i J 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 Gwen White by Glenn C. Nelson The complete book on fusing, by Joan B. Priolo This volume offers the beginner An ;mportant addition to the laminating and bending glass. Top-notch decorating can be a wealth of ideas and infor- list of books for both student Basic techniques, step-by-step achieved by following the mation on design and color. and teacher. Many step-by- proiects and a "Glass CI;nic" 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 ing and decorating techniques. covers, 200 pages. $7.50 complete list of subiects: birds, illustrations. $3.7S Review of studio equipment. fish, etc. $5.95 $5.9s DECORATIVE DESIGNS A POTTERY SKETCHBOOK CLAY AND GLAZES FOR FOR CRAFT AND HOBBY DESIGN MOTIFS OF by Aaron Bohrod THE POTTER by Frances Johnson ANCIENT MEXICO Bohrod, one of America's dis- by The author, a designer and by Jorge Enclso tinguished painters, is well Two complete books in one! potter, presents 350 designs, A compilation of 766 examples known in the pottery field for Fundamental details on both many in full size, with sug- divided ~nto geometric, natural his decoration of pottery CLAY and GLAZES make this gestions for proper colors. and artificial forms. Includes thrown by Carlton Ball. Thou- book a "must" for every Many Pennsylvania Dutch de- designs based on flowers, sands of sketches, photos. $7.50 hobby - craftsman, student, signs included. 72 pages, birds, fish, human figures and teacher and potter. Illustrated. paper-bound. $3.00 many others. 170 pages. $1.85 HANDBOOK OF DESIGNS $7.50 DESIGN FOR ARTISTS CERAMICS AND HOW AND DEVICES TO by Clarence CERAMICS BOOK AND CRAFTSMEN DECORATE THEM Hornung by Joan B. Priolo Over 1800 sketches by Herbert Sanders by Louis Wolchonok of basic One Mrs. Priolo gives detailed designs and variations includ- This excellent introductory book of the best books on de- de- describes methods and ma- sign, it will prove to be in- scriptions and illustrations el ing the circle, llne, scroll, fret, dozens shield, snow terials for hand forming, wheel- valuable to pottery and sculp- at decorat|ng tech- crystals and many niques and shows exactly more useful symbols. 240 throwing and casting. Covers ture enthusiasts as well as how ceramic decorators. to go about using them. Starts pages. $1.90 jewelry, decoration Geometric, flower, and firing. 96 pages. $1.95 bird and animal forms in where other books leave off. detail. $4.95 $5.95 MOSAIC, HOBBY AND ART ENAMELING ON METAL by Edwin Hendrickson by Oppi Untracht THE ART OF MAKING FREE BRUSH DESIGNING This profusely-illustrated hand- Step-by-step photos are used MOSAICS by Egbert and Barnet book for the beginner and to describe fundamentals on by Jenkins and Mills The authors' exciting approach advanced hobbyist includes through to newly developed This fasc;nating book shows the to painting and designing de- step-by-step instruction on 12 experimental styles. This com- beginner how to make unusual velops confidence in the new basic proiects. 111 pages. plete guide is a major con- and beautiful mosaic pieces artist. Extremely well adapted $3.50 tribution to Enameling. $7.50 in home or workshop. $5.95 to ceramic decoration. $3.95 CERAMIC SCULPTURE Order any of these select titles by John B. Kenny Contains over 1000 photos and on CERAMICS MONTHLY'S Money-Back Guarantee sketches covering all phases of the sculptor's art. A valu- able aid for all craftsmen Large format (7" x 10"), 302 pages. $9.95 THE COMPLETE BOOK NT OF POTTERY MAKING by John B. Kenny I 4175 N. High St., Columbus 14, Ohio The "best seller" in the ceramic field! Step-by-step Please send me the following book(s): I photo lessons cover all of the [] Kinney--Gloss Craft S7.S0 [] Parmele~Glazes S8.00 [] pottery - making techniques. Wolchonok--Desicjns S4.95 Clays, glazes, [] Bohrod--Sketchbook S7.S0 [] Priol~Designs firing, plaster, SS.9S [] Jenkins & Miil~Mosaics $5.95 etc. 242 pages. $7.50 [] HornunglDesigns S1.90 [] Rhodes---Clay & Glazes $7.50 [] Nelson--Ceramics $5.95 [] HendricksonlMOSaiC CERAMICS FOR THE $3.50[] Sander~Ceramlaz Book $1.95 [] Encis~Deslgn $1.85 ARTIST POTTER [] Kenny--Sculpture $9.95 [] Untracht--Enameling $7.S0 [] Priolo---Ceramics SS.gS by F. H. Norton Kenny--Pottery $7.S0 [] Whit~World of Pattern $3.75 [] Egbert & Barnet---Brush S3.95 The most complete book on the subiect, from choosing the [] Norton---Artist Potter $7.50~ Johnson--Designs $3.00 proper clay to putting the I enclose [] check [] money order final touches on a piece, all clearly expTained. Ceramics al I its best! 320 pages. $7.50 Name ...... CERAMIC GLAZES Address by Cullen W. Parmelee I ...... This invaluable reference book City ...... completely covers glaze mak- I Zn ...... State ...... ing. Includes formulas and Ohio residents add 3% Sales Tax. batch recipes for glazes. 314 WE PAY POSTAGE pages of technical ;nforma- I__ tion, handsomely bound. $8.00 No fair peeking! Constant visual inspection of your ceramic charge is no longer necessary! All Skutt-Kilns are built with an automatic Shut-off which conveniently turns the kiln off at exactly the right time, every timet Other features you'll like: (1) automatically controlled radiant cooling which lowers the temperature quickly through the tolerant stages, carefully through the brittle ranges; (2) handsome, easy to maintain stainless steel casement; (3) economical operation ; (4) light weight, and your Skutt-Kiln can be fired every day! There are three Skutt-Kiln models to choose from and they actually cost less than bulky, square shaped kilns. ~~~ ~~end for the free Skutt & Sons Ceramic Kilns brochure today!

CERAMIC KILNS • 2620 s. E. STEELE STREET • PORTLAND 2, OREGON

March 1963 3 I I I

>r m Dfc ~f ~m;cs) 30 CENTURY SECRET TOLD TO TEACHERS

After 3,000 years, father to son, family to family, clown through the ages-now, for ceramists all over the world to share...the great truth formula... DFC. i mR DEPENDABLE FIRING CONTROL I *Dr. Con's histor;c address is not available for reprint--However-- @ F we offer an expanded and complete translation of his great BB ¢ firing control secret...DFC ask for catalog 0 • Chicago J _)enver/:ire Co. • Los Angeles Clay • Phoenix 3033 BLAKE ST. • PHONE 623-7177 • DENVER 17, COLO. • Salt Lake City

glaze combinations

for fun for profit produce unique finishes everytime/

BUY MINXIE MOLDS AND CERAMIC ACCESSORIES

* LIGHTER INSERTS * HANOVIA GOLD& LUSTRES * DESK PENS * MINXIE MOLDS * ANIMAL EYES * MINXIE GLO Lifts * CLOCK WORKS * MINXIE GLO STARS * MUSIC BOX MOVEMENTS * MINXIE GLO SNOW * JEWELS FOR DECORATING * MINX KITS: NEFER A DISAPPOINTMENT/ * SPONGES Ornaments for Ceramics Your students need never be disappointed with the final results of their ceramic creations when they decorate wlth an E-Z * PORCELAIN BISQUE FLOWERS Rhinestene Costume Jewelry Flow GLAZE COMBINATIONI Each "Combination" is truly a gem and one your students will use with pride. WHOLESALE m MAIL ORDER ONLY. NO RETAIL! The piece shown above is decorated in ~:16S "Whispering Leaves"; fo bisqued piece apply 2 coats of ~2000 Blue Speckle- tone glaze and then 2 coats of ~624 Antique Green Glaze and fire to cone 06. Contact your supplier for Minx Molds, Accessories and Supplies. If not available, write direct for name nearest you. -~- MINX, Box 989, Glendale S, California

4 Ceramics Monthly MONTHLY

Volume 11, Number 3 March 1963

Letters to the Editor ...... 7

Answers to Questions ...... 9

Suggestions from Our Readers ...... 11 Itinerary ...... 12 in every THOMPSON ENAMEL A Potter's Studio by Anne Appleton Clarke ...... 13 Here's where Thompson experience really Sculpture: The Human Head (Part 3) by 16 shows up • • . in your finished work. Our Racks and Trivets for Firing Enamels by Kathe Berl ___21 careful formulation and preparation of the enamels you start with make a noticeable Sculpture from Wheel-Thrown Forms by Leon Moburg __22 difference in the quality of the piece you Show Time: Midwest Potters and Sculptors ...... 25 end up with . . . whether you're a beginner or a seasoned craftsman• Firing the Kiln by Moseley, Johnson and Koenig ...... 26 This experience in making the best possible Animals from Clay Slabs by Alice Lasher ...... 28 enamels is the main reason for Thompson's reputation as the world's largest supplier of Brush Printing demonstrated by Marc Bellaire ...... 30 art enamel colors . . . a title we've enjoyed Copper Blue Glazes by F. Carlton Ball ...... 33 for most of our 70 plus years•

CeramActivities ...... 35 The new Thompson catalog puts the widest selection of these top quality enamel colors Workshops ...... 37 Summer available anywhere right at your fingertips of Index to Advertisers ...... 38 • . . plus everything you need in the way materials, tools and supplies.

On Our Cover A selection of some of the basic clay-working tools used by every is the subject of the photogram on this month's cover. potter Send the coupon today for your free Editor: THOMAS SELLERS personal copy. Art Director: ROBERT L. CREAGER Business Manager: SPENCER L. DAVIS Circulation Manager: MARY RUSHLEY

Advisers and Special Contributors: F. Carlton Ball; Marc Bel- hire; Kathe Berl; Edris Eekhardt; John Kenny; Kay Kinney; Holst; Karl Martz; Ken Smith; Don Wood. oTmo. , oo _ °.,. °. I Zena S39 Deerfleld Rood Hlghlond Pork III I I Western Advertising Representative: Joseph Mervish Assoc., 5000 I Please rush my FREE catalog of completeenameling and +raft I Lankershim Blvd., North Hollywood, Calif. TRiangle 7-7556 supplies.

Copyright 1963 Prolessional Publications, Inc. NAML I

CERAMICS MONTHLY, March 1963, Vol. ll---No. 3. Published monthly I ADDRESS__ I except July & August by Professional Publications, Inc--S. L. Davis, Pres., P. S. Emery, Sec.; at 4175 N. High Street, Columbus 14, Ohio. Entered as second class matter at the post office at Athens, Ohio. I CITY- ---ZONF.-__$TAL .~ U.S.A. Subscriptions: One year $5; Two Years $9; Three Years $12. Copyright 1963. All rights reserved.

March 1963 5 MEMPHIS BRAND MODELING CLAYS

RED WHITE

MEMPHIS BRAND RED MODELING CLAY ;s a good, all around MEMPHIS BRAND WHITE MODELING CLAY is a scientific blend modeling clay suitable for all methods of hand-forming, throwing of superior quality Kentucky Clays and ceramic grade talc. Thls is and pressing. It ;s pugged and de-aired. We recommend firing to also a pugged and de-aired clay and talc body for cone 05 or up a cone 05 but this hotly may be fired as high as a straight cone to a straight cone 7 if des;red. Although somewhat gray in the .#1 if des;red. A beautiful rich Indian Red Clay. Very popular for model;rig stage, it fires out to a beautiful white. It too is suitable the earthenware pieces. The color is vivid before and after firing. for all methods of hand-formlng, throwing and pressing.

BOTH RED AND WHITE PACKED IN 12V2 pound plastic bags, four to a shipping carton. Pugged and de-aired. READY TO USE

You may secure quantity prices by combining both red and white clay to receive lower price.

PRICES RED WHITE RED WHITE 2S pounds .... 12c per pound 8c per pound 500 pounds .... 7c per pound 5c per pound S0 pounds .... 10c per pound 7c per pound 1000 pounds .... 6c per pound 4c per pound 100 pounds .... 9c per pound 6c per pound 2000 pounds .... Sc per pound 31/2c per pound ALL PRICES PLUS 5% PACKING CHARGE

MAIL ALL ORDERS TO MEMPHIS, TENN. Orders may be picked up or shipped from either warehouse.

Save on freight ~ Shipped from the warehouse nearest you . . . HOUSE OF CERAMICS,INC. FLORIDAHOUSE OF CERAMICS 2481 Matthews Ave. 2315 Hubbard Street Memphis 8, Tennessee Jacksonville, Florida

NEW/VIA TERIALS

FOR FUSED GLASS- TEACHERS GLASS-COAT ... the ideal undercoating HAPPY RES for one-stroke or detail techniques. Elim- inates spreading of water-base pigments; burns out in firing. The perfect adhesive for copper enamel lamination .... 80c per jar.

OPAQUE GLASS ENAMELS . . con- cent.rated liquid enamels for surface dec- Ever wonder why Reward glc~es and colors oration at bending temperatures. WHITE, are used in more schools and craft' centers than any other brand? The reason is PRE- JET, LEAF GREEN, TESTING of every batch at the factory be- BLUE GREEN, TUR- tore it leaves Maryland. To make results more certain, colors and finishes are QUOISE, DEEP BLUE, SUN YELLOW, checked for ease.of-application and fool- proof firing characteristics. If you want te LIME, PINK, ROSE and BROWN ... 45c. encourage ceramics in your classes or cam- reunify, insist upon the REWARD brand. Over 400 colors and textures to suit every FLAME RED ... 60c. teaching and student requirement. Reward glazes and colors fire at "stand- INTRODUCTORY OFFER ard temperatures" (Cone 06.04) in regular school and Institution kilns. Available in 2 ALL 12 only $5.00 pp., at retail only. oz & 4 oz jars or economical pint, quart and qallon sizes. Write for prices and free literature. KAY KINNEY ~ CONTOURED GLASS 725 Broadway Laguna Beach California REWARD CERAMIC COLOR MFRS., INC. 6811 Washington Blvd., Elkridge 27, Md.

6 Ceramics Monthly LErrTERS

Share your thoughts with other CM read- throwing on the wheel, decorating the in batch form only, are a very regional ers--be they quip, query, comment or ad- pieces and formulating glazes. My l l/.o- kind of communication. When frit num- vice. All letters must be signed, but names years' experience enables me to throw a bers or commercial brands are mentioned, will be withheld on request. Address: The 14-inch pot with no pain, but I am a rank it deprives me, an out-of-the-U.S.A, pot- Editor, Ceramics Monthly, 4175 North amateur otherwise. I'd consider traveling ter, of the pleasure of sharing in the High St., Columbus 14, Ohio. a considerable distance and would enjoy excitement and experiences of your au- living with a small group with similar thors. Why not give the empirical formula DISTURBED interests. Arthur Werner, Jr. that is the more international language Braque once said: The painter Georges Livermore, Calif. of glaze makers? I feel that there is more not disturb you, "A painting that does possibility for creation, interpretation and also be ap- compiles what good is it?" Could this Each year Ceramics Monthly learning from the empirical formula than If so, the that o[[er plied to the field of ceramics? a list o[ schools and camps from the measure and mix recipe. But sculpture and the oth- sculpture by Win Ng and the pot summer workshops in pottery most of all, it would not leave me with December issue are published in by in the er ceramic areas. These the unhappy sentiment of being left out be good. June issues. of CM must both, certainly, the March, April, May and of the fun that American subscribers can by When things like these, produced The first o[ our reports /or the coming have through your magazine. tech- people of otherwise great skill and summer is in this issue; as more listings Denise Beauchemin nical ability, are given serious considera- come in, they will be added. --Ed. Montreal, Ont. tion by publications and galleries, I am greatly disturbed. Let us not lead ourselves LEFT OUt OF THE FUN JANUARY ISSUE INSPIRING to believe that spontaneity and vigor of Your magazine is becoming more and The last issue (January 1963) was so execution must produce results such as more interesting to the one-of-a-kind studio inspiring to me, with the article on these. Ted Carlson potter such as I am. Your very good sculpture (Eckhardt, "The Human Head") Avenal, Calif. authors are enthusiastic experimenters in and the photo of Joan Gabriel's Mosaic clays and glazes; they make me very curi- Sculpture ("Films on Ceramics"). I have WORKSHOP REgUEST ous and interested in trying their formu- made two mosaics and am interested in Can you recommend a "workshop" that las. Alas! while their literature gives an seeing more articles on this subject. I might attend for a few weeks sometime excitement that can be shared interna- Pearl Papez this year? My interest is solely that of tionally, their formulas, which are given Omaha, Neb.

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March 1963 7 TEA CH RS It'saPleasuretoTeach With... ~ #~~~ MAYCO :F co,o s "k ALWAYS RELIABLE "k LIQUID, READY-TO-USE ~~/ "k ECONOMICAL ~ .... "k SO BRILLIANT COLORS hfAYCO is the Favorite Color of ExperiencedCeramists

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Acclaimed Everywhere by Teachers EASTERH CERAMIC HOBBY SHOW and MAY 16-19, 1963 -- CONVENTIONHALL, ASBURYPARK. N.J. Professionals Sponsored by Ceramic: Leagues, Inc. for ATTENTION • Four free days at the Empress Motel to the Studio sponsoring Performance the most entries In the Amateur Exhibit. • Buyers Cards to be honored at the Eastern and Chicago ~r Ceramic Shows now available . . • Write for yours today This Nationally • . . Wholesale Hours: 12 to I P.M. daily. Recognized • Hobbyists and Beginners are invited ?o attend the fabulous Power-Driven "Pageant of Techniques" from 9 A.M. 12 Noon daily . . . free admission. Precision Wheel #r SPECIAL CLASSES ~ EASTERN CERAMIC SHOW OF 1963 CONVENTION HALL ~ ASEURY PARK, N.J. only $57.50 Please send teaching schedule far Pre-Registered Classes to be con- (Shipped complete ducted at the 1963 Eastern Ceramic Hobby Show . . . I wish to Lass Motor) make a reservation. NAME (please print) Ideal for school, studio, home use . . • The famous B & I STREET Pottery Maker, first in the field, is still first in value and in price! Simple operation, CITY & STATE rugged construction, with all the versatility required by professional workers! Many built-in NATIONAL CERAMIC AMATEUR EXHIBIT~Dorothy Mlddletun, Chin. features . . . ADJUSTABLE arm rests; BUILT-IN water con- 19 RUTGERS AVENUE, HILLSIDE, N.J. tainer; VARIABLE speed drive; QUIET bronze and Please send ___ Entry Forms. I plan to exhlblt in the: National babbit bnarlngs; Amateur Exhibit (check); Professional Exhibit (check)• ADJUSTABLE foot-pedal control: UNUSUA 1 size range• NAME (please print) Before you buy, Write B & [ . . • get full, free details: Point- by-point, we challenge comparison on QUALITY features STREET • . . Our price is still the best in the field! CITY & STATE B & I Pottery Maker ...... shipped complete, less motor, f.o.b. factory, Burlington, W;sconsln, for only $57.50 B & I Mfg. Co. Dept. C. Burlington, Wisc. "OricjInatars and Malmrs of famous S & I GEM MAKERS"

8 Ceramics Monthly Answers to QUESTIONS Conducted by the CM Technical Staff

9 How o/ten must kiln wash be applied to the shelves? I have fired my kiln man), times and the coating of kiln wash still seems to be as heavy as when it was first applied.--H. ]. T., Albany, N. Y.

For low-fire work, the kiln wash may not need to be re- applied until it cracks off or must be scraped to remove glaze drippings. If these areas are small, the wash can be applied just on these spots to protect them. However, if the surface becomes uneven the old kiln wash should be completely scraped off and a new coating applied. For high-fire work, especially in the por- celain range, it is recommended that fresh kiln wash be applied for each firing.

9 Can you furnish any in[ormatzon on a material called Albany NATURALLY! slip? I have seen several references to this slip that have puzzled me because it appears to be used as a glaze rather than as a casting slip.--S. G., Denver, Colo.

Albany slip is a natural clay mined in the vicinity of Al- bany, N. Y. It contains enough fluxing content to cause it to melt and react like a glaze at about cone 8. Albany slip fires to a brownish-black color and is quite attractive. The addition of two per cent of manganese dioxide sometimes gives a slight plum color that is very desirable. This slip glaze was the type used by early potters in this country for their stoneware.

Can you give me any information on gold granulation in enamel work? I have seen some pieces done in this technique and would like to try it if it i~n't too difficult.--F. A., Ashe- rifle, N. C.

Granules are made by cutting very small pieces of gold or silver wire, placing them on a charcoal block and heating them with a torch until they melt and form balls. These are placed on a fired enamel surface and put in the kiln and fired until the enamel melts enough to hold the granules in place. Granules are small and they must be handled with tweezers to put them in place on the enamel surface. While this is a rather tedious pro- cedure, the effect is rich and well worth the effort.

9 I have been having considerable difficulty in getting satis- factory results by brushing the matt glazes that I compou.nd CERAMICHROME is designed for all clay myself. Generally the glaze surface is very unattractive when bodies . . . Outstanding results on arfware, the pouring technique but I still get unsightly porcelain, or stoneware! Fires from cone fired. ! have tried is I don't have access to regular spray 06 to 6! This feature, plus many others, ridges and uneven results. hobbyist, teacher, Zanesville, Ohio important. If offers the equipment. Any suggestions?--A.K., or student a new freedom in the ceramic arts. Choose from over 250 colors and tex- matt glazes do not flow in the firing they must be Since tures in exclusive "color-balanced" palettes. method of application, applied smoothly. Spraying is the best Send today for valuable FREE Information and if you don't have access to a power spray gun you might about CERAMICHROME "READY. TO - USE" try using one of the hand spray guns for bugs. Not all of these Ceramic Colors. Write Dept. CM-5. will work satisfactorily for glazes, as they are intended for use with thinner liquids. Many ceramic dealers stock good ones that should do the job for you. Yott also should consider the use of the commercial matt glazes that give excellent brushing results.

"FINEST PREPARED CERAMIC COLORS" All subscriber inquiries are given individual attention at CM; INC., 15215 S. BROADWAY and, out of the many received, those of general interest are CERAMICHROME, selected /or answer in this column. Direct your inquiries to the GARDENA, CALIFORNIA Questions Editor, CM, 4175 N. High St., Columbus 14, Ohio. Please enclose a stamped, self-addressed envelope.

March 1063 9 SCHOOLS-CRAFT CENTERS-INSTITUTIONS have you tried Westwood's stoneware cone 5 glazes? (color may be added) W 501 LIDO SATIN (mottled beige} W 504 ITALIAN STRAW (mottled bei.c 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 - I0 BROWN (reduction) (cone 10) WC-8 White (cone 6-10) SCRH BROWN (reduction) (cone 10) WC-40 BROWN (cone 5) WC-33-I0 BROWN (reduction) (cone 6-10) SCMO BUFF (cone 10) WC-33 BUFF (cone 6-10) WC-5 RED (cone 5)

WESTWOOD Stoneware is used by leading potters and ceramic schools everywhere. PRICES ON REQUEST POTTER'S WHEELS and KILNS

610 VENICE BLVD. VENICE, CALIFORNIA

For Better More Consistent Results

ORTON FREE • • • for dealers only This attractive, heavy-wire magazine display rack is supplied free to every studio selling single copies of Ceramics Standard Pyrometric Monthly. It is part of a "full-service" program we offer ceramic studios everywhere. Learn more about this program now -- send the coupon below or write on your letterhead.

CONES Circulation Manager CERAMICS MONTHLY Orton cones are your guide to more uniformly 417S N. High St., Columbus 14, Ohio fired ware. Here is a leaf from industry's book that you can use. For complete details on this Please send us information on your single copy sales economical control method see your dealer or programmfor dealers only. write direct. STUDIO Request 7our Jycc cop'j oJ '°Prop~i¢~ amt U~ oJ Py~or~:ric Conu'" The Edward Orlon, Jr. Ceramic Foundation ADDRESS- 1445 Summit Street Columbus 1, Ohio CITY/STATE ...... I

10 Ceramics Monthly DISTRIBUTORS DEALERS TEACHERS SUGGESTIONS Have Heard Are True! from our readers The Rumors You The second annual Manufacturers National Ceramic Trade Show will be held in St. Louis July 18-21 at the KILN STACKING AID beautiful Chase-Park Plaza Hotel. In conjunction with the I have found that one of the greatest conveniences one can show will be the annual N.C.A. Convention, and from have in the studio is a small table on rollers. I purchased a used appearances it will be an excellent combination. The show typing table very cheaply and use it for stacking ware that must has been lengthened from 3 days to 4 and all meetings be moved from one place to another in the studio. It is espe- of the newly formed National Ceramic Manufacturers cially convenient for loading the kiln and has saved me many Association (NCMA) will be held after the show, thus extra trips across the room. --Aline Ross, Evansville, Ind. allowing the manufacturers full time for direct contact with the teachers, distributors and studio owners attending. GOLD ON ENAMEL is sponsoring the trade show portion of the I had been having difficulty with cracking and crazing when NCMA surfaces and I hope that my solu- affair and the keynote is Education. The Manufacturers firing liquid gold on enameled of tion to this problem may be helpful to others. I fire the gold to Association will hold seminars by the various segments 750 °, until it is bright and shiny; then I quickly remove it from its ranks, and this initial effort shows promise of being the kiln. At this point the gold is still soft enough to make cor- truly outstanding. Among these will be the color manu- rections or changes. I then spray the piece with a gum solution, facturers' presentation of the best of techniques and the sift on a light coating of flux and put it back in the kiln and kiln companies' valuable repair and maintenance pointers. fire to 1500 ° . The gold shows through the flux and there is no Each of the industry segments wi[I cooperate to bring to crazing or cracking. --Ellen Hall, Pearl River, N. Y. those attending a composite picture of all the possibilities of that segment's product without mention of specific TAKE-A-CHANCE GLAZE trade names. Don't throw out the small dabs of dried-up glaze that we all accumulate. Grind together what you have on hand with The National Ceramic Association's (NCA) seminars mortar and pestle, add water until you have the proper con- will deal with many of the vital facets involved in operat- sistency for brushing and you are ready to use this new glaze ing a ceramic studio soundly and profitably. From the on a simple clay shape. This method does not guarantee a good enthusiastic reaction of those attending the Pittsburgh glaze, for the results are occasionally disastrous. More often, Show last summer, we know this program will be out- however, the piece will be a one-of-a-kind beauty. standing. ---Marilyn Moore, Hoopeston, Ill. Attendance will be by invitation and the participating spring to all distr bu- STRAWS AS ARMATURES manufacturers will mail these in the can be used most effec- tars, deaers and teachers of record. Full information I have found that drinking straws with special- tively as armatures for arms and legs when making smaller pieces regarding the show will be included, together of ceramic sculpture. I use the heavy-duty Jumbo straws that rate accommodation cards for the Chase-Park Plaza have "elbows" that bend; the clay can be built around these in Hotel. Any questions remaining thereafter should be ad- almost any desirable position. The main advantage in using these dressed to the Show Chairman, Phil Skutt, 2618 S. E. is that you have a "built-in" air space that is indispensable in Steele, Portland 2, Oregon, or any member of the NCMA the drying and firing stages. Another advantage of using straws Board of Directors. as armatures is that they will burn out in the firing. Here is one armature that does not need to be removed! --Mrs. Ralph Clendenin, Valparaiso, Ind. BOARD OF DIRECTORS CARE OF KILN SHELVES CHAIRMAN MEMBERSHIP CO-CHAIRMAN Kiln shelves can be kept from warping by reversing them Robert E. Duncan Carlos E. P. Guerra bisque and glaze firings. I place my shelves in the kiln with Duncan Ceramic Products Ceramic Colors, Inc. for 5673 East Shields, Fresno 27, Calif. P.O. Box 78276, West Adams Sta. sides down for bisque firings; if any kiln wash the kiln-washed TREASURER Los Angeles 16, Calif. falls off, it will not stick to the bisque ware. The shelves are Frank Hollendonner 1963 SHOW CHAIRMAN placed in the kiln with the coated sides up for the glaze firings. Holland Mold Inc. 1040 Pennsy vania Ave., Trenton, N.J. Phll Skuft Since I have about an equal number of bisque and glaze firings, Skutt & Sons this method keeps the shelves from sagging. MEMBERSHIP CHAIRMAN 2622 S. E. Steele St., Portland, Ore. ---S. G. Martin, Evanston, II1. Olevia H[cjcj s Reward Ceramic Color Mfrs. EXECUTIVE SECRETARY 6811 Washington Blvd. Leonard Smith 33 Lincoln Avenue, Rutherford, N.J. TO MAKE MOSAIC TILES Elk Ridqe 27, Md. For an easy method of making mosaic tiles and, at the same time, using up odd bits of glaze, try this simple technique: Turn a large mold upside-down and pour as large a "puddle" of slip as possible on the surface. When this has set to the leather-hard stage, peel the slab from the plaster and place it on some paper toweling. To make the tiles, score the desired shapes and sizes on the surface with a fettling knife, gently drawing the knife in opposite directions so as not to distort the clay. Do not cut all the way through the slab! When the slab is dry, the surface can be painted with the glaze. The tiles are broken apart just before NCMA they are placed in the kiln. Be sure to examine each one to make NATIONAL CERAMICMANUFACTURERS ASSOCIATION Continued on Page 32

March 1963 11 Order now from the ITINERARY Book Department

Send your show announcements early: OHIO, TOLEDO "Where to Show," three months ahead May 5-26 The ¢5th Annual Toledo o[ entry date; "Where to Go," at least Area Artists Exhibition is open to resi- six weeks be[ore the opening. dents of Northwest Ohio and Southeast Michigan. Media: ceramics and other WHERE TO SHOW crafts. Cash awards and purchase prizes; Jury; Entry fee. Entry dates are April 11- FLORIDA, WINTER PARK 13. For prospectus, write: Toledo Museum March 8-9 Fourth Annual Sidewalk of Art, Toledo 1. Arts Festival of Central Florida is open to all artists and craftsmen who bring TENNESSEE, MEMPHIS their own exhibits and remain with them May 4-3l Mississippi River Craft Show, during show hours. Exhibition space must sponsored by the Memphis Branch, Amer- be reserved in advance. Entry fee; Jury; ican Association of University Women, Cash awards. No commission is deducted will be held at Brooks Memorial Art on work sold. Information may be ob- Gallery. Open to craftsmen residing in tained by writing to the Sidewalk Arts states touching the Mississippi River. Festival, 333 N. Park Ave., Winter Park. Media: Ceramics, textiles, metals, enam- els, glass, mosaics, wood, plastic and KENTUCKY, LOUISVILLE leather. Purchase prizes; Entry fee. Juror: April Art Center Annual Exhibition, at Paul J. Smith. Deadline for entry is April the J. B. Speed Art Museum, is open to 1, 1963. For information, write: Brooks CRAFTS artists and craftsmen of Kentucky and Memorial Art Gallery, Overton Park, DESIGN Southern Indiana. Media include crafts Memphis 12. and sculpture. $1500.00 in awards; Entry by MOSELEY,JOHNSON and K0[NI6 fee for non-members of the Art Associa- tion. Entry forms due March 10. For com- SPECIAL FOR HOBBYISTS This exciting book, written by accom- plete information, write: Art Center Asso- ciation, 2111 S. First St., plished well-known artists, is a wonderful Louisville. CALIFORNIA, LONG BEACH introduction to crafts design. The rich and March 8-10 14th Annual California MASSACHUSETTS, varied substance of this book will show BROCKTON Ceramic Fair, at the Lafayette Hotel, is April 8-27 Sixth Annual Show you the art and technique of creating of the sponsored by California Ceramic Hobby Brockton Art Association includes work in Crafts, Inc. Classes, through crafts. Rarely has the fine art of exhibits, demonstra- pottery, jewelry, weaving, sculpture and tions and educational features. For crafts been presented so completely and infor- painting. For full details and entry forms, mation on hobby entries, write: Eleanor simply. write: Ralph Terry, Jr., Brockton Art Asso- Mauro, 1821 W. Verdugo Ave., Burbank, Over 1,000 illustrations with simplified ciation, P.O. Box 533, Brockton. Calif. and detailed step-by-step instructions show ILLINOIS, the reader the processes MASSACHUSETTS. FALL RIVER CHICAGO used in pottery, August 24-27 Fourth Annual mosaics, enameling, May 5-li Seventh Annual Show of the Chicago decorated papers, Greater Ceramic Show, at the Morrison Hotel. weaving, bookbinding, decorative Fall River Art Association will be fabrics, held at the new home of the Association. Competitive exhibits, demonstrations and paper sculpture and paper-machO. Each Open to all artists and craftsmen, media classes. For information, write: E. Kane, craft is introduced with detailed discus- include ceramics, enamel, sculpture and Box 115, Wilmette, Ill. sions of color, line, shape and texture. jewelry. Entry fee; Cash Awards; .Jury. Entry forms and fees due by April ILLINOIS, ROCK ISLAND The material in this handsome book is 18. For information, write John Caldwell, Greater March 16-17 Sixth Annual Show of well organized, enabling the beginner to Fall River Art Association Building, 80 the Mississippi Valley Ceramic Associa- follow the step-by-step directions with ease Belmont St., Fall River. tion, at the Masonic Temple. and understanding. Many outstanding ex- KANSAS, amples of traditional art are included as NEW YORK, SALINA PLATTSBURGH April 27-28 Central well as examples of contemporary crafts April 16-May 7 "Jewelry Ceramic Show Internation- features workshops, competitive and children's art. Every craft center and al '63," exhibitions second annual competition spon- and demonstrations. For information, school should have a copy of this new sored by the State University of New write: Keith Williams, 308 W. Cloud, book! Individuals looking for an outstand- York College, is open to craftsmen working Salina. ing text on the crafts will want CRAFTS in all jewelry media. Jury; Awards; Entry DESIGN for their library. Over fee. Entry card and work due by March MISSOURI, ST. Louls 1,000 31. Write: illustrations, 436 pages, William Benson, Department July 18-21 hard binding. of Fine Arts, State The Ceramic National University College, Trade Show, sponsored Price: $13.00. Plattsburgh. by the NCMA and open to the trade only, will be held at the Chase Park WE PAY POSTAGE m MONEY-BACK GUARANTEE Plaza Hotel. For in- .N]'EW YORK, SYRACUSE formation, write: Phil Skutt, March 2618 S.E. 9-April 7 llth Annual Syracuse Steele St., Portland, Ore. Regional Exhibition, CERAMICS MONTHLY BOOK at the Everson Mu- DEPT. seum, is open to artists and craftsmen 4175 H. High St., Columbus, Ohio fly- NEW JERSEY, ASBURY PARK ing within a 100-mile radius of Syracuse. May 16-19 1 lth Annual Eastern Ceram- All media. For information, write: Please send me __ CRAFTS DESIGN @ $13 The ic Show, sponsored by Ceramic Leagues, Everson Museum of Art, Syracuse. Inc., will be held at Convention Hall. Name ..... Write: Jerry Gasque, Convention Hall, OHIO, CLEVELAND Asbury Park. Address May 8-June 16 The 45th Annual Ex- hibition of the work of artists OHIO, CLEVELAND City and crafts- Zn__State --- men of Ohio's Western Reserve includes March 22-24 Exhibition of the Greater Ohio Residents: add 3% Sales Tax. ceramics, enamels and jewelry. For pros- Cleveland Ceramic Hobbyist Guild, fea- I enclose [] Check [] Money Order pectus, write: Cleveland Museum of Art, Continued on Page 34 w ...... - ...... Cleveland 6. 12 Ceramics Monthly ' i

, : a the One cormr ol the Clar],c studio ilzcludc, t/z( IJott, r'~ ~c,hecl, wedging table and storage shelves.

A POTTER'S STUDIO

by ANNE APPLETON CLARKE

NEARLY EVERYONE who works with clay dreams of hav- I can dispense with cumbersome clay-storage contain- ing his own studio, whether it simply be a private place ers. As this newly-prepared clay usually is too wet for to work or a small commercial venture. A few ceramists my use, I wedge up enough clay for the next day's use abandon the idea because they" don't have the equip- in advance and roll it into large coils about the size and ment or the time for such a project, but many others shape of loaves of French bread. These coils are bent give up because they don't have what they consider into horseshoe shapes and set out on window ledges to be adequate studio space. Perhaps the information and shelves to dry to the proper consistency for throw- offered here will encourage some potters to go ahead ing. When it is ready, I wrap the clay in plastic cloth with those dreams of having a small pottery studio! and place it in the damp box for final wedging before My studio occupies an area that is not much larger than use. twelve feet square, but within this small space take My kiln, a top-loading commercial one, has a firing place all of the stages of pottery, making--from wedg- chamber that measures 18 by 18 by 15 inches. This is ing the clay to the final glaze firing. the smallest size that I would advise for a working studio Every potter has two basic needs. These are the or for anyone who decides to take ceramics more seri- clay with which he works and the kiln in which he fires ously than just a hobby. My kiln occupies an area of what he makes. The individual may dig and process precious floor space near the shelves where green and his own clay, he may purchase raw materials for mak- bisque pots are stored, thus making the loading and ing it, or he may buy it already prepared for use. He unloading of the kiln more convenient. may build his own kiln or he may take advantage of After the kiln, the next most important piece of the many excellent ones available on the market today. equipment in my studio is the potter's wheel. From the Since my little pottery is too small to permit space many styles and models available, I found that I pre- for mixing my own clay, I buy it prepared from a local ferred a kick wheel with a very heavy fly wheel that supplier. He stocks a good clay packaged in 50-pound revolves freely on bearings and consequently remains in plastic bags that are heavy and airtight enough so that motion long enough to make quite large pots with little March 1963 13 kicking effort. My wheel occupies the floor space in the also to keep a list of materials that are in low supply comer opposite the kiln where it is handy to the wedg- and replenish them before they run out. This prevents ing board. the all-too-frequent situation of finding that the sup- Two conveniences for any pottery studio are a damp plier does not have them on hand at a crucial moment! box and a sink, although these are not absolute neces- Testing glazes can be great fun and one always sities. Wet pots can be stored and dried slowly under should be looking for new and original combinations pieces of plastic cloth or in makeshift boxes, but a regu- and effects. But little jars of this and that can overtake lar damp box does save space and time in the studio. a small working area in no time, and it sometimes isn't My damp box, a discarded porcelain ice box, is set into worth the effort of cleaning jars of dried out glazes. a closet. I also have a sink in my workshop and would Therefore, after testing I pour all leftover materials hate to do without it, but water for throwing, glaze into a pail marked "Scrap." When this is full the mix making and clean up could be carried in and stored in is tested and it often turns out to be a useable glaze buckets if a sink wasn't installed. without further additions. In order to make the fullest use of a small studio Oxides and the most-used raw materials are stored space, many working areas must serve a double, or even on open shelves that divide the wheel from the sink triple, purpose. My wedging board, for instance, is placed area and are therefore within easy reach from both next to the wheel so that pots may be placed on it as sides. Other raw materials are kept on shelves that are they are removed from the wheel. This area also is used less accessible. Materials used in large amounts are for weighing out glazes and mixing tests. Because it stored in gallon pickle jars that a local restaurant saves would be impractical to do this glaze work on a plaster for me; smaller amounts of materials, such as coloring surface, my wedging board is a 20-by-40-inch marble oxides, are kept in square plastic refrigerator jars. All slab placed on a sturdy table attached to the wall. (The of these containers have their contents labeled prominent- piece of marble originally was a desk top.) I wedge on ly. the unpolished side to prevent the clay from slipping. In a small working area All of the equipment for mixing and testing glazes is there just isn't room for the equipment needed kept on open shelves over the wedging areas. for spraying glazes, especially for the protective exhaust Glaze making is not a problem for the potter work- booth needed to prevent inhala- tion of toxic materials. While ing in a small area if he is willing to limit himself to a spraying can result in in- teresting effects not small selection of good glazes. I have discovered that obtainable by other methods, I find that the pouring and dipping methods are I can increase the variety of surface effects by the use more adapt- able to my ideas of the of engobes that contain coloring oxides and granular art of pottery making. Unusual and original results may materials. I keep my engobes in quart jars, mixing about be had by the natural over- lapping of the glaze, and 500 grams at a time. Glazes are mixed in 5,000 gram even more can be achieved by purpose[ul overlapping batches and stored in plastic pails on shelves beneath of one or more glazes. the wedging table. A major necessity in any studio is a place to keep I have found that by limiting the number of glazes scrap clay. I use two large covered plastic trash cans I do not have to stock so many different raw materials. for scrap clay, trimmings and slip from the water pan This method of buying not only is less expensive, but of the wheel. I also save the water used in rinsing off also saves extra trips to the supplier. It is a good idea tools and cleaning up the wheel; while this may seem an unnecessary economy, I have found that a lot of clay goes down the sink in a short time. As the clay settles in the scrap containers, I remove the excess water from time to time, until I finally have only a slip. (This 5o~d" is a good time to experiment with the color or texture of the clay.) Then I leave it uncovered until it is thick enough to be placed on drying bats and brought back to a workable plastic condition. g J._~ This practice I 5b~ of saving clay that might otherwise go down the drain also has another virtue. Clay that isn't washed down the drain certainty isn't going to clog the drain and cause costly plumbing bills! The drawing of the floor plan of my studio shows ~! the positions of equipment, installations and various working areas. It shows one working solution to the problem of how to cram a lot of different operations into a very small space. There are many practicing pot- ters who might think this to be an impossible working situation, but [ I~t14"QlltttlS ! • I think it proves that a small space can be quite efficient if one is willing to simplify equipment, Floor plan o[ the workshop illustrates how a small area make the most of what is available and then have the can be arranged to accommodate the needs o[ a studio area in order before beginning each stage of any ceramic potter. process.

14 Ceramics Monthly ~i ¸- .~

~fJ

• ~i, , ~ ~z ~ ~i~ i i: "Ip !. iiiili:

Above: Other corner o] the studio contains the electric kiln, ~Uzel~.c,s for storing raw ma- terials, and the drying shelves. Upper shelves are reserved for green ware and lower ones are /or bisque.

Below: Tile wedging board serves several purposes. Here, coils of fresh clay bent into horse- Uzoe shapes are drying on the surface. Wedging board also serves to hold newly-made pots coming from the potter's wheel.

March 1963 15 /

THE HUMAN HEAD

hollowing

and finishing

by EDRIS ECKHARDT

~ ~ EDRIS ECKHARDT'S current also is the best place structurally since the weight of series of articles on ceramic the replaced cap will hold it in place and insure a safer sculpture is concerned with reassembling of the piece of sculpture. I would not the representation of the h.u- recommend cutting the top of the head through the man head. The basic massing forehead. Neither would I suggest cutting the cap farther out of the head was discussed back on the head; this would have a tendency to pull in the January issue and the back and down when reassembled and perhaps crack development of the features during the drying or firing stages. was the subject o[ the Febru- After the guide lines are drawn, there still are two ary article. This month auth- steps that must be followed before the actual cutting or Eckhardt concludes the is started. Several lines are drawn in at fight angles series with a demonstration across the guide lines; the purpose of these is to serve of the final steps of hollow- as a guide for matching and replacing the cap accurate- ing, finishing and firing the sculptured clay head. ly when the hollowing is complete. The other precau- tion is to brace the chin with a block of some kind so THE CLAY SCULPTURE must be prepared for firing when that it will not sag under the pressure exerted in cutting it is about two-thirds finished. Because the head was and replacing the cap section. built solid, it must be cut apart and hollowed in order A nylon fishing leader makes the best tool for slicing that it will fire safely; this must be done while the clay the cap from the head. (I have found that a wire has still is in the medium leather hard stage and before final a tendency to kink and produce a jagged cut.) The work is done on the features. After the head has been nylon leader is held firmly on the guide line by the hollowed and reassembled, the neck must be finished left hand while the right-hand end is drawn through and the hair added. the leather-hard clay and around the cap to slice off the The first step in hollowing the sculpture is to draw top of the head smoothly and evenly (Photo 1). The a guide line for cutting the head apart. The area for line must be held firmly! When the cap is free, it is cutting should be a cap-shaped one that starts behind set aside in a safe place while the head is hollowed. the major hair line (that already has been indicated) The excess clay is removed from inside the head and continues above the ears. This is not only a logical with a wire loop tool or with a tool made from a loop place as far as the design of the head is concerned, but of coat-hanger wire. The procedure is much like scoop-

16 Ceramics Monthly 1. Cap o/ head b~'hi~zd hair line and above ears i~ 2. Excess clay is removed from inside the head with a removed by cutting it with a nylon fishing leader. Right wire loop tool; features and rim are supported with angle lines are guides for replacing cap accurately. other hand to avoid any possible distortion of the form.

\

3. Inside ~ur/ac~' o/ the clay is perforated to a depth 4.. Large tool ~uch as an ice pick or a lead pencil is used of about ~ inch in order to aerate the clay and allow to perforate the neck area and provide air passages it to dry more uniformly and more quickly. between the hollowed head and the sculpture base.

March 1963 17 5 Heavy slip is spread generously on both pa~Z,~ al~d 6. The two parts arc matched by the vertical guide mark- allowed to [irm up [or a [ew minutes be[ore the two e~s and then are pressed together until the excess slip sections are re]oined into a hollowed head. oozes out [rom the ]oining line.

7. With the slip uT~disturbcd, the whole head is lightly 8. When the slip is firm it is pressed into the head with covered with plastic material and allowed to stand until a modeling tool. When this is complete, final details clay and slip are of equal firmness. such as the hair are added to finish the piece.

18 Ceramics Monthly ing out the inside of a grapefruit (Photo 2). The walls are left about ~-inch thick. As the hollowing is taking place, the shape must be supported and the rim must be kept in place. It is a good idea to test the wall thick- ness between thmnb and forefinger occasionally to see that it isn't too thick or too thin. This clay removal process not only assures a safer firing for the completed piece, but also relieves the weight on the neck during the drying and firing. An extra margin of safety can be given the head by perforating the clay from inside after the excess clay has been scooped away. Photo 3 shows the inner sur- face being pierced to a depth of from }{3 to ~ inch. These small air passages aerate the entire head, allow- ing it to d~, more uniformh" and protecting it from ¸I breaking during the firing. This is a particularly good practice if the head was built rapidly or if attached pieces of clav were added lightly and not well blended into the mass. It is a good practice to make deeper perforations for any projecting areas of the head such as the nose. The cap also nmst be scooped out and this wall perforated. The neck may be left solid to provide better balance for the head, but it should be pierced from the base up to the hollowed part of the head for adequate ventila- tion. Another reason for not excavating the neck is that the extra weight in the neck-base can better carry the strain of the head above, and this is especially true if there is much of a forward pitch to the head. This method of treating the neck is especially good for the head of a child. However. for an adult head with a heavier neck. it is advisable to hollow the neck com- pletely. i]/ The neck can be pierced with an ice pick or even a lead pencil, and I suggest making several holes for adequate ventilation (Photo 4). You must be certain that the holes extend down far enough to provide air passages from the inside of the head to the base of the sculpture. The head is reassembled by scoring the two cut rims with a fork or other sharp tool, spreading each rim generously with a slip made of the same modeling clay and then gently pressing the two parts together. (I like to allow the thick slip to set up about five min- utes before reassembling the two sections.) The verti- cal cross lines provide the guide for accurate joining. The slip that oozes out from the joint is not cleaned off or smoothed at this time as it might leave a crack or thin spot when the clay dries. Leave the slip as is and cover the entire sculpture lightly with a plastic cloth until the next day or until clay and slip are the same consistency. When the slip is firm, it is cross-hatched into the head with a flat wooden modeling tool, thus pressing the slip back into the head, not scraping it away. With the head reassembled, it is ready for the addi- tion of details, finishing of the surface and, finally, the removal of the clay pedestal below the neck. Now is the time to re-evaluate the face, checking "'First Nighter,'" by the author, might be termed a clay it in several different lights to see whether the features caricature because the artist obuiously is satirizing a carry in both strong and weak light. I have found that type. Glazed; 16 inches high.

March 1963 19 it is helpful to check this by viewing the head in a mir- be taken from the kiln until it is cool to the touch. ror and by studying the head from across the room. The question of whether or not to glaze sculpture In a child's head you will find that there is no strong is quite personal, but I feel that it is best to leave most contrast of dark and light. The older the face becomes, pieces in the bisque or finished in a very simple color the greater is the difference in depth so that one has scheme if the piece is realistic. At all cost avoid life-like stronger highlights and deeper shadows. color in doing a portrait head. If color is used, it should The finished sculpture should be dried very slowly. be used in a highly-stylized manner. During the Gothic I suggest leaving it in a dry place for at least two weeks ages and the great periods of Egyptian and Greek art before firing it. When it is fired, it should be placed in when sculpture was colored, the coloring was stylized the center of the kiln, if possible, and fired ve~" slowly. in a very traditional pattern of colors, and not at all I find that potters tend to fire sculpture too rapidly. A realistic. slow initial firing prevents cracking, splitting and warp- If glaze is used on a head, it should be on a highly ing and makes a stronger, firmer body. stylized head that is purely decorative. Matt glazes are Each clay has its own character and best firing best for sculpture, as shiny glazes create too many re- temperature. My firing method for the clay I use is as flections and disturb the effect. follows: Using an electric kiln, I do not reach 1000 ° An unglazed head can be finished by saturating it F. until the end of 18 hours. I then switch to medium repeatedly with any light oil, then polishing the sur- heat for three hours and then on to high heat until the face. Such a head can be effectively displayed on a wood- desired temperature is attained. Sculpture should not en base that is waxed or painted.

Stylized portrait head (abo~'e) was modeled by Miss Eckhardt [.rom black clay. Alter firing, it was waxed and mounted on a wooden base.

Edris Eckhardt's "'Painted Mask" (le[t) was modeled to show strong contrast o.[ light and dark and to indicate the mask-like poignancy o[ a clown. Colored glazes heighten the artificial appearance of the clown [.ace. Photo: courtesy o[. the Cleveland Museum o[ Art.

20 Ceramics Monthly RACKS AND TRIVETS FOR FIRING ENAMELS

by KATI-IE BERL

IN MY COLUMN on firing enamels thus enable the fork to be placed from a length of heavy Monel, stain- last month, I stressed the importance under them. less steel or other non-scaling wire. of removing work from the kiln at It can first be bent into a sort of precisely the right moment--not too hairpin, then into a cradle shape. soon and not too late--for the best Such a trivet can be fastened to a results. This month I have another perforated firing rack with wire, or "Berl Law" to discuss, one equally it can be propped with pieces of as- as important as the rule on correct bestos on a solid metal rack to keep firing time. This rule reads: Select it steady. Such a trivet can be made and have ready the proper firing rack to accommodate any specific need-- on which to place your enamel piece large or small, shallow or deep. and do this before the enmnel is even I applied to the metal shape. If you ever have had a piece fall ) from the trivet while it was being We all know that the coating of transported to the kiln or if your work enamel certainly will be scarred where has slipped on the rack and scarred it has touched a supporting device the enamel, this probably happened during the firing, and any such scar because the firing rack was not prop- is quite undesirable. If we use ceramic erly selected or rigged for that par- stilts, the points tend to become em- ticular piece. bedded in the enamel and break off What constitutes a good firing when the stilts are removed. The rack? It should be made from some wire point stilts also are less than per- non-scaling metal that does not warp fect for good work since they leave The most versatile trivet of all, to easily and it should be so designed tinv scar marks in the enamel sur- my way of thinking, is a three-sided that it can be lifted easily with the face. I believe that the best firing pyranfid that is cut from metal and firing fork or tongs when it is being devices are those that hold the metal bent into shape. Three of these can put in or taken from the kiln. shapes on their rims, where no enamel be used for firing large round shapes I prefer mesh or perforated metal is placed. and many odd-shaped pieces. In fact, racks since solid sheet metal warps If a convex metal shape such as a if a piece can be fired at all, these too much. Even perforated racks tray or bowl has such an exposed rim, pyramids will do the job! These stilts warp after much usage; when this it probably can be fired upside down can be fastened with wire to any po- happens, they can be straightened on its rim after the enamel has been sition on a wire or perforated metal again by placing them on a solid level applied. Small pieces of mica or as- rack to prevent them from "giving" surface and pounding them flat with bestos can be placed on the firing under the weight of heavy pieces. a mallet. Do not use a hammer! While rack and the rim of the metal piece pounding, avert your face to avoid placed on these for safe firing. It is any possible bits of flying enamel. not advisable, however, to place a Since a rack must be lifted in and shape on one solid piece of mica or out of the kiln, it is important that asbestos, as the hot air cannot ade- its full surface not rest on the bottom quately circulate enough inside to of the kiln firing chamber. For this mature the enamel. reason it is helpful to place two stain- If the piece being fired does not less steel rods a few inches apart on have a suitable rim for this technique, the kiln floor; with such an arrange- trivets must be made. Trivets for most ment, flat firing racks can be lifted ordina~ shapes can be purchased in with the fork and easily removed from supply stores, but occasionally we have the kiln. If these semi-permanent rods an odd- or over-size piece that defies aren't used in the kiln, the racks the use of any available trivet. In themselves nmst be bent down on two such a case we must make our own! opposite sides to forna "legs" and An efficient trivet can be made

March 1963 21 Sculpture from Basic Wheel-Thrown Forms

An easy project that combines slabs and coils with simple shapes thrown on the potter's wheel

by LEON MOBUaO

ANIMALS, BIRDS AND INSECTS can be the inspiration for the potter who wants a vacation from the usual bowls, bottles and jars he makes on the wheel. Take any of your favorite creatures, reduce it to one of the basic wheel forms and then let )'our ingenuity have free reign in creating a member of your ceramic zoo! You will find that almost any living form can easily be stylized to one of the re~dar forms the potter uses for his work. The usual method of making sculpture on the wheel is the assembling of several thrown components. However, this is time consuming and occasionally frustrating, es- pecially when you find that one of the necessary parts just won't fit and must be done over. I have discovered that the fun can be kept in this project by limiting the sculpture to a single thrown form and completing it by the addition of coils and slabs. Occasionally I do use an additional thrown form for a pedestal or for decorative parts, but these pieces could just as easily be made from slab sections. The creation of one of these stylized animals need not be limited to ceramists who work on the wheel. Since the creatures are made from a single basic form, they can easily be made from castings made in a mold. In such a case, I would recommend the use of one of the very simplest shapes available and further suggest that the castings be made with thicker walls than are usual for cast ware. The form that I found most useful for making most of my creatures was the egg or oval, and for this I threw a bottle shape. In most cases a neck and top opening wasn't needed; therefore I simply twisted off the neck and completely closed the bottle while it still was on the wheel. When the piece was leather hard, I trimmed the base and proceeded to create the new form by altering the shape and adding other clay parts. My working procedure can best be illustrated by giving a step-by-step description in the development of The owl is ~ust one of the many creatures that can be an actual piece, one of my owls. I started by sketching made from wheel-thrown ]orms. Photos on the next many owls and soon found that the owl form always re- two pages show the steps in its development. duced to an oval shape. The need for legs and feet sug-

22 Ceramics Monthly 1. A potter's rib is used to smooth out the finger marks 2. Second ball o[ clay is used to throw another cylinder; on a wheel-thrown ovoid shape. two rings [or eyes are cut [rom the top.

3. Pedestal [or legs and [eet is shaped [rom the re- 4. When both piece~ are leather hard, the oval [orm mainder o[ this second cylinder. i~ trimmed round at its base.

5. The pedestal is cut to con[orm to the shape o[ the 6. The t~c'o /orms are joined tog~tl~er and a small coil oval; then both pieces are scored and slipped. is used to provide a masking o[ the joint.

March 1963 23 gested a pedestal base, which I decided to throw as a manner, by incorporating the rings with the ovoid. separate piece. The other major owl feature was the The rest of the actual construction was done by using enlarged eyes. clay from slabs. The wings were made by rolling out a The bottle was thrown, the opening closed and the slab of clay and cutting two pieces from it. These were neck twisted off. This piece was removed from the wheel scored, slipped and attached to the body form; the sug- to stiffen to the early leather-hard stage. Another ball gestion of a few feathers was made by imprinting in the of clay was used to throw a cylinder form which was to soft clay. A small piece of clay was pinched to form a serve two purposes: two pieces at the top were cut from beak for the owl, and this was added between the eyes. the cylinder and removed to stiffen and be used for the The construction phase was completed by cutting through eyes; the remainder was to provide a pedestal for the the pedestal wall to suggest the legs and feet. forln. The only decoration I used on this owl was an iron When the main oval form stiffened to a soft leather- red slip brushed in the eye areas and on the pedestal. hard condition, the eye areas were flattened slightly by A few decorative lines were scratched through the slip tapping them with a small board. When the form was to add interest to the sculpture, then the owl was fin- leather hard its base was trimmed and a small opening ished and ready for drying and firing. punctured in the wall to allow air to escape as the clay Part of the fun in doing this type of work is in the continued to shrink. repetition of a particular form in order to thoroughly The next step was to cut the leather-hard pedestal explore its possibilities. Various decorative motifs can be to the proper angle to fit the oval section. The joining introduced to make each one of a series of these sculptures areas then were scored, coated with thick slip and in- different and individual. You will be surprised at the corporated. A small coil was added to make a neat and number and variety of ideas that will occur as you create well-sealed connection. The eyes were added in this same your own "zoo" of clay animals!

!!iS iiiii!iiiiiii!iii !!!!!i!iiiiii ; i

m ..... 11 7. The two clay rings are shaped and attached to the 8. A small pinch o[ clay is used to [orm a beak and head in the same manner as the pedestal. this is attached between the eyes.

9. Slip is applied to (y~ arca.~ ]o~ colo~ c~JtHra~l; Imcs 10. Slab.~ a~, atlac/tcd to proz'idc wings [or thc owl; are sgra[[itoed through [or decoration. tool imprint is used to suggest wing feathers.

24 Ceramics Monthly SHOW TIME Midwest Potters and Sculptors

Bird Feeder by Earl Hooks was one o/ several shown.

David LauJ~ti~, ;t/l~ ,.~hibil, d ~ral la~g, r~d ~tom'- ware garden sculptures, is shown at work on one o[ his pieces. Bottle by A'ic/lola~ Prokos won THE ANNUAL EXHIBIT of the Midwest Potters and Sculp- top award in show. tors, a group working in Chicago and vicinity, was held in October at the Evanston Art Center. Juror for the Tri- event was Edith Weigel, art critic for the Chicago ill i bune. She found the work to be of a high quality of achievement and at a more consistent level than in !!ii previous exhibitions of the group. ili! Awards were given to Helen Noel Shagan for a wheel-thrown casserole and to Nicholas Prokos for an orange and white bottle. An award of all-around excel- lence went to Rita Sargen Simon for her abstract wall plaques and hand-buih pieces. Mentions were earned by Gwen Schact, Peg Tootelian and Edna Arnow for fine forms and integrated glazes. Garden pieces fornaed a large part of the works ~j:. i i i~i ! on view. Sculptural ornaments and functional pieces ~ i !~ by Earl Hooks and David Laughlin ranged from small ~:i~'~:~iiii~i:~:i~i !i!i!i!i tains.aCcent pieces to large bird feeders and working foun- ~)~l;i~"

Other members of the group that exhibited in the Evanston show included Jean Berger, Emily Curtis, Don Johns, Frances Kaihatsu, Rose Midgal, Harriet Nafshun, Casserole by Helen Nocil 3'haga~ is 15 inches wide, Audre Owen and Dorothy Peterson Horton. has gray-green matt glaze over cobalt slip decoration. March 1963 25 FIRING THE KILN

This article is based on material [rom a new book, CRAFTS DESIGN, by Moseley, Johnson and Koenig, published by Wadsworth Publishing Co.

by SPENCER MOSELEY, PAULINE JOHNSON AND HAZEL KOENm

To FIRE a POT is to subject it to a temperature that and permit the pots to be stacked in layers. A layer of causes the components of the clay body to melt and sand or grog can be spread over the shelves as a pro- mold together into a complete unit. The clay changes tective coat for firing, if stilts are not appropriate. from its fragile raw state into a solid cohesive body. The potter can determine the temperature of the If the piece is glazed, the glaze must melt into glass kiln by placing a cone inside the kiln so that it is visible and become one with the clay surface, which adds an- through the spyhole. Each cone melts and falls or drops other factor to the process. Firing temperatures and at a specified temperature, thus indicating when the timing vary with the contents of the clay bodies, the temperature has been reached. In some kilns with an glazes, and the type of kiln being used. automatic shutoff a cone is used to trigger the off-switch. Kilns vary greatly in structure, size, and function. Jewelry, usually made of very fine, low-firing clay, can Many are heated by gas or electricity; for the beginner, sometimes be fired as low as cone 015, a very low heat the small electric kilns are the most suitable. Some con- which also allows for strong clear glaze colors. Most siderations in the selection of a kiln are the initial cost, commercial glazes fire from cone 06 to 04 and can often the method of heating, the size of the pieces to be fired, be taken as high as cone 3 or 4. Earthenware firings and the temperature range of the kiln. Some kilns have are from cone 06 to 6 and stoneware from 6 to 10. Some pyrometers or temperature gauges and automatic shut- of the newly designed small kilns will go up to cone 12, offs, both of which are useful features. It is also possible which is an adequate temperature for firing porcelain. to build a kiln, and if this is attempted, complete in- The time required for firing and the speed of in- structions should be obtained and carefully followed. creasing the temperature vary with the clay, the glaze, Information about loading the kiln and setting heat and the kiln itself. Test pieces can be fired and used controls accompanies each commercial kiln, and care- as guides to better firing. Generally a long, slow, ful study of such information is valuable. gradually increased firing will be more successful than Kiln accessories, called kiln furniture, are also a rapid one, and the clay pieces must be bone dry be- necessary. They include many varieties of stilts, frames fore firing. If they are not thoroughly dry they are likely for holding pieces in place during firing, shelves, and to explode in the kiln. The drying of damp pieces may shelf separators which increase the capacity of the kiln be completed in the kiln, if it is turned to a low tempera-

26 Ceramics Monthly Piecc.~ placed on the kih~ J~(h'c~ illustrate the way the Alter the kih~ is loaded a~zd th~ c~m( i, ipl place' a'hcr~ kiln is loaded. Glazed pieces are spaced so they do not it can be seen through a spyhole, the kiln is preheated. touch each other or the kiln wall. Kiln lid is le[t open during preheating.

ture, and allowed to stand open for from about 8 to an oversize garment around the pot. This also requires 24 hours or even longer, depending upon the size and an adjustment of the glaze. thickness of the pieces. After the firing is completed, a Crawling. If crawling occurs, the glaze crawls away long period of cooling is necessary. A kiln should not from the clay body, leaving raw unglazed areas. be opened for 10 to 12 hours after the completion of Crawling is usually caused by glazing over greasy or a firing. dusty greenware or bisque ware. Avoid overhandling and Loading or stacking a kiln must be done carefully. improper storage. Another cause for crawling is using During a glaze firing there should be an adequate underglaze decoration that has a powdery or dusty sur- air space around each pot. Glazed pots may stick to face. To avoid this, apply underglaze decoration thinly each other or to the kiln wall if enough space has not o2" mix a small quantity of gum solution with the engobe. been left. To economize on space, greenware pieces Flowing. If a glaze is fired at too high a temperature, may be stacked together. When this is done, care should it will tend to flow- off the clay and not stick. be taken to judge the weight of each piece so that a Firing Accidents. Explosions may occur in the kiln if heavy piece does not stand on a fragile one. Pots are greenware is not thoroughly dry, or if the thick-thin sometimes designed with unglazed rings in the bottom relationship of the piece is too great. This fault can of the inside to allow the unglazed foot of the next pot usually be overcome by a long, thorough drying period to rest on it. This allows many similar pieces to be before firing, or by preheating in the kiln preliminary stacked together in a glaze firing. to firing Usually greenware and glazed pieces should not FIRING PROCEDURE be included in the same kiln load. 1. Always read the instructions that accompany the kiln. FIRING FAULTS 2. Shelves and kiln floor must be protected from glaze If glazed pieces do not come out as expected, a drippings and other firing accidents. Protect them by retiring may be successful. The pieces can be reglazed applying kiln wash, which facilitates cleaning. Mix kiln and retired. This is a matter for experiment. wash with water to the consistency of heavy cream. Crazing. If in the cooling process the glaze contracts Brush it on the tops of shelves and the floor of the kiln. more than the clay body, crazing, or fine cracks, ap- If kiln wash is applied to the underside of a shelf, it pear in the glaze. These cracks prevent a piece from may peel off, fall, and damage the ware being fired being watertight. The glaze is not compatible with the below. Apply at least two coats, allowing tixne for clay body and must be adjusted to fit. or a new glaze drying between applications. A kiln-washed shelf may must be selected. be placed on the bottom of the kiln for added protec- Peeling. Glazes that pull from the pot did not contract tion to the kiln floor. as much as the clay body, and the glaze has become Continued on Page 32 March 1963 27 A first project in ceramics . . . ANIMALS FROM CLAY SLABS

by ALICE LASHER

THERE IS a great amount of truth in the old saying, working session there just isn't time for this. Instead, stiff "Nothing succeeds like success," and no one knows paper or light cardboard can be rolled and taped into a this better than the ceramics teacher. The confidence tube shape to provide a mold that will support and help that beginners gain from a successful first project in clay shape the clay animal. For the kangaroo demonstrated work practically" guarantees a successful continuation. here, a length of light cardboard was rolled to the de- While the requirements for a first project naturally sired size and then taped into position. vary from teacher to teacher, most instructors would The main part of the animal was shaped around this agree that it should stimulate the imagination and thereby tube, upright, and the rest of the parts were assembled motivate the students to work out their own particular after the clay had stiffened a short while. The tube was problems. Another requirement common to most teach- removed after a short while, when the slab was able to ers is that the project should be easy enough to complete hold its shape unsupported. On the demonstration piece, in one short working session. the pouch slab, the insert for the head and the folded To meet both of these requirements, I would like ears were added and incorporated to the slab body to to suggest making some amusing small animals from clay complete the building. To fill the pouch, a separate small slabs, using paper patterns for a measure of built-in suc- kangaroo was made from a large coil and some pinched- cess. Animals appeal to both young and old and they out parts. This was a simple side project and was made offer a wide scope to the imagination. The use of the in just a few minutes. patterns gives the beginner confidence and good results. Final clean up and decoration is done at the next After deciding on the animal to be made, the first working session. Underglaze or engobe can be added to step is to cut a series of outlines from paper and fold the figures if this touch is thought necessary. Then the these into approximations of the way the finished clay sculpture is set aside for final drying and bisque firing. figure will stand. When one of these patterns has been Glazing is done at still another working session. selected, it is traced on a slab of clay that has been flat- The additional steps required to finish any piece of tened by pounding or rolling. If the animal is to be made work in clay are part of the fascination of the ceramic from several different parts, all of the sections should be process since every working period includes both old and traced and cut at this time. new work. By the time one project is completely finished, Ordinarily one must allow the clay to stiffen before the student has progressed in his skills and has several it can be made to assume its new shape, but in a short more-complicated endeavors under way.

° "~ ?.i ¸~ ~:~ ,,

I. Parts needed to make a kangaroo are cut from paper, 2. Cardboard is rolled inlo a tube shape and fastened traced on a clay slab and cut out with a knife. The to make a mold form around which the so[t clay slab components here are the body, pouch and ears. is supported and shaped. 28 Ceramics Monthly A [irst project in ceramics should stimulate the child's imagination and give him con[idence and good results.

~ i~i~ii~iiii~ili~ii~ii!i¸~ { • , .i.ii I / I ¸ !• " !! i ¸ i i~ ¸I ¸i¸¸!i¸ z ~¸ 3. Tube # removed when the clay can support itsel[, 4. Baby kangaroo to fit in mother's pouch is quickly then the other clay parts are added and attached with modeled [rom a thick coil and some pinched-out parts. a thick slip to complete the modeling. Final details are made with a wooden tool.

fill¸ i!~i!i i !~ ii! i

5. Engobe or underglaze decoration can be added at 6. Finished kangaroos were glazed with a so/t white this time or during the next working session when the semi-matt and semi-transparent glaze. Grog in the clay final clean up on the clay figure is done. gives interesting texture to finished pieces.

March 1963 29 BRUSH PRINTING

Printing requires no movement of the brush at all; shapes

are made by filling the brush and touching its side to the piece,

forming the actual outline of the brush itself

demonstrated by MARC BELLAIRE

SOME OF THE Inost satisfying effects in brush decoration The underglaze colors selected for the brush printing are the result of the simplest techniques. For instance, are a medium brown and a dark brown and these are brush printing requires no movement of the brush at to be applied at the same time. This is done by dipping all since the shapes are made by filling the brush and the water color brush into the lighter color, then "point- just touching it to the piece. The actual outline of the ing" the tip of the brush and dipping the point only into brush thus becomes the print. A single print can be used the dark brown color. When the print is made by touch- or a group of prints may be massed for another effect. ing the side of the brush to the pot, the upper area of A print made with a liner brush gives one type of ef- the print is the medium brown shade and the lower por- fect and a totally different effect results from the use tion is dark. This technique gives the suggestion of the of a large water color brush. For the project demonstrated shading of animal fur. here, Marc Bellaire uses prints of both the liner brush Note that the brush is held down, in a position al- and the large water color brush to create a pair of llamas. most opposite to that used in brush painting. The print- The greenware shape selected for this project is a ing is started from the bottom of the design and works lamp base of a truncated cone shape. The llama design upward; this results in an overlapping effect that sug- is chosen for this shape because the necks of these an- gests the fur. Note also that the brush prints fall in rows imals can be easily lengthened and stylized to satisfy the to add still further to this effect. height of the greenware shape. Short brush strokes are also used on this design. After the lamp is cleaned and sponged, a pencil plan Strokes with the large brush in the darker brown color is used for the placement of the two animals. These are are used to suggest the ears. Strokes in black underglaze of different heights and they face each other to give in- with the liner brush are used to put in the eyes, to accent terest to the composition. A soft lead pencil is used for the ears and the head shape and to produce the rows of this sketching; the pencil lines will burn out in the firing. scallops that serve to accent the rows of fur. This latter When the sketching is complete, a spattered back- is a very free technique and results in a most decorative ground is applied over the entire surface of the lamp. line. It is interesting to note that in the outlining of the Mr. Bellaire uses a combination of gray and warm brown head of the llama, the lower lip protrudes in much the underglaze so that the spattering will result in a rather same manner as does that of the camel! stony-hard background effect that contrasts with the With the addition of a few brush prints made with softness of the brush print shapes, yet suggests somewhat the liner brush, the design is finished. Small horizontal the habitat of the llamas. This spattering is optional and prints are made with the brown underglaze to suggest it may be done either before or after the pencil sketch is the foreground and black is used to create the dainty made on the greenware. feet and the tails of the llamas. 30 Ceramics Monthly : i'[?

?: i. f

:: ::r " !}i \

;?NN : ~' ,

1. Pencil plan o[ two llamas is sketched on a green- 2. Brush is dipped into two shades o[ brown underglaze ware lamp base. Animals are o[ di[[erent heights. and print is made by touching brush to the greenware.

)~:~:i,i) .... } ::: ::i ii !!!ii~:!i:!! ili?ii~)~ii

3. Liner brush is used in prints and strokes to apply 4. Firing the lamp base brings out the spattered back- details such as eyes, [eet and rows o[ scallops [or [ur. ground that contrasts with so[t quality o[ brush strokes. March 1963 31 FIRING THE KILN Continued from Page 27

3. Select the correct cone for the firing. Place the cone at a slight angle in a small pillow of clay or in a piece of pumice. The cone has three faces and should be tilted on one of these faces, not on an edge. For greater accuracy, more than one cone may be used. One cone just below the desired firing temperature may be added to permit the observer to gauge the approach of the correct firing temperature. The clay pillow that holds the cones should be dried before firing. 4. To load the kiln, plan the loading so that space is economically used. Place the small pieces on the lower be used THROWING shelves and tall objects above. Half-shelves may if required. Small pieces can be placed under project- ON THE ing larger pieces. Space glazed pieces so they do not POTTER'S HANDBOOKS touch each other or the kiln wall. If pieces have glaze on the bottom, they must be elevated from the shelf WHEEL with stilts. For additional protection from dripping or BY THOMAS SELLERS spattering glaze, a layer of grog or sand may be spread on the surface of the shelf. Shelves are supported with shelf separators. COPPER ENAMELING UNDERGLAZEDECORATION 5. After the kiln is loaded and the cone is in place where Proclaimed the best in basic Marc Bellaire creates a start- it can be seen through a spyhole, preheat the kiln. Leave instruction, th;s handbook in- llng varlety of new designs the lid completely open during preheating. Partially close teaching cludes fundamentals as well before your eyes -- To leave a small open- as illustrated how*to-do-lts on the ultimate in quality under- the lid before the first turn-up. iewelry. 21 proiects by Jean glaze decoration. 37 projects ing, prop the lid with a piece of fire brick or pumice O'Hara and Jo Rebert. in all; 286 lively illustrations. block. 64 pages. $2.00 64 pages. $3.00 6. Bring the heat up slowly, allowing at least one hour THROWING ON THE POTTER'S WHEEL between turn-ups. This slow raising of the temperature This complete manual on the use of the potter's wheel in- is essential to minimize accidents during the firing. After cludes basic steps, from wedging clay to the making of the last turn-up, close the lid completely and plug the specific shapes. Clearly described and illustrated. By Thomas Sellers. 80 pages. $4.00 air vents. Watch the cone at intervals. When the cone bends, the correct temperature has been reached. Turn Used by teachers everywhere. Ideal for off the elements and allow the kiln to cool. hobby groups, schools, art and craft cen- 7. Allow the kiln to cool slowly. A long cooling period ters. Three-color covers; profusely illus- is essential. Near the end of the cooling period the trated step-by-step photo technique. plugs may be removed and the lid of the kiln propped open slightly. When the kiln temperature is comfort- DEALERS IN~)UIRIES INVITED able to the hand, the pots can be removed.

n n m m n n m m" d m m mm SUGGESTIONS ~ CERAMICS MONTHLY Book Department J Continued from Page 11 417S N. High St. Columbus 14, Ohio sure that glaze hasn't dripped down the sides. These tiles can be following: Please send me the tucked into many little spaces in the kiln and may even be placed under stilted pots. --Mrs. Donald White, Pinehurst, N. C. ENAMELING @ $2 I copies of COPPER I I copies of UNDERGLAZE DECORATION @ $3 | IMPROVISED BALL MILL A quick and easy rig /or grinding small batches of glaze I copies of THROWING ON THE I consists merely of a record player and a glass jar with a tightly- I POTTER'S WHEEL @ $4 fitting lid. Marbles or pebbles of a suitable size are put into the (CM pays postage) jar, along with the material to be ground, and the jar is capped i and lald on its side on the turntable of the record player. A stick or piece of board can be propped against the jar to .... I small Name hold it in place when the turntable is started. Address --W.F. Walter, Clearwater, Fla

City. Zn. State DOLLARS FOR YOUR IDEAS I I enclose [] Check [] Money order I Ceramics Monthly pays up to $5 for each item used in this I (Ohio residents add 3% sales tax.) column. Send your suggestions to CM, 4175 North High St., Columbus 14, O. We cannot acknowledge or return unused items. 32 Ceramics Monthly COPPER BLUE GLAZES

We Make It Possible For by F. CARLTON BALL Anyone To Own A Perfect Production Kiln With Our Famous Pre-Cut Kiln Kits

THE TURQUOISE BLUE glaze has been This gives a good strong turquoise a favorite of potters from the very glaze that has a slightly overtired look. earliest times. As early as 4000 B.C. (give or take a few centuries) the CONE 6-10 TURQUOISE Egyptians were using a particularly (MC-532-A) beautiful turquoise glaze, and later on Nepheline Syenite ...... 57.5% both the Persians and Chinese had Barium Carbonate ...... 26.5 6.2 favorite copper blue glazes. It Ball Clay ...... their Flint ...... 7.1 is, of course, still being used today Lithium Carbonate ...... 2.7 and it undoubtedly will be as long as beautiful glazes are desired. 100.0% In the period from 1920 to 1940, Add: Copper Carbonate .... 2.7% most American potters closely guarded Bricks mitered, grooved, and drilled: an excellent every part, right down to the last nut their glaze recipes, particularly those This is a good glaze and and screw, included. With blueprints, for copper blue glazes. Since that time point of departure for experimenting and concise building and firing instruc- the idea of a secret glaze book has because of its wide firing range. If tions.... Order from this ad or write far detail sheet. been abandoned because potters have this glaze is applied too thinly, the learned that you can only keep what result will be bad; if applied too heav- Kits you give away. One of the incidents ily, it will run if fired in the range of leading to the breakdown of this cone 8 to 10. All Kilns and Kffs now fire to 2350°P. secrecy was the publication, in the 12"x12"x131/2" deep ...... $ 62.60 mid-twenties, of the research M. M. CONE 6-10 TURQUOISE MATT 18"x18"x18" deep ...... 99.50 French did on copper blue glazes. (MC-533-A) 24"x24"x221/2 " deep ...... $175.00 24"x24"x27" deep ...... 195.00 These glazes, fired in the range of Nepheline Syenite ...... 47.6% Carbonate ...... 36.9 ALL PRICES F.O.B. SEATTLE were generally raw Barium cones 09 to 04, Ball Clay ...... 6.9 alkaline or specially fritted ones. Flint ...... 7.5 Distributors For: While they nearly always crazed, they Lithium Carbonate ...... 1.1 more than made up for this defect by • ALBERTA'S MOLDS the glory of their color. Today, of 100.0% • ARNEL MOLDS Add: Copper Carbonate ..... 2.0% course, it is possible to buy already- • BELL PORCELAIN prepared copper glazes that fire in the range of cone 06; they are available This glaze is the most unusual of the • CALIFORNIA CERAMICS from a number of manufacturers and three. If the glaze is applied heavily, • DOUBLE-B TOOLS may be a good suppliers. the resulting color • GRUMBACHER BRUSHES For the potter who prefers the chal- cobalt blue. If the glaze is applied • HOLLAND MOLDS lenges inherent in firing at the higher unevenly, a turquoise will result in temperatures, here are three copper- the thinner areas and a cobalt in the • KEMPER TOOLS blue glaze recipes. These are not of- thicker ones; this is really a very nice • KEN OCORR MOLDS mottled effect. If less copper carbon- fered as finished glazes to be accepted • MALLORY MOLDS "as is," but rather as starting points ate is used, the color will be lighter; • MARGLOTEX STAINS for developing a turquoise glaze that if too much, the glaze turns black. might be added to your permanent If you wish to lower the firing • MAYCO COLORS repertory of glazes. range of these glazes to cone 3 or 4, • PEMBERTON-NEAL you might try increasing the amount • PIERCE PRODUCTS CONE 7 TURQUOISE of Lithium about 1 or 2%. Lithium (MC-53 l-A) is a powerful flux and it is kind to • REWARD COLORS Nepheline Syenite ...... 50% turquoise colors. The glazes can be 45 Barium Carbonate ...... by in- Lithium Carbonate ...... 5 "stiffened" and made less fluid POTTERY BY DOT creasing the flint or clay content; 408 N.E. 72nd St. Tel. LA 3-8300 100% however, the more clay that is added, SEATTLE 15, WASH. Add: Copper Carbonate ...... 2% the greener the color will become.

March 1963 33 KEMPER TOOLS 1962 REVISION Recommended and designed for ITINERARY representing utility, quality, durability Continued /rom Page 12 35 companies KEMPER CLEAN.UP TOOL N.S. (for new style) 6 000 RETAIL PRICE 75c Each turing work by hobbyists and professionals, will be held at the Wade Park Manor. IN ONE CATALOG...... $1.25 For information, contact: Lura Armstrong, A real freight saver KEMPER CLEAN-UP TOOL (as) 2049 Marlowe Ave., Lakewood 7, Ohio New! Do's and Dent's of Ceramics RETAIL PRICE 8Sc Each $I.00 OHIO, DAYTON April 6-7 Fifth Annual Midwest Ce- MIDWEST CERAMIC KEMPER TRIMMER KNIFE CENTER RETAIL PRICE 50c Each ramic Show, sponsored by the Midwest Ceramic Association, will be held at 722 Southwest Blvd. KansasCity, Missouri Wampler's Ball-Arena. For information, write: Midwest Ceramic Show, P. O. Box KEMPER LACE TOOL 52, Station A, Dayton 3. RETAIL PRICE 75c Each Marbles "k Rhinestones • .~peR . .. OREGON, PORTLAND "k Jewelry Findings "k Crushed Gloss March 15-17 The Oregon Ceramic * Copper Enameling KEMPER ZIG-ZAG SAW..Re~ail Price S0c ea. Association Show will be held in Memorial Coliseum. For information, write: Doro- ~. " ~ " .'. ~.~ thy Seely, Box 15, Wilsonville, Ore. BERGEN ARTS & CRAFTS BOX 689 DEFT. CM SALEM, MASS. RHODE ISLAND, CRANSTON OTHER KEMPER TOOLS: April 4-6 Second Annual Rhode Island Kemper Finger Tool ...... Retail Price 75c ea. Ceramic Show will feature competitive Kemper Incising Tool ...... Retail Prlce 7Sc ea. exhibits, demonstrations and lectures. For NEW 1963 CATALOG! Kemper Twln-Line Sgraffito Tool .... 75c ca. information, write: John M. Carpenter, Over 100 Pages of the Finest Quality Spring return plunger equipped flower cut- Route 102, Victory Hwy., Coventry, R. I. ters, various sizes and patterns. Flower tools JEWELRY SETTINGS and other popular ceramic utility tools. TEXAS, DALLAS Many new ideas to show you Ask your dealer for these Kemper Tools. April 19-21 Southwest Ceramic Show. Competitive exhibitions, demonstrations How to Make Real Money Write for FREE catalogue to: and booths. For information, write: Helen Chappell, 3516 Kingsford, Dallas. MONEY BACK GUARANTEE! KEMPER MANUFACTURING C0. BIG DISCOUNTS! P.O. Box 545, Chino, California TEXAS, HOUSTON March 29-31 The Eighth Ceramic Send S0c for your copy Show of the Gulf Coast Ceramic Society, to be held at the Shamrock Hilton Ex- NATIONAL ARTCRAFT SUPPLY C0. hibition Hail, features hobbyist competi- 12213 Euclid Ave., Cleveland Ohio tions for adults, young people and a special division that includes teachers, handicapped and Golden Age. Cash awards and ribbons; Entry fee. For in- NEW MIDWEST WAREHOUSE formation, write: Miss Winnie Evans, Distributor of MAYCO COLORS - JACOUELYN 5413 Sweetbriar St., Houston. STAINS - HAEGER SLIP - BUTCHER CLAY end CERAMIC SUPPLIES for hobbyist, dealer, schools, institutions. WHERE TO GO Central Ceramic Art Supply ARKANSAS, LITTLE ROCK Batavia Rd., East of Rf. 59 (just north of Rt. 59 exit of EW Tollway), Warrenville, III. through March 31 "Wisconsin Designer- EXbrook 3-0171 WHOLESALE-RETAIL Craftsmen." Smithsonian Institution Trav- eling Exhibition, at the Arkansas Art Cen- ter. CALIFORNIA, SACRAMENTO CREEK-TURN ANDERSON CERAMICS COMPANY March 16-April 28 "California Crafts III," sponsored by the Creative Arts . . . has moved into their new building located GLAZES- MOLDS on S. McDuffle St., corner of Hall in Anderson, League, at the E. B. Crocker Art Gallery. Catalog $1.00 South Carolina. We carry a complete and BE A DEALER COLORADO, COLORADO SPRINGS tremendous amount of ceramic supplies. Send Rt. 38, HAINESPORT, N.J. $1.00 for our pictured mold and supply catalog. March 26-April 22 "Artist-Craftsmen of Western Europe," circulated by the American Federation of Arts, at the Fine Arts Center. • • • • • • • • • • • • CONNECTICUT, WESTPORT It's A Date . . . 2nd Annual March 4-16 Three-Man Show of Mas- RHODE ISLAND CERAMIC SHOW ter Craftsmen includes the work of Mary Sease, potter; Helen Hasehon, screen "The Mecca of Ceramics" printer; and Frances Fehon, pewtersmith. At the Jessup Gallery of the Westport Li- CLAY APRIL 4, 5, 6, 1963 brary. RED OR WHITE Rhodes, Cranston, Rhode island ILLINOIS, CHICAGO UNIQUE and ORIGINAL In Its Scopel Demon- March 10-31 "Chicago Craftsmen's Write [or and Speci]y strations, Lectures, Competitive Exhibits. EXHIBITS Show" includes the work of potters Leah 3 classes: Professional, Hobbyist, Scholarship. PRIVATE PARKING for Exhibitors -- Free park- Balsham, Aatis Lillistrom, Albert Borsch SUPPLY CATALOG • • • 50c ing for S000 cars. For information write or call: and Helen Noel Shagam. At Mundelein RHODE ISLAND CERAMIC SHOW, c/o John M. College Gallery Eight, 6363 Sheridan Carpenter, Route 102, Coventry, Rhode Island. OHIO CERAMIC SUPPLY Area 401 m Express 7-7241 Road. Box 134, Dept. $3, Kent, Ohio • • • • • • • • • • • • Continued on Page 36

34 Ceramics Monthly CERAM-ACTIVITIES people, places and things

INDIANA A-C EVENT eon and Mr. Hicken were tape-recorded MINNEAPOLIS GROUP NEWS potter of Beaver Mr. Charles Counts, at the time of jurying and then played A new concept in hobby ceramics was was the guest lecturer Ridge, Tennessee, back at the Florida Craftsmen Meeting. inaugurated in the Twin Cities area when of the Indiana Artist- at a recent meeting The jurors also pointed out the specific a group was formed to investigate the Mr. Counts Craftsmen in Indianapolis. factors which motivated their selection possibilities in working with clay "from and problems of talked on the procedures of awards and honorable mention. the ground up." The new group, which planning and conducting a successful art has taken the name of "Clay Pushers," fair; he illustrated his speech with slides, NEW YORK SHOW REPORT holds an all-day workshop every two weeks Witt reports that the annual posters and examples of his own work. Lillian where the exchange of ideas can stimu- of the New York State Ceramic Lois Long is the president of the Indiana exhibit late new forms, techniques and processes Western Chapter, was held group; vice-president is Carl ]ensen. Association, in the handling of clay and glazes. Various January 2-18 and that in Buffalo from field trips, programs and shows have been was both beautiful and success- FLORIDA CRAFTSMEN EXHIBITION the show programmed for the ceramic enthusiasts. cut) show- Florida Craftsmen's 12th Annual State ful. She includes a photo (see Dolores Holmberg is the leader of the by 41 Craft Show presented 64 items group; meeting place is the YMCA in members dramatically installed at the Minneapolis. Jacksonville Art Museum. The show was II Ill by Earl McCutcheon, Associate juried WISCONSIN CRAFTS of Georgia, Professor of Art, University The 42nd Annual Exhibition of Wiscon- and Russell B. Hicken, Director of the sin Crafts, :ponsored by the Milwaukee Art Jacksonville Art Museum, who screened Center and the Wis- Charle~ 238 submissions by 72 craftsmen. consin Designer- were M. Brown and Philip C. Holler Craftsmen, included Show Co-Chairmen. 174 pieces of work state-wide all- For the first time the by 87 artists. David craft group posted cash awards at media display that R. Campbell, presi- The "Overall ing a partial view of the large its "members' show." dent of the Ameri- McDonald for a was open to the public. Harold Goldstein Award" went to Ruth can Craftsmen's "Merit Awards" acted as chairman for the event. striped upholstery fabric. Council, juried the Brown for a were given to Charles M. MICHIGAN ARTIST.CRAFTSMEN show. He remarked bottle (pictured) 300 examples of ceramics, metal- coil-buih earthenware Nearly that the work of work and other crafts are included in the Wisconsin craftsmen 17th Exhibition for Michigan Artist-Crafts- rates very high in at the Detroit Institute of men on view the national picture March 3. A three-man jury Arts through and that some of the selected the work of 160 artists from over pieces "design- wise 1100 entries; they also awarded the ma- are the most beauti- jority of the 16 cash and purchase awards ful I've ever seen." total over $1300. Members of the which Best of Show Frederick Miller jury were Karl Martz, award went to El The jurors agreed that and Paul Smith. ]ahr, Cross Plains, maintain a consistently Michigan craftsmen for his stoneware to insure such a good show. high output mural (pictured). of the Museum staff was William Bostick This panel is 18 in charge of the exhibition. inches wide and 58 SLIDES AVAILABLE ON LOAN inches high. It is DePauw University Art Center now has made up of 32 a set of 60 color transparencies of pottery, pieces and is in colors of beige, brown ceramic sculpture and enameling pieces and blue. Other winners in the ceramics, that were among the best work exhibited glass and enameling categories were Abra- in four DePauw Ceramic Shows. These ham Cohn, , Ramon Wen- slides are available for free loan; the bor- gren, Gloria Welniak, Sister Mary Anita, rower pays only postage and insurance to Thomas Malone, Jean Podell and Carolyn the next destination. Anyone wishing to Warzecha. borrow the set should indicate first and second date choices when writing to: KILN CLUB GIFT DePauw Art Center, and to Elsa Freund for a necklace of Richard Peeler, The Washington Kiln Club has estab- Ind. ceramic-and-glass "stones" mounted on Greencastle, lished a tuition scholarship to be awarded every semester for study at the Corcoran silver. TOLEDO JURY ANNOUNCED Honorable Mention was accorded work The jury for the 45th Toledo Area School's new Ceramic Department. The by Muriel Dey, Elsa Freund (two ex- Artists Exhibition will consist of William J. department is headed by Richard Lafean; hibits), The Hollers (two exhibits), Fred Brown, craftsman of Penland, N. C.; John Katsu is the instructor in charge of W. Metzke, Jr., Harold Nosti, Ingeborg George Dinckel, painter from Massachu- the classes for young people on Saturdays. L. Schade, Aileen Soskis, Phillip A. Ward setts; and Leroy Flint, museum director and Memphis Wood. at Akron. Cash awards and purchase As an educational organization, Florida awards will be made at the opening of Send news, and photos if available, about Craftsmen endeavors to offer constructive the exhibition on May 5 at the Toledo "'People--Places--Things" you think will criticism to craftsmen whose work is re- Museum of Art. Entry details are an- be o/ ceramic interest. We will be happy jected. Comments by Professor McCutch- nounced in this month's Itinerary column. to consider them for use in this column. 3Iarch 1963 35 Midwest Ceramic Association

PRESENTS ITINERARY I 5th Annual Midwest Continued [ram Page 34

ILLINOIS, CHICAGO through April 7 Ceramics and Sil- ver by Robert van Neumann, at the Art CERAMICSHOW Institute. Write for information and catalogue CM Manufacturers, World's Most Complete Sculptor's IOWA, Sioux CITY Supplies APRIL 6-7 through March 7 Area Artists Exhibit ORegon 9-7474 of work by artists and craftsmen residing At the Modern within a 50-mile radius of Sioux City, at the Art Center. WAMPLERS BALL-ARENA MICHIGAN, DETROIT TWO NEW 1963 CATALOGUES through March 10 Michigan Artist- NEW ENLARGED GENERAL CATALOGUE with Craftsmen Exhibition, full color charts. Complete line of ceramics, at the Detroit In- mosaics and copper enameling. stitute of Arts. MOLD CATALOGUE contains mold pictures from many leading mold manufacturers, plus many originals by us. SEND S0c FOR BOTH DAYTON. NEW HAMPSHIRE, DARTMOUTH CATALOGUES. Free to Instructors. OHIO through March 14 "Young Amer- mSEELEY'S CERAMIC SERVICEm icans," circulated by the American Federa- 9 River Street Exhibits Instruction tion of Arts, at Hopkins Center. Oneonto, New York Demonstrations NEW JERSEY, NEWARK MODELTEX Moist Clay through April "Ancient Greek Vases-- Red or white. For throwing on wheel, mold Popular Competitive Exhibit Their Shapes and Uses," illustrates the making, delicate sculpture or largest pieces. versatility of 200 lb..07/Ib; 300 lb..06/Ib; 1000 lb..0Slh/ the clay vessels of 2000 years Ib; 2000 lb..0S/lb. F.O.B. Mamaroneck, N.Y. Free Parking ago. At the Newark Museum. Specify color when ordering. GARE CERAMIC SUPPLY CO. For information NEW YORK, NEW YORK 16S about exhibits and through ROSEMONT ST., HAVERHILL, MASS. ceramic competition write: March I0 "22nd Ceramic National Exhibition," sponsored by the Everson Museum, at the Museum MIDWEST CERAMIC of Con- Nearly SHOW temporary Crafts. 1,000 Illustrations of Items in our P. O. Box $2, Station A, Dayton 3, Ohio NEW CERAMIC g ART SUPPLY CATALOG NEw YORK, NEW YORK through March 7 Annual Price - S1.00, refundable on your first pur- Juried Show chase of $10.00 of the Society of Artist-Craftsmen of New or over. Immediate mailing. York, at Cooper Union Museum. BUFFALO CERAMIG & ART SUPPLY 0ENTER 437 Franklin Street Buffalo 2, Hew York NEw YORK, NEW YORK through March 16 Ceramics and Sculp- ture by Californians includes the work of Peter Voulkos, Ann Stockton, James Mel- MINNESOTA CLAY CO. chert, Theodore Bielefeld, Ran Nagle and 2410 E. 38th St., Minneapolis 7, Minn. Manuel Neri. At the J. Blumenfeld Gal- STONEWARE lery, 810 Lexington Ave. THROWING CLAY .... cone S-10 RED THROWING CLAY ...... cone 06-04 NEw YORK, NEW YORK SCULPTURE CLAY (red or white}..cone 06-10 Continuing "The Art of Faberge," CASTING CLAYS {red or white)...cone 06-04 loan exhibition of precious objects, at the Metropolitan Museum of Art. Norwest Novelty NEW YORK, SYRACUSE JEAN LEONARD CERAMICS Co. through March 3 Contemporary Ce- 96.24 Corona Ave. Corona, L. 1.0 N. Y. 32480 Northwestern Highway ramics, selections MAGIC GREENWARE RELEASE (8 oz.)..S1,25 from the Museum's per- Save yourself Formington, Michigan manent collection, at the aggravation. Releases green. Hours: 9 to 5 Everson Museum. ware in half the time, will not stick. OPEN KILN SURFACE BRICK HARDENER SUNDAY NORTH CAROLINA~ WINSTON-SALEM (16 oz.) ...... S1.75 Closed Monday through March 19 "Picasso: Ceramics Will harden and prolong the life of your Phone MAyfair 6-6003 kiln. Stops the kiln brick from shedding and and Posters," circulated by the American flaking. Federation of Arts, at the Public Library.

OHIO, AKRON through March 31 The 40th Annual Spring Show by artists and craftsmen of the Akron area, at the Art Institute. iol OHIO, CLEVELAND ~ March 28-]une 25 Chinese Ceramics and Textiles, at the Karamu House Art Gallery.

OHIO, LAKEWOOD March 8-June 6 "Contemporary mix Crafts," at the Lakewood Civic Art Gal- lery. !factured by the makersof the Walker ' P,,ttcr'~%% h¢c1 PENNSYLVANIA, PHILADELPHIA through March 10 Jewelry by Roslyn Sailor, at the Philadelphia Art Alliance.

36 Ceramics Monthly the complete SUMMER WORKSHOPS SCHOOL SUPPLY Summer Workshops give you that Indiana, Bloomington wonder[ul opportunity to combine va- June 12--August 9 HOUSE University is offering an 8-week with hobby/un. Whether Indiana cation travel course in hand building, throwing, /or all you are tripping east or west or only glazing and firing. Instructor: Karl a little ways [rom home, you'll lind Martz. Write: Director, Summer Ses- a workshop in ceramics to give you sion, Indiana University, Bloomington. • Ceramic Supplies that [resh inspiration. Our list to date: Maine, Deer Isle • Mosaic Tile Supplies June 24--September 14 California, Guerneville Haystack Mountain School of Crafts • Metal Enameling Supplies June 24--August 23 offers four 3-week sessions in ceramics Pond Farm Pottery offers a 9-week and other crafts. Ceramic instructors: • Gravel Mosaic Supplies course in pottery techniques, including Hara, Kingston, Dunn, Hassrick, Rieg- throwing, hand methods, decorating and ger, Cohen, Richards and Kline. For Wil- drawing. Instructors: Marguerite information write: Haystack Mountain WRITE FOR OUR #6 denhain and David Stewart, Assistant. School of Crafts, Deer Isle. Write: Marguerite Wildenhain, P.O. CATALOG Box 322, Guerneville. Michigan, East Lansing on first order June 17--August 30 send S0c refunded California, Los Angeles Michigan State University is offering a June 24--August 16 10-week ceramics course under the di- Chouinard Art Institute offers an 8- rection of Louis Raynor. Write: Kresge Van Howe week Ceramic Workshop on throwing, Art Center, Michigan State University, glazes, kiln firing and advanced work. East Lansing. Ceramic Supply Instructor: Ralph Baeerra. Write: Of- fice of Admissions, Chouinard Art In- New Hampshire, Durham 1185 SO. CHEROKEE stitute, 743 S. Grand View St., Los July 8--August 16 DENVER 23, COLORADO Angeles 57. The Paul Creative Arts Center of the University of New Hampshire is of- California, Oakland fering a 6-week course in elementary June 20~Augutt 2 and advanced ceramics. Instructor: The California College of Arts and Donald Campbell. Write: Director of Old Trail Studio Crafts is offering summer sessions for the Summer Session, University of New Distributor for: Creek-Turn and Duncan students in Hampshire, Durham. products, Marx and Delta brushes, Skutt beginning and advanced and Norman Kilns, Crea-Stone, Atlas stilts, ceramics. Instructor: Vernon Coyken- Kemper tools, all types of modeling and Col- New Hampshire, Peterboro slip clay. dall. Write: Registrar, California 7021 Bluffton Rd. South on Highway 1 lege of Arts and Crafts, Broadway at July 8~August 30 an FORT WAYNE, INDIANA College, Oakland 18. The Sharon Arts Center is offering 8-week course in ceramics. Instructors: D.C., Washington Gerry Williams and Frances Brown. July 1--August 9 For information, write: Kenneth Wil- -FRANCOISE CERAMICS_ of America is kent, Director, Sharon Arts Center, Distributor for The Catholic University - Delta Brushes course, "An In- Peterboro. DUNCAN PRODUCTS offering a 6-week A. B. C. Glazes - Star Stilts troduction to Ceramics." Instructor: Holland Arnel New York, Alfred Atlantic . Alexander Giampietro. Write: The Art and Ludwig Schmld Molds Department, Catholic University of July 1--August 9 Marc Bellaire Brushes . Paragon Kilns Alfred University Summer School offers Art Books . Clay . Slip . ~.vreenware America, Washington 17. Florida 6-week courses in Ceramic Design and 113 49th St., So. St. Petersburg 7, Florida, Bradenton Pottery Production; and Advanced Ce- through June 15 ramic Design. Instructors: Theodore The Art Center is offering courses in Randall and Val Cushing. Write: Fred wheel throwing, design, form, decora- H. Gertz, Director, Summer Session, MOSAICS tion and glazing for beginners and ad- Box 805, Alfred. vanced students. Instructor: Frank Col- son. Write: Art Center, Waterfront New York, Lake George COPPER ENAMELING Park, Bradenton. July 8--August 23 The Lake George Art Center Work- * Huge Stocks Indiana, Indianapolis shop offers instruction in pottery, in- * Fast Service June 17--August 23 eluding throwing, handbuilding, design, Instructor : C~uality Merchandise Amaco Ceramic Workshops are offering decoration and glazes. an- 1-week workshops in ceramics and metal Jeanne Hastings and others to be Write now for FREE literature enameling for teachers and occupational nounced. Write: Director, Lake George therapists at the John Herron Art Art Center, Lake George. SERVICE School. Graduate and undergraduate ILLINI CERAMIC York, Rochester credit. Instructors: Kenneth Smith, New 24--August 9 "Quality Ceramic Supplies" Justin Brady and William Gehl; guest June for American Craftsmen of 439 N. Wells, Chlcago 10, IlL demonstrator : Karl Martz. Write : The School Institute of Technology American Art Clay Co., 4717 W. 16th the Rochester Phone MI 2-3367 St., Indianapolis 24. Continued on Page 38

March 1963 37 Advertisers Index HAYSTACK March 1963 American DEER ISLE, MAINE Art Clay Company ...... 7 Anderson WORKSHOPS Ceramics Co ...... 34 1963 SUMMER SESSION Art-Craft Supplies, Inc ...... 38 Continued [rom Page 37 B & I Mfg. Co ...... Faculty for Ceramics 8 Basch, Bee, Designs ...... 38 TERUO HARA JOHN KINGSTON is offering a 5-day workshop for ad- Bergen Arts & Crafts ...... 34 JOHN DUNN ROYAL HASSRICK vanced students, designers and crafts- Buffalo Ceramic & Art Supply Center . . 36 men from June 24-28; and Central Ceramic Art HAL RIEGGER MICHAEL COHEN a 6-week Supply ..... 34 summer session for teachers, craftsmen Ceramic Expositions, Inc .... 8 SVEA KLINE M. C. RICHARDS and designers from July 1-August 9. Ceramichrome ...... 9 Details available on courses and Pottery, Ceramic Sculpture, Clay and Creek-Turn ...... 34 College Credit. Glaze Composition. Instructors: Frans Denver Fire Clay Co ...... 4 Wildenhain and Hobart Cowles. Write: Double B Tools ...... 38 Victor Scroger, Director of Summer Duncan's Ceramic Products . 4 Session, Rochester Francoise The Famous Institute of Tech- Ceramics ...... 37 nology, 65 Plymouth Ave. S., Roches- Gare Ceramic Supply Co .... 36 KLOPFENSTEIN ter 8. Glass-art ...... 34 POTTER'S Haystack ...... 38 WHEEL North Carolina, Penland House of Ceramics .... 6 Write for FREE Information June 24--August 24 Illini Ceramic Service 37 The Penland School of Crafts offers H. B. KLOPFENSTEIN & SONS Kemper Mfg. Co .... 34 credit courses in beginning, intermedi- RFD. ~2 Dept. A Crestline, Ohio Kinney, Kay ...... 6 ate and advanced work in ceramics, Klopfenstein, H. B. & Sons .... 38 enameling and design. Instructors: L & L Mfg. Co ...... Cover 3 Oliver Blanchard, Betty Morgan, Mrs. Leonard, Jean, Ceramics ...... 36 ILLUSTRATED CATALOG Harvey Chase, Anthony Harueh and Mayco Colors ...... 8 Elsie Johnston. Write: Penland of Molds and PaHerns. Included at no extra School Midwest Ceramic Association ...... 36 cost ~ many pages of How.ta-do-it ideas. of Crafts, Penland. Send $1.00 tadayl Midwest Ceramic Center ...... 34 Minnesota Clay Co ...... BEE BASCH Ohio, Columbus 36 DESIGNS, INC. June 17--August 23 Minx ...... 4 70 Pine & First Sts., Englewood, Fla. The Ohio State University is offering Mosaic Shop, The ...... 38 summer sessions for beginners in hand- National Artcraft Supply Co ...... 34 National Ceramic building, throwing and decorative tech- Manufacturers Assn. 11 Norwest Novelty niques. First term (June 17--July 19) Co ...... 36 or full quarter; university credit. In- Ohio Ceramic Supply ...... 34 Old structor: Carlton Atherton. Write: Eu- Trail Studio ...... 37 Orton Ceramic gene Friley, School of Art, The Ohio Foundation ...... 10 Paragon State University, 108 N. Oval Drive, Industries ...... 38 Columbus 10. Pottery by Dot ...... 33 Reward ...... 6 Quebec, North Hatley Rhode Island Ceramic Show ...... 34 July 1--August 31 Sculpture House ...... 36 The Workshop offers three 3-week ses- Seeley's Ceramic Service ...... 36 STAINED GLASS sions for beginners and advanced stu- Skutt & Sons ...... 3 extra special!! dents in throwing on the wheel and Tepping Studio Supply Co ...... 36 firing. Lectures Thompson, 10 Brilliant Colors, 8" x 8" sheets shipped and demonstrations. In- Thomas C., Co ...... 5 ppd. for only $5.00. Send 25¢ for catalog. structors: Dean Mullavey and Louise Trinity Ceramic Supply ...... 36 THE MOSAIC SHOP Doucet. Write: Gaetan Beaudin, Di- Van Howe Ceramic Supply ...... 37 rector, Box 181, North Hatley, Quebec, Walker Jamar Co ...... 3522 Blvd. of the Allies, Pittsburgh 13, Pa. 36 Canada. Westwood Ceramic Supply ...... 10 Tennessee, Gatlinburg ART CRAFT SUPPLIES, INC. June 10--July 16 Back Issues Distributor for The Pi Beta Phi--University of Tennes- The [ollowing back issues o] Ceramics Paragon -- Duncan -- DrakenfekJ see Craft Workshop offers two sessions Monthly are still available at sixty cents Bergen Brush I Symphony I in beginning and advanced pottery, per copy (Ohio residents pay 3% sales Jacquelyn's Stains taught by Mrs. Barbara McDonald. tax). We pay postage. CERAMIC & ENAMELINGSUPPLIES Write: Director's Office, Pi Beta Phi 1953 March, July, December 180 NW. 62nd St. Miami, Flarida Settlement School, Gatlinburg. 1954 March, July, August, December 1955 August, November, December Vermont, Ludlow 1956 May, August, October July 1--August 23 1957 April, May, June, July, August, Fletcher Farm Crafts School offers four September, December 2-week courses in ceramics and enamel- 1958 April, May, June, September ing. Instructors: Lorna Manzler, Bruce 1959 November Eppelsheimer and John P. Loree. Write: 1960 June, November, December Louise Williams, Director, Box 478, 1961 January, April, October, November, RFD #1, Rochester, N.H. December OF THE MANY 1962 January (9-year Index issue), Feb- ruary, April, May, June, September, HAND MADE TOOLS October, November, December 70 CHOOSE FROM IN OUR CATALOG 1963 January, February Available at your local suppliers. Please se.nd remittance (check or money Write for our latest FREE catalog. order) with list o[ issues desired. CERAMICS MONTHLY 4175 N. High St. Columbus 14, Ohio ~2

38 Ceramics Monthly 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! 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 m HIGH TEMPERATURE FURNACES A complete line of TO 3000 ° F bench and floor models available. • .. using silicon carbide heating elements. MODEL elS-G

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The New CM Handbook on Ceramic

64 Pages of Instruction * Over 200 Illustrations * 3-Color Cover * 81/2xll Forint From the wealth of material presented in CERAMICS Here's A Partial List of the Projects Included I~IONTHLY during the past decade, the editors have se- CLAY TOYS THAT lected an outstanding collection of articles by recognized MOVE ..... by Earl Hassenpflug authorities in the ceramic world. Each of these articles COIL BUILDING A VASE ...... by Richard Peeler has been carefully edited for presentation in book form CLAY WHISTLES ...... by Helen Young and is complete with large, clear photographs and step- HAND-FORMING USING A PADDLE _-- by Don Wood by-step text. LEAF-PRESSED POTTERY ...... by Edris Eckhardt Priced at only two dollars per copy, this stimulating BUILT-IN SLAB HANDLES ...... by Irene 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 HANGING PLANTERS ...... by Alice Lasher SAND BAG MOLDS ...... by Louise Griffiths USE A STONE FOUNDATION 4tvs N. moll ST., COLUMBUS, OHIO :~-~=- ~::i~'~ .... by Lucia B. Comins SEVEN DECORATING TECHNIQUES ___by Karl Martz Please smad me ...... copies of the CERAMIC PROJECTS DECORATION ON GLYCERIN ...... by Marc Bellaire Handlmok 0 $111Nr espy. (CM pays i~almKe). BALLOONS AS MOLDS ___ by Reinhold P. Marxhausen CARVED GREENWARE MASKS _ __ by Phyllis Cusick NAME ROLLING PIN SCULPTURE ...... by John Kenny KACHINA DOLL JEWELRY ADDRESS ...... by Peg Townsend CHILDREN OBSERVED ...... by Ann Entis BOTTLE-DRAPED CITY ZN STATE SCULPTURE by Virginia Schreiner ResiResidenta: add Sc Sales Tax per copy. [] Cheek elo~ [] Money order ...... Other only $2 ORDER TODAY Dealers Write for hzformation