DECEMBER. 1963 50c

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':" ' i!i~ /~ ! i ~!/i~i~i!' i!~/!i JUST i PUBLISHED [ The NEW John Kenny book...

Carefully Money-Back Guarantee-- John Kenny, who is principal of the Written chapters on form, All books High School of Art and sketching, coiling, rolling, slab build- ordered through the Ceramics Month- Design in ing, ly Book New York City, is no stranger to the pouring, throwing and combin- Department are returnable readers of Ceramics Monthly. ing are supplemented by others on for immediatee, full refund. His carved articles have appeared many times in design, shaping, coloring, glaz- the ing, firing and drawing. We have this new book in stock, magazine. Everyone who enjoyed More than ready Mr. Kenny's articles in Ceramms 50 photo sequences, some with over for immediate shipment. Monthly and his first two books, 24 step-by-step photographs, and more "Complete than 100 pictures of Book of Pottery Making" outstanding WE PAY POSTAGE and "Ceramic Sculpture," examples of ceramic design (many m will want CERAMICS MONTHLY BOOK this new title for his library. full color), diagrams, drawings and DEPT., sk etch es illustrate this beautiful 4175 N. Hicjh St., Columbus, Ohio Ceramic Design book. They are supplemented Please send me: . copies of CERAMIC is a profusely illu- by an DESIGN @ $9.95 strated book in which appendix, a list of ceramic materials, per copy. the author dem- tables onstrates many basic clay working and recipes and a glossary. techniques and NAME ...... covers a wide range of This new projects for both beginners book will find wide use and ad- among hobbyists, ADDRESS .... vanced students. The publishers of schools and craft -- centers and would make this exciting new book have called it an ideal gift CITY- the "how to do" and for Christmas. It is a beautifully __STATE_ -- -- "what to do" bound book in one. Complete instructions edition with a large 71~-'' x Ohio Residents: for 10%" format and has add 3% Sales Tax. methods of forming and decorating more than 600 I enclose [] Check ceramic ware are given, photos with 16 pages in full color! with step-by- Order []Money Order [] Other step photographs to guide the design- your copy now--S9.95. We pay er along the way. postage and shipping charges. vs. AVVKVVlU rgl~ YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. are not! Others claim that wire and switches are UL approved, but their kilns m.l,]---q~,1:l,]~l:~.~-- 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 W . HIGH TEMPERATURE FURNACES A complete line of TO 3000 ° F bench and floor models available. • .. using silicon carbide healing elements. MODEL 010-a

Price includes Pyrometer, Gravity Door, TEMPERATURE HOLDING Input Control Switch, Dyna-Glow KILN Pilot Light, and Patented ENAMELING Holders. ! Porcelain Element Can Also Do Ceramics Attractive... Plugs in anywherel s74- plus$2.00 crating charge MODEL E49 Chamber size: 4" x 81/2" x 81/2"

All steel welded case . . . gravity door . . . $250 ( Patented Dyna-Glow element holders... Plugs in anywhere.., attains enameling temperatures of voltage conditions.., no crating charge. quickly regardless Chamber size: elements can not be burned out due to over*firing. 4" x 8" x s" *Pyrometer available •t $20.00 extra

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WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER I1, PA. DEALER INQUIRIES INVITED

December 1963 3 2 NEW PRODUCTS GEM-ENAMEL The perfect product for creating pictures and panels of crushed colored glass. Crystal clear, to retain the brilliance and true shades of cathedral and other colored glass. It can be heat-treated in a kiln or kitchen oven. Th;s is the equivalent of the French enamel for the famous Gemrnaux paintings. 4-oz. jar: $1.00 Instructions ;ncluded. Gem.Enamel Solvent: Use for thinning and for cleaning brushes. 4-oz. jar: S0c Discover greater creativity . . . enjoy new depths JUMBO JEWELS of colors and shades with over 200 samples of Imported domed ewels with flat backs. As- opaque, transparent, opal and crackle enantels to sorted sizes from I/2" to 11/4" diameter.Will fire choose from. Beginners as well as experts can now on most sheet glass without fracturing. Can also be heat-set branch out in color . . . give interpretations to work on panels with Gem-Enamel. Colors: Orange, green, yellow, turquoise, blue, never before possible using the latest colors by purple; ranging from light to deep shades. Thompson . . • leader in the field of enamels for over 70 years. Carton of Assorted Jewels (Approx. 1 lb.): $3.00 Hobbyists can easily select the precise color to suit Instructions included their Minimum shipping order: $5.00 exact need by ordering directly from the Add 20~/0 for postage full-color reproductions in the "Color Guide" . • • Glass Catalog: 50c a special section in the new Thompson catalog. Kay Kinney Contoured Glass Also featured are in- 725 Broadway, Laguna Bear.h, Calif. (ZIP) 92651 struction books covering every phase of porcelain enamel work and glass- craft. Tools, materials _ d "GuesSc~cl'llt'1~ and supplies are pictur- okes the NlII.-/,,--" ed and accurately de- tout o( CElt.~ scribed for further ease ~. Ceramic classes should be a joy to teach instead of a drudge, of : ordering. that is why we, at DUNCANS, are constantly consulting with i:ii teachers so that we can learn ofyourceramic problems and Should you be in the then help you correct them. Won't youlet us help you? market for a new kiln, • '; ; FREE INSTRUCTION MANUAL This manual the special gives you detailed infor- Model B-9 mation on the characteristics and appli- will cation of all Duncan glazes and other be of particular in- , ceramic products plus the reasons for terest. Kiln reaches temperatures of 1500 ° in one most glaze imperfection problems, hour . . . can be plugged into any 115 volt outlet. FREE PRINTED COLOR CHARTS This is a 4-page brochure showing Dun- Price F.O.B. Highland Park, Illinois. or Dallas, can's complete ceramic color line, 221) in all, glosses, Texas... only matts, crackles, sa- $35. tins, lavas, speckles, special effects, arts plus opaque and translucent under- For your FREE copy of the new Thompson catalog glazes. All are ready to use rightoutof ~ ,~-2~' with the new "Color Guide," simply mail the cou- the jar. ~..... CLASSROOM PROJECT IDEAS ~r~ pon. Why not do it today? ~ From time to time Duncans offer sug- :" gested project ideas such as coil, slab and sand maid techniques, leach is com- . plete with photos and step-by-step in- I , structions. I THOMAS C. THOMPSON CO. -- DEPT. CM ~" FAST DELIVERY SERVICE 1539 Deerfield Rood, Highland Park, II1., 60036 ~= I)uncan Distributors art: cverywh~'rc ~tock of supplies. Please rush my FREE catalog of complete enameling and craft )r the distributor near- supplies with Color Guide today. tour FREE Instruction ted Color Chart. NAME

I ADDRESS I

CITY. ZONE STATE_ I i! CERAMIC PRODUCTS, INC., k 5673 E SrlI~tDS AV[ . FRESNO 27. CALIFORNIA 4 Ceramics Monthly MONTHLY

Volunle 11. Number 10 l)ecelnber 1963

Letters to the Editor ...... 7 Answers to Questions ...... 8 9 Itinerary ...... 11 Suggestions from Our Readers ...... 12 Pouring Spouts by Angelo C. Garzio ...... 16 Turning Bowl Shapes by John B. Kenny ...... 18 The Ceramic Bells of Charlotte Neubauer ......

Pottery Making at Ching-te Chen by Richard Behrens ___19 27 Enameled Tree Ornaments by Kathe Berl ...... 28 Concave Fluting by F. Carlton Ball ...... 30 Sprigged Decoration by Jean Garrett ...... Underglaze Decoration: A Holiday Theme by Marc Bellaire ...... 34 37 CeramAetivities ...... 41 Ceramics Monthly Index: January 1963--December 1963 42 Ceramic Shopper ...... 42 Index to Advertisers ......

On Our Cover cover pictures a detail from one of a set of This month's CLAYS are prepared from commissioned by the Emperor Ch'ien Lung to depict IMACCO CERAMIC illustrations for our whee in the Chinese town of Ching-te Chen. Fourteen natural California clays. The formulas pottery-making always giv- of these fascinating illustrations are reproduced in a special clays have been used for over 35 years, CERAMICS MO.'~Tm.y Portfolio in the center section of this issue. ing our customers a dependable, uniform clay body for their ceramics and art work. The Pyrometric Cone Equivalent chart shown below is the result of considerable testing in our electric kiln. pUARRY TILE (RedJ Cone 04 to 8 ECIAL MIX (Buff) Cone I to 10 SELLF~RS Tile & Special Mix} Cone 04 to l0 Editor: THOMAS 50/50 MIX [g)uarry 10 SCULPTURE CLAY (Buff] Cone I to Art Director: ROBERT L. CREAGER NAVAJO WHEEL CLAY [Dark Red) Cone 04 to 8 SLIP [Buff) Cone I to 8 SPENCER L. DAVIS MISSION 8 Business Manager: NAVAJO SLIP [Red] Cone 04 to ('irculation Manager: MARY RUSHLEY RETAIL PRICES (FOB Florin, California) Bel- CLA_~.YY Advisers and Special Contributors: F. Carlton Ball: Marc _~UANTITY * PUGGED & DE-AIRED DRY 2-25:~ Bags {Min. Sale) $4.89 $4.50 Edris Eckhardt; John Kenny; Kay Kinney: 25.~ Bag laire; Kathe Berl; 3 to 79 Bags $1.75 per 25~ Bag $1.25 per $I.05 per 25.~ Bag Zena Holst; Karl Martz; Ken Smith: Don Wood. 80 or more Bags $[.5fi per 25.~" Bag • I Bag consists of 25 Ibs. of clay packed in a heavy mois- ture-proof Poly Bag. 2 Bags per package for shipping. to the Advertising Representative: Joseph Mervish Assoc., 5000 Mr. David R. Schalchli, who has devoted 48 years Western as a technical and ceramic engineer, Hollywood, Calif. TRiangle 7-7556. ceramic arts and industry Lankershim Blvd., North has recently developed for us the new clay bodies listed below: ~5 (Light Cream) Cone I to 12 STONEWARE 12 STONEWARE .~9 (Light Brown) Cone 4 to 1963 Professional Publications, Inc. I-C (Sandstone) Cone 4 to 8 Copyright STONEWARE ,~ 8 STONEWARE ~3*P (Dark Brown) Cone I to range. The above colors developed from Cone 6 to maximum firing 10. Published CERAMICS MONTHLY, December 1963. Vol. ll--No. July & August by Professional Publications. Inc--S. L. monthly except Columbus, SUPPLY TODAY! Davis, Pres., P. S. Emery, Sec." at 4175 N. High Street, ORDER YOUR CLAY at the post office at Athens, Ohio 43214. Entered as second class matter and schools. year $5: Two Years $9; Three Years ~uantity discount to dealers Ohio. U.S.A. Subscriptions: One and illus- $12. Copyright 1963. All rights reserved. MANUSCRIPTS with ceramic art activities are welcome and will be trations dealing typed doub]e-spaced CO. considered for publicatiion. Manuscripts should be INDUSTRIAL MINERALS & CHEMICAL 300 to 1200 words. Send manuscripts and correspondence 415 and range from 4175 N. High St. • Berkeley 1O, Calif. • Phone 524-2100 • Code about them to the Editor. CERAMICS MONTHLY. 836 Gilman Street, Columbus, Ohio 43214. December 1963 5 You can do EVERYTHING with

Go-Together Prepared Ceramic Colors

They all intermix and may be used one over the other. Fire from cone 06 to cone 6 or any temperature in between. Color re- quirements vary from person to person and school to school but when you use CERAMI- CHROME'S go-together and intermixable t colors, every requirement can be met. t CERAMICHROME can give | you all the told them that Reward's liquid prepared glazes colors and ancl colors textures you ever wanted. go twice as far and offer truly foolproof firing results. Is your school or croft department practicing "false economies" without realizing it? Reward glazes and colors fire at "standard" temperatures (Cone 06-04) in regular school and institution kilns, and are highly recommended NEW for their foolproof characteristics and hicjh quality. Send for price list and literature. KRACKLE MATT GLAZES

To give you that final touch that will thrill REWARD CERAMIC COLOR MFRS., INC. you, CERAMICHROME has formulated 7 beau- tiful KRACKLE MATT GLAZES. They are soft, 6811 Washington Blvd., E/kridge 27, Maryland modern colors that will fit into any decor. These are available from your CERAMICHROME dealer now. EVERY ART CLASS NEEDS... 830--Tahitian Blue 833mSingapore Coral 831mKyoto Green 834mOriental Pearl 832--Tang Yellow 835~Siamese Sand 836~Mango Gold

NO. 450 SOFT WHITE MATT GLAZE

This CLEAR MATT GLAZE enriches all under- glaze decorations. Tranz, Detail and Antiques can be used over or under this glaze. Those THE Fabulous NEW, water soluble who have tried this wonderful CLEAR MATT GLAZE say it is the most foolproof glaze they decorating medium for use on" have ever used. It will not cloud or frost up eCERAMIC BISQUE if a little too much is used. It brings out beau- ePLASTER tiful rich colors and you will find it is very ePAPER eWOOD clear when used over underglazes. It gives a ePLASTIC eFABRIC rich, soft white finish when used alone on green- eMETAL ware or bisque. Those who love a beautiful, soft white matt texture will buy this glaze. "K 29 Blendable COLORS All BISQ-WAX colors blend together to create any shade you de- 2 great new products from the "Magic World of sire: It is HIGHLY CONCENTRATED and can be thinned with equal Ceramichrome" • . • a magic world of inspired parts of water if necessary. Allcolors areOPAQUE and are made colors and textures . . . new and exciting techniquesl TRANSPARENT Discover by thinning with water or blending with BW-100 other famous Ceramichrome products . . . .~LL'AR Beauty-FIo Underglaze, Tronz and Detail, GIo-Matt, BISQ-WAX, Antique Genie Glaze, etc. Order these from your Ceramichrome dea era and distributors, everywherel WATI!R SOLUBLE - Brushes and tools clean with soap and water. After BISQ-WAX has thoroughly dried it becomes a very perma- ent, washable finish.

0 SPRAYS are needed regardless of the typeof decorating tech- ique used.

n ~NLIMITED DECORATING TECHNIQUES: Use BISQ-WAX as you use oils, water colors, poster paints. Excellent also for antique and grained techniques.

"FINEST PREPARED CERAMIC COLORS" 40¢ = o,.. tar 75 " CERAMICHROME, INC., 15215 S. BROADWAY all colors MAILING ADDRESS: P.O. BOX 2086 For more detailed information, write: GARDENA, CALIFORNIA 90~t47 BISQ-WAX, 5673 E. Shields Ave., Fresno 27, Calif.

6 Ceramics Monthly LETTERS

Share your thoughts with other CM read- shipped, plus sawdust for packing the pots application: decoration, ideas, techniques, ers--be they quip, query, comment or ad- for the black firing• I fired two batches. etc. Generally I find something of interest vice. All letters must be signed, but names one in natural buff and the other black• in each issue: these just happen to be of will be withheld on request. Address: The And they were black! I put cones in with prime interest to me. Mrs. Elsie Murray Calif. Editor, Ceramics Monthly, 4175 North the buff firing and found that cones 022 Alhambra, High St., Columbus. Ohio 43214. and 021 bent fully and cone 020 started • . . more on ceramic sculpture, garden to bend, indicating a temperature of about and patio pieces, hanging lamps and table HAMADA COVERAGE 1157 ° F. I thought you might be interest- a wonderful coverage our Hamada Mrs. Margaret Bell What ed in this information. Louise Hager lamps• in CERA~ICS MOXTHLY Flint, Mich. exhibition got Hager Ceramics (October 1963) and how kind and Germantown, N.Y. issue /or an article thoughtful you were to send us copies[ See the No~'ember WANT . . . hanging lamps b)' Ken.neth These are being passed around among OUR READERS on table and • • . more articles on useful hand-built -- Ed. our staff and all express much pleasure S. McElroy/ articles and decorating techniques. Your in the reproduction. Our photographer magazine is still "tops." TRICKS was especially pleased to see our shot of PICK UP Dorothy Sonquist I love the work of Sylvia Hyman ("An one of Hamada's pots reproduced as "Pic- Chicago. Ill. Improvised Mold," April 1963 and "Lamps ture of the Month." for the Patio," June 1963). She shows Helen Head. Publicity on selling, opening a • . . information great originality and I've improved my M.H. De Young Memorial Museum original pieces of sculp- shop and pricing own work by picking up a trick or two San Francisco. Calif. Ruth Canfield ture and wheel work. from her. Mrs. R. Dunlap Texas INDIAN FIRING Liberty, Medina, Ohio magazine have all The articles in your I have no complaints but am especially "Potte~, been helpful but Hal Riegger's in wheel work and the Japanese CM THE BEST interested you to know that I value Makin.~--Indian Style." in the June 1963 Mrs. Charles Hampton • . . I want potters• of your magazine• It has issue was the best yet! I used this project N.Y. every single issue Penn Yan. I took at camp and it was very well received. taught me more than any courses is the best! I found the use of drums and cans a bit • . . more on throwing and techniques in the past. In my opinion it simpler for firing purposes and used two of same: "how-to's:" middle range (to Ida Varga N. J. 5-gallon cans in which slip had been cone 6) glaze recipes: techniques of glaze Somerville,

SCHOOlS-CRAFT CENTERS-INSTITUTIONS

have you tried Westwood's stoneware cone 5 glozes? (color may be added) bei W 501 LIDO SATIN (mottled beige) W 504 ITALIAN STRAW (mottled W 502 SEMI-CLEAR MATT W S05 POLAR BEAR (eggshell white] glos W 503 MOONMIST (opaque white) W 506 HORIZON (opaque white 16 TRANSPARENT

--- and our Stoneware Bodies SCMO - 10 BROWN (reduction) (cone 10) WC-8 WHITE (cone 6-10) SCRH BROWN (reduction) (cone 10) WC-40 BROWN (cone 5) WC-33-10 BROWN (reduction) (cone 6-10) SCMO BUFF (cone 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

December 196,3 7 Answers to QUESTIONS Conducted by the CM Technical Stall

Q I recently was given some bottles o[ commercial glazes and tried them out on the clay I use, a red-[iring one. I.nstead o[ getting the expected yellows, greens and blues proclaimed on the glaze labels, all o[ my fired pieces had a very decided brown appearance. I assume that the problem is involved with my dark- colored clay, but need some specific help.--Mrs. H. B., Colorado Springs, Colo.

Assuming that you applied the glazes heavily enough, the problem appears to be that the glazes you have are transparent ones that require a white background. If you wish to use these on your dark clay and still produce the bright colors, you will need to coat your clay pieces with a white engobe or underglaze before bisque firing them. If you have enough of 'the glazes to make it profitable, you may even wish to acquire some white clay for their use.

Is there any objection to the use o[ steel wool [or cleaning gree.nware? I have noticed that this is never recommended NO MORE in any o[ the artieles.--F. A. A., Gardena, Calif. Steel wool is seldom used because of the possibility that fragments of it may become embedded in the greenware and cause SEARCHING discoloration of the glaze in the final firing. You may wish to purposely use fragments of steel wool to give a planned discoloration or even a texture to the glaze for certain effects, for those perhaps on the inside of a bowl or other rather shallow shape. Can you sugge.~t n method [or success[ully cleaning the cop- per back o[ an enamel piece that is not to be counter- Missing Copies enameled?--A.C.V., Evansville, Ind. First, file the edge of the piece to remove any enamel or USE dark stain. File away from the enamel surface in order to avoid A CM LIBRARY BINDER chipping it. Next. select a fine steel wool (#00) and clean the back until it has a polished appearance. Acid can be used for YOU will have cleaning the no problem finding last month's back, but care must be taken that no acid is copy of "Ceramics Monthly" -- or earlier issues swabbed on the enamel surface, as this can dull the enamel. Clear lacquer gives you've received--if they are neatly tucked away in a good protective finish for the cleaned copper back; however, do not touch this handy binder. Like most CM subscribers, you the metal with your fingers after it is cleaned and before it is coated with lacquer, will be referring to back issues for ideas and other as finger- prints may show. valuable information time and time again--so keep them handy in this handsome library binder. I have been having ~ome very peculiar results in using an This durable cloth-bound binder is green in color alkaline glaze that I compound mysel[ [rom a [ormula that and has "Ceramics Monthly" stamped in gold leaf was given to me. When this glaze was used on greenware [or on the front cover one-[ire and backbone for immediate work, the ware literally broke after it had cooled. I identification. don't have this trouble whe.n I use the glaze on bisque, but the glaze sur[ace is rough textured. I have seen the glaze used by A steel blade holds each copy in place. New issues others and know that the [ormula is a good one. Does your are quickly and easily inserted. stall Each issue will re- have any comment~ on thi~ situation?-.-A.D.R.. Des Moines. main neat and fresh, protected by the high quality Iowa rigid cover of long wearing material. Order Now! Alkalines are extremely soluble. If they are absorbed into the raw Price S3.50 clay, they may cause the ware to crack. This is due to the extreme expansion and contraction that alkalines undergo on firing and cooling. If your ware is bisqued Order Form Ceramics Monthly soft, the solubility of the alkalines may account for the incomplete glaze surface. 4175 N. High St., Columbus, Ohio Try bisque-firlng a bit harder, or use a frit to obtain the alka- Please send me .... binder (s). (CM Pays Postage) lines in a non-soluble form. Name ...... Address ...... All subscriber inquiries are given individual attention at CM; City ...... Zn ...... State ...... and, out o[ the many received, those o[ general interest are selected [or answer in this column. I enclose $ ...... Send remittance with order. Ohio Direct your inquiries to ! the Questions Editor, CM, 4175 N. High residents add 3% Sales Tax. St., Columbus, Ohio I ...... 43214. Please enclose a stamped, - ...... sell-addressed envelope.

8 Ceramics Monthly ITINERARY

show announcements early: stained glass. Work includes stained or Masonic Temple. For details, write: Mrs. Send your Iowa. "Where to Show," three months ahead colored glass set in lead, concrete or plas- LuEUa Schroder, Blue Grass, o[ entry date; "'Where to Go," at least tic. Jury; Prizes: Entry cards due January Willet, 10 E. KANSAS, SALINA szx weeks be[ore the opening. 5, 1964. Write: E. Crosby The Central Ceramic and Ave., Philadelphia 18, Pa. May 2-3 Moreland Hobby Show, sponsored by the Salina WHERE TO SHOW COLUMBUS Ceramic Art Society, will be held at the OHIO, contact: March 6-April 5, 1964 "Designer- 4-H Building. For information, MICHIGAN, DETROIT com- Arlene Munson, 1926 Simmons, Salina. The 18th Craftsmen of Ohio" is the second January 14-February 9, 1964 craftsmen working Michigan Artist-Craftsmen petitive exhibition for OHIO, DAYTON Exhibition for and sponsored by the Beaux Arts Sixth Annual is open to residents and former residents m Ohio, April 10-12, 1964 The and The Gallery of Fine Arts. All crafts Show, sponsored by the Mid- who have worked or studied in Michigan. Entry Ceramic Prizes. Deadline for media; Over $1600.00 in prizes; west Ceramic Association, will be held All craft media; Jury; 1, 1964. Juror: Dr. is December 7. For information, forms due February at Wampler's Arena. Competition, dem- entry Sawyer. For prospectus, write: write: Robert Kinsman, Detroit Institute Charles onstrations and exhibits. For information, Designer-Craftsmen Exhibition, Columbus Midwest Ceramic Show, Wampler's of Arts. 5200 Woodward Ave., Detroit. St., write: Gallery of Fine Arts, 480 East Broad Arena, 1001 Shiloh Springs Road, Day- NEw YORK, CORNINO Columbus. ton, Ohio 45415. January 31-February 2, 1964 The Show and OHIO, YOUNGSTOWN TEXAS, DALLAS Southern Tier Arts and Crafts 16th South- Corning Branch of January 1-February 23, 1964 The April 17-19, 1964 The Annual Sale, sponsored by the Show. will be held at will be held at the Coming Annual Ceramics and Sculpture west Ceramic Show the A.A.U.W., the Butler Institute of Amer- Hall in the Market Hall. For Glass Center. Open to all artist-craftsmen': sponsored by Freeway glass and ican Art, is open to residents and former information, write: Anita Holcomb. 6950 media include ceramics, enamels, Over $750.00 in 14. fee: $2.00; Jury. Entry residents of Ohio. Jury; Westlake Drive, Dallas jewelry. Entry for entries is December forms due December 1; deadline for en- prizes; Deadline blanks and 15, 1963. For entry blanks, write: Secre- tries is January 27. For entry Art, WHERE TO GO write: Southern Tier tary, The Butler Institute of American full information, Ave., Youngstown 2. Arts and Crafts Show and Sale, Box 428. 524 Wick B.C., VERNON Corning. through December 7 "Canadian Ce- SPECIAL FOR HOBBYISTS ramics 1963." at the Vernon Art Asso- -N~'E't~" ~IrORK, NEW ~I'ORK ciation. June, 1964 Glass Apprentice Exhibi- IOWA, DAVENPORT at the Cooper Union, is sponsored Seventh Annual Ceramic CALIFORNIA, LA JOLLA tion, April 4-5 The and by the Stained Glass Association of Amer- Show sponsored by the Mississippi Valley through December 15 Sculpture ica and is open to any apprentice in Ceramic Association will be held at the Continued on Page 39

MAYCO COLORS Make All Your Ceramics Outstanding • Teachers and students get better results with • and GLAZES because they're • Underglaze • One-Stroke • Art Glazes • Hesitation MAYCO COLORS extra-smooth, homogenized for easy application. Drape • Foams • Klay Klutch $atina® • Satin Matts • White MAYCO COLORS are bHHiant, fire- proven. there are dozens • NEW . . . #IOS Dual Tone Crystal Clear Special Glaze MAYCO is your best buy -- and of colors to select from! America's Finest Colors DEALERSHIPS AVAILABLE MAYCO COLORS See Your Nearest Mayco Distributor or Write Us 1064S CHANDLER BLVD., NORTH HOLLYWOOD, CALIF.

December 1963 9 22 CHRISTMASGIFTS FROM OUR BOOK DEPARTMENT DESIGN FOR ARTISTS CERAMICS AND HOW GLASS CRAFT CERAMIC GLAZES AND CRAFTSMEN TO DECORATE THEM by Kay Kinney by Cullen W. Pormelee by Louis Wolchonok by Joan B. PrIolo The complete book on fusing, T h i s invaluable reference One of the best books on de- Mrs. Priolo gives detailed de- laminating and bending glass. book completely covers glaze sign, it will prove to be in- scriptions and illustrations of Basic techniques, step-by-step making. Includes formulas valuable to pottery and sculp- dozens of decorating tech- projects and a "Glass Clinic" and batch recipes for glazes. ture enthusiasts as well as niques and shows exactly to help solve problems. Hard 314 pages of technical in- decorators. Geometric, flower, how to go about using them. covers, 200 pages. $7.50 formation. $8.00 bird and animal forms are Starts where other books shown in detail. $4.95 leave off. $5.95 A POTTERY SKETCHBOOK DESIGNS AND HOW by Aaron Bohrod TO USE THEM FREE BRUSH Bohrod, one by Joan THE ART OF MAKING DESIGNING of America's dis- B. Priolo MOSAICS by Egbert and Barnet tinguished painters, is well Top-notch decorating can be The authors' known achieved by by Jenkins and Mills exciting ap- in the pottery field for following the proach to painting and de- his decoration of pottery simple motifs which may be This fascinating book shows signing enlarged the beginner develops confidence thrown by Carlton Ball. or transferred. A how to make in the new Thousands complete unusual and beautiful artist. Extremely of sketches. $7.50 list of subjects: mosaic well adapted to birds, fish, etc. pieces in home or workshop. ceramic dec- $5.95 oration. $3.95 HANDBOOK OF DESIGNS Well illustrated. $5.95 AND DEVICES CLAY AND GLAZES FOR CRAFTS DESIGN by Clarence Hornung THE POTTER CERAMICS by Moseley. Johnson & Over 1800 sketches of basic by Daniel Rhodes by Glenn C. Nelson Koenig designs and variations Two complete books in one! An includ- important addition to the A wonderful introduction to ing the circle, line, scroll, fret, Fundamental details on both list of books for both student crafts design, this handsome shield, snow crystals and many CLAY and GLAZES make and teacher. Many step-by- book shows the art and tech- more useful symbols. $1.90 this book a "must" for every step photographs of clay-form- nique of creating through hobby - craftsman, student, ing and decorating techniques. crafts. Over 1000 illustrations teacher and potter. $7.50 Review of equipment. $5.95 of pottery, mosaics, enamel- ORDER ANY OF THESE ing, etc. 436 pages. $13.00 CERAMICS BOOK DESIGN MOTIFS OF SELECT TITLES ON OUR by Herbert Sanders ANCIENT MEXICO STONEWARE AND MONEY-BACKGUARANTEE This excellent introductory by Jorge Enciso PORCELAIN book describes methods and A compilation of 766 exam- by Daniel Rhodes materials for hand forming, ples divided into geometric, Describes techniques and ma- MOSAICS, HOBBY & ART wheel-throwing and casting. natural and artificial forms. terials used in high-fire pot- by Edwin Hendrickson Covers ceramic jewelry, dec- Includes designs based on tery. Includes sections on clay This profusely - illustrated oration and firing. $1.95 flowers, birds, fish, human bodies, glazes, colors, textures handbook for the beginner figures, etc. 170 pages. $1.85 and decoration. $7.50 and advanced hobbyist in- ENAMELING ON METAL cludes step-by-step instruction by Oppi Untracht on 12 basic projects. $3.50 Step-by-step photos are used to describe fundamentals on I _, BOOK DEPARTMENT CERAMIC SCULPTURE through to newly developed I by John B. Kenny experimental styles. This com- I 4175 North High St., Columbus, Ohio 43214 I Contains over 1000 photos plete guide is a major con- and sketches covering all tribution to Enameling. $7.50 I PLEASE SEND phases of the sculptor's art. ME THE FOLLOWING BOOKS A valuable aid for all crafts- Kinney--Glass Craft $7.50 [] Untrachl~--Enamellng$7.50 I men. Large format (7"x10"), J WE PAY POSTAGE J I[--1 302 pages. f--] Bohrnd--Sketchbook$7.S0 [] White--World of Pattern $3.75 I $9.95 A WORLD OF [] Hornung--Designs $1.90 [] Johnson---Designs$3.00 THE COMPLETE BOOK PATTERN i by Gwen White I -I Hendrickso~--Mosale $3.50 [] Wolchonok~Design $4.95 I OF POTTERY MAKING by John This volume offers the begin- [] Kenny~Sculpfura $9.95 [] Jenkins & Mill~Mosalcs $5.95 B. Kenny ner a wealth The "best seller" in the of ideas and [] Kenny--Poftery $7.50 [] Nelson--Ceramics $5.95 I ceramic information on design and field! Step-by-step color. i [] Norton--Artist Potter $7.S0 [] Enciso--Design$1.85 photo lessons cover all of A sound approach to the the art of decoration. Color F~ Parmelee~--Glazes $8.00 [] Priolo---Ceramics$5.95 I pottery - making techniques. Clays, glazes, and line illustrations. $3.75 I [] Prlolc~--DesignsSS.95 [] Egbert & Barn~Brush $3.95 I firing, plaster, etc. 242 pages. $7.50 I F] Rhodes -Clay & Glazes $7.50 [] Moseley--Craffs Design $13.00 DECORATIVE DESIGNS CERAMICS FOR CRAFT AND HOBBY [] Saederrr--Ceramics Book $1.95 [] Rhodes---StonewareS7.50 FOR THE I ARTIST POTTER by Frances Johnson i NAME by F. H. Norton The author, a designer and I The most complete book on potter, presents 350 designs, I ADDRESS. the subject, from choosing many in full size, with sug- the proper clay to putting gestions for proper colors. I CITY ZN STATE the final touches on a ptece, Many Pennsylvania Dutch de- I enclose [] Check [] Money Order (Ohio all clearly explained. Ce- signs included. 72 paget. residents: 3% Sales Tax) I paper-bound. ~ mm mu ~ ~ ~ mm I ~ mm ~ a~m I ramics at its best! $7.50 $3.00 10 Ceramics Monthly SUGGESTIONS [rom our readers

STAMP FOR SIGNATURE CERAMICS MONTHLY has featured several articles on the use of bisque stamps for decorating soft clay shapes. I have found another use for a stamp, one that gives a touch of indi- viduality to my work and also saves time. I made a stamp with lily initials (in reverse) and use this to press into the clay on the bottom or near the base of each of my pieces. If the potter wishes to date his work, such a stamp also could include the year. A stamp is easy to make and a new one could be made for each year. -Ph~,llis Grover, Detroit, Mich

GLAZE TEST PATTERN Tri-axial glaze tests have been used for )'ears to help the potter discover the effects of three different materials in various degrees of saturation with each other. Generally, the tiles for these tests have been made by rolling and cutting clay for this use, throwing and carving up pots or casting pieces for this particular purpose. While working with some "chicken wire" recently, I dis- covered that its pattern was similar to that of a home-made tri-axial test tile mold that I have long used. For those who might be interested in making such a mold for testing their glazes, I would like to suggest the following simple technique: Choose a piece of clean, unbent one-inch chicken wire and cut from its center a triangular pattern which encompasses 21 of the little one-inch hexagons. Then press this "die" into a slab of clay rolled out to a thickness of one-quarter to one-half-inch. Upon pulling the wire framer from the soft clay, you will discover 21 little raised islands of clay have been formed on which you may apply glaze or slip tests. --Richard Miller, Lindsborg, Kan.

MADE-TO-ORDER STILTS Occasionally I find that I don't have a wire-pronged stilt (one of the so-called "star" stilts) to exactly fit a piece for glaze firing. In such a case I make my own stilt to exactly fit the requirement of the moment. I keep on hand a supply of odd-sized flat pieces of porous insulating fire brick and also some lengths of nichrome wire. Selecting the correct size of fire brick, I simply insert some short pieces of the wire into the soft brick and a "made-to-order" stilt is the result. --]. Gould, Ft. Myers, Fla.

TEXTURE EFFECT FOR ENAMEL A halrnet may be used to create a very interesting pattern or texture on an enamel tray or bow]. First, fire the ground or base color of enamel, then ciip the hairnet into a gum solution and stretch or arrange it over the enamel surface in any pattern effect you want. N'ext, spray the gunl over the surface and dust on another color of enamel. When the enamel is dry. remove the net carefully and blow away any loose particles of enamel. After the piece is fired, you will find an unusual texture that may be the end result or one that may suggest further decora- tive treatment. --G.C.M., Roseville, Mich.

DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to .~5 /or each item used ill this column. Send ),our suggestions to CM. 4175 North High St., Columbus, Ohio 43214. Sorry, but we can't acknowledge or re- turn unuwd items.

December 1963 I I POURING SPOUTS

[ by ANGELO C. GARZIO t.1

AMONG THE NUMEROUS PROBLEMS a potter encounters 3. The spout should be pulled so that it has a downward and must solve when making utilitarian ware, none is curve leading to the edge. This must be sufficiently more challenging than forming spouts that pour freely sharp in order to allow the liquid to be cut off im- and smoothly and do not drip. How annoying it is to mediately at the termination of pouring. No room find several drops of nfilk rolling down the outside of is allowed for some residue to run over and down the the pitcher and onto the table or counter when pouring outside of the pot. has been completed, or to discover a drop of liquid Let us turn first to pulled spouts found on pitchers. hang-ing precariously on the edge of a spout, undecided When an appropriate shape has been formed, the lip is (or unable) to drop off or roll back into the container reinforced by thickening with a slight downward pressure There are no excuses for such a spout! at an angle (Figure 1). This angle is important in the Perhaps the following suggestions, explanations and lip turnover. The wheel is stopped and the thumb and illustrations will prove of some assistance for those who first finger of the left hand and the thumb of the right can't seem to shape or pull a decent spout. Several types are dipped in some water. This provides the necessary of spouts are possible for different forms. Only two will lubrication when forcing the lip out. be discussed in this article since these form the basis for The distance between the left thumb and forefinger other variations. will determine how wide or narrow the spout channel A spout formed by pulling the lip or the rim of the will be. As the thumb and finger of the left hand gently shape to arrive at a desired channel passage with the push in towards the center and towards each other appropriate cut-off edge is used principally for pitchers simultaneously, the thumb of the right hand gently but and gravy bowls. Spouts attached after they have been rapidly begins to stroke and pull the pot lip out, between thrown and cut off the wheel head usually are associated the left thumb and finger (Figure 2.) As the lip starts to with coffee and teapots. I will mention in passing that develop into a spout, the throat, or sides, of the spout some of the suggestions to be offered for the two above are pushed closer together while maintaining a fairly named variety can be usefully applied on the tapered wide spout area (Figure 3.) To further emphasize the tubular thrown spouts which don't present many problems spout channel and thus develop a better path or trough, insofar as their formation goes. move the left forefinger and thumb down along the sides There are three basic factors involved in a dripless of the spout and push gently in towards the center. spout. These are: The forefinger of the right hand is kept on the inside of 1. The belly of the pot (the widest diameter below the this channel to prevent too great a stricture (Figures 4 center) should not extend too far beyond the edge of and 5). When the spout is as it should be, take a smooth the lip. If it does, the lip and belly cannot be too natural sponge and lightly sponge off any sharp edge close in proximity. along the sides of the spout and any loose slurry which 2. The spout should have a well defined channel area may have accunmlated during the formation. Figure 6 leading to the spout proper so the liquid will not spill shows the finished pitcher, spouted, handled, and ready beyond the spout area before it reaches the edge. for pouring! Continued on Page 14

12 Ceramics Monthly 1. Pitch,~ /,,,,z i, H~,,a'll altd the lilJ is rcm/or~,'d arid 2. Th, ~J:~:,tl b~.,gm~ t~, ta/,, ~hat. a, lh, lira i.~ .O~lll) thickened to assure a better spout [ormation. pulled out with the right thumb.

d b~ ~. .41cala'/~il, th, aidlh ,,) th, ~ha~ml i, ~,ml~,lt, 4. Th, d~pth ,/:/, ,haptm z~ im ~ a~, d I. d, ;,'b~lJ a b, l- the le[t thumb and [ore[inger pushing inward. ter path or trough.

5. Any sharp cdg,.~ aloft,., tl. .dd, ,)/ th, @out ar~ lightly 6. Glazed pitcher, reduction [ired to cone 8, is 8/2 inches .~ponged away u,ith a smooth natural sponge. high. The decoration was incised in the clay.

December I963 13 A spout made by forming a small cylinder and luting Opposite page: this onto the pot is the second type that will be discussed. I prefer this variety when a pot is to have a lid and the 7. Luted spout is made by [orming a small cylinder which rim area must be kept fairly round. is brought together and joined at the lip. A small narrow flaring cylinder is thrown, the size depending on the pot on which it is to be used. The lip 8. The cylinder is cut in half when s u/[iciently hard and is then thickened in the same manner as mentioned above trimmed and contoured to [it the joining area. so that the outer edge over-han~ the cylinder. Cut this cylinder off the wb_eel and ioln the top center by pushing 9. Slurry is applied to the edge o/ the spout and then the two sides together with the thumb and forefinger of the spout is attached around the opening on the pot. the right hand. Allow to stiffen and cut in half the two spouts which have been formed (Figure 7). Trim one of 10. Spout is completed by smoothing over the joint area these until it fits the contour of the pot opening, where with a soft natural sponge. luting is to take place (Figure 8). Next, apply slurry on the edge of the spout which has had the edges tapered. Bottom: Finished teapot has After slurrying and scoring the area around the opening a ov'hite satin matt glaze with iron brushed and trailed around on the pot, attach the spout and smooth the joint with a the lip. Cone 8 sponge (Figures 9 and 10). Figure 11 shows the com- reduction. pleted teapot, handled and glazed. Here are two final hints to insure good pouring ANGELO C. GARZIO is an Associate Professor spouts. Have fingers sufficiently wet at o[ Art at Kan- all times when sas State University, where he pulling spouts. This prevents cracking of the rim, which teaches ceramics and general is being subjected to a considerable strain. cra#s. In two tours of [oreign travel he has visited extensively When a spout is attached to the pot, ascertain in Italy, France, England, Swit- whether the lowest part of the spout lip is on the same zerland, Austria, Finland, Nor- level or a little above the level of the lip flange. It should way, Sweden and Denmark• Mr. Garzio has be, in order to utilize an impressive the maximum amount of space in record of one-man shows and the wheel-thrown pot. ~epresentation in regional, nation- al and international exhibitions• He was an invited artist-potter Below: Two stoneware pitchers illustrate a variety of exhibitor in the American Pavi- spout shapes derived /tom the basic pulling out of the lion at the Brussels World's Fair rim. The manner in which the lip area undulates into and in the XXth Ceramic Inter- the spout imparts a quality of plastic beauty. national.

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December 1963 15 THE CIRGLE is the basis of most pottery forms. While TURNING it is possible to make something freehand that is ahnost round, ahnost is not good enough. BOWL The perfect circle, the wonderful shape of gcometry. is never found in nature. Like the wheel, it is one of SHAPES man's creations. Its full beauty is seen only when it is true. To create circular forms in clay, we need a turning by JOHN B. KENNY device--a wheel. The art of forming clay on the potter's wheel, or throwing, is one way of working This article is based on to create circular forms. ma- These shapes can also be made on a terial [rom the wheel by holding new book, tools or templates against the clay as it revolves. Bowls "'Ceramic Design," by John can be made freehand, then turned true in B. this manner; Kenny, published by Chil- or cylindrical forms made by the coil method or by slab ton Books, New York and building can be turned in a similar fashion. Philadelphia. The best way to do this is with a power-driven wheel and a mechanical device to hold the shaping tool or the temt~late. Such a device is called a "'jigger." If your studio" doesn't have such equipment, it is still pos- sible to turn a shape on the banding wheel or whirler, spinning it with one hand while the other hand, firmly pressed on some supporting device, holds a tool against the clay. Illustrated here are the steps for making a piece of pottery on a beehive-shaped plaster dome. A plaster bat that fits the top of the banding wheel is a handy thing to have for this process. These bats can be made in the studio or they may be lmrchased.

Left: I. A bat is placed on the head o[ the banding wheel and a ~mall lump o[ clay is placed in the center. Plaster, o[ cream consistency, is poured over it.

2. As the plaster begins to thicken, more is piled on to [orm a beehive-dome shape. The plaster is controlled with the pour- ing spoon to create the desired shape.

3. While the plaster is still [airly so[t, and after the general ~hape is outlined, it is turned true by holding a metal scraper against it as it spins on the wheel. 4. A~ soon as the plaster sets, but while it is still workable, [ina! scraping and smoothing is done. This process i~ called "run- ning" plaster. Opposite page:

5. After the plaster shape has dried [or several days, a layer o[ clay is draped over it. This will be turned true by holding a scraper against it as it is reeolved. 6. A cylinder o[ clay to serce as a pedestal or base is put into place. The edge is roughened and coated with slurry so that the joint will hold.

7. The joint between bowl and base is welded with a wooden 3 modeling tool. The lines made by thi~ tool will be obliterated and the sur[ace smoothed. 8. The finished piece. The same plaster mound can be used to create not only the bowl but also a decorative base for it. 9. A base [or the bowl is [ormed out o[ a layer o[ clay pressed ot,er the mound and then cut into a scalloped shape. 10. The base is attached to a bowl and a band o[ decoration is made around the rim oJ the bowl. Bottom: The completed bowl and three di[[erent proportions o[ 4 bowl and base made ocer the same plaster mound.

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December 1963 17 THE CERAMIC BELLS

OF CHARLOTTE NEUBAUER

THE OPENING EXHIBITION Of the sea- only a cloudy conception, I approach assured that some of the original clay son at the National Design Center in a new piece intuitively. The form color always shows in each piece. Both New York City featured ceramic bells emerges from a chunk of clay, then bisque and glaze firings are done at made by Charlotte Neubauer. The gradually it shapes into something cone 4. Clappers or pendulums are bells are delightfully imaginative concrete and I can visualize its logi- attached with plastic fishing line. sculptures that are fashioned to sway cal growth and final control. In other Miss Neubauer notes that: "The and ring with the air movement. words, the clay guides me only until sound a bell will make cannot be I find it ready for me to take con- predicted; however, a better sounding Miss Neubauer has this to say about trol." bell can be anticipated if the piece her interest in bells: "While working is high fired and if it contains several with children I tried to avoid the The windbells are made by hand well-placed, beauty-enhancing open- standard ash trays and what-not by processes and never on the wheel. ings or holes." encouraging my students to work with Charlotte Neubauer uses Jordan clay The character of the windbells re- unusual shapes and forms; by direct- mixed with oxides for color and grog flects the artist's studies of Eastern ing them in this way, I hoped that for texture. The clay is rolled out in- art. Born and educated in England, they would realize the many possibili- to slabs and then it is paddled or Miss Neubauer taught in Sweden and ties that clay offers. I started the stu- beaten by hand until a form emerges. then went to Ceylon where she help- dents off at first by having them make It is this form that becomes the basis ed establish and head a Buddhist girls' mobiles and gradually this led them-- for the final bell. After bisque firing, school. At the present time she is and me--into the reahn of windbells." the highly-textured shape is rubbed working and teaching in her own About her work in general, she with matt glaze that remains only in studio in Mt. Vernon, New York. comments: "My method of creation the texture depressions. By the use of She is a member of the Artist-Crafts- may be somewhat unorthodox. With this glazing technique, the artist is men of New York.

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Hanging Bell is 14 inches high and is Hanging Bell with Perching Bird has Windbell, "Miro," i, 18 inches high. glazed with a blue-green matt. bell inside and clappers outside. Made [rom brown clay and unglazed.

18 Ceramics Monthly Pottery Making at Ching-te Chen--THE BURNING TOWN OF CHINA

A CERAMICS MONTHLY PORTFOLIO CHINESE POTTERY achieved an artistic level that has never been excelled. Its development, a by RICHARD BEHRENS long and dramatic episode in the history of ce- ramics, is of more than casual interest to every- one working with clay. How this pottery was made, and from what materials, is of particular interest to the present day art potter who at- tempts to duplicate the various techniques of the Chinese potters. The most important of the Chinese cities in the manufacture of porcelain was Ching-te Chen, reported as producing pottery as far back as the Han period in 220 A.D. The surrounding moun- tains provided the excellent clay and feldspathic rock, the ample wood and good water so necessary for the production of superior pottery. In his poem, "Keramos," Longfellow described Ching-te Chen as "a burning town" with: Three thousand furnaces that glow Incessantly, and fill the air With smoke uprising, gyre on gyre, And painted by the lurid glare, Of jets and flashes of red fire. It was in Ching-te Chen that the Jesuit mis. sionary Pere d'Entreeolles learned the details of Chinese pottery technology from the artists and workmen among his converts. These details he transmitted through letters during the period from 1712 to 1722. Another important historical source is a series of illustrations which depicts the various phases of porcelain manufacture carried on in that city prior to 1743. The Emperor Ch'ien Lung found these illustrations in his library and ordered T'ang Ying, the director of the Imperial Porcelain Manufactory, to prepare a text describing the operations illustrated. The original illustrations apparently no longer exist but many copies were made. Among them were those which appeared in M. Stanislans Julien's book, "Histoire Et Fabrication de la Porcelaine Chinoise," published in Paris in 1856. These are reproduced in this special Ceramics Monthly portfolio. The descriptions of the various pottery operations depicted are based on the original translation of Tang Ying's text. The two basic materials used by the Chinese in The other basic material used by the Chinese--- making porcelain were petuntse and kaolin. The kaolin, or China claymwas processed in much the petuntse, a feldspathic rock, was brought from same manner as petuntse. A uniform slip was the surrounding mountains and pulverized in obtained by forcing the materials through silk stone mortars. It was then mixed with water and bags and horsehair sieves. The relatively refrac- purified. The slip was poured into brick-bottomed tory kaolin particles were held together in the trays which absorbed the excess water; the firing by the fusible petuntse. The Chinese re- plastic mass that remained was cut into bri- ferred to these two ingredients as the "bones" quettes for the potters' use. and "flesh" of porcelain. A type of wedging was performed with iron spades on stone slabs.

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Saggers, clay containers in which the pots were The Chinese used a variety of potter's wheels. fired, were essential for protecting the ware from One type, mounted at about ground level, was ashes and other impurities circulated by the open propelled with a bamboo stick. With the wheel flames of the wood-fired kilns. The basic six-inch spinning briskly, the potter laid down the stick height of the wheel-thrown saggers could be in- and formed his pot. Continuous wheel operation creased by adding hollow rings. Saggers were was sometimes provided by mounting around the stacked in the kiln in vertical rows about seven wheel a rope that was operated by an assistant. feet high; the top sections of the saggers were equipped with covers. :'

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Rectangular teeth on the periphery of the wheel Power Was sometimes provided by a helper who provided a firmer hold for the assistant who steadied himself by a rope tied to a tree branch turned the potter's wheel. Division of labor was above him. Thus supported, he kept the wheel in used extensively in other ways by the Chinese. operation with his foot, utilizing the rectangular For example, the wedging of clay was assigned to teeth on the periphery of the wheel. This use of special workers and at times the potter used the the powerful leg muscles gave a forceful and con- assistance of another in shaping a larger bowl. tinuott~ momentum to the potter's wheel.

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The blue colorant favored by the Chinese potter Colorants used for decorating pottery were often for its stability was obtained from Sumatra and ground for a whole month in stone mortars. The the Near East. The local ores of cobalt were too stone-tipped pestles were guided by horizontal impure and contained large percentages of man- cross pieces. Power was supplied by children, the ganese. Selected pieces of ore were sealed in clay aged, the sick and the crippled. containers and calcined on the floor of the kiln; The wheel pictured in the background was of after this they were washed on sieves. Experts a type which enabled the potter to work while in a then selected the pieces which ultimately were sitting position. ground for use. Decoration of much of the pottery was carried Glazing was done by dipping, pouring, spraying out by a number of artists. Some of them and brushing. Smaller pots were often dipped, sketched in the outlines while others filled in the while larger ones were sprayed. The spray con- painting. In this manner an attempt was made to sisted of a bamboo tube some seven inches in secure uniform results in pottery sets. Jigs were length and about one inch in diameter. A piece of often used to aid decorators in their work. gauze tied to one end of the tube was dipped in glaze, which was then blown on the ware. The resulting glaze patches were smoothed over with a soft brush.

Ceramics Monthly Most Chinese kilns were approximately ten feet Chinese kilns were usually fired for three or four in height and width; chimneys were often twenty days and often went well above cone 16. Kilns feet high. The front of the kiln was stacked with were unbrieked while the saggers were still red ware to be burned in the "fierce" heat; the center hot. After the saggers had cooled somewhat, kiln was used for ware needing moderate tempera- attendants swathed in wetted cotton cloth and tures; and the back was reserved for those pieces wearing gloves removed them from the kiln. The requiring "feeble" heat. After being stacked with kiln was then rapidly re-stacked and bricked up vertical rows of saggers, the kiln was completely for another firing. bricked except for a square opening left for stok- ing with wood. The first day of firing was devoted to drying out the ware at a low temperature. 1:

Overglaze decoration of pottery intended for the Both open and closed kilns were used for firing foreign market was carried out on a production- overglaze decorations. The open kiln was fired to line operation. Because the art of overglaze paint- temperature, then the operator introduced the ing differed so greatly from that of underglaze, decorated ware into the kiln with an iron fork. the services of different workmen were required. The ware was placed on a revolving iron wheel (D'Entrecolles wrote that a piece of porcelain and moved by the operator until a smooth melt passed through the hands of seventy workmenD was secured. The closed kiln was used for firing larger pieces. It was heated with charcoal and sealed with clay. During the firing the kiln operator pro- tected himself with a heat shield.

Geramics Monthly ENAMELED TREE ORNAMENTS

by KATI-IE BERL

.\ Cnms'r~las TREE is something of a shape might be cut from a piece of areas might be at the mouth. When marvel. No lnatter how it is deco- plywood or it might be made from a tile edges are folded neatly down, any rated, a hoiiday tree always manages slab of self-hardening clay. extra foil is trimmed away and the to appear beautiful when it is lighted If the ornament you are making is bottom or back section of the orna- and surrounded with gifts. Whether a fish, for example, your original de- ment is shaped. the ornaments are old-fashioned tra- sign nmst be traced onto a piece of Raised desig-ns can be made on this ditional ones, abstract creations or section by placing it upside down on simple paper foldings made by chil- a semi-hard surface (such as card- dren, the}, are certain to be fine trim- hoard) and tooling the metal with a mings for a glorious tree. blunt instrument that will not tear Most craftsmen like to make at the foil. If the piece should lose its least some of their own tree orna- shape, it can be formed again over the ments and enamelists can make clay or wooden moid. especially colorful ones. Because the top or front section The enamelist must consider two must be a trifle larger in order to fit major requirements when planning over the back section, it is necessary tree ornaments. First of all, objects to enlarge the shaping form slightly. Clay or wooden [orm [or an ornament must be light in weight so that the}, This is done by adding a couple of do not pull down the branches too layers of masking tape around the plywood or a slab of clay, then cut much. Second, they nmst be planned edge of the clay or wooden mold. out. The cutting edge must be verti- to be seen from all sides because the}, This will add enough size to the form cal, by the way. If it slants, you soon move and revolve on strings or loops. to allow for a thickness of foil and will be involved in all kinds of assort- In order that the ornaments will be enamel. When the mold is enlarged, ed troubles. If you are using clay, as light in weight as possible, I sug- the front foil section is made in the gest that they be made from copper you must wait until the clay complete- foil, a material that offers almost end- lv hardens before continuing. The less possibilities to tile enamelist. With next step in making the ornament is just a little experience, ahnost any- to trace the outline of the fish onto a thing can be modeled with this versa- piece of copper foil. To this shape, tile material using hardly any tools add enough extra space all around to but the fingertips. press down to form the thickness of The type of ornament I want to the solid shape being used as a mold. suggest is made from two parts that When this is done the shape is cut fit together like the sections of a box. from the foil. placed over the form These have the advantage of being and the thickness edges pressed down. Pressed form made from copper foil light in weight while still appearing This can be done with a burnisher. to be solid. They also can be enameled screw driver or even the edge of a pair of scissors. on both sides. same lnanner as for tile back. This In order to make these ornaments, It may be necessary to cut away piece is then trimmed of excess foil. they must be fornled over some solid some sections of the pressed-over foil removed from the form and designed shape that will produce [ront and on the edges in order to avoid thick by tooling. back sections. Any asymnmtric shape or lumpy areas where too much foil With both sections formed, they nmst be done this way. This solid accunmlates. On a fish, one of these Continued on Page 36

December 1963 27 CONCAVE FLUTING

by F. CARLTON BALL

F. CARLTON BALL has been an adviser and reg- bowl with exquisite sharp-edged diagonal fluting. It was ular contributor to CM since 1953. During this time he truly amazing to see how beautifully the tool worked has written his popular "Strictly Stoneware" column and, and how simple the whole process appeared! in addition, has done many instructive, illustrated articles Recently I wanted to do some fluting and therefore such as thi~ one. In the November issue, Mr. Bali's sub- looked for the fluting tool that Mr. Leach had made. ject was convex [luting; he continues here with the tech- However, I couldn't find it and knew that I would have nique of concave [luting. to make a fluting tool. In the metal shop I located a fairly thick piece of almninum and, deciding to try this WHEN BERNARD LEACH first made a tour of the United metal instead of iron, I used the Leach technique to States about 15 years ago, he conducted a workshop at make the tools illustrated in the photograph. The alu- Mills College. During that visit, we came across some pie- minum worked quite well and the tools are good ones, tures of ancient fluted pottery and I asked Mr. Leach although the cutting edges may not last as long as those how the fluting was done. He replied that he had learn- of iron tools. However, they can be sharpened with a ed how to make and use fluting tools when he studied round file. I should think that the same tool could be pottery in Japan, that it was quite simple and that we made from brass or bronze. would make a fluting tool the next day. Since I had For your first experiments in using a concave fluting laboriously tried fluting a pot using a wire loop modeling tool, I suggest that you work on cylindrical forms that tool and found it to be inadequate for the job, I looked have walls slightly thicker than you usually use. Perhaps forward to seeing what Mr. Leach would do. fluting would be a good technique to use on pots that The next morning we went to the metal shop in are too heavy. The fluting takes away enough clay to search of some metal from which to make a fluting tool. make them at least a little bit lighter. After looking at the sheets of copper and brass that I The pot should be in the leather-hard condition-- had on hand, Mr. Leach observed that he would prefer too wet to trim but stiff enough to handle. Start at the a piece of iron barrel hoop, for that was what he usually top of the cylinder and, using a firnl stroke, take a good used. We finally found what he wanted in the college gouge of clay out of the wall as you move the tool down- maintenance shop when we stumbled upon an old wood- ward. When the cut is complete, repeat the stroke around en barrel that was still held together with a number of the shape to achieve the fluted effect. It usually is not rusty but adequate iron hoops. necessary to measure for the spacing of fluted areas; as To make the fluting tool, we cut some of this metal you make the final three or four scoops, you can adjust into a piece that was one inch wide and six inches in the spacing by eye to flute the form evenly. length, then hammered it flat. Approximately an inch This technique is simple and effective. With just a from one end, we drilled a half-inch hole through the small amount of practice, anyone should be able to make iron strip. To make this hole concave, the metal strip some very handsome pots with concave fluted surfaces. was placed on a wooden stmnp and the rounded end of a ball peen hammer was positioned on the hole. By striking the upturned flat end of the peen hammer with the flat surface of a claw hammer, the hole was given the concave shape that Bernard Leach wanted. Since the iron was a soft metal, this operation was quite easy'. The next step was to fasten the iron strip loosely in a vise so that about two-thirds on the hole was confined. Top left: Side and three-quarter ~,ieu,s of an aluminum The strip was bent at this point into a 45-degree angle. [luting tool as described in the text. and the tool was finished. Bernard Leach then selected a leather-hard porce- Top right: Leather-hard vase is pictured as it is carw'd lain bowl that he had made the day before, turned it with the concave [luting tool. upside down on a table so that nearly a quarter of the bowl extended over the table edge. Then in about three Bottom: Two stoneware pots that were carved with the minutes of seemingly-casual work, the potter fluted the concave [lutin~ tool: All pictures by the author.

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SPRIGGED DECORATION

by JEAN GXRRETT

SPRIGGING is one of the most practical methods of dupli- cloth to prevent drying out until they are cast in plaster. cation when several decorative units are needed for a Flat cardboard boxes, such as one-pound candy boxes project. This particular technique involves reproducing or greeting-card boxes, are used as cottles (or retaining raised ornaments or figures by pressing moist clay in a forms) for the molds. The inside of one of these boxes sprig mold, a one-piece mold made from plaster or bis- is greased with petroleum jelly to insure easy removal of qued clay. The pressed clay pieces then are applied or the cardboard; this prevents the paper from absorbing "sprigged" on a clay background. water and sticking to the plaster. The modeled clay leaves The most famous example of sprigged decoration is are spaced in the box and gently pressed down (Figure the ware originated by the great English potter, Josiah 2). The petroleum jelly holds them in place when the Wedgwood (1730-1795). In this delicate and beautiful plaster is poured. work, exquisitely sculptured figures and decorative orna- With the box greased and the original clay units in ments of white clay were applied to colored backgrounds. place, the amount of plaster needed is estimated. This While sprigging adapts itself very well to small work is done by finding the volume of the box: height x width and jewelry, it also is excellent for use in such larger proj- x length. From the volume of the box, the amount of ects as plaques, lamp bases, hand-buih containers, plant- water needed is determined on the basis of a quart of ers and even bird baths. water equalling 81 cubic inches. The plaster is added to There are several interesting ways in which sprig- the water without stirring until it slakes level with the ged-on ornaments can be used in the classroom or studio. top of the water. The mixture is allowed to soak for a Units made from a single sprig mold can be used to few minutes and then it is mixed carefully to avoid create a repeating motif around the rim of a pot or stirring in any air bubbles. Next, the plaster is poured in- correlated motifs from several molds can be utilized in to the box and allowed to set (Figure 3). the same manner. A sprigged decoration might be used As soon as the plaster is set, the cardboard box is on each one of several pieces of a set or on "production" removed from the plaster and the original clay models items. And sprigged units can be used to relate several are dug from the mold with a wooden tool. This must different pieces of a larger project such as a set of wall be done carefully to avoid damaging the plaster surface plaques. (Figure 4). If the design calls for the addition of thin The basic steps in the casting and use of sprig molds raised lines, these are scratched into the plaster at this are demonstrated here by the construction of a wall time. plaque. The mold is set aside for several days to dry thor- A sprig mold of two different sizes of leaves is the oughly. If it is used while the plaster still is damp, it is first mold made. Later on, the same method is used to difficult or even impossible to remove sprigged units in make molds for other units needed for the plaque. The one piece. When the mold is dry and ready for use, the leaves are carefully modeled in moist clay. There must be sprig decorations are made by pressing soft clay into the no undercuts in these forms that would interfere with mold cavities. If the mold area is a small one, a casting the release of the clay from the molds when they are is made from a single piece of clay; if the area is large cast. Wide raised lines are made from thin coils of clay (as in the example here), small pieces of clay are pressed and these are modeled in place as veins (Figure 1). Later into the mold and each new added piece must be securely on, thin raised lines can be made by scratching them in- joined to the clay already in the cavity. When the clay to the plaster itself. If textures are desired, they are is mounded up higher than the surface of the mold, the pressed into the clay with wooden tools or stamps. When excess is removed by scraping a straight stick or ruler these leaf units are finished, they are covered with plastic across the surface of the mold. Continued

30 Ceramics Monthly Birds, insects and leaves were sprigged on the column base o[ this slab-built bird bath. Trees and branches were modeled directly on the column.

m J Wl

1. Leaves [or sprig mold are modeled in clay. Wide 2. The modeled clay units are trans[erred to a greased ~aised lines are made .[rom thin coils o[ clay. cardboard boy and gently pressed into place.

.'1. Plaster is poured into the bo~ and allowed to set. Wlum 4. The clay models are carc[ully dug [rom the mold witk it is firm. the box is removed [rom tke mold. a u'ooden tool and the mold is set aside to dr).'.

Dcc~'mber 1963 31 5. Castitzg.~ made in the sprig mold are removed by press- 6. Grogged clay is rolled out on a piece o[ cloth to the ing a lump o[ clay on the exposed clay sur[ace. required size [or making the plaque background.

7. Sprigged units and coiled sections arc arranged on 8. Finished plaque is ready/or .,low dr),m.~ b,'/or,' firi~Lg. the plaque and then are attached with slip. Completed plaques are drown above.

32 Ceramics Monthh, (:ast units are removed from the mold by pressing plaques l~ictmed here, the leaves are combined with a lmnp of soft clay onto the exposed clay back and gently sprig-mold cateq~illars and birds. To tie the different lifting them out (Figure 51. If the mold is dry and the units together, flattened coils of clay are used to make clay in the mold not too moist, the units should come ow branches and these are placed on the plaque surface. easily. By the way, it is a good idea to press several more More variety is achieved by cutting some of the sprigged pieces than are actualh- needed for a project. It is easy leaves to a smaller size and shaving some of them thinner. to drop or spoil one of these spriggings while working When the composition is satisfactory, the branches with them, and it is most convenient to have the extras are securely attached with slip and the other decorative on hand when needed. All of the pressed ornaments are units are added (Figure 7). The slip nmst be made from kept on a dampened plaster bat. covered with plastic. the same clay used for" the plaque and the sprigged units. until ready for" use. Any excess slip around the edges of the added pieces is For the plaque project, grogged clay is rolled out removed with a wooden tool after it has set up, rough to a thickness of about 1 inch and cut to the needed size spots are touched up. and extra texturing is done with a (Fi~He 61). The clay used/or the sprigged .units and th, serrated tool. The finished plaque (Figure 81 is ready plaque muu bc the sam~. When the plaque shape has for a slow drying, then it is bisque fired and glazed. stiffened somewhat, it is turned over and grooves are Since the primary reason for using sprig molds is to cut in the surface with a wire tool: this treatment helps duplicate decorative ornaments, the} should be put to prevent warpage in a flat piece. further use. Each project you attempt should suggest Before an} units are attached to the plaque, they several additional ones. so don't be afraid to experiment are tried in various combinations and placements. In the with the sprigged units.

ll."edgu'ood plaque, "Birth o[ Bacchus," i., a .line cvamph' o[. ornamelttation by spriggin.,~. White clay u'a~ preswd in sprig molds and applied to the blue-colored body by gentle pressure o/ the lingers. Fired, the piece became vitri[i~'d ~toncware t'ery .dmilar to porcelain.

December 1963 33 A HOLIDAY THEME using dry brush techniques

demonstrated by MARC BELLAImZ

"I'HF HOLIDAY DECORATION that Marc Bellaire demon- as a sponging of the general shapes with brush printing strates here combines two different dr), brush techniques in black over it. that were introduced separately in this current series of The liner brush is used first to put in the branches, underglaze articles. The standard dr)" brush technique then the number 12 square shader is used to make the used to make the pine needle puffs in this decoration clusters or puffs of pine needles. It is emphasized that was demonstrated recently in creating the dry brush leaves the successful use of the dry brush technique depends in the September 1963 issue of CM. The technique for upon having just the right amount of color in the brush. making the pine cones--open brush printing--was fully Mr. Bellaire instructs that after the brash is dipped into described and illustrated in the chrysanthemum article in the color, the end of the brush should be strippled down October 1962. While the same square shader brush is on something to remove an)- excess color. If this is not used for both techniques, it is handled in quite different done, a really dry and bristly effect may not result. The ways and the resulting effects are very dissimilar. strokes are made outward from the center of each clus- The pine branch and cone motif is first sketched in ter; after all of the clusters are made. sgraffito lines may pencil on a squared greenware plate shape. Mr. Bellaire be cut to lighten the effect if this is desired. emphasizes the fact that in this design the branches come The pine cones are made by the printing technique. in from the side and not up from the bottom. In this The square shader brush is dipped into the color, then way it is possible to stress the feeling of the weight of is shaped to a chisel edge. The shape for printing is the cones on the hanging branch. The pencil plan itself made by using a pencil point to separate and open the consists of the length of branch, the cross marks indicating hairs of the brush into an oval shape. The printing itself the position of the pine needle puffs and the oval shapes is done by pressing down on the greenware with the of the cones. opened brush to form hollow cone shapes. The penciled Marc Bellaire uses a single color--black--for this shape is filled with rows of the printings used in a hori- decoration, but for those who might prefer more color zontal position. If it is necessary to apply more color, he also suggests a color scheme that includes black for the opened brush may be dipped straight down into the the branch, dark green for the pine needles and chartreuse color without losing its shape; if the shape is lost, how- and black for the cones. The chartreuse could be used ever, the brush can be reshaped easily.

I. P,',cil plan shows the pine branch coming in /~,m th, 2. A liner bru.dl i, u~d to make the branch and tit,: ride and the positions o[ the cones and needle pu[[s. square shader brush i.~ used to make the needles.

34 Ceramie~ ~[lonlhly • ~;~:,':~ :~:

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[;omplcted project is done ~n black underglaze. The .~laze used is a so[t transpar- ent matt. The reverse side i~ ~,lazed with black.

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December 1963 35 I /..so, /~ school r I ##I¢7 .... :~- / I and KATHE BERL Continued /rom Page 27

are re-assembled on the shaping form, one over the other. You must decide now how the ornament is to hang and ~y. Eliminale drudge[,/... ~e for crealive effort and then drill or punch a hole into the ~ion~Designed and manu- ~~by" satisfied .~ i factured by the makers thickness, or side, so that it goes makers of the WaWalker through both parts of the copper orna- ment. When this is done, the orna- ment is taken apart and enameled. Transparent enamels are beautiful over foil and I strongly recommend Please Mention CM their use. However, you may have when writing our advertisers other ideas that seem more ap- propriate to the style and character of your tree ornaments. There GENERAL CATALOG -- full is one color charts, complete line precaution that you must follow, how- of ceramics, mosaics, copper enameling and other crofts. ever: Do not over-fire these pieces/ MOLD CATALOG -- pictures from leading mold mann- The foil will not stand this and ahnost tocturers, plus originals by Stangren (~llin'l~l't+lll llOllll. 1. Jillllil,~olne shilli~S certainly will sag and us. SEND 50c FOR BOTH designed and modeled by the noted ceramist. lose its shape. CATALOGS. Free to teachers. 2. Finest plaster molds manufactured for ce- The finished sections can be held SEELEY'S CERAMICSERVICE ramists. 3. Molds that cast easily. 4. Molds that last longer. Syn. good tmste, reasonable prices, together with a loop of string or 9 River St., Oneonto, N. Y. excellent discounts. a Send stamped self-addressed envelope for pic- length of fine chain placed through tures of the IS newest molds in the Stongrnn the hanging hole. Mold Line. Send 50c for the complete Stongren This may be enough The Famous mold catalog. FREE to schools, insfitotlons and government croft centers. KLOPFENSTEIN P.O. Box 1886, Grand Central P.O., POTTERrS WHEEL STANGREN Nnw York 17, N.Y. Tel: MU 8-S348. Molds shipped, FOB Trenton, N.J. Write for FREE Information H. B. KLOPFENSTEIN & SONS FRff-OealersOnly I RFD. #2 Dept. A Cresfline, Ohio

JEAN LEONARD CERAMICS 96.24 Corona Ave. Corona, L I., H. Y. MAGIC GREENWARE RELEASE (8 oz.)..S1.2S Save yourself aggravation. Releases green. ware in half the time, will not stick. KILN SURFACE BRICK HARDENER (16 oz.) ...... S1.7S Will harden and prolong the life of your kiln. Stops the kiln brick from shedding and flnklnu.

ARDMORE KAOLIN Enameled ornament completed and Ardmore Kaolin is a high quality kaolin strune for hangine which gives excellent results in bo*.h model- ing and throwing bodies. A crude kaolin, it is air-dried and ground to minus eighty mesh. Prices: 100-400 lbs. 4c per Ib; 500 to hold the two sections securely to- Ibs. and over 2c per lb. F.O.B. Gordon, Ga. gether, but just to be sure, THE ARDMORE CO., Box 729, Macon, Ga. ATTRACTIVE, heavy-wire magazine dis- you Inay want to use glue play racks to aid dealers' sales of to fasten them. Ceramics Monthly in their studios. Send I think you will like this simple coupon below immediately, on your let- technique and the use of copper foil terhead, for single-copy sales program for making some distinctive ornaments and FREE magazine rack. for your Christmas tree. And have a Merry Christmas! if'rite /or and 5pectD Circulation M~ga~¢l~ Ly CERAMICS Catalogs by Name 4175 N. High St., Columbus, Ohio 43214 Please send us information on your single ONE-FIRE STONEWARE MOLD CATALOG • • • 50c copy sales program---for dealers only. CASTING SLIP SUPPLY CATALOG . • S0c STUDIO ...... Vitreous at cone S. Excellent finish and smooth (]post paid In U. S. A.) texture. 4 gal. $1.75/gal.; 8 gal. Sl.S0/ gal.; ADDRESS ...... 24 gal. $1.25/gal.; 48 gal. Sl.00/gal.; 100 OHIO gal. 8Sc/gal. F.O.B. Haverhill, Moss. CERAMIC SUPPLY CITY/STATE .....' _ +~ GARE CERAMIC • I• SUPPLY CO. Box 134, Dept. MS3, Kent, Ohio : ...... "L:__...... 165 ROSEMONT ST., HAVERHILL, MASS. 36 Cerami.cs Monthly CERAMACTIVITIES people, places and things

TOLEDO GLASS EXHIBITION Olin Russum at the Baltimore Museum of SAN FRANCISCO NEWS Some 275 pieces of fine quality New Art and all of them have exhibited in Members of the Association of San England glass are currently on display in local and area shows. Eleanor K. Levy is Francisco Potters who won purchase prizes a special exhibition, "Our Heritage in in charge of publicity for the group. in the recent Art Festival were Duane Glass," at the Toledo Museum of Art. Bentzien, Ernie Kim and Win Ng. The The display continues through December Association booth at the Festival was de- 15. LUBRICANT FOR THROWING signed by Eric Norstad. All of the glass in the exhibition was J. Sheldon Care>', professor of ceramic The annual potter)- sale of the organi- made by the 19th century New England art at the University of Kansas, has found zation was held October 20 at the Recre- Glass Company -- the most important a synthetic lubricant which he believes ation Room of the Hall of Flowers in glass manufacturing concern of its period may be of great importance as an aid Golden Gate Park. This year's event fea- and a forerunner to many of Toledo's to throwing on the potter's wheel. The tured a larger and more varied presenta- enter9rises ;n the industry. Objects for the synthetic, which he found through a chem- tion by the group. ist while doing research work this past summer for the Ceramic Division of the Kansas State Geological Survey, is an in- ST. JAMES SHOW AWARDS expensive material that is added in very The Sixth Annual St. James Ceramic small amounts to water and used for lubri- Show, held October 10-12 in Eatontown. cating the hands and clay while throwing. N. J., was reported as a great success. Because about 75% less liquid is required, with nearly 350 entries in the competitive the potter can throw thinner forms with- categories. The expert team of judges out danger of weakening the walls. from Rutgers University consisted of Clif- Any good throwers who would like to ford Breen and Tan Rooda, both of the try the lubricant, and would be willing School of Ceramics, and the Rev. Clarence to submit reports of their reactions, can A. Lambelet, Episcopal Chaplain. Spon- obtain information by writing to Mr. Carey soring studios were awarded duplicate rib- at the Department of Design, University of bons for all winning amateurs. Kansas, Lawrence, Kansas. Best in Division awards went to Anne Naslonski, Best Amateur; Dorothy Banks. Best Professional: Signe Height, Best Teen- NEW SECRETARY FOR ACS age; and David Whitney, Best Children. Altogether, Frank P. Reid has been named as the 78 merchandise awards were American Ceramic Society's new general made to winners in the different catego- secretary, succeeding Charles S. Pearce ries and 12 trophies and 246 ribbons were awarded by the who recently retired. Mr. Reid joined the Rez'. Stanley M. II"ooley. exhibit come f~um the Toledo Xluscum'~ Society staff in 1952 as business manager Jr., Vicar. collection: the Bennington, Vermont, Mu- and was appointed assistant secretary two Pictured from left to right are Show seum; the Museum of Fine Arts in Boston: years later. Since 1961 he has assumed the Brooklyn Museum; the Art Institute major administrative function for the ACS. of Chicago; Corning Museum of Glass: The new secretary resides in Columbus, the Metropolitan Museum, and the Smith- Ohio. m ! ...... sonian Institution. The clear glass compote pictured was pressed in a fluted pattern called Huber and was made by the New WOODSTOCK GUILD SHOW England Glass Company about 1860. It A group of six wheel-thrown shapes by , i > stands just over 8 inches. Mrs. Eleanor B. Heller was judged Best of Show at the annual exhibition of the lVoodstock Guild of Craftsmen held dur- ANNIVERSARY CELEBRATED ing the first two weeks of October at The High School o/ Art and Design in New York City celebrated its 25th anni- versary with a reception at the school on November 20th. The event was sponsored by the school's advisory commission. John Director |larry SIn'rwood. David ~Ahitney. B. Kenny, noted author and ceramist, is Rev. Wooley, Anne Naslonski and Dorothy the principal of this unique school. Banks. The other Show Director was E. C. Disbrow.

BALTIMORE GUILD EXHIBIT Woodstock, N. Y. Mrs. tleller's work The Potter's Guild of Baltimore recently demonstrates the use of various glaze tech- NCA OFFICERS CHOSEN sponsored an exhibition at its studio work- niques with. a basic black matt glaze. New officers for the National Ceramic shop of the work of three members. Eugene Other prize winners included Raymond Association for 1963-1964 include Ed W. Leake, Jr., president of the Maryland Kenyon, for enamels; William Seitz, for King, president; Edith Drumm, first vice- Institute, chose the work of Ethel A. metalcraft; Marie Frey and Don Jennings, president: Beth Riley, second vice-presi- Clarke, Virginia Cohen and Ernestine for jewelry; and Berta Frey, for weaving. dent; Olevia Higgs, secretary-treasurer: Feldman in a competition among Guild Judges for the event were Mrs. Phebe and Leonard Smith, executive secretary. members. Allen Blake, Miss Beatrice L. Harrison and In addition to the officers, the board of All three craftsmen have studied with Karl Laurell. Continued on Page 38

December 196.7 37 co QUALITY PRODUCTS CERAMACTIVITIES FOR 43 YEARS Continued from Page 37

KILNS directors includes Jess Drans[eldt, Lucille chase of pieces of outstanding inerit and Henderson, Ann Stevens, Mildred Wil- the selections will be made by a special liams, Mabel Knobloch, Kass Zahm, Hugh jury. Marion T. Johnson, educational di- Giese, Anthony Jakstis and Florence Rob- rector of the Art Center, reports that erts. these objects will become part of a per- WH LS manent exhibit of contemporary crafts at the Center and that these may be cir- GIFT FROM WALT DISNEY culated. Slides already are in circulation. A collection of oriental sculpture and ceramics, purchased with a fund given by SECOND CALIFORNIA BIENNIAL CLAYS noted film maker Walt Disney, has been Craftsmen from Southern California, on view at the Kalamazoo Art Center. the Bay Area and Northern California The collection was assembled by the late participated in the Second Biennial Cali- ]ames Marshall Plumer of the University [ornia Craftsmen's Exhibition held July o[ Michigan and includes Chinese objects 20-September 2 at the Oakland Art Mu- GLAZES ranging in time from a prehistoric Kansu ,eum. A jury of six distinguished crafts- handled jug to objects from tombs of the T'ang period and sculptures from India. CERAMIC COLORS Mr. Plumer assembled the collection dur- ing the time when he was doing extensive research ip Chinese art. In addition to this collection are two works presented to METAL ENAMELS the Art Center by Mrs. Jame~ Marshall Plumer. These are a stucco head from India and a carved Ming celadon brush 60 PAGE CATALOGON REQUEST vase.

CRAFTS ON WHEELS Volunteer members of the Community Committee of The Brooklyn Museum and ANDERSON CERAMICS COMPANY, INC. the Brooklyn Junior League will again be schools this year to introduce chil- 1950 S. McDuffie St. visiting Anderson, South Carolina dren to the traditional crafts of Mexico. Japan and India. Designed to supplement Complete Ceramic Supplies the classwork of those s, hools who find it Send $1.00 for our new pictured bnpossible to visit the Museum. each class- mold and supply catalog. room program will include informal talks on a specific country illustrated by con- temporary and traditional handcrafts. Whenever possible, the children will be permitted to handle as well as see the objects. Chairman of the Museum of Wheels program is Mrs. Samuel Perkin~.

~WATCH THIS AD FOR 1 SAN ANTONIO "THIRD" The San Antonio Ceramic Association has announ°ed plans for its third annual TEPPINGproS~UDIn?I SUPPLY :o. I show which will be held March 20-22 at men selected 179 pic(cs 1o~ the show the McCreless Shopping City in San An- from the 1.0~t3 entries. The accepted tonio. Mrs. Ruth Rice, publicity chairman pieces represented the work of 130 crafts- the city's for the group, writes: "This is men. newest shopping center and it will provide Merit awards in ceramics were given a beautiful setting for a ceramic show. We to Richard Bosard, Edward Cromey, Jo- will use the covered malls for our displays wph Hysong, Michael Lopez, Gary Moli- and demonstrations. In our competitive tor, Aaron Mosley, Cecile McCann. [ 7"O'EU ffMRTN i- section we will have some 15 categories for Charles McKee, Gary Oberbillig, Jerry CERAMICS both hobbyists and professionals." Rothman, Paul Soldner and Peter Van- denberge. Jewelry awards went to Kath- r), Armstrong, Ray Hein. Cecile McCan~l. I JEWELRYSUPPLIES I DELAWARE ANNUAL Merry Renk, Alice Shannon and Robert The Sixth Annual Exhibition of Con- Trout. ]'he Ceramic Vase pictured is by I MARBLES- GLASS temporary Crafts for Christmas Giving is juror Herbert Sanders. Photo by Bill currently on view at the Delaware Art George. NEW TREE LITES Center. Among the invited artist-craftsmen Send today for FREE Catalogue whose work is on display are Kaye Den- and Bargain Sheets j ning, Verdelle Gray, Hui Ka Kwong, Bar- Send news, and photos if available, about bara Markey, Jean and Olin Russum, "People Places--Things" you think will I BERGENARTS & CRAFTS and Franz be o[ ceramic interest. We will be happ): BOX 689 Dept. CM SALEM,MASS. Rudol[ Sta[[el, Oppi Untracht for pur- to consider them [or use in this column. ~ ~ mmmm ~ mmmm ~ ~ J Wildenhain. Funds are available 38 Ceramics Monthly ITINERARY Conti;lued [ro;:l Pag: 9

.Jewelry by Herbert Landegger. at the Art Center. ~ALIFORNIA, PAI.OS VERDES ESTATES We Make If Possible For through December 12 Second Annual Anyone To Own A Perfect Exhibition and Sale of ~ork by Ten Our Artist-Craftsmen includes work in ceram- Production Kiln With ics, enamels, glass, sculpture, jewelry and Famous Pro-Cut Kiln Kits weaving. Artists represented include Laya Brastoff. Jackie Carl, Gerald Citrin. Sylvia Cosoleto. Louisa Gordon, Lillian Griswold. Kay Kinney, Zaven Zee Sipantzi. Cliff BEE BASCH DESIGNS Stewart and Tony Villis. At the library 70 Pine & First Sfs., Englewood, Fla. ~allery of Marymount College. Our Molds are designed for CREATIVE use and EDUCATIONAL purpose DELAXVARE, ~,'II.MINGTO N through December 20 "Contemporary Send $1.00 today for ~rafts for Christmas Giving" features an Illustrated Catalog, Tips ~ Ideas. ~-xhibition and sale of work by local and "nvited artist-craftsmen: at the Delaware krt Center. --FRANCOISE CERAMICS-~ [I.I.INOIS, CHICAGO DISTRIBUTOR FOR / through December 6 Ceramic Wall Duncan Products- Delta Brushes | Hangings by Clyde Burr and Enamel A.B.C. Glazes - Star Stilts | Paintings by Marie Opalecky and Diana Atlantic - Holland - Arnel | S. Gits: at the Gerald Bernard Gallery. and Ludwig Schmid Molds | Marc Bellaire Brushes - Paragon Kilns I l NDIANA, GREENCASTLE Bricks mitered, grooved, and drilled: Art Books - Clay - Slip - Greenware J through December 18 Pottery by every part, right down to the last nut Petersburg 7, Florida .J 113 49th St., So. St. Howard Kottler, at the DePauw Uni- and screw, included. With blueprints, versity .Art Center. and concise building and firing instruc- tions .... Order from this ad or write SECOR CERAMIC SUPPLY IOWA, SIoux CITY for detail sheet. Pottery by Clar- 4128 Secer Rd., Toledo, Ohio through Decenlber 2 ence Ailing, assistant director of the Sioux Northwestern Ohio's Largest City Art Center. At the Art Center. Kits Wholesale Supply House LOUISIANA, BATON ROUGE All Kilns and Kits now fire t0 23S0°F. We cater to schools through December 15 The 2lst An- Sorry -- no catalog nual Louisiana State Art Exhibition. at 12"x12"x131/2 " deep ...... S 62.50 the Old State Capitol. 18"x18"x18" deep ...... 99.50 24"x24"x221/2 '' deep ...... $175.00 NE~¢" ~I'ORK, BROOKLYN through January 12, 1964 "Asian Art" 24"x24"x27" deep ...... 195.00 CREEK-TURN on loan from Ernest Erickson and The ALL PRICES F.O.B. SEATTLE Erickson Foundation includes Islamic min- GLAZES-MOLDS iatures and ceramics. At the Brooklyn Mu- Catalog $1.00 seum. Distributors For: BE A DEALER NEW YORK, NEW XI'ORK • ALBERTA'S MOLDS Rt. 38, HAINESPORT, N.J. through December 15 "Iranian Ce- ramics," a display of pottery and porcelain • ARNEL MOLDS of ancient Persia, at Asia House. • BELL PORCELAIN N0rwest Novelty Co. NEW ~I'ORK, NE~A," ~I'ORK • CALIFORNIA CERAMICS through December 18 Christmas Sale • DOUBLE-B TOOLS 32480 Northwestern Highway of Pottery and Sculpture, at Greenwich Farmington, Michigan House Pottery. • DUNCAN'S PRODUCTS Hours: 9 f'o S OPEN SUNDAY -- Closed Monday NEW YORK, NEW XI'ORK • GRUMBACHER BRUSHES Phone MAyfair 6-6003 through January 5, 1964 "Craftsmen • HOLLAND MOLDS of the East Coast," at the Museum of Contemporary Crafts. • KEMPER TOOLS NEW YORK, NEW ~'ORK • KEN OCORR MOLDS DELLA ROBBIA through February, 1964 "Art of Em- • MALLORY MOLDS MIRACLE CLAY pire, the Inca of Peru." at the Museum • MARGLOTEX STAINS ~.~ CERAMICS WITHOUT A of Primitive Art. • MAYCO COLORS [ l.--.~",. KlLNI Bakes ceramic hard in ~'E~.V YORK, PLATTSBURGH ._~~ your kHchen oven, cuts costs 1 "Craftsmen of • PEMBERTON.NEAL to pennies, make c e ra m ic through December Trav- book-ends, ash the City," Smithsonian Institution • PIERCE PRODUCTS sculpture, eling Exhibition. at State University Col- trays, vases, the NEW easy lege. • REWARD COLORS ~UICK way. Durable pottery can be made with Delia Rabbia Cloy in hours. Send for complete OHIO, AKRON" catalog DR-9 and FREE instruction sheet on this through December 24 "Designed for remarkable NEW product. Giving." an exhibition of well designed POTTERY BY DOT objects selected from area stores and dis- 408 N.E. 72nd St. Tel. LA 3-8300 played with "where to buy it--and what SCULPTURE flOUSE INC. SEATTLE 18, WASH. 38 E. 30th St. New York 16 OR 9-7474 Continued on Page 40

l),~,mt;,r 196.7 3fl A HEW KEMPER TOOL ITINERARY Continued [ram Page 39

it costs" information; at the Akron Art The Kemper CUT-OUT TOOL Institute. NEWI "40-11 (51) CERAMIC TECHNIQUES" RETAIL PRICE 60c OHIO, BOWLING GREEN by Dorothy Lunt, Sl.S0 December 1-15 Ceramics by Howard "LET'S MAKE CERAMIC JEWELRY" by Gertrude (Includes plastic container) Kottler, at the Art Department, Bowling Oakes, a comprehensive book of flower making. Green State University. Over 200 illustrations, $1.S0. This tool is designed specifically OHIO~ CLEVELAND Distributor for: for intricate cut-out work in WET through February 22, 1964 Contem- CERAMICHROME, MAYCO, REWARD and SKUTT porary Arts and Crafts, at the Art Gallery greenware of lamps, lamp of the Cleveland Public Library. CRAMER MOLD SHOP bases, vases, etc. The narrow OHIO. COLUMBUS short sturdy blade of tempered January 1-21 "The 22nd Ceramic New Catalogues ...... 60c National Exhibition," sponsored by the Special Discount Prices end December 31st. steel is double edge sharpened Everson Museum of Art, at the Art De- Place orders now to take advantage of Discount. to permit reverse and sharp turn partment, The Ohio State University. R.R. #3 FOSTORIAo OHIO cuts in wet clay for a minimum OHIO, TOLEDO One mile east on State Rt. #18 pattern distortion. through December 15 "Our Heritage The larger in Glass," a showing of 275 pieces of fine cliametered hardwood handle quality New England glass, at the Toledo permits a firm grip for better con- Art Museum. Old Trail Studio ONTARIO, OTTAWA Distributor for: Creek-Turn and Duncan trol in fine detail. products, Marx and Delta brushes, Skutt through April, 1964 "Picasso: Ceramics and Norman Kilns, Crea-Stone, Atlas stilts, For these and other tools, and Posters." circulated by the American Kemper tools, all types of modeling and write for FREE catalogue Federation Of Arts, at the National Gallery slip clay. of Canada. Extension Services. 7021 Bluffton Rd. South on Highway 1 FORT WAYNE, INDIANA Designed and produced by: ONTARIO, TORONTO through December 26 One-man show KEMPER MANUFACTURING CO. of pottery by Ronald Burke of Winnipeg, Manitoba, at the Canadian Guild of Pot- CERAMICS MOSAICS P. O. Box 545, Chino, California ters' Gallery, 100 Avenue Road. COPPER ENAMELING OREGON, PORTLAND Huge Stocks ~ Fast Service ~ Quality through December 24 Christmas Gal- Merekandise "k Write now for FREE literature lery Exhibition, at the Oregon Ceramic ILLINI CERAMIC SERVICE Studio. 439 North Walls, Cldeago 10, illinois OREGON, PORTLAND A subscription to CERAMICS MONTHLY makes through December 30 Recent work in an ideal glft for any occnslonl Simply fill in the ceramics by Raymond Grimm. at the Ore- Sold only subscription blank in this issue, mark it "gift," gon Ceramic Studio. and tell us how you want it signed. We'll an- by nounce your present with a handsome gTft card PEN NSYLVANIA~ PHILADELPHIA Authorized in your name. through December 29 "Christmas Dealers if the recipient of your gift is already n Crafts," at the Philadelphia Art Alliance. subscriber to CERAMICS MONTHLY, we will extend the current subscription. PENNSYLVANIA, PHILADELPHIA W. P. DAWSON Fullerton,11o* ,,H" CaliforniaEast Ask January 1-26, 1964 Work in enamel by Margaret Seeler, at the Art Alliance. TENNESSEE, MEMPHIS through December 24 Exhibition and MIDWEST WAREHOUSE New Address Distributor of MAYCO COLORS - JACQUELYN sale of work by craftsmen of national and STAINS - HAEGER SLIP - BUTCHER CLAY and STANDARD CERAMIC SUPPLY COMPANY international repute, at the Mary Chilton CERAMIC SUPPLIES for hobbyist, dealer, schools, Galleries, 145 Montgomery St. institutions. P.O. Box 4435 Central Ceramic Art Supply TEXAS, DALLAS Pittsburgh, Pennsylvania 15205 Batavia Rd.. East of Rt. 59 Ijust north of Rt. 59 through December 15 The 14th Texas exit of EW Tollway}, Warrnnvillei III. EXbrook 3-0171 WHOLESALE-RETAIL CHEMICALS-CLAYS-COLORS-SUPPLIES Crafts Exhibition, co-sponsored by the Dallas Craft Guild and the Dallas Mu- seum of Fine Arts, at the Museum. UTAH, SALT LAKV- CITY through December 4 Utah Designer- NXIM~S LT~E! L~TE~cE Craftsmen Exhibition, at the Salt Lake Art Center. WISCONSIN, MII,~,VAUKEE through December 8 The 43rd Annual Plus Big Discounts Wisconsin Designer-Craftsmen Exhibition, COLORS: Red, Blue, Green, a Surfed exhibition of important Gold, Purple, Crystal, Pink work by and Assorted. Wisconsin craftsmen in ceramics, metal, See your dealer or wrlta for glass and textiles. At the Milwaukee Art free sample and wholesale Write for information and catalogue CM Center. No. 97Y discount sheet. Manufacturers, World's Most Complete Sculptor's Supplies WISCONSIN, OSHKOSH SEND FOR HEW I O0-PG. CATALOG - 50c /P~ ~,.~d~- ORegon 9-7474 January 15-February 23, 1964 "Wiscon- sin Designer-Craftsmen," Smithsonian In- NATIONAL ARTCRAFT SUPPLY CO. stitution Traveling Exhibition. at the Paine 12213 Euclid Ave., Cleveland, Ohio Art Center.

40 Ceramics Monttlly CERAMICS MONTHLY INDEX Yanuary 1963--December 1963

Clay, Slip and Grog Ceramic Screen, A, Peeler, Oct., p 30 Adding Grog to Clay, Peeler, June, p 24 Improvised Mold, An, Hyrnan, Apr., p 22 Combed Slip Variation, A, Ball, June, p 12 Lamps for the Patio, Hyman, June, p 19 Make Your Own Grog, Peeler, Apr., p 25 Pottery Making--Indian Style, Riegger, May, p 2'2 Pottery Making---Indian Style, Riegger, May, p 22 Teaching Slab Construction, Swander, Nov., p 16 Turning Basic Shapes, Kenny, Dee., p 16 Decoration Brush Printing, Bellaire, Mar., p 30 Miscellaneous Brush. Wax and Sgraffito, Bellaire, Feb., p 28 Albany Institute's Dutch Room, The, Feb., p 21 Carving Clay, Journeaux, Feb., p 18 Ceramic Bells of Charlotte Neubauer, Dee., p 18 Combed Slip Variation, A, Ball, June, p 12 Ceramic Lamps, McElroy, Nov., p 28 Concave Fluting, Ball, Dec., p 28 Christmas Cards for Ceramists, Gladden, Nov., p 24 Convex Fluting, Ball, Nov., p 20 Films on Ceramics, Jan., p 26 Decorating with Glazes. Bellaire, Jan., p 30 New Books, May, p 38 Decoration for a Matched Set, Hutton, Apr., p 29 Dry Brush for Bamboo, Bellaire, Nov., p 26 Molds and Plaster Dry Brush Leaves, Bellaire, Sept., p 26 Bottles from Bowls, Garrett, Jan., p 16 12 Forms in Nature, Ball, Sept., p Grapefruit Mold, The, Hart, Oct., p 23 p 28 Free-Flowing Design, A, Bellaire, Oct., Improvised Mold, An, Hyman, Apr., p 22 Holiday Theme, A, Bellaire, Dec., p 34 Sprigged Decoration, Garrett, Dec., p 30 Apr., p 30 Spatter and Sgraffito Decoration, Bellaire, Turning Basic Shapes, Kenny, Dec., p 16 Sprigged Decoration, Garrett, Dec., p 30 June, p 32 Texture in Decorating, Bellaire, Potters and Pottery Theme for Decoration, Bellaire, May, p 28 Clay Art Center, The, Grunbaum, June, p 34 Greek Vases in the Metropolitan Museum, June, p 22 Departments Harold Nosti--Painter with Clay, Riegger, June, p 28 Consult the contents page of each issue for the following depart- Pottery and Sculpture of Santo Mignosa, The, Riegger, mental features which appear regularly in CM. Feb., p 24 Answers to Questions Pottery of Wir~ Ng, The, Riegger, Apr., p 14 CeramActivities Pottery Making at Ching-te Chen, Behrens, Dec., p 19 Ceramic Shopper Slab Sculpture of Betty Feves, The, Riegger, Jan., p 22 Itinerary Workshop with Hamada, A, Noah, Oct., p 19 Letters to the Editor Picture of the Month Potter's Wheel -- Throwing Show Time Ceramic Lamps, McElroy, Nov., p 28 Suggestions from Our Readers Coiling and Throwing Large Pots, Ball, Oct., p 26 Summer Workshops, May, p 30 Cutting the Footrim, Clarke, Oct., p 16 Pottery Wren House, A, Clarke, May, p 14 Enameling Pouring Spouts, Garzio, Dec., p 12 Counter Enameling, Berl, Jan., p 33 Sculpture from Wheel-Thrown Forms, Moburg, Mar., p 22 Enameled Centerpiece, An, Berl, Apr., p 28 Throw a Good Cylinder, Clarke, Sept., p 20 Enameled Chess Set, An, Berl, Nov., p 31 Throwing a Sphere, Clarke, Nov., p 12 Enameled Jam Dish, An, Berl, Oct., p 22 Enameled Pitcher, An, Berl, Sept., p 25 Sculpture Enameled Tree Ornaments, Berl, Dec., p 27 Animal Sculpture from Bowl Shapes, Garrett, Sept., p 16 Packing Enamels for Shipping, Berl, June, p 31 Creative Clay Design, Rottger, Oct., p 12 Racks and Trivets for Firing Enamels, Berl, Mar., p 21 Pottery and Sculpture of Santo Mignosa, The, Riegger, Repairing Damaged Enamels, Berl, May, p 32 Feb., p 24 Sculpture from Wheel-Thrown Forms, Moburg, Mar., p 22 Glass Sculpture: The Human Head. Eckhardt, Jan., p 12; in Lamination, An, Kinney, June, p 26 Feb., p 12, Mar., p 16 Experiment Jan., p 22 Firing Glass on Fire Bricks, Kinney, Feb., p 16 Slab Sculpture of Betty Feves, The, Riegger, Glass Frame for a Mirror, Kinney, Jan., p 20 Glass Salad Servers, Kinney, Apr., p 20 Studio, Tools and Equipment Plant Life in Laminated Glass, Eckhardt, May, p 18; June, p 16 Ceramics in the School Shop, IVeiss, June, p 36 Shadow Prints. Kinney, May, p 26 Clay Art Center, The, Grunbaum, June, p 34 Firing the Kiln, Moseley, Johnson & Koenig, Mar., p 26 Apr., p 25 Glazes Make Your Own Grog, Peeler, Potter's Studio, A, Clarke, Mar., p 13 Glazes (Part 2), Ball, Jan., p 19 Celadon Racks and Trivets for Firing Enamels, Berl, Mar., p 21 Blue Glazes, Ball, Mar. p 33; May, p 21 Copper Stacking and F~ring with Grog, Peeler, May. p 31 Glazes for Cone 6. Ball, Feb., p 30 Lithium Glazes. Behrens, Sept., p 19 Articles for 18 Teachers, Low-Fire Iridescent Glazes, Kettner, Apr., p Lasher, Mar., p 28 Glazes, Behrens, Oct., p 33 Animals from Clay Slabs, Simple Colemanite in the School Shop, Weiss, June, p 36 in Glazes, Behrens, Nov., p 19 Ceramics Using Cement Creative Clay Design, Rottger, Oct.. p 12 Detroit School Art Exhibit, May, p 13 Hand Building Firing the Kiln, Moseley, Johnson & Koenig, Mar., p. 26 Animal Sculpture from Bowl Shapes, Garrett, Sept., p 16 Grapefruit Mold, The, Hart, Oct., p 23 Bottles from Bowls, Garrett, Jan., p 16 Stacking and Firing with Grog, Peeler, May, p 31 Ceramic Escutcheons, Chapman, Feb., p 22 Teaching Slab Construction, Swander, Nov., p 16

December 1963 41 Advertisers Index just released December 1963 SHOPPER Alpine Kilns ...... 11 our NEW ~merican Art Clay Company ...... 38 Anderson Ceramics Co ...... 38 Ardmore Co., The ...... CATALOG GLASS AGGREGATES FOR MOSAIC 36 #7 Art-Craft Supplies, Inc ...... 42 The Thomas C. Thompson Company This new 64-page catalog lists Basch, Bee, Designs ...... is offering specially compounded opaque 39 everything you need -- a com- Bergen Arts & Crafts ...... 38 plete line of kilns, glass sized for, and of particular interest glazes, tools Bisq-Wax ...... 6 plus general supplies to. the mosaic, mural and terrazzo artist. a n d Buffalo Ceramic & Art Supply Center . .42 equipment, with many new Colors are fused throughout the glass at items added. Hobbyists, teach- high temperatures and are permanent for Central Ceramic Art Supply ...... 40 ers and studio potters will find either indoor or outdoor application. Ceramichrome ...... 6 the catalog invaluable. These aggregates are available in an as- Cramer Mold Shop ...... 40 sortment of different Creek-Turn ...... 39 You'll want a copy of this all colors that includes new catalog at hand the very red and orange. They are supplied in Dawson, W. P ...... 40 next time you need ceramic, coarse, medium and fine mesh. The Thom- Duncan's Ceramic Products ...... 4 mosaic or metal as C. Thompson enameling sup- Company, 1539 Old Deer- Francoise Ceramics ...... 39 plies for your home studio o1' [ield Road, P.O. Box 127, Highland Park, Gate Ceramic school. Send for your copy Ill. Supply Co ...... 36 now ! Illini Ceramic Service ...... 40 Industrial Minerals & Chemical Co .... 5 PLANNING BOOKLET OFFERED Kenlper Mfg. Co ...... 40 A new booklet entitled "Planning a Kinney, Kay ...... Send 50c for New Catalog ~7 4 Ceramic Studio or an Institutional Ce- Klopfenstein, H. B. & Sons (refundable on first order) ...... 36 ramics Art Department" is being offered L & L Mfg. Co ...... 3 TEACHERS NOTE: This new catalog is free of charge by A.D. Alpine, Inc.. sent FREE to schools, institutions and manu- Leonard, Jean, Ceramics ...... 36 facturer of ceramic kilns and pottery equip- craf,~ shops. Mayco Colors ...... ment. The booklet contains suggestions for 9 Midwest Ceramic Center ...... 42 planning a ceramic arts department and National Artcraft Supply Co ...... 40 Van Howe Norwest Novelty Co ...... 39 Ceramic Supply Oakes Ceramic Studio ...... 40 Ohio Ceramic Supply ...... 118s s. CHEROKEE,DENVER 23, COLO. 36 Old Trail Studio ...... 40 Pottery by Dot ...... 39 Reward ...... 6 Please Mention CM Sculpture House ...... 39, 40 Seeor Ceramic Supply ...... 39 when writing our advertisers Seeley's Ceramic Service ...... 36 Specialized Ceramics ...... Cover 4 Standard Ceramic Supply Co ...... 40 Stangren ...... Our NEIN Catalog lists EVERYTHING in 36 CERAMICS - SCULPTURE - MOSAICS emphasizes proper utilization of equipment Tepping Studio Supply Co ...... 38 ENAMELING and ART for classroom use. It also contains proven Thompson, Thomas C., Co ...... 4 Price - $I.00, refundable on your first pur- floor plans based upon actual classroom Trinity Ceramic Supply ...... 39 chase of $10.00 or over. Immediate mailing. installations. Teachers or architects plan- Van Howe Ceramic Supply ...... 42 BUFFALO CERAMIC & ART SUPPLY CENTER ning new ceramic departments should find Walker Jamar Co ...... 36 437 Franklin Street Buffalo 2, New York in this booklet a useful aid. A.D. Alpine, Westwood Ceramic Supply ...... 7 I Inc., 11837 Teale St., Cuh,er City, Call[.

CERAMIC & ENAMELING SUPPLIES THROWING RIBS DISTRIBUTOR FOR: Hand-crafted throwing ribs for the pot- Back Issues Paragon ~ Duncan ~ Drakenield ter are available in three shapes: Matt Brushes ~ Symphony cylinder The [ollowing back issues o[ Ceramics rib; bowl rib; and trimming Jacquelyn's Stains rib. They are Monthly are still available at sixty c.e.nts available in walnut or boxwood ART-CRAFTS SUPPLIES, INC. and may per cop), (Ohio residents pay be purchased 3% sales 23S N.E. 67tk St. Miami, Florida singly or as a set. Carlie tax). We pay postage. Tart, 9025 Miller Dr., Miami 55, Fla. 1953 June, August, December 1954 March. July. August. December 1955 August. November. December POTTERY BOOK FOR THE YOUNG 1956 May, October 1957 April. May, June, July. August, Septem- 6.000.o.o 36 co..N,. "The Young Potter" is the title of a ber, l)ecember new book published by 1958 February, March, April. May, June. Sep- Frederick Warne tember, November. December 1963 revision $1.25 & Co., Inc. The book explains the tech- 1959 January, March, May, October net niques of pottery making, offers numerous 1960 June, December 1961 January, April. October, November. De- Supplement only, S.S0 illustrations and examples of pottery from cember many places and times. Step-by-step in- 1962 January (9-year Index issue), February, April, May, June Largest supply catalog Sl.SO struction includes sections on choosing 1963 March, April, May, June, November clay; making figures, jewelry and tiles: Please send remittance (check or money (REFUNDABLE ON S1S.00 ORDER) molding and casting; throwing on the order) with wheel; and decorating. The author, Denys list o[ issues desired. Val Baker, is a professional writer who CERAMICS MONTHLY also runs a pottery in England. Midwest Ceramic Center Frederick 4175 N. Warne & Co., Inc., 210 Fi[th High St. Columbus. Ohio 43214 j 722 Southwest Blvd. Ave., New KansasCity, Missouri York I0, N.Y. 42 Ceramics Monthly Our newest handbook- CERAMICPROJECTS This is the current best seller! Here, under one cover, is an outstanding selection of projects for the classroom, home and studio, originally published in Ck4. Fountains, planters, jewelry, bottles, bowls and many other unique s are presented complete with photos and step-by- instruction. Only $2.00 per copy. Order yours now.

CERAMICS MONTHLY Book Department 4175 N. High St. Columbus. Ohio 43214 THROWING Please send me the following: ON THE Z CERAMIC PROJECTS POTTER'S @ S2.OO 5 COPPER ENAMELING WHEEL @ S2.00 6V THOMAS SELLERS UNDERGLAZE DECORATION @ S3-OO COPPER ENAMELING UNDERGLAZEDECORATION THROWING ON THE WHEEL 3 THROWING ON THE Proclaimed the best in Marc Bellaire creates a POTTER'S POTTER'S WHEEL basic instruction, this hand- startling variety of new de- This complete manual on @ $4.00 book includes fundamen- signs before your eyes -- the use of the potter's tals as well as illustrated teaching the ultimate in wheel includes basic steps, Name_ how-to-do-its on jewelry. quality underglaze decora- from wedging clay to the 21 projects by Jean tion. 37 projects in all; making of specific shapes. Address_ O'Hara and Jo Reber÷. 286 lively illustrations. By Thomas Sellers. 64 pages. $2.00 64 pages. $3.00 80 pages. $4.00 City 7n. State__

I enclose [] Check [] Money order CERAMICS MONTHLY Handbooks are used by teachers everywhere. Ideal for hobby groups, schools, art and craft IOhio residents add 3% sales tax.) centers. Three-color covers, profusely illustrated, step-by-step photo technique. Sold on our usual money-back guarantee. WE PAY POSTAGE DEALER INQUIRIES INVITED ...... j 4 OZ. JAR: S .60 REDS: $1.00 • . . liquid glazes that are revolutionizing the field of ceramics! Appearing at "Qualified" Studios Everywhere

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