SUGGESTIONS [rom our readers
BISgUE STICK MENDER I have found a good method for mending cracks in bisque ware. This consists of firing a "finger" of clay to cone 019, which gives a stick of very soft bisque. I force this stick across the crack in the bisque piece to fill it, then apply several coats of white underglaze over the mended area. Sometimes I bisque fire the mended pieces again, but more often I apply glaze directly over the mend. The stick should be made from the same clay used for making the clay pieces; I use a white firing DISTRIB clay. --Emma Hudson, Aberdeen, Wash. --" • ll~A4nsn" HOW ABOUT YOU? CLOGGING CURE There have been many suggestions about keeping the atom- Here are the MANUFACTURERS who izer used in enamel from getting clogged. Here is my solution: have already reserved booth space for the Soak the atomizer in a detergent solution overnight and you will find that this does the job painlessly. 2nd ANNUAL NATIONAL CERAMIC -- Mrs. L.E. Naylor, Euclid, Ohio TRADE SHOW and CONFERENCE ALBERTA CERAMIC MOLDS GLADEL CERAMICS TEST TILE STORAGE ATLANTIC MOLDS JACQUELYN CERAMIC ART To simplify the storage of sample glaze or decoration tiles, AMACO JOY REID--EVENHEAT locate a source of boxes of uniform size (such as cigar boxes, AMERICAN BEAUTY CERAMICS J.J. CRESS greeting card or paint boxes). ARNELS MOLDS KAY KINNEY Measure the inside height and ARTS & CRAFTS MONTHLY KEN OCORR MOLDS width of the boxes and base CERAMICHROME, INC. L & L KILNS your tile size on these measure- CERAMICS MONTHLY MARX BRUSHES ments. If this size makes too CHARL STAN MAYCO COLORS long a file, use the height and DELTA BRUSHES NATIONAL ART CRAFT SUPPLY just half of the width for the DENVER FIRE CLAY, INC. ORTON CONES tile size. As a guide for cutting DOEE-G LO COLORS PARAGON INDUSTRIES the tile, saw a quarter-inch DUNCAN'S CERAMIC PRODUCTS PEMBERTON NEAL board to the width and another FIESTA COLORS UNLTD. POPULAR CERAMICS to the height of the tiles. Use the two boards first as spacers for HOLLAND MOLD, INC. REWARD CERAMIC COLORS rolling out the clay, then as guides for cutting uniform-sized GARE'S SKUTT & SONS files. The finished tiles can be stored and kept clean in the TRU FYRE boxes, ready for your use. -- Jean Garrett, Villa Park, Ill. The National Ceramic Association will hold seminars that will deal with many of the vital facts involved in operating a sound SLIP EXTRUDER and profitable ceramic studio. For welding together the parts of a slab-built piece, I have found that an easy method to apply the necessary slip is by the Many FUN ACTIVITIES are alsobeing planned such as a cock- use of a cake decorator. While these are intended primarily for tail party, banquet and a moonlight ride and dance on a big, adding icing to cakes, they are excellent for clay work too. The beautiful River Boat, so that you can make this a vacation trip selection of nozzles supplied with the decorator makes it easy as well as a business trip. to select the one that will give just the required amount of clay flip. Thickening the slip with Epsom Salts makes it easier to This is an exclusive show for DISTRIBUTORS, DEALERS and handle, by the way. --Henry C. Croom, Macon, Ga. TEACHERS ONLY ..... the general public will not be admitted. Full information regarding the show and a special-rate accom- modation card for the Chase-Park Plaza Hotel will soon be FIRE-BRICK CONE SETTER mailed to all distributors, dealers and teachers on record. Any A cone setter which can be used over and over again, and questions remaining thereafter should be addressed to the Show at any temperature, can be made from a small piece of porous Chairman, PHIL SKUTT, 2618 S.E. Steele, Portland 2, Oregon. insulating fire brick. It is easy to scoop a small triangular area out of the top of a small piece of this material; make the hole just large enough to hold the base of the cone. The setter should be sandpapered and painted with kiln wash so that it will not crumble. When the kiln wash is dry, paint the setter with black underglaze; this makes it easier to see in the kiln. JULY 18, 19, 20, 21 I also paint my cones with black underglaze for this same pur- pose. This cone setter is especially good in case you overfire and the cone melts. at the CHASE-PARK PLAZA HOTEL The cone can be removed easily and the setter can be used again. --Marie Furman, Miami, Fla.
NATIO$~RAMIC MANI.W~TURIERS ~2 TION DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to $5 for each item used in this column. Send your suggestions to CM, 4175 North High St., Columbus 14, O. We cannot acknowledge or return unused items.
8 Ceramics Monthly ITINERARY
Send your show announcements early: NEW YORK, BUFFALO "'Where to Show," three months ahead June 8-9 The llth Annual Western o[ entry date; "Where to Go," at least New York Ceramic Show, sponsored by slx weeks be[ore the opening. the Western Chapter of the New York State Ceramic Association, Inc., features We Make If Possible For WHERE TO SHOW a competitive ceramic and sculpture event. Anyone To Own A Perfect D.C., WASHINGTON The show will be held at the Buffalo September 8-October 6 Ninth Inter- Museum of Science. For information, Production Kiln With Our national Exhibition of Ceramic Art, spon- write: Vicky Price, Show Chairman, 67 Famous Pre-Cut Kiln Kits sored by the Kiln Club of Washington and Mt. Vernon Rd., Snyder, Buffalo. under the auspices of the Smithsonian In- stitution, is open to residents of D.C., NEW JERSEY, SCOTCH PLAINS Maryland, Virginia, West Virginia and September 11-14 The Scotch Plains Delaware. Awards; Jury; Entry fee. For Show, a benefit for the Union County information and entry blanks, write: El- Society for Crippled Children, features an more J. Kleeman, 1627 Webster St. N.E., amateur ceramic contest. Prizes; Exhibits. Washington 17. For information, write: Doris Nordlin, 46 Kathryn St., Clark, N.J. MASSACHUSETTS, WORCESTER September 15-October 26 "Contem- OHIO, COLUMBUS porary Crafts of the Northeast," spon- September 20-2l Columbus Ceramic sored by the Worcester Craft Center and Show, sponsored by Ceramics Anonymous, the ACC, is open to craftsmen from will be held at the Swiss Club. Competi- Maine, New Hampshire, Vermont, Mass- tion in three classes: Hobbyist, profes- achusetts, Rhode Island, Connecticut, sional and children (12 or under). Ribbon New Jersey, New York, Pennsylvania, awards; Entry fee. Work entered must be Maryland, Delaware and D. C. Media made within the past year and not pre- enamel and metal; viously shown in competition. For infor- include ceramics, glass, and drilled: Jury; Entry fee; Prizes. Write: Worcester mation, write: Mrs. Agnes Kerrigan, 231 Bricks mitered, grooved, Art Museum, 55 Salisbury St., Worcester. S. Virginia Lee Road, Columbus. every part, right down to the last nut and screw, included. With blueprints, WISCONSIN, MILWAUKEE and concise building and firing ;nstruc- NEW YORK, CHAUTAUQUA September 21-22 Seventh Annual Ce- tions .... Order from thTs acl or write July 1.23 Sixth Annual Chautauqua for defa;I sheet. Art, at the Chau- ramic Art Exposition, sponsored by the Exhibition of American Association, will be held tauqua Art Association Galleries, includes Badger Ceramic media. Prizes; Jury; at the Milwaukee County War Memorial work in the craft Center. Hobbyist and professional compe- Kits Entry fee. Work is due June 15. For as will continuous information, write: Chautauqua Art As- titions will be featured, All Kilns and Kits now fire to 2350°F. sociation, Box 117, Chautauqua. demonstrations in ceramic techniques. For information, write: Mrs. Dorothy Smith, 12"x12"x131/2 " deep ...... S 62.50 Rte. #2, Box 346, Germantown, Wisc. 18"xlS"xl 8" deep ...... 99.S0 NEW YORK, UTICA ...... SI 7S.00 July 13-21 Utica Arts Festival, spon- WHERE TO GO 24"x24"x221/2" deep sored by the Munson-Willlams-Proctor ARKANSAS, LITTLE ROCK 24"x24"x27" deep ...... 19S.00 Institute, is open to craftsmen living through June 15 "The 22nd Ceramic ALL PRICES F.O.B. SEATTLE within a 15-mile radius of Utica. Media: National Exhibition," at the Arkamas Arts ceramics, enamels and jewelry. For infor- Center, MacArthur Park. Distributors For: mation and entry forms, write: Utica B.C., VICTORIA A r t s Festival, Munson-Williams-Proctor Institute, 310 Genesee St., Utica. July 1-30 "Young Americans 1962," • ALBERTA'S MOLDS circulated by the American Federation of of Greater Vic- • ARNEL MOLDS SPECIAL FOR HOBBYISTS Arts, at the Art Gallery ILLINOIS~ CHICAGO toria. • BELL PORCELAIN August 24-27 Fourth Annual Chicago CALIFORNIA, OAKLAND CALIFORNIA CERAMICS Ceramic Show, at the Morrlson Hotel. June 15-July 7 Jewelry by the Radak- • Competitive exhibits, demonstrations and oviches, at the Oakland Art Museum. classes. For information, write: E. Kane, • DOUBLE-B TOOLS Box 115, Wilmette, Ill. CALIFORNIA, SAN MATEO • GRUMBACHER BRUSHES June 24-29 Seventh Annual Hillsdale KANSAS, KANSAS CITY Exhibit, a juried show of pottery, sculp- • HOLLAND MOLDS August 16-18 The Kansas City Ceramic ture, jewelry and weaving by members of Art Associations will present its "Ceramic- the Bay Area Arts and Crafts Guild. At • KEMPER TOOLS Orama." For information, write: Mrs. Hillsdale Community Center. MOLDS Medora Sills, Secretary, 5217 Woodend, • KEN OCORR Kansas City. CONNECTICUT, WASHINGTON • MALLORY MOLDS August 24-September 7 Four-Man MASSACHUSETTS, BOSTON Master Craftsman Exhibit includes the • MARGLOTEX STAINS September 20-22 Sixth Annual New work of potter Marjorie Walzer, silver- England Ceramic Show will be held at smith Harold Schremmer and enamelist • MAYCO COLORS Horticultural Hall. Displays, demonstra- Margaret Seeler. At the Washington Art • PEMBERTON-NEAL tions and competitions. For information Association. about entries, write: Paul Anderson, 65 • PIERCE PRODUCTS Middle Street, Woburn, Mass. FLORIDA, PENSACOLA June 1-2 Annual Show of the Pens- • REWARD COLORS MISSOURI, ST. Louis Warr Ceramic Club, at the National July 18-21 The Ceramic National Guard Armory. Trade Show, sponsored by the NCMA FLORmA, NEW SbIYRNA BEACH POTTERY BY DOT and open to the trade only, will be held through June 1 Sidewalk Art Show 408 H.E. 72rid St. Tel. LA 34|00 at the Chase Park Plaza Hotel. For in- includes crafts, on Canal St. formation, write: Phll Skutt, 2618 S.E. SEATTLE IS, WASH. Steele St., Portland, Ore. Continued on Page 41
[uric 10~,? 9 Answers to QUESTIONS Conducted by the CM Technical Staff
@ Edris Eckhardt's final article in the sculpture series on the head (March 1963) mentioned that an unglazed clay head can be given a nice finish by saturating the bisque with oil. I would appreciate knowing just what oil she recommends [or this.---N. F., Rochester, N. Y. Miss Eckhardt suggests the use of any light oil. Among these are salad or baby oil, linseed or Three-in-One, or a mix- ture of any old oils found around the house. Both the oil and THROWING bisque must be warm and the oil should be applied with a soft brush over and over again. It may take several clays before the ON THE bisque reaches the saturation point. POTTER'S HANDBOOKS W.hat can be the matter when a brush-on matt glaze that works beautifully most of the time suddenly gives an almost WH££L glossy result?--R. G. H., Decatur, Ind. BY THOMAS SELLERS This could possibly be caused by too thin a coating of the glaze. Be sure to follow the directions on the jar of glaze. An- other reason might be that the kiln overfired. If you are firing by pyrometer, it might be a good COPPER ENAMELING UNDERGLAZE DECORATION idea to check its accuracy with cones. Proclaimed the best in basic Marc Bellaira creates a start- instruct;on, this handbook in- ling variety of new designs cludes fundamentals as well before your eyes ~ teaching @ I have ¢oted in a past issue of CM a recipe given [or the as illustrated how-to-do-its on the ultimate in quality under- correct amount of plaster (in pounds) to be added to the jewelry. 21 projects by Jean glaze decoration. 37 projects necessary amount of water (in quarts). I do not have a scale, O'Hara and Jo Rebert. in all; 286 lively illustrations. and would like to know if there is any less complicated 64 pages. $2.00 64 pages. $3.00 rule for mixing plaster.---Mrs. M.L.K., St. Louis, Mo. THROWING ON THE POTTER'S WHEEL If yon don't have a scale, you can add the plaster slowly This complete manual on the use of the potter's wheel in- to the water until a mound of plaster appears above the level cludes basic steps, from wedging clay to the making of of the water. Sift in the plaster slowly and make the addition specific shapes. Clearly described and illustrated. By Thomas in the center of the container in order to create the mound. Sellers. 80 pages. $4.00 Allow the plaster to slake in the water for a few minutes be- fore starting to mix with the hands. Used by teachers everywhere. Ideal for hobby groups, schools, art and craft cen- @ Is there any material that can be added to a standard com- ters. Three-color covers; profusely illus- mercial glaze to give it some variation such as speckles or trated step-by-step photo technique. some other texture?--P. C., ]acksonviUe, Fla. There are materials available on the market that can be DEALERS INOUIRIES INVITED added to the glaze to give a speckled appearance. You should be able to find these at your local ceramic supply shop. You also might add any dry ceramic colorants such as coloring oxides, body stains or even dry underglaze color. Add any of these to the prepared glaze and stir thoroughly. Do m mum m mm m m m m mm'dl not ball jr mill this mixture, however, as this will produce a uniform color. j CERAMICS MONTHLY Book Deportment J 4175 N. High St. Columbus 14, Ohio Can you give any information on the preparation of wood ash for use m ash glazes?--]. Please send me the following: I, Tucson, Ariz. Use one kind of wood at a time and burn it in a clean copies of COPPER ENAMELING @ $2 j place protected from the wind. An inside fireplace is good for this; so is a perforated can or bucket placed outdoors. After the I copies of UNDERGLAZE DECORATION @ $3 wood has burned, place the ash and cinders in a container of water, stir, then discard any material that floats on the top. copies of THROWING ON THE Screen the residue through a strainer and discard any coarse POTTER'S WHEEL @ $4 i particles. When the residue has settled, drain or siphon off the water and repeat the whole process again several times with ~ame ..... clean water. This process rids the ash of alkalis. After the final washing, set the residue aside to dry thoroughly. When dry, it is ready for use. Address ......
, .... n-- .... ' All subscriber inquiries are given individual attention at CM; I enclose I-'1 Check [] Money and, out of the many received, those of general interest are order selected for answer (Ohio residents add 3% sales tex.I in this column. Direct your inquiries to the Questions Editor, CM, 4175 N. High St., Columbus 14, Ohio. Im m mm m m m m m m m ml Please enclose a stamped, self-addressed envelope. 10 Ceramics Monthly SUMMER WORKSHOPS
Summer Workshops give you that Connecticut, Brookfield therapists at the John Herron Art wonderful opportunity to combine va- August 12--September 7 School. Graduate and undergraduate Craft Center is offering cation travel with hobby fun. Whether The Brookfield credit. Instructors: Kenneth Smith, a ceramic workshop from August 12-- Justin Brady and William GeM; guest you are tripping east or west or only 30. Instructors: Edwin and Mary demonstrator: Karl Martz. Write: a little ways from home, you'll find Scheier. Henry Holl will conduct a 3- American Art Clay Co., 4717 W. 16th a workshop in ceramics to give you day workshop in Oriental throwing on St., Indianapolis 24. that fresh inspiration. Our list to date : September 5, 6, 7. Write: Brookfield Craft Center, Brookfield. Maine, Deer Isle California, Guerneville June 24~September 14 June 24--August 23 Connecticut, New Canaan Haystack Mountain School of Crafts Pond Farm Pottery offers a 9-week July 8--August 16 offers four 3-week sessions in ceramics course in pottery techniques, including The Silvermine College of Art plans a and other crafts. Ceramic instructors: throwing, hand methods, decorating and 6-week Pottery course. Instructors: Kar- Hara, Kingston, Dunn, Hassriek, Rieg- drawing. Instructors: Marguerite Wil- en Karnes and William Wyman. Write: ger, Cohen, Richards and Kline. For Mountain denhain and David Stewart, Assistant. Silvermine College of Art, New Canaan. information write: Haystack Write : Marguerite Wildenhain, P.O. School of Crafts, Deer Isle. Box 322, Guerneville. D.C., Washington July 1--Augnst 9 Massachusetts, Ware California, Idyllwild The Catholic University of America is June 24---August 24 Crafts June 30--August 9 offering a 6-week course, "An In- The Red Barn School of Arts and on The University of Southern California's troduction to Ceramics." Instructor: offers l-week sessions in throwing Idyllwild Campus and the Idyllwild Alexander Giampietro. Write: The Art the wheel, sculpture, design and ceramic and Arts Foundation will conduct summer Department, Catholic University of decoration. Instructors: Carlie Tart workshops, with college credit available America, Washington 17. Pat Gosseling. Write: Pat Gosseling, 32, if desired. Instructor in ceramics: Susan The Red Barn Ceramic Studio, Box WaJt'e. Peterson. Write: U.S.C., Idyllwild Arts Florida, Bradenton Foundation, Idyllwild. through June 15 Massachusetts, Worcester is offering courses in The Art Center July 8 August 2 California, Los Angeles wheel throwing, design, form, decora- 16 Worcester Craft Center is offering two June 24 August tion and glazing for beginners and ad- Art Institute offers an 8- 2-week summer sessions with instruction Chouinard vanced students. Instructor: Frank Col- Workshop on throwing, in 8 major crafts, including ceramics week Ceramic Write: Art Center, Waterfront work. son. Worcester Craft Cen- glazes, kiln firing and advanced Park, Bradenton. and glass. Write: Instructor: Ralph Bacerra. Write: Of- ter, Dept. CM, 25 Sagamore Rd., Wor- Admissions, Chouinard Art In- cester. fice of Florida, Clearwater 743 S. Grand View St., I.~s stitute, 27 Angeles. June 3--July Michigan, East Lansing Coast Art Center is The Florida Gulf June 17--August 30 offering an 8-week Ceramics course for California, Los Angeles Michigan State University is offering a beginners and advanced students. In- June 24~August 3 10-week ceramics course under the di- struction is offered in wheel throwing, The University of Southern California rection of Louis Raynor. Write: Kresge offers 6-week courses in beginning, ad- ceramic sculpture, design, decoration M. Art Center, Michigan State University, vanced and graduate ceramics in its and glazes. Instructor: Maybelle East Lansing. summer session. Instructor: F. Carlton Falardeau. Write: Florence Menzies, Gulf Coast Art Cen- Ball. Write: Fine Arts Department, Registrar, Florida New Hampshire, Durham 111 Manatee Road, Clearwater. University of Southern California, Uni- ter, July 8--August 16 versity Park, Los Angeles 7. The Paul Creative Arts Center of the Illinois, Chicago University of New Hampshire is of- 2 California, Mill Valley June 24--August feting a 6-week course in elementary Art Institute offers July--August The School of the and advanced ceramics. Instructor: session classes in ceram- Hal Riegger is conducting two 1-week 6-week summer Donald Campbell. Write: Director of sculpture at intro- "explorer" field trips, July 1-6 and Au- ics, enameling and the Summer Session, University of New gust 19-24, in the Mendocino area. ductory, advanced and graduate levels. Hampshire, Durham. Primitive American Indian techniques, Write: The School of the Art Institute of the Michigan Ave. at Adams including firing, will be a feature of Chicago, New Hampshire, Peterboro glaze St., Chicago 3. trips, as will the me of alkalis and July 8--August 30 form in the materials found in natural The Sharon Arts Center is offering an enrollment. Write: Hal Indiana, Bloomington desert. Limited 8-week course in ceramics. Instructors: Panoramic Hwy., Mill 9 Riegger, 469 June 12--August Gerry Williams and Frances Brown. Valley. an 8-week Indiana University is offering For information, write: Kenneth Wil- course in hand building, throwing, Center, California, Oakland kens, Director, Sharon Arts glazing and firing. Instructor: Karl Peterboro. June 20---August 2 Martz. Write: Director, Summer Ses- The California College of Arts and sion, Indiana University, Bloomington. Crafts is offering summer sessions for New Mexico, Ruidoso June 10~15 beginning and advanced students in Indiana, Indianapolis Lutman will conduct a 1- ceramics. Instructor: Vernon Coyken- June 17--August 23 Ruth Hess Enameling Workshop in the basic dall. Write: Registrar, California Col- Ceramic Workshops are offering week Amaco skills and techniques of enameling on lege of Arts and Crafts, Broadway at 1-week workshops in ceramics and metal College, Oakland 18. enameling for teachers and occupational Continued on Page 39
June 1963 11 • ••I• • THE TECHNIQUE of combed slip decoration is an ex- A cellent one and I always used to admire the intricate designs produced by this method of decorating that pro- duces a result rather like some cake decorations. I could find no books to explain the process, and assumed that COMBED "combed slip" was done by pulling a pocket comb through a layer of slip. When I tried this, the effect was just what one might expect, but not even close to the SLIP marvelous patterns achieved by Europen potters. Then one day Bernard Leach spent a morning demonstrating trailed and combed slip to a group of California potters, and the secrets of the technique sud- VARIATION denly were revealed. It was so easy to do when we knew how to do it! The secrets of the technique are simple but subtle. by F. CARLTON BALL The clay form to be decorated must be wet but not too wet. If a wheel-thrown bowl is to be used, it must be allowed to dry a short time after it is thrown. Then a heavy layer of thick slip is applied all over the surface and into this is trailed a pattern of thick slip of a con- trasting color. The tip of a feather, a fine splinter of bamboo or a piece of fine metal wire is pulled through the slip and this drags one slip color into the other in a delicate thread of a line. This is the wonderfully exciting part of the technique! It takes a number of failures to learn to decorate with this technique, and I would like to mention a few precautions that should be taken. Slip combing is most adaptable to forms that are wide and shallow. If the clay piece is too wet, the wet slip may cause the bowl to collapse; if it is too dry, the first layer of slip sets too quickly for successful combing. The slip combing decoration technique provides a point of departure for another decoration method that is rich in possibilities, and this method is described and illustrated here. This technique uses thick clay slip in much the same manner to create a raised decoration on a green pot. The first step is to throw a vase shape and let it Thick clay slip is used to create a raised decoration stiffen or dry a short while until the clay becomes firm on a green pot by a variation o[ the slip combing tech- but still is quite wet. While the pot is drying to this nique. Author F. Carlton Ball describes this technique condition, prepare the clay slip. in the text; the photos on the next two pages illustrate Scrap clay or clay trimmings can be used to make how it is done. the slip. Use the same clay as was used for making the
June 1963 13 Heavy clay slip is trailed from a plastic bag as the centered pot is revolved on the wheel at a moderate or slow speed.
When the trailing is complete, a finger is dragged through the [resh slip vertically [rom bottom to top of the pot.
The slip decoration is complete and the pot ready [or firing. Tools may be substituted [or the finger to obtain other e[[ects.
pot. It should be crushed, covered with water and allow- be done by pulling a finger up vertically through the ed to soak for about ten minutes so that the clay can slip from the bottom to the top of the pot. This can be "slake." It should then be stirred thoroughly and its con- repeated several times at intervals around the circumfer- sistency adjusted if necessary. This can be done by adding ence of the clay shape. Different effects can be achieved either more clay or more water until the clay assumes by substituting a modeling tool, feather or a brush for the consistency of mayonnaise. The last step in the prep- the finger. aration of the slip is to force it through a 30-mesh There is another approach to decoration that can screen to remove any lumps. be used and this might appeal to you if you had a failure The slip trailer I use is a plastic bag. Select a rather with the combing technique. The pot can be covered with large one and roll down the edges so that it is easier a thick, irregular layer of slip, then a finger dragged to fill the lower portion of the bag with slip. When the through the slip to make a series of vertical grooves slip has been added to the plastic bag, bounce the bag running from bottom to top. Next, the wheel is set in on the table top a few times to force any air bubbles to motion and a pointed tool is used to describe a spiral the surface for removal. Then tie the bag closed just line through the soft clay slip from top to bottom of above the mass of slip. the pot. Next, take a pair of scissors and snip off one corner There are, of course, many ways in which you can of the plastic bag. Make just a small cut and then achieve variety in the use of this technique. Perhaps squeeze some clay from the bag to see the size of line colored slip could be used. In this case I want to em- that is extruded. If you desire a larger line, cut the hole phasize that the slip should be made from the same larger. Now the slip trailer is ready! clay used for the body of the pot. By so doing there will When the pot is stiff enough to continue work, be no chance that the slip will shrink, crack or fall off center it exactly on the wheel and fasten it to the wheel the piece of pottery. head. It must be centered per[ectly! The decoration is Pieces of pottery decorated in this manner might done by holding the bag of slip in the hands and extrud- turn out to be very beautiful whether they are glazed ing clay from it as the pot revolves at slow or medium or not. In some instances the harmony of the shape and speed. Start at the top and try to trail a band of slip on decoration might well be upset by the addition of glaze. the pot in a slow downward motion; don't stop until And of course the proper glaze treatment might enhance you reach the bottom. This will produce a spiral effect. one of these trailed and combed decorations. If this first effort is a failure, scrape the applied slip from I think I should caution against letting yourself the surface of the pot with a rib and try again. It may become "carried away" with this technique and creating take several attempts before you develop the skill needed mere frosting. Above all, do not force the materials to do to trail the slip successfully. things that are not in harmony with clay forms. If the The decoration can be considered finished at this decoration fits the technique and the materials, the result point or you may wish to do some "combing." This can should be good!
14 Ceramics Monthly r--
i
~ ~ • ~ • , ,iii~ ?,~ EDRIS ECKHARDT Plant Life in Part Two Laminated Glass
In the May issue of CM, EDRIS you will gain a knowledge of glass cutting, firing, plant ECKHARDT described her tech- color and strength performance that will contribute to nique [or laminating natural the success of a finished piece. And with this prior knowl- plant li[e between sheets o[ edge in hand, you can plan a good design with assur- glass. This first article was par- ance and skill. Plant forms laminated in glass can result ticularly concerned with the in fantastic beauty and great usefulness when these pre- cutting o[ the glass and the liminary tests are made and you have the proper respect selection o[ plant li[e [or lam- for good design. You m.ust remember that you can only inating. We now [ollow her design well when you know the behavior of all of your step-by-step photographs to materials. see how she creates a glass I cannot stress too strongly the need for a slow panel [rom these materials. and careful firing. Fire until the glass edges round and the top sheet of glass fuses into the glass below. When THE PHOTOGRAPHS and captions presented here give a this happens, turn off the kiln. The firing temperature complete explanation of the steps involved in the lami- will be between 1300 ° and 1500°F., depending on the nation of plant life in glass. The technique works well glass used. for large or small panels and the finished examples can It also is extremely important to cool the work as be used effectively in many ways. They may be mounted slowly as possible. I would suggest cooling nearly 48 and used architecturally as room dividers; they may be hours before unloading the kiln. Premature unloading or put in softly lighted shadow boxes; or they can be framed rapid cooling can result in fractured glass! and hung flat against the wall. If you are at all interested in gardening or simply I would suggest that all glass be tried for its fusion observing plant life, you will find this project a com- temperature before a panel is attempted. All plant life plete delight. It should also make a most interesting used should also be tested with the glass fusion in minia- school project next fall, and the designs produced could ture before a large project is planned. Through these tests be adapted to textile design and still life composition.
i 1. Beginning the plant life arrangement 2. Adding small elements of dried plants A piece o[ Cathedral or other low-[ire lead glass o/ a Smaller elements are sometimes dark and strong in light color is selected and plant li[e is arranged on it. value and these work well on the outside o[ a design. Strong, medium and delicate plant [orms are used to Queen Anne's lace is a good example o[ this as it is combine into a composition for this lamination project. [ine but [ires to a pale gray-green color. Fresh plant Good composition and design are essential; there[ore, Iqe can be pressed in a book overnight to [latten it a select and discard accordingly. bit and dry out some o[ the moisture.
16 Ceramics Monthly 3. Experimenting with seed pod placement 4. Purposeful crowding of the arrangement The seed pods o/ the plant Honesty produce ghostly but Plant life shrinks as it /uses into the glass. Therefore it lovely shapes after firing. A good design can only be is almost necessary to have what seems to be a crowding made by constantly changing and experimenting with o/ the design elements. Green undried seeds are dropped the materials as the composition progresses. It is impor- here and there /or accent; they will form minature air tant also to test all materials in order to learn the be- bubbles with dark accents o/ X-ray like forms in their havior and color of each plant [orm. centers.
S. Dusting the firing slab 6. Providing an intaglio effect I use a slab o/ refractory board called marinite (/rom Hemlock "'bows" are arranged on the sheet o/ marinite Johns-Manville) on which to/use the glass panel. Plaster and the sheet o/ glass is placed over these before the o/ Paris is dusted on the marinite surface to keep the composition is placed in the kiln. The hemlock burns out glass /rom sticking to it. Use a hand saw if you plan to in the firing and leaves a subtle and intriguing shallow cut the marinite. Do not use a power saw as this very intaglio effect in the surface of the reverse side o/ the well might ruin the saw. glass panel.
]une 1963 17 7. Trimming the arrancjement 8. CoveriacJ the plant arrangement With the bottom sheet o/ glass in place over the hem- When the arrangement is complete, the top piece o/ lock and be[ore the top sheet o[ glass is placed over the glass is put in place. This sheet o[ Cathedral glass should plant li[e composition, any pieces o/ plant tile that ex- be about ~ inch larger on all sides than the bottom tend too near the edge o[ the glass are snipped o[[ with glass sheet. The glass sheets should be squeezed together scissors. Any pro}ecting [ringe o[ plants will burn and to [latten the arrangement and then be Scotch-taped perhaps even cause the glass to crack. together [irmly to prevent the glass [rom sliding.
Example o[ [used glass plant embed- ment (above) is [ront-lighted against a black background. Hem- lock and dandelion seeds are easily recognizable. T h e same piece lighted [rom behind (right) 9. Placing fhe arrangement in the kiln shows how some The sandwich o/ glass (with no more than 3//4 inch air elements appear al- space between) is [ired slowly and care[uIly until the most as X-rays o[ glass edges round and the glass sheets [use together. themselves. N o t e Start on "'low" [ire [or 10 hours; [ire on "'medium" [or the dandelion seed- an hour more; then /ire on "high" until the glass [.uses. head near the top This will be between 1300" and 1500" F. o[ the panel.
18 Ceramics Monthly LAMPS FOR THE PATIO
Rock-textured sur[aces are effective and appropriate [or pottery used out o[ doors
bv SYLVIA HYMAN
THE GREAT JOY in working with clay comes from the surface several times to gain a similar effect. unlimited variety of methods which can be employed. Rough textured surfaces are quite appropriate for It is always exciting to discover a new method of con- pottery used out of doors, and these textures are par- struction or to achieve an unusual surface treatment. The ticularly effective when they are produced as part of endless possibilities of the medium create the challenge the building process rather than applied as a finishing which is its constant charm. technique. Although the technique demonstrated here in mak- A patio lamp can be constructed with materials ing patio lamps is essentially slab building, the method and equiplnent that are already on hand in most home of xnaking the slabs is different from the usual manner studios and schoolrooms. In addition to grogged clay, of rolling and cutting the clay. A ball of wedged, grog- the requirements for this project include a soup bowl, ged clay is pounded into a slab with the heel of the hand some thin cardboard (such as tagboard or light-weight and then textured with a rough rock. When a large, posterboard), a string and pencil compass, paper clips, a rough rock is available, the entire slab may be textured corsage pin and a rough-textured rock. with one roll of the rock across the surface. If a small A ball of grogged clay is pounded with the heel rock is used, it may be necessary to press it over the of the hand into a slab about the size needed to line the
....
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- B I. A ball of clay is pounded into a slab large enough 2. Clay is patted into the bowl, textured-side down, and to line the bowl mold, then it is textured with a rock. a coil of clay is added to bottom to hold candle.
3. A quarter circle is made with string-and-pencil com- 4. Pattern is cut out and clipped together, then is adjust- pass on light cardboard as a pattern [or the side wall. ed to fit inside the rim of the clay bowl shape.
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5. Pattern is .used to make another textured slab. This 6. The two clay shapes are welded together and decor- slab is shaped and [irmed up around the cardboard [orm. ative openings are cut in the wall for illumination.
20 Ceramics Monthly !
:ii:) 1
7. The cardboard pattern is used again, this time to 8. Variety in the piercing and treatment of the bases make a clay slab base. This is attached to bottom of lamp. insures that each lamp will have an individual character.
soup bowl and the surface of the slab is textured by roll- joining of these two clay sections. When the clay wall is ing the rock over the clay surface. The inside of the firm but not dry, small decorative openings are cut. soup bowl is lined with paper towels and then the slab During this time the lower clay section is left in the is placed textured-side down inside the bowl. It is patted bowl for support. A flange or decorative top rim can into place and the excess clay at the rim is trimmed flush be added at this time if it is desired. with the bowl edge by cutting it with the corsage pin The paper pattern used for the wall is now opened held with its point angled upward slightly. A flattened up again and the smaller section indicated by the dotted coil of clay is attached to the center of the bowl to line is used as a pattern for the base of the patio lamp. make a candle holder. Another textured slab is cut according to this pattern The side wall of the lamp is made by using a paper and allowed to stiffen just slightly before being added pattern that resembles a lamp shade. This pattern is to the lamp. The lamp is removed from the bowl mold made by inscribing a quarter circle on the cardboard. The and inverted for easier handling while the base is added. compass used for this is an improvised one consisting of When the base ring is attached, the pierced designs may a piece of string that is about twice as long as the be continued down through the bowl section to the base diameter of the bowl and with a pencil attached to one itself. end. The free end of the string is held about an inch It is quite obvious that there are many shapes, de- from the corner of the paper and an arc is described signs and textures that may be used to create an endless with the pencil at the other end of the string. Another number of individual patio lamps, each with a character quarter circle, five inches shorter than the first, is in- entirely its own. scribed next. Halfway between these two lines a dotted quarter circle is indicated; this marking will be used later for cutting the pattern for the lamp's base. The cardboard pattern is cut out, formed into a SYLVIA HYMAN'S article lampshade shape and held in place with the paper clips in the April issue o[ CM, "An while it is fitted. The bottom of the shade should be Improvised Mold," explored slightly smaller than the diameter of the bowl, which will the possibilities of creating provide support for the wall. The pattern is marked and pottery shapes and animal cut as desired, then it is taken apart and used to cut the sculpture using a bowl pattern for another clay slab. This slab is also textured as a ...... ~ by pressing its surface with the rock. drape mold. In this current ! ~'--~ article she presents another When this slab is cut according to the cardboard project that involves the use pattern, the cardboard is re-shaped and clipped together of such a mold for slab b.uild- again to provide the support shape around which the ing. Mrs. Hyman is a grad- clay slab is formed. Any excess clay is trimmed away, the uate o[ Albright Art School seams are sealed with clay slip, and the rock is used and has taught art in Bu[[alo, again to restore texture to the seam. New York and Middletown, When the clay wall is firm enough to support itself, Kentucky. She currently is enrolled as a graduate stu- it is removed from the pattern and attached to the clay dent in Fine Arts at George Peabody College, Nash- slab lining the inside of the bowl. A small coil of soft ville. The photographs illustrating the article are by the clay or some clay slip can be used to effect a strong author's husband.
]une 196.3 21 i " '1
18 lli
FOR SOME FZVE CENTURIES what the the exhibit in the second gallery; here incredibly fertile Greek imagination GREEK are seen about 50 of the Museum's thought or said or made, in philos- best Attic black-figured vases that ophy, science and the arts, largely VASES reveal the excellence that made Athen- determined the future course of West- ian ware supreme in this period. The ern civilization. In the art of drawing, at the third gallery traces Attic red-figured it took Greek vase painters a mere 300 Metropolitan Museum technique from its introduction in the years to jump from primitive match- Archaic period to the Classic period. stick figures to an astonishing mastery of design, human Some 60 pieces include masterpieces by some of the most anatomy, movement and expression. They invented the famous vase painters of the period. techniques and standards which made possible the sub- A special feature of the Metropolitan's Greek vase sequent development of European art. galleries is a large display containing 40 vases which The extensive collection of Greek vases at the are specially lit in silhouette to illustrate for the visitor Metropolitan Museum in New York City traces the the rich profusion of shape and function encountered prodigious range and stylistic development of Greek and in the exhibit. South Italian figured vases through 500 years, from The rich variety of subject matter chronicles virtual- the Geometric period in the VIII century B.C. through ly every aspect of Greek religion, life and customs. Mythi- the end of the red-figured period in the IV century cal tales are abundant: Theseus fighting the Minotaur B.C. Virtually every Greek shape known is represented and visiting his father Poseidon at the bottom of the in the collection. sea; Herakles strangling the Nemean lion, battling In the first gallery an imposing group of monu- Amazons, and being conducted to Olympus by Athena. mental kraters which once stood on tombs introduces Many vases document scenes of Greek life: men and the Geometric period and its characteristic rigid, austere, women take part in the eternal rituals of life as they stick-like figures. More than 100 years are spanned in ride in marriage processions, rear children and die.
22 Ceramics Monthly • ~ !i'~'i ¸
Opposite Page: Volute-Krater (a bowl [or mixing wine and water) is Red Figured Attic ware dating [rom about 450 B.C. The decoration shows Theseus and other Athenians lighting the Amazons. On the neck are seen youths and women at the wedding o[ Peirithous. (Rogers Fund. 1907) Above: Attic Krater o[ the Geometric period dates [rom the second hall o[ the VHI century B.C. It shows Prothesis as a dead man on a bier surrounded by mourn- ers. In the lower register is seen the [uneral procession o[ chariots and warriors. (Rogers Fund, 1904) Above Right: Amphora (Jar) is Red-Figured Attic ware attributed to the Berlin Painter. It dates [rom about 490 B.C. The decoration seen here shows a youth sing- ing and playing the kithara. On the other side is seen a judge. (Fletcher Fund, 1956) Right: Athenian Amphora is o[ the proto-Attic period, VH century B.C., and represents the "'Black and White" style. The painting shows Herakles lighting the centaur Nessos, Herakles" wile in a chariot, and attendants. On the shoulder are grazing horses; on the neck a lion is seen attacking a deer. (Rogers Fund, 1911) All photos: Courtesy the Metropolitan Museum o[ Art
]une 1953 23 ADDING GROG TO CLAY
by RICHARD PEELER
This is the last in a series o[ three articles on grog by tributed evenly throughout the clay mass. Richard Peeler. In the April issue the author described When using a soft-fired absorbent grog, as we do a method o[ making grog; in the May CM, his article most of the time, it is better to immerse the grog in water discussed stacking and [iring with grog and grading the before adding it to the moist clay; otherwise, too much grog. Mr. Peeler studied under Karl Martz at Indiana water will be absorbed by the grog and the clay will be- University and currently is the ceramics instructor at come too dry. If your clay is too moist in the beginning, DePauw University at Greencastle, Indiana. the dry grog can be worked into the clay and the mix- ture should come out about right. If you prepare your clay by the slip method in a IN THIS FINAL ARTICLE on grog, I shall briefly describe blunger, the grog may either be mixed with the clay in methods of working grog into the clay, discuss percent- the liquid form or sprinkled on top of the wet slip in ages of grog to be added, and describe the effects of grog the drying bats and then be worked into the clay at the on shrinkage. wedging table. If your clay already is in moist form, grog may be Another method of utilizing grog when building a worked into it at the wedging table by simply throwing piece of pottery is to merely sprinkle grog onto the sur- the lump repeatedly into the pile of grog and then face of a clay slab and gently force the grog into the kneading the clay until all grog is absorbed and dis- clay surface with a rolling pin. In this way, concentra-
i lilt I 7 -'71 ~ 'T" :'-~ L" ~ ~ "
Grog can be sprinkled on the sur[ace o[ wet clay slip Grog can bc worked into moist clay at the wedging table in the drying bat and later be wedged into the clay. when the clay is being prepared [or use.
24 Ceramics Monthly tions of texture can be controlled in the sprinkling pro- 25% grog for sculpture. This is 1 pound grog to 4 pounds cess so that the body does not contain an evenly-distri- dry clay (or 5 pounds moist clay). buted speckle. In general we can say that the smaller the piece, When working on a flat surface such as a table the finer the grog that is used. Larger pieces require top, I frequently sprinkle some fine grog on the table coarser grog. The amount of grog and the size of parti- before rolling out the clay slab. This prevents the clay cles are related to the character and treatment of the fl'om sticking to the table and is much the same as flour- piece. If much detail is planned, less grog should be ing the breadboard when rolling out a pie crust. Or- used. Large, broadly-treated sculptures with little detail dinarily, clay slabs are rolled out on cloth. can utilize more grog and coarser grog. Now, how much grog should be used? This depends Grog is completely non-plastic and preshrunk. It on how the clay is to be formed. You must consider will always make a clay body less plastic; sometimes how much loss of plasticity is allowable and how much this is desirable. It also will reduce shrinkage a little in speckle or texture is desired. All percentages mentioned the drying and firing. The stoneware body we use most, here refer to dry clay (powder) and dry grog. Moist composed of 80% buff clay and 20% low-firing red clay contains about 20% water of plasticity; this is the clay, shrinks a total of 12% in drying and firing to cone amount of water added to bring the clay powder to a 6. By adding 20% stoneware grog, shrinkage is reduced plastic consistency. For example, a 20-pound lump of to 11%. With the addition of 30% grog, shrinkage is moist clay would contain 16 pounds of clay and 4 pounds 10%; with 40% grog added, total shrinkage is down to of water. about 9.5%. For wheel work I would suggest using about 10% Since the grog we make is fired only to cone 08, grog, or 1 pound of grog to 10 pounds of dry clay. This shrinkage of the grog will occur when it is fired to a proportion depends somewhat upon the plasticity of the temperature higher than that. Thus, using this soft- clay being used. If a higher percentage of grog is used fired grog, total shrinkage will be greater than when in a wheel clay, the clay will split in many places across using high-fired grog. the rim as it spins on the wheel and is compressed be- Texture is not revealed in a grogged body unless tween the fingers. the surface is scraped when the piece is leather hard For handbuilding pottery- or sculpture, a higher or even a little dryer. This process drags out chunks percentage of grog may be used and this will yield a of grog, leaving holes and scratches and giving the sur- more pronounced texture. The usual amount of addi- face added interest and activity. Sculptures and potter)' tion is between 20 and 30%; however, up to 40% using grog to attain this textured surface are usually grog or even more may be used. I would suggest about only partially glazed or are left completely unglazed.
Photos: T~:. XI !! r
I
Grog also can be rolled into the sur[ace o[ a clay slab The sur]ace o/ a dry piece is scraped with a kni/e I, instead of mixing it throughout the clay mass. reveal the grog and produce a pronounced texture.
]une 1963 25 Kiln-Formed Glass
AN EXPERIMENT IN LAMINATION
by KAY KINNEY
THIs MONTH'S PROJECT in lanfination is one that lends chartreuse is added at random. Its border is also grape, itself to individual experimentation. I use the term applied with an even coverage. To prevent the possibil- "experimentation" for there may be a wide variance in ity of glass glaze dripping from between the blanks onto the results--with different persons, materials and firing the mold, the lower blank is cleaned with a cloth ap- conditions. The project is a laminated glass ashtray that proximately 3/16 inch in from the edges. When this is is distinguished by colorful swirling bubbles in the sagged done, the top glass blank is placed over the bottom blank, area. color downward, and the piece is fired. This technique introduces the use of a kitchen pro- The ashtray is fired to full bending temperature, duct. One teaspoon of any liquid detergent is mixed in this case 1500 ° F. The edges are sealed and rounded with two ounces of water and this is floated, rather than and the bubbles are pale with a deep ring of color brushed, on a piece of glass, the center of which will surrounding each one. Traces of detergent are evident sag into a mold. Because large spherical bubbles would in the border; however, these are not concentrated and distort and nullify the function of the cigarette rests in they appear merely as shadows rather than texture. the ashtray shape, the glass is first placed directly on The amount of detergent deposited on the glass the mold and held firmly to the mold-coated rim with determines the size and swirling of the bubbles. Sparse dots of rubber cement. The cement burns out in the application results in medium or small controlled firing, of course. The detergent solution is applied and spheres; generous brushfuls create large bubbles. One restricted to the center area of the glass. word of caution must be given: the brush used for the Glass glazes in peacock and grape colors are literally detergent mix should either be discarded or reserved splattered on top of the detergent solution without touch- for this technique alone, as no amount of washing will ing it with the brush. As each splatter is deposited, it remove all traces. Any other decorating will be con- radiates outward, much as a Fourth of July skyrocket taminated by the detergent and react violently to it. does. Because of this action, I call the detergent solution Experiments are always challenging and stimulating. a "disburser." No attempt is made to completely cover If accurate notes on firing temperatures and materials the center area with color, as the glass glazes boil and are kept, small tests can be invaluable in planning fu- swirl together in the firing before forming the half- ture projects. You may wish to do a series of experi- spherical bubbles that distinguish this technique. The ments for your own personal summer workshop. You outer border of the glass is given a medium application will find that bubbles can be controlled in size and of the grape color. placement or left rampant throughout the entire glass The glass blank that is to be used for the upper area. The main objective, of course, is to produce any section of the lamination is now decorated. It is mottled desired effect deliberately. When such experiments be- with the same colors in the center, and a trace of come predictable, they can be classified as techniques.
26 Ceramics Monthly y! ~i
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i. A sheet of glass is fastened to the mold with rubber 2. Two colors of glass glaze are splattered on top of cement and a detergent and water solution is floated the detergent without touching it with the br.ush. As each over the center area of the glass which will sag into the splatter is deposited, it radiates outward. The rim area mold during the firing. is brushed with a solid color.
~ ~ ...... ~ -~ ,~ ~ "4 ! i 3. The center area of the top glass blank is mottled with 4. Completed piece, fired to 1500 ° F., has swirling bub- the same colors and the rim is brushed with solid color. bles of pale color that are surrounded by deeper rings Top blank is placed decoration-side-down on top of the of color. Edges of the glass are sealed and rounded. bottom blank [or firing. Colors used were chartreuse, grape and peacock.
June 1963 27 "'Beach Figures," mosaic mural by Harold Nosti [or the St. Petersburg Beach Municipal Building, measures [our by twelve feet and is composed of ceramic and glass tesserae. The dark lines are long strips of stained glass.
HAROLD NOSTI PAINTER WITH CLAY
by HAL RIEGGER
HAROLD NOSTI started as a painter. His early study in this field took him to the Ringling School in Sarasota, Florida, not far from his birthplace and home in Tampa. In 1948 he went to the University of Alabama for a year and then, three years later, attended the University of Washington, where he completed his study and re- ceived his Bachelor of Arts degree in painting. It was during his stay in Seattle that he had his' first association with ceramics. This was as a minor study necessary to the curriculum, yet it may well have been responsible for the direction his work was to take in subsequent years. Nosti's interest in mosaics developed after his return to Florida, and this interest persists to this day. Although this different medium into which he was translating a basic affinity for painting was an intermediate step towards ceramics, it was fraught with limitations not to his liking. Ignoring the traditional techniques of mosaics that restricted him, he frequently used long curved strips of brass or copper to give a line an accent that was other- wise impossible. While this caused rejection from more than one important exhibition with a jury comment that "These are not mosaics," in the eyes of other jurors Har- old Nosti's work has received a recognition that is well deserved. He has worked with imaginative, far sighted architects in his area, the first such collaboration pro- ducing a four by twelve foot mosaic in the St. Petersburg Municipal Building. Detail from one of Nosti's mosaics shows how the artist It probably was the restriction of available colors uses long curved strips of brass and copper to achieve and sizes of tesserae that made Nosti feel he must seek an accent line otherwie impossible in a mosaic. another medium to fulfill the character and emotion he
28 Ceramics Monthly 1. In making a clay tile, Nosti re/ors to a small pencil 2. The clay is roughly shapcd inlo a square slab, then sketch of his subject. His tools are few and inexpensive. Nosti starts outlining his drawing in the clay with a twig.
3. Nosti modi]ies and adapts the painter's /rcedom o/ 4. The fiat sur[ace assumes relief and form as some areas movement with his materials to the character of clay. are gouged out and others built up by adding clay.
expresses in his most deeply felt painting. An opportunity Petersburg where, in addition to doing his own work, to work in ceramics came in 1959 when he was awarded he teaches several classes in painting and sculpture. While a fellowship at the Florida Gulf Coast Art Center in his present equipment limits him somewhat in firing Clearwater. He seemed immediately at home with clay, temperature and other ways, these limitations are met and his two years of work at the Art Center were signifi- by using a low-fire red burning clay to which grog is cant partly for what he learned about the mechanics of added, and by using cone 04 glazes and slips. In spite of clay, firing and glazing, and also because of the long, the restricted color palette, he is satisfied that this pre- free hours spent in relaxed meaningful work. sents no creative drawback. The fact that his paintings Today Harold Nosti has his own studio in St. are identified by the juxtaposition of such intense colors
]une 1963 29 Scraps:r, stict,~ a~d fin~ers are used as the tile is brought "'Cat H~ad'" i~ ~/m~acteristic of Nosti's style in working closer to completion by the artist. Accents are added by with clay. Essence of the subject is conveyed with impact. using a knife. Swift movements serve a purpose similar The piece was made from red-firing clay and fired to to the metal and glass strips in Nosti's mosaics. cone 04. Slips and glazes were used to finish the tile. as orange and purple, and red and green, is important to replace a stick or in turn are replaced by a scraper; note. moments of quiet contemplation are followed by further The manner in which he handles clay conveys his vigorous attacks upon the clay surface. inner emotions about his art. His subjects are pre- As the tile is nearing this stage of its completion a ponderantly cats, bulls and the female figure, and these knife is used to give it certain accents. Harold Nosti are often so modified as to be unrecognizable in a realistic observes that these swift cuts serve a purpose similar sense but convey with impact the essence of the subject. to the metal strips of his mosaics. Always there is a vigor, a tension to his work and this It is soon apparent that this tile conveys the same is not lost in the clay tile this story and the illustrations vigor and tension that colors do in his painting. Ad- describe. mittedly, one cannot work with glaze as one does oil This demonstration again proves how unnecessary paint, because color in glazes develops during firing and it is to have a vast and expensive array of tools. Besides is not apparent while it is being used. Like anyone who his clay, Harld Nosti uses a potter's knife, an oval metal "paints" with glazes, Harold Nosti has had to memorize scraper and a pencil. He grabs fistfuls of plastic clay and retain a mental image of fired textures and colors from a sack and smears and pounds them into a slab of glazes after they are fired. However important this about two feet square. From a nearby tree he breaks off may be, the interesting thing about Nosti's attitude is that a twig with which he outlines a drawing in the clay, color organization for his ceramic tile is a separate occasionally referring to a small pencil sketch by his side. problem, later to be solved as a separate creative There is a wonderfully fearless, flexible and free manner challenge. to the way he works, and he asserts the same freedom For all the floundering we ceramists may do, for all here that one would claim with charcoal and eraser-- the "bad" things we may collectively make during these changing, modifying and adapting to the character of present times, there/s a vitality, a searching, and a great clay and tools. deal of experimenting -- much of which is proving its A relatively flat surface of clay begins to take on validity by its artistic merit. A painter like Harold Nosti relief and form as Nosti gouges out certain areas with is contributing to the current picture of American his fingers or builds up others by adding clay or moving ceramics by bringing to it a fearlessness and a different it from one spot to another. In quick alternation, fingers point of view by which the field can well profit.
30 Ceramics Monthly PACKING ENAMELS FOR SHIPPING
by KATHE BERL
EVERY ENAMELIST should know how terial. The wrapped trays should be especially good not only for protec- to pack his enamel pieces for ship- packed in the excelsior standing up, tion but also to prevent the loss of ment so that they will not be dented like plates drying in a dish rack. small pieces which might be over- or chipped in transit. This subject There should be a minimum of two looked and discarded with the ex- comes to mind because two of my inches space on all four sides and at celsior. pieces have just been returned to me the top of the container, and there Large sculpture or any odd-sized from an exhibition, and these were should be some space between the large piece should be packed in a packed so carelessly (by professional wrapped pieces. Now all of these wooden crate or in a mover's drum. packers, by the way!) that they liter- spaces should be packed tightly with Whatever is used should be quite ally knocked each other to pieces. strong and the piece inside should be While we enamelists have little con- braced so that it cannot shift in any trol over the way someone else packs direction. For example, a large vase and ships our fragile work, we should should first of all be filled with be able to do a good job ourselves. shredded paper. It can be braced by We not only want to prevent any getting one or two pieces of corru- accidents but, in case an accident gated cardboard the size of the box does happen, we want to have a and cutting a hole in the center of decent claim for compensation from each to fit around the vase. Fit the the insurance company. vase into the holes and place boards In the first place, the container ~excesior~ This is very important! at each end of the vase. Corrugated that will hold the shipment should Enamels must be packed tightly so cardboard should be rolled into tube be a strong one and, if possible, new. that they cannot move out of their shapes and used to brace the top and It should also be much larger than positions. To test this, shake the con- bottom boards against the top and the bulk of the shipment. Since most tainer to make sure that nothing rat- enamelists make trays, I shall use tles. this shape for my theoretical packing Finally, tape the box closed secure- job here. ly and wrap it with strong wrapping Each tray should have its interior paper. Tape this paper and tie the filled with soft, crumpled paper. It box with strong twine. Mark all four should then be wrapped in tissue sides with arrows indicating "This paper or newspaper and this should Side Up" or "Top." You should also be taped. There are two reasons for have the word "Fragile" prominently this: The first is for protection and displayed. Nothing should happen to the second is in case there /s any a shipment packed like this! damage, and in particular any chip- If you plan to ship a quantity of ping, done in shipping. This packag- small odd-sized pieces such as ear- ing would preserve the enamel chips rings and pins, wrap each piece and consequently you would have this securely in tissue paper. It is a good P proof to offer to the insurance com- idea to pack small groups of these pany; otherwise you could not prove pieces in small boxes, and tightly bottom of the crate. In this way, all that you shipped an unbroken piece. stuff them in with shredded paper. walls of the container are touched by To continue with the packing, the This material is more pliable than the the braces. Finally, all empty space wrapped tray should next be sand- excelsior and better suited to this should be filled with excelsior and wiched between two pieces of corru- particular packing job. Each indivi- the wrapping finished as for the trays. gated cardboard that are a good dual box should be marked with its There are many other ways that deal larger than the tray, and this contents or with a number which people prefer for their packing. Some wrapping also should be taped. then is described in detail on a pack- like foam rubber padding and others The bottom of the container for ing slip. All of these boxes should be suspend their work in the container these wrapped trays should be filled packed in a large master container with wires. The methods I have de- with excelsior; you should use at in the same manner as for a tray scribed are my favorites and I have least two inches of this packing ma- shipment. The small box idea is had good luck with them.
June 1963 31 TEXTURE IN DECORATING
demonstrated by MARC BELLAIRE
TEXTURE provides a vital element in nearly every decor- the selection and arrangement of the leaves that make ation and, of all the various textures the decorator uses up the composition on the greenware shape. It is best in his work, spattering is one of the most distinctive. to have quite a few different sizes and shapes of single Spattering may be defined as the application of many leaves and branch ends to choose from. These should small dots of color to the greenware by raking a finger be tried in different placements on the surface until a across the bristles of a very stiff brush that contains the satisfactory arrangement is found. It is most important colorant. A brush with nylon bristles is recommended to have a design that holds together well, has some because nylon does not absorb water and become soggy. variety and is solidly contained within the circle of the In recent articles in CM, Marc Bellaire has explored plate. the use of spattering for background texture (March From the selection of leaves gathered, three groups 1963, "Brush Printing") and as a design element (April are selected for this particular demonstration. Two are 1963, "Spatter and Sgraffito Decoration"). In the decor- single leaves, and one of these is much larger than the ation project demonstrated here, the spatter technique other; the other unit is a spray of leaves. is used to create the main design of leaf shapes. If the leaves are too springy and stand up too high Spattering can be done in a very free manner for to get a sharp enough delineation of the edges, they can a random effect and it also can be used with a frisket be allowed to stand a while until they wilt and can be or mask of some kind to obtain a more sharply defined pressed down closer to the plate. It may even be neces- and controlled design. While both methods are actually sary to place a small weight of some kind on the centers used here, the principal design units are made with the to hold them in place. use of natural leaves for friskets. With the leaves selected and arranged on the plate, The first step in this project is to sponge an area of the spattering is started. A dark underglaze color is color onto the greenware plate. A fine silk sponge is selected for this step since there must be a strong defini- used with pale green underglaze to provide the first of tion of the outlines of the leaves. In addition, there three textures and colors for the background of the must be a strong contrast to the colors used in textur- design. ing the background. A dark gray or blue is recom- Spattering is the technique used for the next area mended for the particular combination of colors already of background texture, and the color used for this effect used for the background textures on this example. It is a darker green or a blue green. also is necessary to use enough color in order to make The third texture-color combination is introduced to sure that the background is spattered well enough to the background by using a Chore Girl dipped in brown give strong definition to the design edges. underglaze and patted onto another area of the plate. The liner brush is used with black underglaze to A piece of steel wool or a plastic pot cleaner can be sub- provide the stems and veins for the leaves. This final stituted for the Chore Girl. step provides accent and sparkle to the design of spat- The most important part of the design work is in tered leaves.
32 Ceramics Monthly ~ CI ~,- ~ ~'~'~ ~r,~. ~. : ..... - .....
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¸i¸9¸ • i,ii~i!¸I ~•• • 1. First o[ three background textures b obtained by spong- 2. Darker green color b spattered [rom a stq~ brush to ing light green underglaze to an area o[ the plate• add another color-texture combination to the background.
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3. Steel wool pad is dipped in brown color and patted 4. Several leaves are arranged on the sur[ace to make on the greenware to add still another texture-value. a composition that has variety yet holds together well.
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5. A good amount o[ a dark underglaze color is used [or 6. Liner brush dipped in black is used [or [inal step o[ spattering that will outline the design elements. accenting the design pattern with stems and veins•
June 1963 33 Three members o[ the Center are pictured at work in the studio. Wal- trud Wiemers throws on the potter's wheel; Didier ]ourneaux trims a]oot rim; and Sophia Fenton works on a piece of sculpture. Potter and sculptor Jeffrey Schlanger, who has worked at the Center [or over three years, is shown applying glaze to one of his pieces of pottery.
THE CLAY ART CENTER
This unique cooperative studio is contributing significantly to the development of the artist-craftsman
by RITA GRUNBAUM View of the first floor studio at the Clay Art Center shows the three large kilns, the shelves of pottery ready [or firing, and storage areas [or raw materials.
EQUIPMENT from a commercial pottery, a few devoted potter's processes. Most of the work done at the Center students and colleagues, and a passionate belief that is reduction-fired stoneware and the firing for this cycle mature workers in clay should have a place to develop takes about 14 hours. After another 16 hours or so for their ideas in freedom -- these are the elements put to- cooling, the kiln can be opened and the unstacking gether by a young Chinese woman to form the Clay Art begun. Center in Port Chester, New York. The late Katherine In spite of the care and skill of the members who Choy was an acknowledged leader in the development fire the kilns, each firing proceeds in a slightly different of experimental clay work and had previously headed the way and each variation is reflected in the color and sur- Ceramics Department at Tulane University in New face quality of the glazes. These effects are discussed Orleans before starting the "Center" almost six years among the members and there is a constant attempt to ago in this little Westchester town about 30 miles from understand what happened in order to gain fuller con- New York City. Originally numbering four, the member- trol over the firing of the kilns. ship has grown to the present complement of eleven pot- The only requirement for membership in the Center ters and sculptors. is that each person must have the ability and desire to The Clay Art Center is housed in a two-story follow his own ideas independently. Each person works in structure at 40 Beech Street. Here the visitor may see his own way, conditioned by past experience and learn- nearly all the different ways of using clay to make pot- ing, his own preferences and his beliefs about the uses tery and ceramic sculpture -- methods that have been to which his work should be put. used in the past and processes that are inventions of the The Center is not only a rare place artistically; it present day. The top floor is used as studio space and also is unique as a social experiment. It is run as a co- contains work tables, storage shelves for work in process, operative, with each member taking part of the responsi- and the potter's wheels. Throwing on the wheel is one of bility for maintenance. All chores, from sweeping the the oldest crafts known to man and still is in use by floor to firing the kilns and setting up exhibits, are shared ceramic craftsmen and hobbyists and by artists who see by the members. Any difficulties that arise from the com- the wheel primarily as a tool for making forms which mon use of materials and space are ironed out informal- will be altered. ly. There is no director who doles out duties or comments The downstairs area is used for glazing and firing. on work. Each member has a key to the door and is free Much in evidence here are the glaze vats, raw materials to work when and how he pleases. Criticism and advice and the two large kilns. The glaze firing is justly recog- are given freely when requested, but only then! nized as being in some ways the most difficult of the Financial obligations are also assumed on a coopera-
34 Ceramics Monthly )
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One of the Clay Art Center's three large kilns is stacked with stol~eware pieces for a biquc /irb~g.
tive basis. Members pay monthly dues and additional are a boon to persons interested in receiving indi- charges in proportion to the kiln space they have used vidualized instruction. in the preceding month, and these sums pay the build- The Clay Art Center has contributed significantly ing rent and other expenses. Another contribution to to the development of artist-craftsmen seeking to work running expenses is made by the income from small freely under favorable circumstances. With continued classes taught by the members. The classes are secondary progress, it is likely to become an even more valuable in importance to the major workshop activity, but they asset in the promotion of creativity in work with clay. June 1963 35 KILNS Ceramics in the School Shop by WmLIAM WEISS WHEELS THE TEACHER in the junior high The changes that individuals bring school ceramics shop finds that al- about are simply amazing and there CLAYS though students want to express their are as many different solutions to any I II creativity through the individuality of problem as there are students in the their work, too few of them can think class. The basic vase shape become a technically enough to design successful water pitcher complete with handle GLAZ projects in clay. In too many cases the and spout; it is turned into lamp base results are flimsy, easily-broken pieces will all of the necessary electrical at- that leave the students frustrated and tachments; it becomes a cookie jar CERAMIC COLORS discouraged with their work. with a lid and handles; and it also Through experience I have found becomes a piece of sculpture with that slab building is one of the best modeled-on features. Most of the METAL ENAMELS methods for teaching the techniques changes are accomplished through the of successful clay construction in a use of appendages, the addition of 60 PAGE CATALOG ON REQUEST shop situation. Slab projects adapt tops or lids, the modeling-on of sur- very well to the use of templates, and face ornamentation or by the carving the use of these helpful patterns for of the surface. the design and construction of clay Not all of the alterations involve shapes virtually insures the success of changes in the basic structure, how- N0rwest Novelty Co. the building process. ever. All of the decorative techniques 32480 Northwestern Highway While it may appear to some that are introduced so that students may Farmington, Michigan there ornament the surface through the use Hours: 9 to S is little chance for personal ex- OPEN SUNDAY pression through any use of patterns of underglazes, engobes and glaze. Closed Monday in ceramics, I find that the individu- Thus, a vase may remain a vase but Phone MAyfair 6-6003 ality of the student asserts itself and still show great individuality by the results in distinctive and creative method and style of its decoration. CERAMICS MOSAICS work. Even a basic project that might The use of templates in a super- COPPER ENAMELING seem to end in a shelf full of "look vised classroom or shop situation can Huge Stocks ~ Fast Service "A" ~uality alike" pieces will result in a variety of be most valuable in the hands of a Merchandise "k Write now for FREE literature effects that indicate the personal ex- teacher who encourages students in ILLINI CERAMIC SERVICE pression and creative self expression. 439 North Wells. Chicago 10, Illinois creativity of the different students. I start my classes with a basic slab- Old Trail Studio built vase project that is made with Distributor fort Creek-Turn and Duncan products, Marx and Delta brushes, Skutt the use of a set of templates. While and Norman Kilns, Crea-Stone, Atlas stilts, we use galvanized iron and tin plate Kemper tools, all types of modeling and ulip cloy. sheet metal for our templates, they 7021 Bluffton Rd. South on Highway 1 FORT WAYNE, INDIANA could be made from heavy cardboard. The metal ones are easy to make in a shop and they are indestructible. The t~ student completes his basic structure by rolling out slabs of clay, cutting the clay sections with the help of the tem- i plates, and then assembling the indi- vidual parts into a whole. 4"--4 Even before the student starts this basic project, he is given to under- Write for information and catalocjue CM --7. Manufacturers, World's Most stand that the structure itself is just Complete Sculptor's Supplies an exercise in technique and that the ¢ ~.~j~ ORegon 9-7474 assembled unit may be changed and turned into whatever his own imagi- Drawings [or a set of templates for nation and fingers may permit. use in a basic project in slab building.
36 Ceramics Monthly CERAM-ACTIVITIES people, places and things
MISSISSIPPI VALLEY "SIXTH" by writing to Louisiana Artists, Inc., Box SYRACUSE REGIONAL Raymond ]. ]orgens, Publicity Chair- 1703, Shreveport, La. Over 320 Central New Yorkers entered man for the Mississippi Valley Ceramic Hodges Gardens is located in western Louisiana on U. S. the competition for the llth Syracuse Re- Association, writes that the group's sixth Highway 171, about gional Art Exhibition, held at the Everson annual show was a big success I00 miles south of and with Shreveport. Museum in March. The work of 128 art- keen competition. "There is a growing ists was accepted for the event juried by interest in ceramics," he writes. "We had "PANORAMA" ANNOUNCED Ernest Fiene, Gerald Di Gusto and Max representation from a number of schools, W. Sullivan. Top prize in crafts went to and individual entries from youngsters, The 1963 "Ceramic Panorama" will be held September 7-8 in the Davenport Fred Meyer, Rochester, for his terra cotta oldsters and handicapped. We hope to do ".Man with a Corncob Pipe" (pictured). more in the future in the field of ceram- Masonic Temple, Davenport, Iowa. Pro- ics. '~ ceeds for this affair will go to the Daven- Award winners in the recent show are port YMCA--YWCA Building Fund. pictured (left to right): Mrs. Jean Parks, The 1962 exhibition was held in Septem- ber and featured demonstrations by Carole Lea Gehbauer, a member of the art staff i; of Ceramichrome, Inc. The 1962 show netted almost $800 for the building fund, and was reported to be a most successful affair.
ILLINOIS BENEFIT PLANNED The Illinois Craftsmen's Council will sponsor a benefit Crafts Gala for the establishment of a future crafts center in Chicago. Donations and one-third of sales from exhibitors will go into the fund. Interested persons should contact David Laughlin, Manager for the Benefit Crafts best of show in the professional division; Gala, 6460 Grosse Point Rd., Niles 31, Mrs. Linda Van Hecke, most original idea Mich. in the hobbyist group; and Mr. James P. Van Houten, most original in professional BLUFFTON COLLEGE EVENT group. Toledo potter Norman Schulman re- cently gave a demonstration of throwing ~t Blu/fto, Colle~,~e. Bluffton. Ohio, in CRAFTSMEN'S FAIR In addition to two cash prizes, Mr. Meyer The Pennsylvania Guild o/ Craftsmen was awarded a one-man show to be held will hold its 16th Annual Fair and Ex- at the Everson Musemn next fall. Syr~icuse hibition at East Stroudburg State Col- potter Henry Gernhardt also was awarded lege, East Stroudburg, Pa., July 24-27. a prize for a wheel-thrown stoneware vase. Visitors to the fair will be able to see some of the finest and most distinguished NINTH INTERNATIONAL PLANNED craft work being done in the state. High- The Kiln Club o/ Washington has an- light of the Fair is the juried competition, nounced plans for its Ninth International a show made up of approximately 200 Exhibition o[ Ceramic Art, under the pieces of work by Guild craftsmen. Items auspices of the Smithsonian Institutio~t, for the show are chosen by a jury of to be held September 8 through October national importance, and prizes are award- 6. As in the past, the exhibition will con- ed. Demonstrations will be given in pot- sist of three sections; an area competitive tery making, enameling and other crafts. section for artists residing in Maryland, Through its annual fair, the Guild Virginia, West Virginia, Delaware and seeks to promote an appreciation of the D. C., whose work will be juried for crafts, to bring to the public an awareness entry; an invitational section composed of the skills required to do fine work, and of work by outstanding American ceramic to recognize and exhibit work by the connection with an exhibition of artists invited by the Kiln club; and an state's outstanding craftsmen. his work on display there. According to Darvin international section consisting of entries Luginbuhl, Assistant Professor of Art at by foreign artists submitted through the LOUISIANA CRAFTS FESTIVAL the college, about 100 persons were in courtesy of their embassies in Washington. The Third Annual Arts and Crafts Fes- attendance at the demonstration. Mr. In addition, it is the custom of the spon- tival will be held June 15-16 at Hodges Schulman threw from a lump, making soring group to invite one country each Gardens at Many, La., according to Mrs. dishes, small lidded jars and other shapes. year for a feature exhibit. This year Ar- ]ohn Gallagher, general chairman for He also made a double-walled container gentina has been invited to participate. Louisiana Artists, sponsor of the event. with openings cut through the first wall. Mediums acceptable for exhibit are Artists and craftsmen will exhibit their "The event was a highlight for us and pottery, ceramic sculpture, decorative and work in the fabulous "Garden in the we enjoyed talking with him in the eve- stained glass objects and enamels. Artists Forest" and a program of demonstrations ning." Mr. Schulman is pictured as he eligible for the competitive section are is planned. Information may be obtained appeared at the demonstration. Continued on Page 38
tune IQ~ q- Order now from the
CERAMACTIVITIES
Book Department j Continued [rom Page 37 invited to write for entry blanks to Elmore LEXINGTON OPEN HOUSE Kleeman, 1627 Webster St. N.E., Wash- The Ceramic Guild of the Lexington ington 17, D.C. Arts and Cra[ts Society, Inc., took an active part in the Society's Annual Spring Open House and Arts and Crafts Demon- SHOW DATE CHANGED strations at the Art Center, Lexington, The annual show of the Pittsylv~nia Mass., on April 27-28. Guild members Ceramic Guild has been re-scheduled for demonstrated wheel work, slab building, October 16 and 17. It will be held in sculpture and decorating. Pictured are Pittsburgh's Sherwyn Hotel Ballroom. The date for this Fifth Annual was set orig- inally for June, but so many other craft shows and events take place in this month that the later date was arranged. Chair- man of the 1963 show is Mrs. E. B. Entwisle, St. James Place, Fox Chapel, Pa. Any hobbyist interested in joining the Guild and exhibiting at this show should contact her.
"CERAMICS '63" "Ceramics '63," an exhibition of recent CRAFTSDESIGN work by members of the Design Division, Southern California Section of the Amer- by MOSELEY,JOHNSON and KOENIG ican Ceramic Society, was held in April at Harris Hall at the University o[ South- This exciting book, written by accom- ern Cali[ornia. Among the pieces exhibited were a tall pot by Susan Peterson and a plished well-known artists, is a wonderful some of the many pieces exhibited at the introduction to crafts design. The rich and covered jar by Dennison Herring (pic- tured). Among other exhibitors were F. event. They represent the work of Claire varied substance of this book will show Caputo, Julie DeMichaelis, Austin Fisher, you the art and technique of creating Natalie Mosby and Marlis Schratter. through crafts. Rarely has the fine art of The Ceramic Guild is one of the most crafts been presented so completely and active groups in the Society, and members simply. meet twice weekly in their workroom at Over 1,000 illustrations with simplified the Art Center. and detailed step-by-step instructions show the reader the processes used in pottery, COLUMBUS SHOW ANNOUNCED mosaics, enameling, decorated papers, The Second Annual Columbus (Ohio) weaving, bookbinding, decorative fabrics, Ceramic Show is scheduled for September paper sculpture and paper-mach6. Each 20-21 and will include competitive exhibits craft is introduced with detailed discus- for hobbyists, professionals and children, sions of color, line, shape and texture. demonstrations and studio exhibits. The The material in this handsome book is show is sponsored by Ceramics Anonymous, well organized, enabling the beginner to a group of studios, hobbyists and teachers follow the step-by-step directions with ease whose aim is to generate interest in the and understanding. Many outstanding ex- ceramic media. The group, which was amples of traditional art are included as formed in 1962, is a member of NCA. well as examples of contemporary crafts Information concerning the show may be and children's art. Every craft center and obtained by writing to Mrs. Agnes Ker- school should have a copy of this new rigom, 231 S. Virginia Lee Rd., Colum- book! Individuals looking for an outstand- bus, O. ing text on the crafts will want CRAFTS DESIGN for their library. Over 1,000 MONTGOMERY POTTERS NEWS illustrations, 436 pages, hard binding. During the month of June, the Mont- Price: $13.00. gomery Potters will exhibit their work in conjunction with the paintings of the WE PAY POSTAGE m MONEY-BACK GUARANTEE Rockville Art League at the Rockville, Carlton Ball, Ward Youry, Vivika and ....°o...... Maryland, Art Center. Members exhibited Otto Heine and Linn Mummert. Mr. at a sale-show at Craft House in George- CERAMICS MONTHLY BOOK DEPT. Herring also acted as chairman of the 4175 N. High St., Columbus, Ohio town during May. One of the members, exhibit; he was assisted by Harlam Chinn Dorothea O'Donnoghue, recently com- Please send me __ CRAFTS DESIGN @ $13 and Ivan Culver. According to Mrs. Dan- pleted a commission for the Association ial Slater, Treasurer for the group, "The [or Childhood Education International. Name show has been a great success, achieved It can be seen in the lobby of the Asso- a great deal of praise from both the pub- Address ciation's new headquarters building at lic and the art groups in town, and got 3615 Wisconsin Ave. N.W., Washington, City Zn__State unheard-of publicity from the local press. D.C. Betty Guill is Secretary of the Mont- Not only was the ware exceptional, but Oh;o Res;dents: add 3% Sales Tax. gomery Potters. I enclose [] Check [] Money Order the set up was the best that has been produced in many a year." Continued on Page 40
38 Ceramics Monthly the complete SUMMER WORKSHOPS Continued from Page 11 SCHOOL copper and silver. For complete infor- the Rochester Institute of Technology mation, write : Mrs. H. Greggerson, is offering a 5-day workshop for ad- SUPPLY Director, Carrizo Lodge, Ruidoso. vanced students, designers and crafts- men from June 24-28; and a 6-week New York, Alfred summer session for teachers, craftsmen HOUSE July 1---August 9 and designers from July 1-Augnst 9. for Alfred University Summer School offers Pottery, Ceramic Sculpture, Clay and all 6-week courses in Ceramic Design and Glaze Composition. Instructors: Frans Pottery Production; and Advanced Ce- Wildenhain and Hobart CoMes. Write: ramic Design. Instructors : Theodore Victor Scroger, Director of Summer • Ceramic Supplies Randall and Val Cushing. Write: Fred Session, Rochester Institute of Tech- H. Gertz, Director, Summer Session, nology, 65 Plymouth Ave. S., Roches- • Mosaic Tile Supplies Box 805, Alfred. ter 8. • Metal Enameling Supplies
New York, Chautauqua New York, White Plains • Gravel Mosaic Supplies July 1--Augnst 24 July 2--August 10 Chautauqua Art Center is offering Ce- Westchester Workshop offers ceramics ramics and Ceramic Sculpture in an and enameling for adults and teenagers 8-week session (or any part thereof). in morning, afternoon and evening ses- WRITE FOR OUR #6 College credit may be earned through sions. Instructors: Estelle Halper, James CATALOG Syracuse University. Instructors: James Howard and Douglas Laughlin. Write: Achuff and Robert Lee Walker. Write: Westchester Workshop, County Center, send S0c refunded on first order Helen Overs, Summer Schools Coordi- White Plains. nator, Chautauqua. North Carolina, Penland New York, Lake George June 24--August 24 Van Howe July 8--Augnst 23 The Penland School of Crafts offers The Lake George Art Center Work- credit courses in beginning, intermedi- Ceramic Supply shop offers instruction in pottery, in- ate and advanced work in ceramics, 1185 SO. CHEROKEE cluding throwing, handbuilding, design, enameling and design. Instructors: DENVER 23, COLORADO decoration and glazes. Instructor: Oliver Blanchard, Betty Morgan, Mrs. Jeanne Hastings and others to be an- Harvey Chase, Anthony Haruch and nounced. Write: Director, Lake George Elsie Johnston. Write: Penland School Art Center, Lake George. of Crafts, Penland.
New York, Napeague Harbor, L. I. Ohio, Columbus MINNESOTA CLAY CO. July 1--August 9 June 17--August 23 J 2410 E. 38th St., Minneapolis 7, Minn. | The Institute of Modern Art and the The Ohio State University is offering STONEY/ARE THROWING CLAY..cone S-10 Museum of Modern Art, in cooperation summer sessions for beginners in hand- RED THROWING CLAY ...... cone 06-04 with the Pratt Institute, offer a credit building, throwing and decorative tech- SCULPTURE CLAY (red or white) cone 06-10 course in ceramics at the Summer Art niques. First term (June 17--July 19) CASTING CLAYS {red or white)..cone 06-04 Center. Instructor: Mr. Polansky. or full quarter; University credit. In- MODELING CLAYS {red or white) cone 06-04 Write: Victor D'Amico, Museum of structor: Carlton Atherton. Write: Eu- Modern Art, 11 W. 53rd St., New York gene Friley, School of Art, L The Ohio 19, N. Y. State University, 108 N. Oval Drive, Columbus 10. TWO NEW 1963 CATALOGUES New York, New York NEW ENLARGED GENERAL CATALOGUE with full color charts. Complete line of ceramics, June 3--July 26 Oregon, Salem mosaics and copper enameling. Craft Students League is offering an 8- August 5--16 MOLD CATALOGUE contains mold pictures from many leading mold manufacturers, plus week summer workshop in ceramics, Bush House is featuring a 2-week sum- many originals by us. SEND S0c FOR BOTH jewelry and enameling, sculpture and mer session on wheel work and hand CATALOGUES. Free to instructors. other crafts. Instructors include Roberta forming. Instructor: Richard Trojan. mSEELEY'S CERAMIC SERVICE~ Leber, Gertrude Englander, Adda I-lus- Write: Bush House, Salem Art Museum, 9 River Street Oneonfa, New York ted-Anderson and Bela Janowsky. Write: Salem. Helen T. Warner, Director, Craft Stu- dents League, West Side YWCA, 840 Quebec, North Hatley Eighth Ave., New York 19. July 1---August 31 BERRA TRU COLOR The Workshop offers three 3-week ses- BISQUE STAINS New York, Rochester sions for beginners and advanced stu- June 24--August 9 dents in throwing on the wheel and • A HIGH QUALITY MULTI-PURPOSE The School for American Craftsmen of Continued on Page 40 PRODUCT FOR MULTI-SURFACES • AROUND THE COLOR WHEEL ACCENTS COMING UP 2 oz. Jars 75c This is CERAMICS MONTHLY'S special "'Over-The-Summer'" issue (CM 1 Kit of 12 colors $8.25 Also available in S Metallic plus 16 other vivid is published monthly except ]uly and August). The next issue in line is our colors.., at your Ceramic Dealer or order papular September "'Back-To-Work'" number which will contain a wide direct. Send for your FREE full range Color Chart. variety of projects and helpful techniques [or the hobbyist, student and Distributor Inqu|rlns Invited school teacher at the beginning of the busy season in ceramics. BERRA TRU COLOR Deadline [or news items and advertising copy is ]uly 25. 5209 Southwest Avenue, St. Louis 39, Missouri
]une 1963 39 SUMMER WORKSHOPS W'rite /or and Specify Continued from Page 39 Catalogs by Name firing. Lectures and demonstrations. In- MOLD CATALOG . . . S0c structors: Dean Mullavey and Louise DECAL CATALOG . . . 50c Doucet. Write: Gaetan Beaudin, Di- JEWELRY CATALOG.. 50c Harley, Quebec. rector, Box 181, North SUPPLY CATALOG . . SOc (]post 1)aid In U. S. A.) Tennessee, Gatlinburg June 10--July 16 OHIO CERAMIC SUPPLY The Pi Beta Phi--University of Tennes- Box 134, Dept. A3, Kent, Ohio see Craft Workshop offers two sessions in beginning and advanced pottery, Europe's Finest taught by Mrs. Barbara McDonald. Write: Director's Office, Pi Beta Phi THE LEACH WHEEL Settlement School, Gatlinburg. alag including Now American made--$160 f.o.b. Utah, Salt Lake City .~lllE enamel, china St. Paul, Minn. paint and innti- June 24~July 19 ~k tutional kilns. WRITE FOR FREE BROCHURE University of Utah Summer Session St. Paul 4, Minn. D. M. VARS, 825 W. Minnehaha, offers ceramics, enameling and metal PARAGON INDUSTRIES, INC. design in special 4-week courses. For DEPT. C.Jg~ BOX 10133 DALLAS 7, TEXAS Bulletin, write: University of Utah Mailing Bureau, 220 Park, Salt Lake City 12. DELLA ROBBIA Vermont, Ludlow ¥our complete source of nlatoz'ia],~ & I ~---* ~ MIRACLE CLAY equipment. Fully illustrated 1 July 1--August 23 ~6 INSTRUCTIVE CATALOG • Fletcher Farm Crafts School offers four FREE if requested an school letterhead 1 2-week courses in ceramics and enamel- ~llV*~l~am~llr-'l~i KiLNI Bakes ceramic-hard in by staff, others 50c. 1 .~]~r *~Jl your kitchen oven, cuts casts Ask for school discounts. 1 ing. Instructors: Lorna Manzler, Bruce ta pennies, make ceramic sculpture, book-ends, ash TEPPING STUDIO SUPPLY CO. l Eppelsheimer and John P. Loree. Write: • ~ frays, vases, the NEW easy l~rofessional staff 1 Louise Williams, Director, Box 478, vuicK way. Durable pottery can be made with Della Rabbia Clay in hours. Send for complete RFD #I, Rochester, N.H. catalog DR-9 and FREE instruction sheet on this remarkable NEW product. SCULPTURE HOUSE INC. --FRANCOISE CERAMICS-- CERAMACTIVITIES 38 E. 30th St. New York 16 OR 9-7474 Distributor for DUNCAN PRODUCTS - Delta Brushes Continued from Page 38 A. B. C. Glazes - Star Stilts Atlantic -- Holland - Arnel LITTLETON GLASS EXHIBIT and Ludwig Schmid Molds Work in glass by Harvey K. Littleton ~rJq Sold only Marc Bollaire Brushes - Paragon Kilns will be exhibited at the Art Institute of by Art Books - Clay - Slip - Graenwara Authorized 113 49th St., So. St. Petersburg 7, Florida Chicago from June 15 through September Dealers 2. In addition to his considerable fame as a potter, Mr. Littleton has achieved 1100 "H" East Ask Fullerton, Calitornla Please Mention CM distinction for his work in glass. He has W. P. DAWSON when writing our advertisers
CERAMIC & ENAMELING SUPPLIES KEMPER TOOLS FOR CERAMICS Distributor for Clean-up, sgrafitto, texturing tools and Paragon -- Duncan -- Drokenfekl flower cutters in many patterns and sizes. Bergen Brush ~ Symphony Instraetion included with some. For these and other ceramic tools, write for dacquefyn's Stains FREE catalogue to: ART CRAFT SUPPLIES. INC. KEMPER TOOLS, P.O. Box 545 !110 NW. &2nd St. Miami, Florida CHINO, CALIFORNIA
! 962 REVISION been the recipient of grants from the University of Wisconsin and the Toledo i ALLNEW 1963 CATALOG!i Art Museum for travel and research in o o representing glass, and conducted seminars in glass o ~ • Fried Marbles • Glass ? 000 +'°'`'-'°w35 companies experimentation at the Toledo Museum • Jewelry Settings • Mosaics o 6 last summer. Mr. Littleton is an Associate ? Professor at the University of Wisconsin ° • Copper Enameling IN ONE CATALOG...... $1.25 and is a Craftsman Trustee of the Amer- Send 50c (Refundable on first order) c A real freight saver i today for your copy Of our o° ican Craftsmen's Council. NEW CATALOG. o New/ Do's and Dont's of Ceramics $I.00 Dealer and Distributor discounts available. Send news, and photos if available, about MIDWEST CERAMIC "People~Places--Things'" you think will BERGEN ARTS AND CRAFTS o CENTER be of ceramic interest. We will be happy Box 689, Dept. M, Salem, Mass. o 722 Soetkwast Blvd. Kansas City, Minold to consider them for use in this column. ;UUU~o o o_o o o_o_o_o_oo_o_o_o o o _o o o ~
40 Ceramics Monthly NEW 1963 CATALOG! 6th Annual Over 100 Pages of tee Finest ~)uallfy JEWELRY SETTINGS NEW ITINERARY Many new ideas to show you Continued [rom Page 9 ENGLAND How to Make Real Money MONEY BACK GUARANTEE! ILLINOIS, CHICAGO CERAMIC BIG DISCOUNTS! through June 9 Ceramics by Gertrude and Otto Natzler, at the Art Institute. Send SOc for your copy SHOW ILLINOISj CHICAGO NATIONAL ARTCRAFTSUPPLY C0. June l$-September 2 Glass by Harvey 12213 Euclid Ave., Cleveland Ohio Litfleton, at the Art Institute. )RTICULTURAL HALL, MICHIGAN, KALAMAZOO BOSTON, MASS. through June 16 Kalamazoo Area Art SEPTEMBER 20, 21, 22, 1963 Exhibition, at the Art Center, Kalamazoo 4~KILN"GARDt Institute of Art. EXHIBITORS: CAPITALIZE ON EARLY FALL NEW HAMPSHIRE, WOLFEBORO August 6-10 The 30th Annual Crafts- DATES TIMED FOR: men's Fair of the League of New Hamp- shire Arts and Crafts, at Brewster Acad- • STIMULATING FALL AND WINTER P. O. Box 1--055 JacksonvilleBeach, Fla. emy. COURSES • ATTRACTING NEW BUSINESS NEW JERSEY, NEWARK • DISPLAYING NEW CHRISTMAS ITEMS JEAN LEONARD CERAMICS "Classical Ameri- 96-24 Corona Ave. Corona, L. I., N. Y. through September 2 DEMONSTRATING NEW TECHNIQUES ca, 1815-1845," traces the rise and fall • MAGIC GREENWARE RELEASE (8 oz.)..$1,25 NEW CERAMIC IDEAS Save yourself aggravation. Releases green- of the Empire style in fine and decorative • PRESENTING will nat stick. ware in half the time, arts (including ceramics). At the Newark of Ceramic KILN SURFACE BRICK HARDENER Museum. Largest Gathering (16 oz.) ...... $1.7S Exhibits in New England Will harden and prolong the fife of your BUFFALO kiln. Stops the kiln brick from shedding and NEW YORK, For information, contact flaking. July 7-August 18 "The 22nd Ceramic National Exhibition," at the Albright- PAUL ANDERSON, Director Knox Gallery. 65 M~ddle Street, Woburn, Mass. NEW YORK, FLUSHING Telephone: WE 3-0965 CREEK-TURN June 1*2 The 17th Annual Outdoor Exhibition sponsored by the Art Alliance GLAZES-MOLDS of Women, at Murray Hill Square. Catalog $1.00 BE A DEALER NEW YORK, SYRACUSE June 3-July 31 Selections from the Rt. 38, HAINESPORT, N.J. Permanent Collection feature ceramics and BEE BASCH DESIGNS sculpture. At the Everson Museum of 70 Pine & First Sts., Englewood, Fla. Art. Our Molds are designed for CREATIVE use The Famous and EDUCATIONAL purpose NORTH CAROLINA, ASHEVILLE KLOPFENSTEIN July 15-19 Craftsman's Fair of the Send $1.00 today for POTTER'S WHEEL Southern Highlands. Illustrated Catalog, Tips & Ideas. Write for FREE Information OHIO, CLEVELAND H. B. KLOPFENSTEIN & SONS through June 16 The 45th Exhibition of the work of artists and craftsmen of Please Mention CM RFD. #2 Dept. A Crestline, Ohio Ohio's Western Reserve, at the Cleveland Museum of Art. when writing our advertisers OHIO, CLEVELAND Nearly 1,000 illustrations of Items in our through lzrne 25 Chinese Ceramics SUPPLY CATALOG and Textiles, at the Karamu House Art NEW CERAMIC & ART Gallery. MODELTEX Moist Clay on your first pnr- Red or white. For throwing on wheel, mold Price . S1.00, refundable making, delicate sculpture or largest pieces. chase of S10.O0 or over. Immediate mailing. OHIO, DAYTON 200 lb..07/Ib; 300 lb..0&/Ib; 1000 lb..OSlh/ Treas- Ib: 2000 lb..0S/lb. F.O.B. Mamaroneck, N.Y. CENTER June 15-July 15 "Tutankhamun ordering. BUFFALO CERAMIC & ART SUPPLY Traveling Specify color when Buffalo 2, Hew York ures," Smithsonian Institution 4117 Franklin Street Exhibition, at the Dayton Art Institute. GARE CERAMIC SUPPLY CO. 16S ROSEMONT ST,, HAVERHILL, MASS. OHIO, LAKe.WOOD through June 6 "Contemporary **,for Crafts," at the Lakewood Civic Art Gal- r~ school lery. and RHODE ISLAND, PAWTUCKET June 28-September I Exhibition of Porcelain Bird Figures by Edward Mar- shall Boehm, at the Old Slater Mill Museum. • :,~~...... CeramicSupplies 1 WHITNEY ST., SAUGUS, MASS. ' Mill mix SECOR CERAMIC SUPPLY Send for (Sll CERAMIC TECHNI4;)UES 4128 Secor Rd., Toledo, Ohio NEW! "40.11 [J ~t~ sa~ for creative dfort and by Dorothy Lunt, $1.S0 ~uction. Designedend manu- Northwestern Ohio's Largest MAKE CERAMIC JEWELRY" by Gertrude ~~;; of-~g; Wnl~, "LET'S v.,, ~'~_j P,,tr~r'.~.cl ...... Wholesale Supply House Oakes, a comprehensive book of flower making. Over 200 illustrations, SI.50. We cater to schoo/s Sorry -- no catalog Distributor for: CERAMICHROME, MAYCO, REWARD and SKUTT
/une 196,? 41 Distributor For: Advertisers Index June 1963 A AFRICANA BISQUE COLORS American Art Clay ,- CERAMICHROME Company ...... 36 CERAMIC Anderson Ceramics Co ...... 42 A DUNCAN'S PRODUCTS Art-Craft Supplies, Inc ...... 40 A PARAGON KILNS Bosch, Bee, Designs ...... 41 SHOPPER Bergen A VULCAN KILNS Arts & Crafts ...... 40 Berra Tru Color ...... 39 NEW ELECTRIC KILN LINE 3uffalo Ceramic & Art Supply Center . .41 /c:- , ,~ doerr A new line of electric kilns is being Central Ceramic Art Supply ...... offered by Ceramichrome, Inc. These 42 Ceramichrome ...... 5 ~¢ ceramic supply kilns are said to incorporate many fea- Craft Students League YWCA ...... 42 Formerly Lucille Gerbig Studio tures which make them especially well Creek-Turn ...... 41 suited to school use. The unique poly- 4023 reading road, cincinnati 29, ohio Dawson, W. P ...... side design affords more even heat and 40 Doerr Ceramic Supply ...... less waste space; lids are dust and flake 42 Double B Tools ...... proof; automatic shut-offs are built in; 42 Duncan's Ceramic Products ...... CRAFT Applied Design, Bookbind- and the kilns are light in weight and 4 ing, Ceramic, Jewelry & available in three Francoise Ceramics ...... 40 STUDENTS Enameling, UL approved models. Lapidary, Gare Ceramic Supply LEAGUE Pointing, Sculpture, Silk Ceramichrome, Inv., 15215 Broadway, Co ...... 41 YWCA S c r • • n, Silversmithlng, Gardena, Calif. Hydor Therme Carp ...... 4 Tapestry, Weaving, Wood Illini Ceramic Service ...... Sculpture, Woodworking. TABLE MODEL PUG MILL 36 840 8th Ave. Kemper at 51st, N. Y. Catalog C. Men & Wom- A table model pug mill is being offered Mfg. Co ...... 40 Circle 6-3700 en. Day evening. by Amoco for use in mixing, blending Kiln-Gard ...... 41 and wedging clay bodies for throwing, Kinney, Kay ...... 6 jiggering or sculpturing. The unit weighs Klopfenstein, H. B. & Sons ...... 41 90 pounds and can be stored when not in L & L Mfg. Co ...... 3 WORCESTERCRAFT CENTER use. The steel hopper with sliding lid, Leonard, Jean, Ceramics ...... 41 extrusion barrel and auger Mayco Colors ...... TWO 2-WEEK SUMMER SESSIONS blades are 4 Midwest Ceramic 1st 2 weeks July 9-19 Center ...... 40 2nd 2 weeks July 22. Aug. 2 Minnesota Clay Co ...... 39 National Artcraft 8 molar crofts. All day workshops. Supply Co ...... 41 Eve. lectures and demonstrations. National Ceramic Manufacturers Assn. 8 t Room, beard available. Instructors New England (1 or 2 sessions) include R. F. Staf- Ceramic Show ...... 41 ford textiles, weaving; Mrs. van Norwest Novelty Co ...... 36 Ladau, weaving; A. Van Everdingen. ceram|cs: Priscilla Porter, gloss; A. Oakcs Ceramic Studio ...... 41 P. Purfell, enameling, and Craft Ohio Ceramic Supply ...... 40 Center InstrUctors David Brown, Anthony LeRocco. John Rogers, D. Old Trail Studio ...... 36 E. Andriok, E. Tenner. Paragon Industries ...... 40 Brochure: Deportment C.M., 2S Sagamore Rood Pottery by Dot ...... 9 Worcester, Massachusetts, Tel: 617.753-8183 Propson, Carl S., Co ...... 42 Reward ...... 6 Sculpture House ...... 36, 40 chromium plated to prevent wear and New Supply Secor Ceramic Supply ...... 41 Catalog- $1 corrosion. Operated by a direct drive Deductible on first order of $10 or more. Seeley's Ccramic Service ...... 39 We have what h.p. 115 volt AC-DC motor, two auger you want when you want it. Skutt & Sons ...... Cover 4 Prompt deliveries made. blades assure fast cutting, mixing and Tepping Studio Supply Co ...... 40 CENTRAL CERAMIC wedging action, it is claimed. Two ex- ART SUPPLY CO. Thompson, Thomas C., Co ...... 6 Batavia Rd., E. of Rt. 59 trusion dies are supplied -- one for a Trinity Ceramic Supply Warrenville, III. (Chicago suburb) rod, the other for ...... 40 Phone 393-0171 Retail m Wholesale a tube. American Art Clay Co., 4717 W. 16th St., Indianapolis Van Howe Ceramic Supply ...... 39 24, lnd. Vars, D. M ...... 40 Walker Jamar Co ...... 41 PORTABLE VISE Westwood Ceramic Supply ...... 7 ANDERSON CERAMICS COMPANY A small portable vise is the most recent Worcester Craft Center ...... 42 S. McDuffie St., Corner of Hall addition to Milwaukee Tool and Equip- Anderson, South Carolina ment's product line. The "Porto-Vise" has a rubber vacuum cup Back Issues Complete Ceramic Supplies on the base and this holds it firmly in place when The following back issues of Ceramics Send $1.00 for our new pictur- secured ed mold and supply catalog. to a smooth, non-porous surface Monthly are still available at sixty cents such as formica, linoleum or metal sur- per copy (Ohio residents pay 3% sales faces. No clamps or screws are needed, it tax). We pay postage. I is claimed, and the portability of this new 1953 March, July, August, December product should make it ideal for the 1954 March, July, August, December [] 1955 August, November, December studio, workshop or school where per- 1956 May, August, October manent installation is not practical. The 1957 January, April, May, June, July, August, September, October, December vise weighs just 3~ pounds and has a 1958 April, May, June, September, November jaw opening of 21,~, inches. Milwaukee 1959 April, June, November 1960 January, March, April, June, December Tool and Equipment Co., 2773 S. 29th 1961 January, March, April, May, June, Sep- St., Milwaukee, Wise. tember, October, November, December 1962 January (9-year Index issue), February, March, April, May, June, September, Oc- HAND MADE TOOLS tober, November, December ELECTRIC KILN ELEMENTS 1963 March, April, May TO CHOOSE FROM IN OUR CATALOG ganthal or Nickel.Chromium Please send remittance (check Available at your or money local suppliers. Single elements for do,it.yoarselfeTs. In quan- order) with list of issues desired. Write for our latest FREE catalog. tity for the Trade. Send your specifications for quotation. CERAMICS MONTHLY CARL S. PROPSON CO., INC. 4175 N. High St. Columbus 14, Ohio LUMEERTON, N.J.
42 Ceramics Monthly SELECT 20 TITLES from the CM Book Department
GLASS CRAFT DESIGNS AND HOW A WORLD OF PATTERN CERAMICS by Kay Kinney TO USE THEM by Glenn White by Glenn C. Nelson The complete book on fusing, by Joan B. Priolo This volume offers the begin- An important addition to the laminating and bending glass. Top-notch decorating can be ner a wealth of ideas and ;n- list of books for both student Basic techniques, step-by-step achieved by following the formation on design and color. and teacher. Many step-by- projects and a "Glass Clinlc" simple motifs which may be A sound approach to the art step photographs of clay-form- to help solve problems. Hard enlarged or transferred. A of decoration. Color and line mg a n d decorating tech- covers, 200 pages. $7.50 complete list of subjects: birds, illustrations. $3.75 niques. Review of studio fish, etc. $5.95 equipment. $S.95 A POTTERY SKETCHBOOK DECORATIVE DESIGNS by Aaron Eohrod CLAY AND GLAZES FOR FOR CRAFT AND HOBBY DESIGN MOTIFS OF Bohrod, one of America's dis- THE POTTER by Frances Johnson ANCIENT MEXICO tinguished painters, is well by Daniel Rhodes The author, a designer and by large Enciso known in the pottery field for Two complete books in one! potter, presents 350 designs, A compilation of 766 examples his decoration of pottery Fundamental details on both many in full size, with sug- divided into geometric, natural thrown by Carlton Ball. Thou- CLAY and GLAZES make this gestions for proper colors. and artificial forms. Includes sands of sketches, photos. $7.50 book a "must" for every Many Pennsylvania Dutch de- designs based on flowers, hobby - craftsman, student signs included. 72 pages, birds, fish, human figures and HANDBOOK OF DESIGNS teacher and potter. Illustrated. paper-bound. $3.00 many others. 170 pages. $1.85 AND DEVICES $7.50 by Clarence Hornung DESIGN FOR ARTISTS CERAMICS AND HOW Over 1800 sketches of basic CERAMICS BOOK AND CRAFTSMEN TO DECORATE THEM designs and variations includ- by Herbert Sanders by Louis Wolchonok by Joan B. Priolo ing the circle, line, scroll, fret, This excellent introductory book One of the best books on de- Mrs. Priolo gives detailed de- shield, snow crystals and many describes methods and ma- sign, it will prove to be in- scriptions and illustrations of more useful symbols. 240 terials for hand forming, wheel- valuable to pottery and sculp- dozens of decorating tech- pages. $1.90 throwing and casting. Covers ture enthusiasts as well as niques and shows exactly how ceramic jewelry, decoration decorators. Geometric, flower, to go about using them. Starts MOSAIC, HOBBY AND ART and firing. 96 pages. $I.95 bird and animal forms in where other books leave off. by Edwin Hendrickson detail. $4.95 $5.95 This profusely-illustrated hand- ENAMELING ON METAL book for the beginner and by Oppi Untrachf THE ART OF MAKING FREE BRUSH DESIGNING hobbyist includes Step-by-step photos are used MOSAICS by Egbert and Earner advanced on step-by-step instruction on 12 to describe fundamentals by Jenkins and Mills The authors' exciting approach basic projects. 111 pages. through to newly developed This fascinating book shows the to painting and designing de- $3.50 experimental styles. This com- beginner how to make unusual velops confidence in the new plete guide is a major con- and beautiful mosaic pieces artist. Extremely well adapted CERAMIC SCULPTURE tHbution to Enameling. $7.50 in home or workshop. $5.95 to ceramic decoration. $3.95 by John E. Kenny Contains over 1000 photos and of these select titles sketches covering all phases Order any of the sculptor's art. A valu- on CERAMICS MONTHLY'S Money-Back Guarantee able aid for all craftsmen. Large format (7" x 10"), 302 pages. $9.95 ...... _ -i THE COMPLETE BOOK F OF POTTERY MAKING I by John B. Kenny I BOOK DEPARTMENT The "best seller" in the 4175 N. High St., Columbus 14, Ohio ceramic field! Step-by-step M o N T H k Y I photo lessons cover all of the I I pottery-maklng techniques. Please send me the following book(s): $4.95 Clays, glazes, firing, plaster, -7 Kinney~Glass Craft $7.50 [] Parmele~Glazes $8.00 ~ Wolchonok~Desig.s etc. 242 pages. $7.50 I ~1 Bohrod~Sketchbook $7.50 [~ Priolo---Designs $5.95 ~1 Jenkins & Mills~Mosaics $5.95 $1.90 D Rhodes---Clay & Glazes $7.50 $5.95 CERAMICS FOR THE I -~ Hornung--Designs I~ Nelson~Ceramics ARTIST POTTER [] Hendrlckson~Mosaic $3.50 ~1 Sander~Ceramics Book $1.95 ~1 Encis~Deslgn $1.85 by F. H. Norton I r~ Kenny~Sculpture $9.95 [] Untracht--Enameling $7.50 [] Priol~Ceramics $5.95 complete book on The most Kenny~Pottery $7.50 [] Whlte--World of Pattern $3.75 Egbert & Barnet,~Brush $3.95 from choosing the ~1 the subject, [] Johnson--Deslgns$3.00 proper clay to puffing the I'-] Norton--Artist Potter $7.50 final touches on a piece, all I [] check [] money order clearly explained. Ceramics at I enclose its best! 320 pages. $7.50 I Name. CERAMIC GLAZES by Cullen W. Parmelee I Address This invaluable reference book covers glaze mak- completely State ...... ing. Includes formulas and City ...... Zn ...... recipes far glazes. 314 I batch add 3% Sales Tax. WE PAY POSTAGE pages of technical informa- Ohio residents ii bound. $8.00 / tion, handsomely m m m m m i m m m m m m m m d i
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Rust? Never!
Of course, rain isn't the real danger... wh¢ is going to leave a ceramic kiln outside? But that handsome stainless steel encasement provides protection from rusting internally -- the fate of ordinary steel jacketing --when steam escapes through the fire brick during each firing.
So for you m no more rust particles on your ware!
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