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Vau-ie/ies iJf tonne ,;nn-e Clays!*

So when you come to us for clay, be ready with the specifics! We can supply you with a clay which will suit your most exacting needs.

WESTWOOD CERAMIC SUPPLY CO.

14400 LOMITAS AVE.. CITY OF INDUSTRY. CALIF. 91"744 THROWING ON THE Potter's Decorating POTTER'S Throwing Wheel Pottery on the Projects with Clay, NH£F'L Potter's Slip & Glaze Wheel edited by Thomas Sellers by F. Carlton Ball by Thomas Sellers

The projects in this handbook pro- This beautifully illustrated book ex- A complete manual on how to use vide step-by-step instruction on a plores many easy methods of deco- the potter's wheel. Covers all basic wide variety of special throwing rating pottery with clay, slip and steps from wedging clay to making techniques, with each project demon- glaze. Those who lack skill and specific shapes. Clearly describes strated by an accomplished crafts- confidence in drawing and painting every detail using step-by-step photo man. Bells, bird houses and feeders, will find special pleasure in discov- technique. Includes section on selec- musical instruments, teapots, and ering the easily executed decorating tion of the proper wheel and acces- animals are just a few items you'll techniques devised by this master sory tools. Used as a text in many find presented. 64 pages $2.00 craftsman. 64 pages $3.00 colleges and schools. 80 pages $4.00

Ceramic Copper Projects Underglaze Decoration Enameling edited by by Jo Rebert Thomas Sellers by Marc Bellaire and Jean O'Hara

An outstanding selection of projects This complete handbook has all the Recognized as the best in basic in- for the classroom, home and studio. answers on materials, tools and tech- struction, this elaborate handbook Each project introduces a different niques. You'll like the startling vari- has over 200 photographs. Includes method of working in clay. Foun- ety of new designs Marc Bellaire fundamentals and helpful, illustrated tains, planters, jewelry, bottles, creates before your eyes. Step-by- how-to-do-its on jewelry. Twenty- bowls and many other unique items step projects are profusely illus- one different projects are complete- are presented complete with photos trated. 37 projects in all -- 286 lively ly described. Highly recommended and step-by-step instruction that is illustrations. A practical guide for by leading enamelists and teachers easy to follow. 64 pages $2.00 the beginner. 64 pages $3.00 everywhere. 64 pages $2.00

BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212

Please send me the following: [] Ceramic Projects @ $2.00 [] Potter's Wheel Projects @ $2.00 [] Underglaze Decoration @ $3.00 Brush [] Decorating Pottery with Decoration Clay, Slip & Glaze @ $3.00 [] Copper Enameling @ $2.00 for Ceramics Throwing on the -1 Brush Decoration for by blare Bellaire Potter's Wheel @ $4.00 Ceramics @ $3.00 A fascinating book on the use and I enclose ~ Check [] Money Order (Ohio residents add 4% sales tax) care of brushes. Shows how to make many designs for decorating ceram- Name ics using just three basic brushes -- the watercolor, liner and square shader. Designs and sketches shown Address in this exciting book will offer many decorating ideas. Excellent choice for City State___--__ Zip beginners. 64 pages $3.00

February 1972 3 EQUI]

GLORY HOI FURNACE MODEL GH.

This glass blowing equipment is designed espe- cially for today's glass blower--ideally suited for small groups of designer craftsmen, studio arti. sans, schools, and universities, working with the age old art of hand blown glassware and art forms.

This equipment is highly efficient -- designed for constant use and long life. Zircon firebrick is used in the glass melting tank to eliminate con- tamination and to provide years of service. The design also incorporates easy replacement fea- tures.

With the Alpine Glass Tank Melting Furnace, the Glory Hole Furnace, and the Glass Lehr, you have the basic equipment complete for glass blowing. For more information about this equipment, write to the company for specification sheets and prices.

WRITE TODAY Dept. B A. D. Alpine," 353 CORAL CIR CL EL SEGUNDO, CALIF. 902, AREA CODE 1213) 322-2430 / 772-2SS7 / 772.2 NOW AVAILABLE! GLAZE MONTHLY PROJECTS Volume 20, Number 2 February 1972

Letters to the Editor ...... 7 A FORMULARY

Suggestions from Our Readers ...... 9 OF LEADLESS GLAZES Itinerary ...... 11 Strawberry Fields Pottery by Joseph Sanders ...... 15 BY Throwing and Using the Hollow Ring by Lukman Glasgow ...... 18 RICHARD Some Glaze Faults and Their Correction, Part 2 by Richard Behrens ...... 22 BEHRENS

Master Craftsmen Exhibition ...... 24 Potters everywhere will be pleased to hear that the Richard Behrens handbook on glaze formulation is now available. This Putting Bubbles in Glass by Harriette Anderson ...... 28 new CM handbook is much more than a collection of glaze recipes . . . the projects include a commentary on raw materials, CeramActivities ...... 33 suggestions as to possible uses for the recipes, and interesting background information. who like to experiment in glaze making, this handbook Answers to Questions ...... 35 For those will be invaluable. GLAZE PROJECTS is e very readable text, and the informal treatment of the subject matter is an aid to New Books ...... 42 understanding more about the nature of glazes and glaze making. This exciting new handbook was compiled using a selection of Index to Advertisers ...... 42 articles by Mr. Behrens that appeared in Ceramics Monthly and a group of projects the author prepared specifically for this book. Included is a unique glossary of materials which the potter will On Our Cover find to be on excellent reference source. The first book of its kind, GLAZE PROJECTS provides an author- Our cover photograph shows a close-up view of Pat Oakley's itative and convenient source of information for the potter on coil-constructed planter, pictured on page 17. Joseph Sanders' the formulation and application of a variety of landless glazes feature story on Pat and Sid Oakley, describing their "dream" in all firing ranges. Price: only $3 a copy. location, Strawberry Fields, starts on page 15 of this issue.

USE THE COUPON

Editor: THOMAS SFA.LERS BELOW TO ORDER Assistant Editor: Fvagcss SAW-Z~R Art Director: ROBERT L. CREAOFAi YOUR COPY OF Circulation Manager: MARY RUSHLEY Advertising Manager: CONNZE BSLCHER GLAZE PROJECTS Publisher: SPENCER L. DAVIS per copy Advisers and Special Contributors: F. Carlton Ball, Richard only $3.00 Behrens, Kathe Berl, Edris Eckhardt, Zena Hoist, John Kenny, Karl Martz, Ken Smith, Helen Worrall, Don Wood. F I N N U m m m m m Western Advertising Representative: Joseph Mervish Associates, CERAMICS MONTHLY Book Department I 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR 7-7556, Area Code 213. Please send me __ _ copies of GLAZE PROJECTS by Copyright 1972 Professional Publications, Inc. Richard Behrens ~ $3.00 Ceramics Monthly February 1972, Vol. 20 -- No. 2. Published monthly except July and August by Professlonal Publications, Inc. -- S. L. Davis, Pres., P. S. Emery, See.; at 1609 Northwest Blvd., Columbus, Ohio 43212. 1 1 Correspondence concerning subscriptions, renewals, and change of address should be addressed to the Circulation Department, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens, Address Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1972. At] rights reserved. State 7ip_ . The articles in each issue of Ceramics Monthly are indexed in the Art City ..... Index and The Readers' Guide to Periodical Literature. Microfilm Oh;o residents add 12c per copy sales tax. =1 Microfilms, 313 I copies are available to subscribers from University N. First St., Ann Arbor, Michigan. Manuscripts and illustrations dealing I enclose [] Check [] Money Order with ceramic art activities are welcome and will be considered for publi- cation. Manuscripts should be typed double-spaced and range from G00 L We Pay Postage m Money-Back Guarantee | I to 2000 wordJ. Send manuscripts and correspondence about them to the Editor, Ceramics Monthly, Box 4548. Columbus, Ohio 43212. .J February 1972 5 ALABAMA, Hazel Green 35750 Hozelhurst Ceramics Box 124 ARIZONA, Phoenix 85018 Ceramic Time 1229 N. 32nd St. CALIFORNIA, Berkeley 94706 Leslie Ceramics Supply Co. 1212 San Pablo Ave. CALIFORNIA, Carte Madera 94925 Matin Ceramics 55-A Tamol Vista Blvd. CALIFORNIA, Davenport 95017 Big Creek Pottery Swonfon Rd. CALIFORNIA, Fresno 93728 Potter's Studio 842 N. Fulton CALIFORNIA Imperial Beach 92032 Way-Craft 394 Delaware St. CALIFORNIA Irvine 92664 U.C.I. University Bookstore 4211 W. Campus Dr. CALIFORNIA Laguno Beach 92651 McKee, Mike 344 Ocean Av. CALIFORNIA Los Gatas 95030 Mud In Your Eye 50 Unlverslty CALIFORNIA Modesto 95351 House of Soville 2025 Yosemite Blvd. CALIFORNIA Monterey 93940 Peninsula Po:ters 221 Hoffman Ave. CALIFORNIA Palo Alto 94306 Peninsula Scientific 2185 Park Blvd. CALIFORNIA Pasadena 91101 Robert Weiss Co. 527 S. Fairaaks CALIFORNIA Sacramento 95815 Larry Carnes 537 Blackwood St. CALIFORNIA San Diego 92107 Orion Crafts 1951 AbboH St. MODEL"C" CALIFORNIA San Francisco 94107 Ceramics & Crafts Supply Co. 490 5th St. CALIFORNIA San Luis Obispo 93401 ~J~tot¢.. ~ co~n:~c~L-to ~v~ ~_E~.~ o~ o-22.o ~:~:~. Alberta's Ceramic Studio ~ ~l~, BLE ~-~ -T[-E EE=~-r. ~ ~Dr=~'c" ~ ALL ~-EL 1493 Hicj uera CALIFORNIA Santa Barbara 93104 Benwi;t's Art Supply 1303 State St. WI-UE=LS, Rr=E.~RDLE.SS O~ I:~:~-E. ~ OU~.~::~J AT N~I~O~:'~-~E Dr=N-- CALIFORNIA Santo Clara 95050 LL~rED "V~-(m=. LEI:r O1~ WI~E I:C~ A EREE mE~J4URE. Geone;l's Ceramic Supplies, Inc. 3525 Victor St. WE MAKE 5ET?I~ WHEELS aT BEI'I~R PRICF_~ CALIFORNIA Santa Cruz 95060 Unicorn Poffery 1013 River ROBERT BREHTCO. ~cl.~ i~l_U~.l~tll~LL I;~,IX/IZ: ,5~@,rl-~ ~ . c,lii.l~i/l,, ~t~::>4.Ol CALIFORNIA Seal Beach 90740 D'Avila, Carlos 216 Main St. CALIFORNIA Yuba City 95991 McGee Design ILLINOIS, Skokie 60203 OREGON, Portland 97229 408 Main St. A.R.T. Studio Phil Eagle Co. 3512 Church 10140 N.W. Corne]l Rd. COLORADO, Denver 80239 Van Howe Ceramic Supply Co. MINNESOTA, Minneapolis 55804 PENNSYLVANIA, Pittsburgh 15217 11975 E. 40t~ Av. Minnesota Clay Co. William Farrell 2410 East 38th St. 5657 Beacon St. D.C., Washington 20002 Bob Van Kluyve MINNESOTA, Perham 56573 SOUTH CAROLINA, Clemson 29631 906 D St. N.E. Perham Ceramics Tom Turner 145 W. Main 224 N. Clemson Av. FLORIDA, Miami 33135 Miami Studio Shop NEW YORK, New York 10012 UTAH, Salt Lake City 84115 2363 West Flagler Baldwin PoHery Capital Ceramics 540 La Guardia Place 2147 S. Main FLORIDA, Tampa 33609 Paul Stramgren & Associates NEW YORK, New York 10013 WASHINGTON, Auburn 98002 3919 Sevilla St. Stewart Clay Co., Inc. Martin Ceramic Supply Co. 133 Mulberry St. 510 A St. S.E. FLORIDA, Winter Park 32789 L. S. McLarry NEW YORK, Port Chester 10573 WISCONSIN, Milwaukee 53203 Greenway Nursery & Garden Supply Clay Art Center Potter's Wheels 340 Wymore Rd. 40 Beech St. 1022-B North 3rd St. HAWAII, Honolulu 96813 OHIO, Dayton 45406 CANADA, Ontario, London Ceramics Hawaii, Ltd. Tepping Studio Supply Co. Elwill Pottery 629-C Cooke St. 3003 Salem Av. 408 Riverside Dr. ILLINOIS, Chicago 60608 OREGON, Eugene 97403 CANADA, Alberta, Calgary William Farrefl Great Western Earthworks Ceramic Studio Six 727 W. 18th 931 Lorane Hwy. 2441 33rd Av. S.W.

6 Ceramics Monthly LETTERS

PORTFOLIO A WOW! I have to say "WOW!" The December 1971 Pnrtfclio on Den Reitz by Catherine Bra~er. with photographs by Bruce Fritz. RELY ON is one of the strongest items I can remem- ber in CERAM:CS MONTHLY. To c~wer the full scope of Reitz' talents. energies, attitudes, and working proce- RTON dures in such depth is a real contribution !i'~!i!!;iiiii: !/ to working potters. Alice M. Westphal iiiii!ii! !; i: ,; ...... Evanston, Ill.

I would like to compliment you on Three Orton cones point the way to your December 1971 issue of CERAMmS consistently fine firing results. Take MONTm.Y. I thought it was the finest one a tip from the experts.., the nation- you've ever produced. That was a mar- ally and internationally acclaimed Don Reitz. velous photographic article on ceramic artists who He's a very dynamic individual. I can well and respected remember his advent cn the Michigan rely on Orton Standard Pyrometric scene a few years ago, with an all-day Cones as their guide to proper firing. lecture, demonstration and raku-firing ses- sion that he did for the Michigan Potters Association. It was really the birth of raku • . . like HELEN R. WATSON, for Michigan. John Loree chairman of the ceramics de- Ypsilanti, Mich. ~, partment, Otis Art Institute and ...... will conduct five one-man I TheEdward who ORTON ...... museum shows during "72. Miss .... The beautiful December issue is Watson has relied on Orlon a joy from cover to cover! The Portfolio Jr. Ceramic Cones for "years and years" is so full of vitality I feel I have met Don FOUNDATION to insure perfect firing of her award-winning work, Reitz and watched him work. The photo- 1445 Summit Street • Columbus,Ohio 43201 • Phone(614) 2994104 graphs here, and in the rest of the maga- zine, seem of unusually high quality. A gorgeous issue, truly. I'm sure you people at CM realize you've completed Volume 19 and are already into 20. I'm looking forward to many more! Mrs. John Tryon Amateur or professional-Minnesota Tallahassee, Fla. Clay is your best single source for HERBERT SANDERS' CRYSTALLINE POTS What a handsome article in the Novem- ber 1971 CM on the crystalline pots o" quality materials, chemicals, Herbert Sanders! Thank you so much for giving us a glimpse into this rare sphere equipment, tools & accessories! of ceranfics. It is inspiring to know there are potters like Mr. Sanders with the drive and patience to produce such beauty. Barbara Smith , Clay , Chemicals , Glazes Carmel, Calif. , Alpine Wheels & Kilns , TEAPOT? Although we Pennsylvania Dutch are Lockerbie, Robert Brent & sometimes called "dumb Dutchmen," we Shimpo Wheels , Walker Pug are never so dumb that we would use a batter jug for pouring tea. In the Novem- Mills , Ohaus Gram Scales , ber issue of CM there is a photograph of Orton Cones , L & L Kilns , a handsome batter jug illustrating an arti- cle on Pennsylvania pottery ("Pennsyl- Thermo-Lite Gas Kilns-Portable vania Pottery- Tools and Processes,") by , Bamboo Teapot Handles , Elizabeth Pcwell. The caption states that this is a salt-glazed teapot made by Penn- 11/2"--6" Corks, Books, sylvania potter, etc. These batter jugs were used for incu- bating batches of buckwheat batter. Since a jug was never completely emptied, this assured a portion for a starter batch. rfl ~writef°r°urnewcata/°g! Pennsylvania German stoneware has fi- nally come into its own. It has been dis- covered by antique collectors and is being sought avidly; the proof of this is in the prices asked. ,,, MINNESOTA CLAY " 2410 E. 38TH STREET/MINNEAPOLIS. MINN. 55406/PHONE 612-729-9085 Continued on Page 41

February 1972 7 throwing begins with the No. 1

More than thirty-five years ago, Amaco ceramic enqineers desiqned the prototype of the No. 1 Potter's Wheel. In the years since, only two chanqes have been made: cast aluminum side panels were added, and the motor chanqed from one- to two-speed. This wheel, built to qive years of trouble-free dependable service, is the most popular potter's wheel in America today. Find out for yourself about the number one wheel by requestinq the latest Amaco Pottery and Metal Enamelinq Supplies and Equipment Catalog. ~

AMERICAN ART CLAY CO., INC. • 4717 West 16th Street • Indianapolis, Indiana 46222

Now you can ENAMEL ALUMINUM with Copper Enameling Equipment and Techniques We supply you with aluminum enamels 80 mesh, lumps, and threads. You can order in the same way as you have always ordered enamels and apply opaques and transparents with the same skill you have spent years learning while enameling cop- per. You can avoid costly copper and use inexpensive, easily obtainable aluminum. Write for our introductory kit and instructions. Kit contains • Eight beautiful colors with transparents and opaques • Aluminum cleaner • Trays and assorted shapes Complete kit costs only $8.7S postpaid Write: CERAMIC COATING COMPANY(~ f14 CERAMICS~ SutUrES P.O. Box 370 Newport, Kentucky 41072 Largest domestic manufacturer of uamels for bo~h arl and industry.

8 Ceramics Monthly Often SUGGESTIONS imitated from our readers never duplicated SILICONE SEALER Having had trouble with the bottom of our hand-made pots scratching table tops, I find silicone sealer a fantastic cure-all. It is usually sold in tubes and can be located in the caulking For quality goods section of hardware stores. Pots will not slide with the sealer on the bottom, and it patches cracks very well with the added benefit of waterproofing. originality --Suzanne Cohn, Anaheim, Calif. CLEANING KILN SHELVES I haw~ received some really good ideas from your "Suggestions" durability column and hope these ideas on cleaning kiln shelves, that I have found useful, will benefit other readers. To remove old kiln wash or level off the "high spots" of that sticking to the shelf, rub shelf with a hard firebrick or a piece of silicone carbide. The best applicator I have found for kiln wash yet is an ordinary cellulose sponge that is first dampened with water. By the pressure of squeezing the sponge after dipping it in the kiln wash, you get a very even heavy or light application as you prefer, and this is very smooth. Also, this same sponge is ideal to "brush off" any foreign material from the top, edges and bottom of shelves, when loading the kiln, or to remove loose flaking kiln wash. This will prevent raking your hand over a protruding VELVA-GLO BISQUE STAINS piece of glaze you can't see and perhaps getting a nasty cut. You can feel a sharp piece of old glaze on the shelf with the " 35 WATER BASE OPAQUE STAINS sponge, something you can't do with a brush! --Clyde Gobble, Winston-Salem, N.C. • 24 PETROLEUM BASE TRANSLUCENT STAINS (metallic dusting powders) NYLON FISHING LINE " 12 LUSTER-ETTES MEDIA Recently I bought a roll of inexpensive nylon fishing line, " LUSTER-ETTE 20-pound test. This is perfect for cutting pots off the bat or " 4 GLITTER DUSTS (coarser metallic powders) wheelhead. Since I lose, loan or misplace the line so often, I " 3 WATER BASE BRUSH-ON FIXATIVES from the 50 ft. spool. need only to cut off another length of line (an actual shell chip) The nylon is ideal since it is thinner than copper or steel, and " 2 GRADES PEARL FLAKES doesn't rust or kink. My fellow potters like it--I hope others " 2 GRADES GROG (can be fired, also mixed will. --Lawrence Shuda, Macomb, Ill. with clay or fired ceramic colors) The nylon line will be easier to use if each end is attached " KRYSTAL SAND (a fine glass bead) to a 3-inch piece of dowel, or to 1-inch-diameter fired clay bead. This keeps it more readily in sight if you're having "lost, • TEXTURETTE (build up powder) strayed, or stolen" problems. --Ed. " TRANSETTE SOLVENT (for thinning and clean- ing translucents) UNLOADING A HOT KILN • ANTIQUING CLOTHS In unloading a hot kiln (who ever lets them cool!) remove the shelves with a 4-inch C-damp and you will not be lifting "hot" • HAND AND BRUSH CLEANER shelves. Slip the C-clamp under the edge of the shelf, tighten the • GLU-IT (fast drying clear glue) clamp and lift the shelf from the kiln ; then loosen the clamp after • VARNETTE (fast drying clear varnish coating) taking the shelf from the kiln, and repeat on the next shelf until the kiln is unloaded. Result: no burns. • PRIMETTE (o metal primer coating) --Mrs. Grace Bielar, Paradise, Calif. • TECHNIQUE and DESIGN BOOKS STRIP BUILDING This is for all those people who, like me, cannot make lovely, even coils and who find the attempt to try to do so a An EXCEPTIONALMEDIA for use on CERAMIC bore. There are times, howe,.er, in handbuilding a pot when the BISQUE,WOOD, METAL, FABRIC or PLASTER use of coils seems the oniy way to achieve a desired effect, so [ devised a method of using strips of clay instead of coils. To Distributorships and Dealerships •v•ilable. F•r infer. do this, I roll out a slab of clay, the thickness depending on m•flon write on your business letterhead to: its specific use, and from this cut a number of six-to-eight-inch- strips. I keep these covered with plastic while working, and remove just one strip at a time as I work, just as I'd do when constructing with coils. --Tania Cohen, New York, N.Y.

DOLLARS FOR YOUR IDEAS CERAMIC ART, Inc. Ceramics Monthly pays up to $5 /or each item used in this Dept. CM 250, 109 Monarch Dr., Liverpool, N.Y. 13088 column. Send )'our suggestions to CM, Box 4548, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items.

February 1972 9 The Discriminating Ceramist MODEL A.B

Fire immense loads daily This enormous 10 s~decl kiln is 27" deep and 23~A" in diameter for a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily. The three movable sections have their own 4-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6 m 2300 °, everything from china paints to porcelain. Add a 41/2" blank collar for full 311/2" depth. EXCLUSIVE! INCH OF BLOCK INSULATION IN UD AND BOTTOM

IN STAINLESS STEEL Q Model A-99B ...... $399.50 41/2" blank collar, $32.00

/ FREE.. crating., instruction manual All size Kilns available / ~steel stand. to fill every firing need \

Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to ~~ ,9~, 9J1~., Dept. CM Box 10133, Dallas, Texas 75207

THOMPSON Offers All Of This For Only $49.50 REWARD PRODUCTS

Thompson's catalog introduces a new package consisting of an electric kiln (inside dimensions m 5" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of supplies that will get you started enameling immediately . . . for only $49.50, plus shipping charge. Send your order today with payment for prompt shipment. The new Thompson catalog, along with its famous Color Guide, is waiting for you . . • just mail the coupon and it will be on its way . . . absolutely FREE.

Thomas C. Thompson Co. Dept. CM-12 m 1S39 Old Deerfield Rood Highland Park, Illinois 60035 [] Enclosed is payment for new kiln package. (Illinois residents add 5% soles tax.) [] Please rush FREE Thompson Catalog.

Na~m

Addre~ Reward Ceramic Color Mfrs., Inc. CHy State Zip 314 Hammonds Ferry Rd., Glen Burnie, Maryland 21061 10 Ceramics Monthly ITINERARY

Send your show announcements early: Inc., National Council of Jewish Women, Gallery of Sunrise, 755 Myrtle Rd.. "'Where to Show," three months ahead is open to all artists and craftsmen over Charleston 25314. at least 18 years who live in the Appalachian re- of entry date; "'Where to Go," SPECIAL FOR HOBBYISTS six weeks before the opening. gion of Alabama, Georgia, Kentucky, Maryland, Mississippi, New York, North OREGON, PORTLAND Show WHERE TO SHOW Carolina, Ohio, Pennsyh'ania South Caro- March 24-26 The 13th Annual COLORADO, CENTRAL CITY lina, Tennessee, Virginia and West Vir- of the Oregon Ceramic Asscciation will be May 30-September 4 The 25th Annual ginia. Entries accepted from February 14- held in the Multnomah Ccunty Expositicn write: Evelyn Exhibition includes crafts and is open to 29. Cash awards. For information, write: Center. For informaticn, artist-craftsmen of Colorado. Jury; Awards; Mrs. David Stern, 1318 Mount Vernon Gano, Box 606, Washougal, Washington. Entry fee; Entry cards due late April. For Place, Charleston, or The Charleston Art Continued on Page 13 information, write: Richard C. Hicks• Gilpin County Arts Association, Central City 80427. KENTUCKY, ANCHORAGE April 3-30 The Third Biennial for Crafts is open to all artists residing in the states of Illinois, Indiana, Kentucky, Ohio, Missouri, Tennessee, and Virginia. Entry fee; Purchase and merit awards; Deadline for entries, March 24. For information. write: Jack Gaskill, Louisville School of Art, 100 Park Road, Anchorage. MASSACHUSETTS, BROCKTON April 13-May 21 "Things," a major juried exhibition of the work of craftsmen of New England and New York State, is sponsored by the Massachusetts Assn. of i Craftsmen and will be held at the Brock- ton Art Center. Fee; Initial jurying by slides. Jurors: Jack Lenor Larsen and Frans Wildenhain. Slides due February 15. For information write: John Heller, Brock- ton Art Center, Oak St., Brockton. MASSACHUSETTS, FALL RIVER May 7-28 The 15th National Exhibi- tion, sponsored by the Greater Fall River Art Association, is open to all U.S. artists and craftsmen; media include pottery and glass. Jury; Prizes and purchase awards; FOr Consistent Glaze Results Fee; Entry cards and slides due March 1. Scale For information, write: Mrs. Ralph Gor- YOU need the accuracy of an OHAUS don, 80 Belmont St., Fall River. It is a thrill to open your kiln and take out a piece with a yourself out of ingredients combined .'N'EW YORK, CORNING beautiful glaze, made according to your own formula. May 10-14 The Ninth Annual Southern Tier Arts and Crafts Show is sponsored And of course you need a scale.., a durable scale offering by the Coming branch of AAUW and is consistent accuracy at reasonable cost. and amateur artists open to all professional i OHAUS balances are the perfect answer, easy Media include crafts. Ohaus Triple Beam in the United States. to work with and built to last. Jurors: Paul J. Smith, Wendell Castle, i Daniel Robbins. Entry fee; Limit 3 entries; Choose from several models: Entry cards due April 17. For information, Stainless steel plate, Model 750S, $29.75 write: Southern Tier Arts and Crafts Removable stainless pan, Model 710, $34.75 Show, Box 470, Corning 14830. Removable polypropylene scoop, Model 720, $39.75 Capacity up to 2610g -- Avoirdupois models available. NEW YORK, ROCHESTER the door to April 16-26 The Rochester Festival of Whichever model you choose, you'll open open to all artists and 32 page catalog greater enjoyment. Religious Arts is describes craftsmen. Media include sculpture and complete line Note to Teachers: Ohaus scales have proven themselves in enamels. Jurors: Richard Arnold, Robert of Ohaus science labs and classrooms for more than 50 years . . . Johnson, Harris K. Prior. Awards. Entry products. they really stand up. deadline: March 18. For information, the name of a dealer near write: Art Division, Rochester Festival of For complete information.and write: Religious Arts, 50 N. Plymouth Ave.. you, 14614. Rochester OHAUS SCALE CORPORATION WEST VIRGINIA., CHARLESTON 29 HANOVER ROAD • FLORHAM PARK, N. J. 07932 April The Appalachian Corridors Exhibi- (201) 377-9000 tion, organized by the Charleston Section,

February 1972 11 k

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o~

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Rust? Never!

We know you aren't going to set your kiln in the rain. But... the steam that escapes through the fire brick during each firing causes an internal downpour. And it will bring about a rust problem in ordinary steel jacketed kilns. That's why we use stainless steel. It's completely rust-proof • • • inside and out! The advantage to you? Longer kiln life . . . and no more • • rust particles on your ware. If you have nothing to do on a rainy day, write us for more information.

Skuff Ceramic Products, Inc., 2618 S.E. Steele Street, Portland, Oregon 97202

12 Ceramics Monthly ITINERARY Chicago Plates," personal interpretations Craft Exhibition"; at the Evansville Muse- pot- Continued from Page 11 of Chicago Plates done by Chicago um of Arts and Science. ters Duckworth, Farrell, Giesmann, Lorio, IOWA, AMES TEXAS, SAN ANTONIO Prokos, Balsham, Arnow and Kramer; 16 The Third Annual March 17-19 The llth Annual Ce- non-Chicagoans Middlebrook, Hay, Pot- through February Ipsen Clay and Paper Show; at the Octagon ramic Art Show, sponsored by the San ter, Pilcher, Soldner and Wukich; Jerry Center for the Arts. Antonio Ceramic Art Association, will be in glass; Pat Farrell in macrame; A, 1708 Cen- held in the Home Builders Association Kunkel, painter; at Exhibit KANSAS, LAWRENCE tral Street. Building. For information, write: Mrs. February 20-March 12 Kansas Designer- Ruth Rice. 143 Croesus Ave., San Antonio. I NDIANA~ EVANSVILLE Craftsmen exhibit; University of Kansas. February 13-March 12 "Mid-States Continued on Page 39 WASHINGTON, SPOKANE March 11-12 "Ceramic Showcase," sponsored by Lilac City Ceramic Club of Spokane, will be held at the Davenport Hotel. Entry fee; Point system judging. For information, write: Ann Juda, 5626 North Belt, Spokane 99208.

WHERE TO GO CALIFORNIA, Los ANGELES February 15-April 30 "Ceramics of Southeast Asia" includes objects from Cambodia, Thailand and Annam; at the Los Angeles County Museum of Art.

CALIFORNIA, RIVERSIDE February 4-March 12 "Tenth Purchase • / Prize Competition"; at the Riverside Art Center and Museum.

CONNECTICUT, NEW CANAAN through February 9 New Members' Ex- hibition includes crafts; All Media Exhibi- tion by the Faculty; All Media Exhibition by Students. February 12-March l One-man show of pe, ttcry by Tom Sharer; all at Silvermine Guild of Artists.

D. C. WASHINGTON Continuing through 1972 Pueblo Pot- tery: Zuni and Acoma Designs from the Smithsonian Col]ectlon; in the Renwick Gallery, Smithsonian Institution.

FLORIDA, CORAL GABLES through February 15 Pottery by Ed- mund Weyhe; at The Village Corner.

FLORIDA, FORT MYERS February 19 Caloosa Arts and Crafts Show; at First Street and Royal Palm Avenue. V FLORIDA, MIAMI February 16-March 11 Ceramic League of Miami Members' Show; at Grove House.

FLORIDA, PANAMA CIT'~" COLORS are'perfect for any design or pattern. 15 Florida West Coast Mini or maxi, MAYCO® through March There's a M,AYCO glaze or glaze combination to match everymood, Indian Pottery reproductions by Ivan is the choice at The Gallery of Art. hue, tint, shade or texture. Try it and see why MAYCO Gundrum; of master ceramists everywhere. ILLINOIS, CHICAGO And that goes as well for MAYCO's One Stroke and through February 20 "The American Underglazes. All MAYCO products are homogenized/or@ Porcelain Tradition." a Traveling Exhibi- easy application and fire at Cone 06. tion circulated by the New Jersey State Send for free color chart. Museum; at the Museum of Science and Industry. Mayco colors America's Finest Colors ILLINOIS, EVANSTON 20800 Dearborn Street, Chatsworth, California 91311 March 5-25 "Theme and Variations: Dealerships Available. J February 1972 13 KERAMOS CLAY AND GLAZES FOR THE POTTER by Franz Kriwanek. All of the basic areas of by Daniel Rhodes. Two complete books in bco ceramic work, from digging clay to build- one! Fundamental details on both clay and ing and operating a kiln, are covered in glazes make this book a "must" for every books on ceramics this new book. The examples of pottery are student, teacher and potter. $7.50 impressive ba:h in number and quality. from the There is a refreshing treatment of subject KILNS: DESIGN, CONSTRUCTION matter tha,' makes the book unique among & OPERATION the various texts now available. $4.00 by Daniel Rhodes. Everything you need to THE TECHNIQUES OF know about kilns--setting up, firing, various types of kilns -- is described and demon- PAINTED ATTIC POTTERY strated in this first complete book on kilns. by Joseph Veach Noble. This lavish book Over 100 drawings and photographs. $10.00 unravels the methods used by the Athenian potters to produce the greatest pottery in STONEWARE AND Book Department ancient PORCELAIN European art. Includes information by Daniel Rhodes. Describes techniques on the famous Greek black and ORDER ANY OF THESE SELECT glaze. $25.00 materia s used in high-fire pottery. Includes TITLES ON OUR MONEY-BACK A POTTER'S BOOK sections an clay bodies, glazes, colors, tex- tures and decoration. GUARANTEE. WE PAY POSTAGE by Bernard leach. Now in its twelfth Amer- $7.50 ican edition, this book should be in the library of every pot~er and RAKU: ART & TECHNIQUE student of by Hal Riegger. ceramics! $8.75 The first complete book on Raku. Covers clay and glaze preparation, CERAMICS kiln building and firing techniques. Beauti- NATURE AS DESIGNER by Glenn C. Nelson. A fully illustrated. $12.98 by Bertel Bauer. new, revised and en- This unusual and stimulating larged edition of a favorite title. book presents a treasured An out- collection of plant standing handbook for potters and teachers. METAL ENAMELING life which demonstrates in a unique and very 348 pages, hardcover. by Pay Rothenberg. The emphasis effective $10.98 in this way the beauty of form in nature. book is an new methods of ename ;ng and The forms will suggest an infinite number SELLING YOUR CRAFTS new applications of the age-old techniques. of shapes and textures far pottery. An out- by Norbert N. Nelson. In a concise step- Many of these unusual experlmental proiects standing gift selection. $14.95 by-step presentation, this book leads you have never before been published. $7.98 through the actual stages necessary to sell MAKING POTTERY WITHOUT A WHEEL successfully what you produce. Covers such CREATIVE CLAY DESIGN by F. Carlton Ball and Janice /ovaos. This diverse channels of sales as wholesale, retail, by Ernst Rottger. A wonderful aid to those comprehensive and richly illustrated book mail order and specialty markets. $5.95 who are learning and those who are teach- covers every phase of handbuilding and ing others haw to explore the creative pos- decorating clay pieces. No book covers the sibilities of clay. $5.95 subject of texture and form so effectively. I WE PAY POSTAGE I Includes section on firing. $9.98 POTTERY & CERAMIC SCULPTURE OBJECTS: USA by Herbert Sanders. A thoroughly revised DESIGN MOTIFS OF ANCIENT edition of Mr. Sanders' best MEXICO by Lee Nordness. A superb publication seller CE- by Jorge Enciso. A compilation fea- RAMICS BOOK. Completely of 766 ex- turing over 250 of our most talented artist/ up-dated with amples divided into geometric, natural and craftsmen new material, including section on how to artificial working in ceramic, enamel, glass, build a potter's wheel. forms. Includes designs based on metal, plastic, mosaic, wood, and This is an excellent flowers, birds, fish, etc. fiber. In- book for beginners. 170 pages. $2.80 cludes a photo of each craftsman, a brief $1.98 biography, and an example of his work. 360 THE WORLD STEP-BY-STEP CERAMICS pages OF JAPANESE CERAMICS m many in tatar. $14.95 by Herbert by Jolyon Hofsted. In this complete in- Sanders. This handsome book troduction to ceramics, the CERAMICS illustrates the forming and decorating pro- beginner is led FOR THE ARTIST POTTER cesses through all of the basic clay forming by F. H. and the unique too!s used by the and Norton. The most complete book potters of decorating processes. There are special sec- on the subject, Japan. Includes glaze formulas, from choosing the proper color charts, and American tions on the Potter's Wheel, Glazing, Firing clay to putting the final touches on a equivalents of piece, Japanese glaze compositions. $12.50 a Kiln, Building Your Own Kiln, Decorating all clearly explained. $9.75 Techniques and Raku. $2.50 CERAMIC GLAZES ENAMELING ON METAL by Oppl Untracht. HANDBOOK OF DESIGNS AND DEVICES by Cullen W. Parmelee. This invaluable Step-by-step photos are reference used to describe fundamentals on through by Clarence Hornung. Over 1800 sketches book completely covers glaze making, including formulas to newly developed experimental styles. This o~ basic designs and variations including the and batch complete recipes. 314 pages of technical information. guide is a maiar contribution to circle, line, scroll, fret, shield, snow crystals the art of enameling. and many more useful symbols. $2.00 For advanced students. $9.95 $7.50 CERAMICS AND HOW TO DECORATETHEM POTTERY: FORM AND EXPRESSION CERAMIC DESIGN by Joan B. Priola. Presents detailed descrip- by Marguerite Wildenha;n. A truly beauti- by John B. Kenny. Complete instructions for tions and illustrations of dozens of decorat- ful book! Magnificent pictures of the author methods of forming and decorating ware are ing techniques and shows how to use them. at work and of ancient and contemporary given, with step-by-step photos to guide the Excellent for hobbyists. $6.95 poflers. Outstanding gift selection. $9.95 designer along the way. Contains appendix, list of materials, recipes, and glossary. $9.98 Order Form m We Pay Postage CERAMIC SCULPTURE BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212 by John B. Kenny. Contains over 1000 photos and sketches covering e~! phases of the Bacjer--Nature $14.95 [] Kenny--Sculpture $9.95 ~ Nelson--Ceramics [~ Ball & Lovoos--Pottery $10.95 sculptor's art: figure work, models and $9.95 [] Kenny--Pottery $7.50 ~ Nelson--Selling Crafts $5.95 casting, firing, etc. A valuable aid for all [] Enciso--Desicjn $2.50 [] Kinney--Glass Craft $7.50 Nordness--Obiects $14.95 teachers and craftsmen. $9.95 [] Hofsted--Cerarnics $2.50 [] Krlwanek--Kerames $4.00 Norton--Ar'l'ist Potter $9.75 [] Hornung--Designs $2.00 [] Noble--Attlc Pottery $25.00 [] Parmelee--Glazes $9.95 THE COMPLETE BOOK OF [] Kenny--Desicjn $9.95 [] Leach--Potter's Book $8.75 [] Priol~Ceramics $6.95 POTTERY MAKING [] Rhodes--Clay & Glazes $7.50 Rhodes--Kilns $10.00 by John B. Kenny. The [] "best seller" in the NAME ...... [] Rhodes--Stoneware $7.50 ceramic field! Step-by-step photo lessons cover all [] Riegcjer--Raku $12.95 of the pottery-making techniques: ADDRESS~ ...... Rothenbe rcj--En a clays, glazes, firing, [] mellncJ $7.95 plaster, etc. $7.50 [] Rottqer--Creafive Clay $5.95 CITY STATE--- ZIP.-~---- [] Sanders--Pottery $1.95 GLASS CRAFT Sanders--Japanese $12.50 by Kay Kinney. The complete book on fusln[g, I enclose [] Check [] Money Order Untracht--Enamelinq $7.50 laminating and bending glass. Basic tech- (Ohio residents: add 4% Sales Tax) [] Wildenhain--Poffery $9.95 niques and step-by-step projects. $7.50 14 Ceramics Monthly FEW POTTERS are fortunate enough to build their own Strawberry Fields Pottery place in the country where they- can live, work, and sell their art in one location. Sid and Pat Oakley are among by JOSEPH SANDERS the fortunate: after years of hard work toward their goal, they have built their own place in a rural, wooded area on Route Two near Creedmoor, a country town which lies about 30 miles north of Chapel Hill, North Carolina. "We named it Strawberry Fields because strawberries were the first thing we planted after we got here," Sid says. "We had wanted land and a place to make our pottery." In the fall of 1970, the Oakleys--Sid, Pat, and children David and Lisa--moved onto their seven-acre tract and began planting and building. Now the strawberries have ripened and the buildings are complete. The studio, kilns, and woodwork shop stand close together, about 75 yards from the Oakleys' house. From the studio, a short path through the native dogwoods and pines leads to the pottery showroom. The Oakleys have built more than "a place." Straw- berry Fields reflects the way they feel about their pottery. Like the Oakleys' art, the buildings at Strawberry Fields are simple, honest structures that have their own aesthetic value without any need for artificial enhancement. The construction of the studio utilizes creosoted posts set in concrete, with unpainted cypress siding. "We chose to emphasize the creosoted posts rather than cover them up," Sid says. The extensive use of glass permits the artists to observe from their studio the natural surroundings of the

The wood-fired kiln is in the [oreground; behind is the cedar and creosote-post studio.

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Sid Oakley's wood-cut e[[ect was achieved by carving through a coating o[ iron oxide when this 7-inch bowl was leather hard. Right: Slab [orm pot by Pat Oakley is 20-inches high; has a glaze that ranges [rom dark brown to yellow-green. beautiful wooded environment in which they work. "It seemed silly to me to try to make some alien trees grow at Strawberry Fields when one can utilize the stand- ing sourwood trees and such native grasses as broom straw," the potter remarks. In building Strawberry Fields, the Oakleys engaged a landscape architect who was sympathetic to their desire to exploit the native weeds and trees. "Each material has a beauty of its own," Sid Oakley says. "We try to exploit this beauty, not cover it up or disguise it. Clay has a plastic quality no other material possesses• We strive for a simple, honest expression of such qualities." The Oakleys mix their own clay from local and re- gional ingredients: 70 pounds of Ohio stoneware, 10 pounds of North Carolina feldspar, 15 pounds of silica, 50 pounds of Kentucky saggar clay, and 20 pounds of Georgia red clay (which will fire at a higher temperature than North Carolina red clay). After the clay is mixed, aged for a month and wedged, it is ready for use. The Oakleys use two kickwheels and two electric wheels. Sid built the kickwheels and designed the electric wheels, which he had built• "I measure the beauty of an electric wheel by its performance, not by its chrome or fancy attachments," Sid explains. "My electric wheels are sturdy: they can handle up to 50 pounds of clay with ease and can range from zero to 200 r.p.m, without any jerky movement when the speed is changed.

16 Ceramics Monthly "When I throw on a wheel, I want to make whatever I'm forming spontaneously. I strive for strong, simple shapes that can stand alone without glaze or decoration. Unless a form can stand on its own merits, no glaze will make it successful." After bisque firing, the Oakleys rely on just four glazes. "We prefer to work with a few glazes we thoroughly understand," Pat says. Her favorite glaze is made from the ashes in their wood-burning kiln. Rather than screen the wood ash finely, impurities are left in to produce spotting and running. A good celadon is made from a glaze utilizing coal ashes. Sid is currently experimenting with local red clay and native pyrophyllite, and says he is on a constant lookout for more native materials that can be used effectively. Coloring is achieved by using cobalt, copper carbonate, nickel oxide or ruffle. The Oakley pottery is fired in a reduction atmosphere to Cone 10 in either a gas or wood-burning kiln. The kiln is reduced for body reduction at 1600°F and again for glaze reduction when Cone 9 begins to bend. It takes about 14 hours for either of the 30-cubic-foot kilns to reach Cone 10. All bisque firing is done in the gas kiln, while the glaze firings are rather evenly divided between the gas and wood kilns. "Any glaze when fired in the wood kiln tends to be more subtle than when fired in the gas kiln," Pat notes. "The function of the pot usually determines which kiln we use." Presently saggars are not being used in the wood kiln, so most of the tableware is being fired in the gas kiln. Pat adds, "Most bottles, vases and sculptural pieces are 'naturals' for the wood kiln because ash de- posits usually enhance and add interest to the pieces." Finished products are sold at Strawberry Fields and at the annual Carolina Designer-Craftsmen Show and the Winter Park (Florida) Art Festival. The Oakley concept of Strawberry Fields and its pot- tery was strongly shaped by their studies. Both Sid and Pat attended the University of North Carolina, and later studied under Stanley Rosen at the Brookfield Craft Center in Connecticut. Sid also attended Penland School, near Spruce Pine, where he was greatly influenced by Toshiko Takaezu, a well known potter whose work and philosophy he admires very much. Although both Sid and Pat are highly skilled in their craft, both feel that creativity is more essential than per- fection of techniques. They appreciate contemporary pottery because, as Sid says, "It makes little difference to us whether an object is functional or not. We feel that a piece of pottery must possess some aesthetic qualities that distinguish it from a mere container." Pat emphasizes the sensuous nature of clay: "The fact that something is handmade does not guarantee any aesthetic merits which are superior to those found in some mass-produced ware, but a handmade pot which is well crafted and breathes an originality of spirit is beyond the reach of any machine." Such an outlook, which recognizes the force of beauty, differentiates these artists from the craftsman whose goal Pat Oakley places a coil-constructed planter in is the piece of pottery itself. "Pottery is a creative process," the couple's gas-fired kiln. Sid feels. "The end of the creative process is not to create Sid Oakley pulls a lip on a pitcher in his Strawberry a thing, but to create beauty." Fields Studio.

February 1972 17 7

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THE HOLLOW RING is an ancient pottery form, one of Throwing and Using earliest known examples of which dates from the 9th-8th century B.C. and comes from one of the tombs at Khur- vin in North-Central Iran. The form, referred to as a The Hollow Ring kernos, was used as a ritual vessel for holding liquids. In some early examples of kernoi, the hollow ring was used by LUKMAN GLASGOV¢ flat; that is, the ring actually was placed in a horizontal position, much like a plate. In many of these examples the spout took the form of a bird with a long beak from which the liquid was poured. Later examples of the hollow ring from Italy and Crete show the ring pitcher used in a vertical (vase) position, set over a low coil base. The process of throwing a ring on the wheel starts with the same basic form as the finished product--a ring of clay. First, a large rope or coil of clay is rolled out by hand and the two ends are joined together and placed roughly in the center as an open circle on the wheelhead. The next step, centering, is one of the most difficult parts of throwing the ring. The technique, although similar to that of centering a lump of clay in the very center of the wheel, differs because the mass of clay is centered at a specific radius from the centrifugal center of the wheelhead. For example, an eight-to ten-pound rope of clay would be centered approximately 6 inches from the centrifugal center of the wheel. The tendency of the

18 Ceramics Monthly ¸

1. A rope o[ clay is [ormed into a ring and centered on the wheel. 2. The ring is opened to [orm two wails--an inner and an outer one. 3. As the inner wall is pulled up, it is [ormed into a convex curve. 4. The outside wall is brought up next and positioned toward the inner wall. 5. A [lexible potter's rib held in each hand guides the clay walls toward one another.

February 1972 19 8

6. Good firm pressure on each side is necessary in closing the ring [orm. 7. 1[ "~peaking" occurs, the [orm still may be rounded out because the air is trapped inside. 8. Inside and outside walls are undercut and smoothed to refine the curve. 9. When the ring has sti[[ened, it is inverted, centered, and excess clay is trimmed [rom the bottom. 10. A bit o[ water is used to lubricate the clay as the flexible rib is used to smooth the convex ring.

10

20 Ceramics Monthly 1l. The ring is fitted to a pedestal 12. A hole is cut in the top o/ the 13. The spout is a'elded in and then base thrown when the ring was made. ring for the addition o[ the spout. smoothed with a dampened sponge. clay to "throw out" can be used advantageously by the the spout hole is cut in the top and the spout welded potter as he exerts the greatest amount of pressure in to the ring. All of the welding ring marks can be pushing down and, at the same time, supporting the out- smoothed out with a damp sponge to finish the pot. side surface. The hollow ring, limited as it may seem, actually can When the hollow ring has been centered, it is opened have many uses. Carlton Ball, in his article on ceramic and given rather thick walls. Each side of the wall, inner horns in the June 1967 issue of CM, investigated a most and outer, is brought up separately. I like to start with unusual facet of them. Another use is as a water pitcher. the inside wall and pull it up into a convex curve. Next, The hollow ring pitcher is more practical than the usual I pull up the outside wall section and position it toward cylindrical pitcher since it offers a greater amount of the inside wall. exposed surface for evaporation of water. Liquid inside the clay body and, The joining of the two walls is probably the most diffi- the hollow ring will sweat through to 12 degrees cooler cult task in making the hollow ring. This can best be because of evaporation, remain up temperature. done if the potter holds a flexible metal potter's rib in than the surrounding environmental each hand in order to shape and guide the walls until The hollow ring pitcher also offers the potter an op- they meet. As they close, the two lips must meet and portunity to work with some very interesting design join evenly. If any overlapping should occur from either problems. One is the placing of the pouring spout to lip, the form can be cut open at the top with a needle insure the greatest ease in pouring; another involves to reopen it. Each wall can then be pulled up straight, obtaining maximum fluid capacity. The lip of the spout trimmed flat, and positioned for another closing. should be at such an angle, or height, that it is above of the In closing the ring, it is necessary to use good firm the highest point of the ring. The placement to pressure on each side. Once the form is closed and the handle, base, and spout can be a creative challenge that can total curvature has been refined and smoothed with a the potter, because of the unique silhouettes flexible rib, the inside and outside base of the ring should be obtained. be undercut in order to reduce the amount of trimming Another use of the ring may be found as a horizontal that will need to be done later. form. One of these might be elevated slightly on feet, or When as much work as possible has been done on the might have spouts of various sizes placed at different wheel, the ring is cut from the bat or wheelhead and left levels. Since all of the spouts are open to the hollow of in place there until it has stiffened enough to be handled the ring, it can be filled with water and the form used safely for inverting on the wheel for trimming of the as a centerpiece for flowers or as a candleholder. base. Ring pots can be trimmed with regular trimming Our original project, placing the ring on a pedestal tools or, if the convex line is clearly defined from the foot with a spout on top, brings together two contrasting undercutting, a flexible rib may" be used for the job. If a lines--a circle and a straight line. As a vase, the foot little water is used on the flexible rib as it is moved over and spout can be seen as a single cylinder separated by the trimmed area, it will smooth and finish the curve. the ring. Thus, from the base, the cylinder springs up, At the same time the ring form is thrown for the separates, and comes together again to be resolved at the demonstration piece, two cylinders are also made. When lip of the spout. all three pieces--the ring, a cylinder base, and a spout-- The ring form adds a handsome variation to the pot- approach the leather-hard stage, final construction is ter's fundamental shapes, but it still maintains a classic started by adding the ring form to the base. Both forms character of its own. The ring is imbued with a rich must be sufficiently stiff to support the weight of the historical background and certainly is deserving of further ring form. Once the ring has been joined to the base, consideration by contemporary craftsmen. February 1972 21 Some Glaze Faults mmm and their correction Part 2 by RICHARD BEHRENS

In the January issue of CM, Richard Behrens discursed some of the water from the exterior application may two of the most [requent [aults the potter must contend penetrate through the porous body enough to loosen with in his glaze experimentation--crazing and shivering. some of the glaze that coats the inside surface; if this In this month's column he continues with additional happens, portions may drop away, leaving blank spots problems and methods of correcting them. --Ed. which may cause crawling. Drying shrinkage of glazes containing substantial Crawling Crawling is a defect in which the fired glaze amounts of zinc oxide, magnesium carbonate, white lead, gathers into ridges, leaving some areas of the clay body and Gerstley borate may produce cracks which might uncovered. Crawling is sometimes described as ruckling, open during firing to cause crawling. Calcining the zinc beading, or curling. The primary cause of crawling is oxide may be helpful in such cases, or adding a little that excessive plasticity of the glaze tends to produce soda ash to the Gerstley borate glaze may tend to reduce cracks as the glaze dries on the ware. Such plasticity may this tendency. be caused by excessive ball milling or the use of clays Among other causes of crawling the potter may wish that are too plastic. A satisfactory test for correct fineness to avoid are overtired pieces and "flashed" surfaces on wares which present difficulties in the proper applica- tion of glaze. The application of a second coating of glaze over an initial coating which already is dry may bring about poor glaze adherence and this, too, could lead to crawling. Cracks that occur in the glaze during the drying process may be filled by a light rubbing of the crack with a finger. Soluble salts which migrate from the porous ware dur- ing drying, and can cause crawling, can be "fixed" in the body by the addition of a very small amount of barium carbonate to the body. And here is a final reason for crawling faults: Sponging pots with "hard" water may leave mineral deposits on the surface of the ware which may lead to glazing difficulties and subsequent crawling. An application of some neu- tralizing material such as vinegar may prevent this. Pinholing Small "voids" which appear in the fired A crawling glaze on a pot leaves ridges and bare glaze may be due to the passage of vapor from the bod 7 of the ware or even from the glaze. A small bubble of spots on the body. air entrapped in the body during the conversion to its of materials might be considered to be a glaze that retains finished form may remain in the body to be liberated 1% or less on a 125-mesh screen when the glaze is being when it migrates through the molten glaze, leaving a prepared for use. small crater. This problem most often occurs with cast- Another cause of crawling is improper storage of ware clay objects. intended for glazing. A coating of dust may build up on Pinholing may often occur when the viscosity of the the surface, or the ware may be handled excessively and glaze at the maturing temperatures does not reach a acquire small deposits of skin fat, which can act to resist fluidity sufficient to heal the craters. When the glaze con- glaze adherence. The use of from 1 to 3% of suspending tains combustible materials or a chemical composition and adhesive agents such as bentonite and gums, and which liberates gases as the glaze melts, pinholing may flocculating materials such as magnesium sulphate, cal- Occur. cium, or barium chloride, may aid in the application of A number of remedial procedures involving both firing ttle glaze and thus eliminate weakly-covered spots which techniques and changes in glaze compositions can resolve could result in crawling. most pinholing problems: (1) Reducing the speed of When pots are glazed inside (perhaps by the pouring firing or "soaking" the ware at the maturing temperature method), then given a glaze application on the outside, for half an hour or more may provide time for the

22 Ceramics Monthly molten glaze to flow into the pinholes and thus heal the There are two other suggestions that may be made defect. (2) Decreasing the thickness of the glaze may about this glaze fault. Pots which have thick bases and permit a more ready release of the gases which are caus- much thinner cross sections in their upper sections may ing the pinholes. Hea~2¢ applications of underglaze may dunt if the ware is placed directly on the shelves for liberate gases which leave pinholes when migrating firing. This problem may be relieved by placing the pot on a stilt. When pots are thrown with curves of too-sharp a radius at the rim and at the foot, firing strains may induce dunting. Over-firing can also be instrumental in dunting. We should mention that dunting occurs also as a result of high-silica content in the body. Pinking Glazes opacified with tin may take on a pink tint during firing; when this happens it is due to the presence of chromium. Chromium that is vaporized from glazes containing it may, during the firing, migrate to the tin glaze and combine with it to form a chrome-tin- pink coloration. As little as 0.04% of chrome in the tin glaze may produce a distinct pink color. Some clays may contain small amount3 of chrome, and sometimes titanium may yield a pink color with chrome if it is present in the Pinholing occurs when small bubbles o/ air me trapl~ed kiln. Pots glazed with tin and fired too close to chrome- in the body and released during glaze firing. containing heating elements in the electric kiln, may be so colored by the chrome liberated from the elements. through the covering glaze, also. (3) Reducing the amount of rutile and zinc, when present in any con- Blistering There are times when a glaze is overfired siderable amounts in a glaze, may be a help in eliminating and causes some of the glaze constituents to vaporize, with this fault. (4) Substantial overfiring of a glaze may cause the formation of bubbles which burst and leave craters. vaporization of some constituents which may cause pin- This effect is known as blistering. One solution for this holes to form in a glaze. (5) When the viscosity of the difficulty is the reduction of the firing temperature; the glaze is reduced by the inclusion of strong fluxing mate- other is the substitution of a glaze with a higher firing rials like borates, sodium oxide, or lead, the healing of temperature. pinholes is promoted. Controlled increments of the flux added to the glaze and then fired will indicate the amount of flux needed. (6) Finally, if reduction firing is started at lower temperatures, it may leave carbon deposits in the ware which may later burn to a gas at the higher temperatures and bring about pinholing. Duntlng This term is applied to a crack which tends to pass through both ware and glaze. As a fault, it is caused by thermal shock. Dunting usually occurs during the glaze firing, occasionally during the firing cycle, but more often during the cooling period. When dunting occurs during the heating cycle, it can be recognized be- cause the edge of the crack will be somewhat smooth due to the melting of the glaze. If, on the other hand, the edges are sharp, dunting has occurred during the cooling process. The remedy for dunting is to fire slowly during the initial stages and to cool the kiln slowly. Ware should not be removed from the kiln until it can be Blistering o/tcp~ ,esults from overfiring, which causes handled with the bare hands. some materials to bubble and leave craters.

February 1972 23 Master Craftsmen Exhibition

THIRTY-TWO INVITED ARTISTS from twelve states, Canada and Spain contributed works which in their opinion represent their most recent style for a first exhibition at the Art Gallery of the State University of New York at Binghamton. The exhibit opened November 7 and con- tinued through the month. According to Michael Milkovich, Galle D" Director, the expressive possibilities of clay and other materials have recently developed to where these crafts are valued not only for their practical purpose but also for their aesthetic value. The variety of ways they are used by artist-craftsmen provide us with an exciting survey of what is happening in the field of crafts today. It was with the idea of enriching the appreciation of these arts for the University and the community-at-large that the exhi- bition was organized. Ceramists represented in the show include Robert Arneson, Clayton Bailey, Marvin Bjurlin, Sally Ann Endleman, Wayne Higby, Nancy Jurs, Robert E. Klein, Jeff Low, Daniel Rhodes, Carl Shanahan, Bill Stewart, John Tuska, Frans Wildenhain, and Richard Zakin. Presented here are a few of the ceramic pieces included in the exhibition, along with each artist's statement con- cerning the work he selected for showing.

Robert E. Klein, Tall Vase, 30" x 8" "'Pottery brings to mind some use[ul object related to the environment in which it was created. In my work, shapes, colors, and/or textures are unconsciously derived [rom the rural setting in which I live."

24 Ceramics Monthly Marvin Bjurlin, 8-Quart Casserole, 9" x 17" "I seek to utilize masses which are sculpturally valid and sur[aces which are painterly. In short I want to bring to traditional ceramic materials a sense o[ new life and visual excitement."

Wayne Higby, Landscape Storage Jar, 12" x 13" "'Like most people I try to put as much joy into my life as possible. Right now I enjoy making pottery. I hope that the results o[ my work bring some joy to those who experience it."

Try 1972 25 Frans Wildenhain, Vase, 21" Stoneware glaze blue inside "First there is the idea. Without it, I can't work when I have no idea I don't work.'"

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~ ~i~I~ Richard Zakin, Conical Pot, 15" x 11~" "'These pots are fired to cone 06 i (1859°F). I fire at this temperature i- in order to ob2ain a type of saturated color that I would not be able to i obtain at higher temperatures. I have added materials such as sawdust and perlite to the clay. These materials burn out in the fire, producing a textural effect and giving the clay a mortar-like quality. The rectangular pot was formed by the "hammer and anvil" method; the conical #Jots by the coil method. I am strongly influenced in my work by the aesthetic and the techniques of Pre-Columbian pottery of Peru."

Daniel Rhodes, Erosion II "Making "art" is impossible. All one can do is to leave traces of one's life. This cannot take preconceived forms. At age 18 one can hardly guess what he will be at 50. The trail, if it is truly a mark of honest expression will be uniquely valuable; it will objecti[y the inner life and furnish guide lines into the still unknown. It will perhaps be valuable to others also in their realization of the moment and their apprehension of the possibilities of life. Expression has to do with our total selves, our identity, and it takes many forms besides those we call art. A whistled tune, a gesture, the shape one gives to a pair of old shoes. It is search, awareness, projection. Perhaps what we honor with the name of art are those projections of seIfhood which we feel to be completely honest. If art forms inhibit the search they must be discarded or transformed. I[ the trail one leaves in work and in living becomes confused, obscured, or contradictory, never mind. That may be a sign of truth and is to be pre- ferred to easier, neater configurations. The outward forms of painting and sculpture give no assured avenues toward the genuine or the valuable. They exist only as possible vehicles among many others.'" February 1972 27 when the clay is leather hard. This permits the air to Putting Bubbles escape as the glass bends during the firing. The holes should not be larger than 1/16-of-an-inch in diameter. If the air holes become larger than recommended, they in Glass should be patched after the mold has been fired. If this closes the holes, open them with a darning needle while by HARRIETTE ANDERSON the paste is still damp. Whiting, porcelain kiln wash, or a separating powder may be mixed with water to form a paste for patching. If the clay used for the mold normally fires in the Cone 06 range, the mold should be pre-fired to Cone 013. Underfiring results in a more porous mold. The mold may be shaped by the craftsman, by either the thrown or hand-built method. Bisque-fired green- ware is adequate material for firing glass if it meets the requirements mentioned above. It is necessary to drill small air holes in the bottom of such a piece after it has been fired to Cone 013. Prepared molds are also available for glass work. If a mold is being designed and made specifically for slumped glass work, the craftsman should keep several points in mind. The mold must be considered as a tool to give contour to the fired piece. If there is detail in the mold, it should work with the total design and not dominate it. If the mold shape is the dominant feature, a colorant might be used with no additional design. When the mold has been fired, it is dampened and the inside surface painted with a thin coating made of water and whiting or some other separator manufactured for this purpose. When the coating is nearly dry, any brush marks which show up may be removed with a damp AN UNDERSTANDING OF THE MATERIALS involved and scrubber sponge. When thoroughly dry, the mold is ready their behavior under different working conditions are for use. Before each firing, porcelain kiln wash is sifted essential if the craftsman working with kiln-fired glass is on the mold, using a sieve or sifter made of 100- or 120- to achieve his effects by plan rather than chance. Putting mesh wire cloth. bubbles in glass adds a new dimension to work in this Glass blanks must be cleaned with a detergent or some medium and creates a special brilliance when light is other glass-cleaning agent before the design is applied. focused directly on them. After this, only the glass rims may be handled. The craftsman may control the size and location of Squeegee oil is used to "paint in" lines for controlled bubbles or he may allow them to distribute freely in ran- bubbles. Hard-fusing clear enameling flux is sifted over dom sizes. While there are a number of techniques for the oil for producing colorless bubbles and the excess is controlling bubbles, random bubbles are achieved by just tapped off on a paper towel. Transparent enamels or one process (although the materials used to accomplish "ices" are used for bubbles with color. The enamels are this may vary) and their distribution and sizes will only the same as are used for enameling on metal, and ices be known when the laminated glass object has been taken are enamels adjusted in formula to be compatible to the from the kiln. Mica flakes may be used for the controlled surface of glass. While they are almost transparent, they distribution of bubbles but are not being considered here fire clearer than translucent enamels. because their presence is too obvious in the fired piece. Diagrams of straight or curved lines are worked out Laminated glass is the technique of placing two glass on paper and placed under the glass blank. The amount "blanks" on a mold and firing in the kiln until the glass of space between the lines determines the size of the slumps enough to take on the approximate mold shape. bubbles. Next, squeegee oil is applied with a brush, fol- The size of the glass blanks may be smaller than the lowing the diagram. If single bubbles are desired, oil is mold on which they are fired, but they should not be painted in either straight or curved lines on each of two larger. While the blanks need not necessarily be the blanks of equal size. Powdered enamel is sifted over the exact shape of the mold, the two blanks used for lamina- blanks, the excess is tapped off, and the oil is burned off tion must match. by placing the blanks in a cold oven and heating to The two major requirements for a mold used for 325°F. After this, the oven is turned off and the glass is firing glass are that the inside bottom be fiat or slightly allowed to cool. Through the application of heat, the convex, and that its walls have a gentle slope. If the mold combination of oil and powdered glass forms a crust, is made of clay, three or four small holes are made in which allows corrections in the lines to be made. the bottom of the mold near its curve, using a thin brad, Sometimes smears and fingermarks show up in the

28 Ceramics Monthly t~.c,.o.. .. ~.. ~ -

Diagram o[ lines is [ollowed to apply squeegee ....©, oil with a brush [or a pattern o[ single or double bubbles on a glass blank.

The glass circle is placed on a sheet o[ paper toweling and a coating o[ transparent enamel is silted over the sur[ace to cover the oil.

Excess enamel is tapped o[[, then the blank is heated in the oven until 325°F is reached; this temperature burns away the oil.

Oil and powder [orm a crust through the application o[ heat which allows sgra[[ito work to be done to correct any mistakes in lines. I ~ "Ill I

Single bubbles resulted [rom a design o[ curved lines (right) on two 8-inch-square blanks. The blanks were combined with lines going in opposite directions [or [iring (le[t).

:, • .. . • o

Lower blank [or double bubbles has enamel silted on the glass in an even layer and the lines removed by sgra[[ito, [ollowing the diagram.

Blank with sgra[[ito lines and blank with oiled lines are positioned at right angles, the prepared sur[aces [acing on the prepared mold [or [iring.

Long, thin bubbles appear where the sgra[[ito lines were cut. The round bubbles result [rom air tre.pped in the so[t dry enamel powder. fired piece, even though care has been taken to thorough- ly clean the blank and handle it properly. Or a prolonged firing schedule may cause the surface of the blank to have a clouded film. There is, however, a way to prevent these possibilities. Before combining the two blanks, place the upper blank on a paper towel and sift a thin film of low-fusing enamel flux over it. If the underside of the upper blank has a design on it, carefully place it on waxed paper, design-side-down; or, if the space on the designed blank allows, suspend it on bottle caps while coating the top with flux. For the single bubble effect, place the lower blank on the prepared mold and cover this with the upper blank so that the lines are at right angles to each other, and the powdered glass on the two blanks touches. If it is necessary to correct the position, lift the upper blank straight up and adjust the angle while holding the top blank above the lower one before replacing it. There will be a bubble in each square formed by the assemblage when this is fired. Double bubbles may be achieved using the same dia- f gram or sets of lines as for single bubbles. The procedure, however, is actually the combination of sgraffito work and squeegee oil lines with the powdered enamel. The upper blank is prepared the same as for single bubbles, with oil lines and a sifting of enamel. On another blank of the same size, sift an even layer of enamel. The powder may be the same color as the upper blank, or a contrasting one; if the layer of enamel is too thick, how- ever, the sgraffito lines will tend to close up when as- sembled with the upper blank. A few experiments will help determine how much powder is required to give the desired effect. If the lines on the diagram are indistinct when you work with dark colorants, use a large sheet of i!i i!iiiiiiii!~ glass with a light under it for a working surface. Transparent enamels and ices reveal the bubbles more effectively than opaque enamels. A combination of two Bowl with Seven Branches has a bubble trapped colors will give a hint of a third color where they inter- in each petal of the design set in seven sect. To duplicate a piece using the same color combi- equidistant places on the glass bowl. nation, it is necessary for the color of the upper and lower "Stars" is a 15-inch bowl with opaque white blanks to be in the same order. By reversing the color of enamel applied over oiled lines to form the stars. the blanks, a different value of colors will result. Bubbles were trapped at angles where transparent Use a ceramic tool or any pointer to sgraffito the lines rose enamel was sifted on lower blanks. in the enamel powder. Place this blank on the mold and top it with the blank of oiled lines as prepared for single squeegee oil, using the same procedure as for one of the bubbles, with one set of lines at right angles to the other. blanks for single bubbles. The designed blank may be There will be oblong bubbles where the lines were used as the lower blank, then topped with another blank sgraffitoed and round ones that result in the dry powder of the same size. due to the trapped air in it when fired. Experimentation is necessary to find the most satisfac- Random bubbles occur when mixtures manufactured tory firing results; this involves the type of glass, kind specifically for this purpose are sifted on the lower blank. and size of kiln, kiln load, and firing schedule. In general, Random bubble mix can be made by combining four a temperature of 1425°F is desirable for laminating single teaspoons of transparent enamel, two teaspoons of Ferro and double strength glass. Frit 3396 and 1/16 teaspoon of baking soda, and mixing HARRIETTE ANDERSON is a textile designer turned thoroughly. After the dry mixture is sifted onto the blank, craftsman in glass. After a brief exposure to glass at a it is topped with a matching blank which has had low- workshop at the Rochester Institute of Technology, Mrs. fusing enamel flux lightly dusted over it and fired. Some Anderson soon found her entire attention consumed by manufactured random bubble mixtures require a coating the medium. The article presented here is the result of of gum on the lower blank before the powder is applied. her efforts to give a glass object textural design. Mrs. Bubbles will result in any small space completely sur- Anderson is the author of "'Kiln-Fired Glass," published rounded by an enamel. The design is painted in with in 1970 by the Chilton Book Company.

February 1972 31 CERAMI CRAFT Gas Kilns .... "The Pint Size BruteI'

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32 Ceramics Monthly CERAMACTIVITIES people, places and things

WORKSHOP LISTINGS COMING UP Riegger Workshops, 5835 Bowness Road, ALFRED ANNOUNCEMENTS The annual "Summer Workshop" listings NW, Calgary 45, Alberta, Canada. Daniel Rhodes, professor of ceramic art will be published in the April issue of CM. in Alfred University's College of Ceramics, Summer schools and workshops not already ~ was invited to ex- contacted are invited to send information FLORIDA CRAFTSMEN hiblt examples of glass work- The Florida Craftsmen 21st Annual sculpture at the about pottery, enamel and d ~ his shops: workshop name, place, dates of State Crafts Show was held at Lowe Art Museum of Mod- sessions, length of courses, course descrip- Museum, University of Miami, from Octo- ern Art in Kyoto, tion, names of instructors, and where to ber 28-November 21, 1971. Jurors were Japan, and in the write for information. Send this to Mrs. Donald Wyckof[, executive vice president gallery of the State Frances Sawyer, Ceramics Monthly Maga- of American 'Crafts Council; Robert Eben- University of New zine, Box 4548, Columbus Ohio 43212, dorf, instructor in the New York Uni- York at Bingham- before March 1. versity system; and John Baratte, Director ~'~ ~ ton. Four examples of Lowe Museum. 49 pieces were selected . of Rhodes' sculp- from 427 statewide entries. ture were on dis- TAG TEAM GLASS BLOWING To quote from John Baratte's foreword play, beginning Glassblowing students at Oakland's Cali- in the show catalog: "Increased industrial- November 2o at the Kyoto Invitational fornia College of Arts and Crafts recently ization and mass-production techniques show for representative American ceram- challenged their glass "master" counter- long ago outstripped the possibilities of ists. The exhibition was scheduled to parts at the University of California's the neighborhood artisan. The emphasis remain in Kyoto for a number of weeks Berkeley campus glass workshop to a Tag for craftsmen has continued to shift from before being moved to the Museum of Team Glassblowing competition. producing high-quality utilitarian items to Modern Art in Tokyo. The competition was conceived by Torn high-quality art objects, although it is true The library-fine arts building under Caesar and John Lander, students in ad- many works, such as pottery, retain tradi- construction at Alfred University for the vanced glassblowing at the Oakland Art tional uses. But this ongoing shift has not College of Ceramics, will be named in college and was held at California College altered the basic measuring devices of any honor of a former art teacher and ad- in of Arts and Crafts glassblowing studio craft piece--that it be sound in idea, rninistrator, Charles M. Harder. The build- at 1221 4th its recently acquired foundry original in design, suitable in materials ing, which will be called Charles M. Street, Berkeley, where over 100 spectators and competent in execution. Foremost Harder Hall, contains 96,000 square feet were accommodated for this first-of-its- among the objectives of Florida Craftsmen of space enclosing a central courtyard. Caesar, kind event. According to organizer is the encouragement of these high stan- Scheduled for completion by 1973, Harder any and all techniques were permissible. dards. The Lowe Art Museum concerns Hall will house the Division of Art and teams of three glass Each side had three itself with quality in every area it touches; Design of the college, also the four-story allowed each individual blowers each, and the result is .... an excellent exhibition ceramics college library, a 425-seat audi- seven minutes time in each approximately and an exhibition of excellence .... that torium, an art gallery, studio and office each team 20-minute "heat," during which every member of Florida Craftsmen can and a courtyard kiln and furnace of facilities, collectively produced one finished piece be proud to see and discuss." room. glass. Barbara Tiso, a potter and sculptor, has from outside the glass- Faculty judges been appointed to the post of assistant blowing field selected the winning teams : professor of pottery in the Division of Art basis of originality and successful on the and Design in the college of ceramics at execution. They also chose the team best i! Alfred. Miss Tiso, whose appointment representing each institution for a final dates from November 5, holds a bachelor playoff. The University of California was of fine arts degree from the Cleveland judged over-all winner and, the following Institute of Art and a master of fine arts the CCAC contingent produced a day, degree from the Cranbrook Academy of commemorative prize cup to present to the Art. As a student, she held a number of victor. working scholarships and teaching assis- addition to Caesar and Lander, the In tantships. Her work has been shown in a team included: David Bellantone, CCAC number of national exhibitions. Steve Dowler, Christopher Lonc, Karen Pedersen, Jeff Schmidt, Randy Strong, and Mary White. Artist-competitors on PENLAND WORK SESSION the University of California team were: Fifty of the top craftsmen in the United Paula Bartron, Michael Cohen, Topher States were invited to participate in a Delaney, Richard Meitner, Barbara Nei- work-conference at the Penland School of doff, Mark Paisin, Richard Sanchez, Alan Winner of the best in show award was Crafts in North Carolina, December 6-17. Wanzenberg, and Bob Ward. John Tilton for a large raku bottle, pic- The work-session was designed as a learn- tured. Other award winners in ceramics in.g-from-each-other conference through and glass were: Phillip Ward, Gainesville, actual studio work using all of the facilities HAL RIEGGER WORKSHOP "Memory's Gift," ceramic table with of the school. The program was sponsored Hal Riegger announces a "Bizen Pot- memorabilia; Vina Schemer, Jacksonville, by Penland School and funded by the tery" workshop to be held July 3-August raku pot with stamp design; Ray Gross, National Endowment for the Art& 4, at Salmo, British Columbia. The five- Lake Worth, raku pots with luster glaze; week total experience will include making facqueline Bartling Ward, Gainesville, MEETING AT GATLINBURG and firing pottery, building a wood-fired "Lady with Ambulance IV," photo emul- NCECA Meeting of the National chamber kiln, in addition to board, camp- sion on stoneware; Lee Shank, Jacksonville The Annual Education for the Ceramic ing and swimming. For information and Beach, stoneware bowl; and Jack Brewer, Council on application, write to Experiment "A" Hal St. Petersburg, for a glass bottle. Continued on Page 36

February 1972 33 r HEAR THIS ! HEAR THIS!

TING...TESTING...TESTING...To prevent food poisoning. The .~ral Food and Drug Administration has set strict safety standards :eramic glazes to be used with food and drink projects--plates, ;, bowls, even demitasse cups. AMICHROME HAS THEM...A Glaze Palette of Exquisite Pre- ,d Colors...Textures and Finishes to Please Every Taste--To ivate the Beginner and Inspire the Advanced Student...For ~nware, Bisque, Porcelain and Stoneware...AII laboratory roved to Meet or Exceed Prescribed Health-Safety Standards. CHEWS PET...Educators recommend Ceramichrome glazes... ~ty-approved and standard lines... Because they're so easy to y--because of their compatability...Fire at Cone .06 to 6... erglazes and top glazes can be fired at the same time...And Lys Magna Cure Laude. )r charts, technique sheets available from Ceramichrome, Inc. .:s distributors. m

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34 Ceramics Monthly Answers to QUESTIONS Conducted by the CM Technical Stall

q Since ]une, I have been doing reduction [iring, exclusively, Depending on the percentage of iron in the clay and the length zn a gas kiln. The glazes are line but not the bare clay. A and strength of reduction, the ferrous oxide will color the clay broken piece reveals a beauti[ul slate gray inside but the sur[ace from gray to black. When the kiln firing is completed and there is a raw tan. I start light reduction at Cone 016 and [ollow is no longer any unburnt carbon being injected into the kiln standard temperature elevations. At Cone 8 I reduce more heav- chamber, the atmosphere will clear and the unglazed portion of ily [or 30 minutes, then slow reduction to raise temperature to the pottery (and the inside brick facing of the kiln surface) will Cone 9 when I turn it o[/ and close up tightly [or 24 hours. become re-oxidized. Tile ferrous oxide will revert back to its Do you have an), suggestion that would help having the gray more stable condition as ferric oxide, producing tan to brown on the outside? --S.P. clay surfaces while, below this, the color will remain in its reduced state, namely gray to black. Angelo Garzio, Professor of Art at Kansas State University, "In order for the gray to be maintained on the unglazed sur- and a contributor to CERAMICS MONTHL'¢, reports to this reader: face, the following procedures used either singly or in com- "To answer the question, let me briefly explain the role iron bination, can be tried: plays in the coloration of clay. A solution to the problem lies 1. In case ferric oxide is presently being used in the clay body in a clear understanding of how iron reacts in an oxidizing for coloration, substitute ferrous oxide instead. Caution--at the and reducing firing condition. temperature you fire to, don't use more than 2% of iron! "Iron is one of the few materials found in most clays that is 2. After shutting the kiln off and allowing perhaps one-half visibly affected by a reduction fire. In its most stable state, it hour to an hour for the glaze surfaces to solidify, start tossing is known as ferric or red iron oxide (Fe.,O~). As such, it gives through the spy holes a few pieces (one or two) of wood and colors ranging from tans, through rust to brown. During the close the spy hole immediately. Continue with this every 10-15 period of reduction, the fuel used to fire a kiln is only partially minutes until color is no longer visible in the kiln chamber. burned or oxidized, therefore introducing some unburnt carbon One must be prepared to expect some possible changes in the in the kiln chamber. In order for the oxygen-hungry carbon glazes as well as on the clay surfaces. monoxide to complete its chemical change to carbon dioxide, it 3. Try applying a very thin coat of a transparent glaze over will attack any source in the kiln chamber for free oxygen. Ferric those areas not glazed. oxide, being one of the few sources available for this transfor- "Obviously, experimenting with the above is essential until the mation, will revert to the ferrous or black iron oxide state (FeO). right combination or procedure is arrived at."

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February 1972 35 CERAMACTIVITIES Continued [rom Page 33 I STBY Arts will be held at the Arrowmont School of Crafts March 23-26. Featured at two KILNS sessions will be Ladi Kwali, the potter from Africa, who will be presented by Michael Cardew. Reservations for this event should be sent to NCECA '72, Ar- Formerly rowmont, Box 567, Gatlinburg, Tennessee. Anyone wishing information about joining POTTERY by DOT NCECA should direct requests to Roger ONE-STOP CERAMIC SERVICE Corsaw, Chairman, Membership Commit- Central New York Ceramic Supply tee, School of Art, 520 Parrington Oval, 213-215 Second St. Norman, Oklahoma. LIVERPOOL, NEW YORK 13088 A DECADE OF DESIGN Sorry, no ¢atalog available The Columbus Gallery of Fine Arts in Columbus. Ohio is featuring an exhibit, "A Decade of Design," which will con- tinue through April. Many of the works Watch for the annual are winners of various awards from SUMMER WORKSHOPS DIRECTORY Designer/Craftsmen Exhibitions of the past decade and have been purchased by resi- in the April issue of CM dents of the city or by the Columbus Gallery. Media represented are ceramic, enamel, glass, metal and textile. Seeley's "WHITE VELVET" Casting Slip Included are three stoneware vessels by Guaranteed more perfect cast- Claude Conover; "Burning Bush." can- ings per gallon. Seeley's also delabra by Don Drumm; chalice by Con- ( produces a superior STONEWARE and RED casting sllp. Complete don F. Kuhl; decanter and liqueurs by '70-'71 catalog $1.00. Dominick Lablno; candle holders by Frederick A. Miller; covered ceramic jar SEELEY'S CERAMIC SERVICE, INC. by Tom Shafer; stoneware pot by Toshiko 9 RIVER STREET, ONEONTA, NEW YORK 13820 NOW! Takaezu; and stoneware fountain by Robb Wilson. The exhibition coincides with the De- The Famous A Good Kiln signer/Craftsmen '72 exhibition which KLOPFENSTEIN opens March 4 at the Columbus Gallery, POTTER'S WHEEL and continues through April 8. Write for FREE Information Need Not Be SKY, SAND AND SPIRITS H. B. KLOPFENSTEIN & SONS RFD. ~2 Dept. A ¢restline, Ohio 44827 An exhibition, "Sky, Sand and Spirits: Navajo and Pueblo Indian Art and Cul- Expensive ture Exhibition." opened at The Hudson River Museum in Yonkers, New York on Save up to 37% using a few January 9 and will remain ~,n view pleasant hours to fit together through March 5. The exhibit x~as orga- one of our easy-to-assemble nized for the Museum by Dr. Seymour H. Koenig. a lecturer in Art History at kiln kits. Fun to do ~ efficient Columbia University, in which he has to use. Step by step instruc- used art as a vehicle to eommuni:ate the tions for assembly and easy cultures (~f the Navajo and Pueblo Indians. beautiful firing. He explains, "For these people, art, de- sign. ceremony and ritual are separable These Are Kilns Made By neither from each other nor from daily What does People Who Do Ceramics and living... The goal of the exhibition is Know What A Kiln Has To Do. to communicate the long history, the con- N.C.M.A. tinuity of tradition, and the present reality mean to you I Commercial Kiln Kit, of the Navajo and Pueblo Indian Ameri- NCMA . . . the association of major 24~x24"x27" deep ...... $219.00 cans." The entire exhibition area of the Muse- manufacturers in the hobby ceramic Studio Kiln Kit, um is being used for the works b(;rrowed field, sponsors the industry's only i 8"xl 8"xl 8" deep ...... $109.95 from private and museum collections. On national promotion program, including Hobby Kiln Kit, loan from the American Museum of an annual trade show, national maga- 12#x12"x131/2" deep ..... $ 69.95 Natural History is prehistoric Pueblo pot- zine publicity, national ceramic hobby tery. Augmenting the materials frcm the day, and visual and printed promo- Send for free brochure. museums are collections from private lend- tional aids. Support the manufacturers ers which include Navajo and Pueblo displaying this seal, and you help the pottery. ceramic industry grow. WESTBY MASTERPIECES OF JAPANESE CERAMICS Ceramic Supply & Mfg. Co. The Seattle Art Museum has received National Ceramic Manufacturers Assoc. 408 N.E. 72nd St., Seattle, Wash. 98115 a grant of $15,000 in matching funds ~3 E. Main St., Moorestown, N.J. 080S7 Continued on Page 37

36 Ceramics MoTzthly We'd like to be

CERAMACTIVITIES YOUR supplier... Continued [rom Page 36 CLAYS from the National Endowment for the GLAZES Arts, Washington, D. C., to help finance TOOLS "Masterpieces of Japanese Ceramics," the major exhibition scheduled for 1972. Orga- KILNS nized by Henry Trubner, Curator of Schools and insfitufions write for Asiatic Art, in cooperation with the Japa- FREE literature. nese Government Agency for Cultural OHIO CERAMIC SUPPLY, INC. Affairs, the exhibition will celebrate the Museum's 40th anniversary and its long- BOX 630 KENT, OHIO 44240 standing interest in the field of Oriental art. It will be held from September 7 thrcugh October 22. We're celebrating About 130 Gutstanding examples of our 20fh year of pubmi©aflon! Japanese ceramic art will be assembled from museums and private collections throughout Japan. Following its initial showing in Seattle, the collection will be presented at the William Rockhill Nelson SERVING Gallery---Atkins Museum o[ Fine Arts, NORTHERN CALIFORNIA Kansas City; Asia House Gallery, New York; and the Los Angeles County Mu- Shimpo, Robert Brent, Sk-tf and seum o[ Art, Los Angeles, before it is re- Lockerbie wheels. turned to Japan in June, 1973. Gas & Electric kilns. CRAFT ALLIANCE HOLIDAY EXHIBITION Clay bodies and raw materials. The Eighth Annual Members' Holiday Complete pottery supplies. Exhibition was held at Craft Alliance in St. Louis with 44 members participating. Catalog free to No. Cal. Schools & Institutions The items pictured in the foreground are part of the group of gold seal critic's GEONELL'S choice winners. Awards for this merit were Ceramic Supplies Inc. given to Vernon Bre]cha, McFarland, Wis., 3525 V|ctor St., Santa Clara, Calif. 95050 blown ~las~: [rina Braeuninger, St. Louis;

Jack Cann,m, Edwardsvilh ~, II1.; Jit~ Can- trell, Bardstown, Ky.; Michael Chipper- [ield, 'Columbus, Ohio; Dan Edler, West Branch, Ia.; Louise Robbins, Houston, Texas; Henry Serenco, Omaha, Neb.; Wilda Swi[t, St. Louis and Arthur To- wata, Alton, Ill., for ceramics. Enameling awards were given to Hede Howaldt yon Nagel of New York City, and Catherine Milovich of St. Louis. The guest critic was Mary King, art critic of the St. Louis Post Dispatch.

STAINED GLASS EXHIBITION AT THE CLOISTERS On December 17, the Metropolitan Mu- seum of Art opened an exhibition of all the stained glass in the Museum's collec- tion at the Cloisters, the Museum's branch for medieval art in Fort Tryon Park. The exhibition, "Stained Glass Windows of the Middle Ages and the Renaissance," is one Send CaSh, CheCk or money order and COLJDOn J~ CR,;~.e,'sse.d C..~ifo;-ni¥~-e.,-~-~-~,rtiffc-.'te) Continued on Page 38 February 1972 37 • • .for school CERAMACTIVITIES and studio! Continued [rom Page 37 of the few large showings of stained glas~ ever held in this country, and contains some 75 pieces ranging in size from small , Mill mix panels to complete windows over 16 feet e drudgery high. The showing contains important glass • creative from France, England, Germany, Austria. :liorl. and the low countries, much of which has never been shown by the Museum. Among the outstanding pieces are a high gothic window from Sain-Germain-Des-Pres in Paris and the 14th-century Austrian win- dows from the church of St. Leonhard in Please Mention CM Leventha[. The exhibhion will remain cn when writing our advertisers view at the Cloisters through July 1. The installation was designed by Peter Zellner, associate manager of the Muse- tlm's design department, and Stuart Sih'er, PACIFICA Potter's Wheels administrator for design. In addition to the galleries housing ~many models from kNs @ S39. to professional potters stained glass, the exhibit will include an wheels for $149. ,~udio-visual orientation room in which two --are more rigid than most short films will be shown, one on the •--easily dismantled for re•v- inq :echnique of making stained glass and its ~have a unique system of assemblage into a window, the other an adjustments so that they ~ppreciation of stained glass through the COMFORTABLY fit users from 4' to 6' 4" tall ages. Also included is a chart showing the technical development of stained glass, and All models now ready for immediate shipment a demonstration of how to tell a fake Write: stained glass window from a genuine Box 1407. Dept. C| Ferndale, Wash. 98248 medieval one. AFRICAN CRAFTSMEN IN AMERICA In June 197! craftsmen from the ...... , Southeast gathered at an American Crafts :: Council workshop in the Arrowmont School at Gatlinburg to meet Michael PARAGON Kilns ~ enameling and ceramic. Tip the scales in your favor. Cardeu,. Complete line of THOMPSON enameling sup. Cardew had spent 20 years in West plies. Distributor for all DUNCAN products This new college text gives you a and JACOUELYN ceramic stains. Classes in weighty advantage in unscrambling the Africa in an effort to preserve the vital enameiinq and ceramics. Large selection of mystifying science of glaze calculation. art spirit of the primitive pottery. He GREENWARE. Highlighted by charts, reference tables founded a pottery training center at Abuja and step-by-step guidelines, this book in Nigeria to sensitively help in the Cross Creek Ceramics, Inc. makes a most valuable addition to the 3596 Brownsville Rd., Pittsburgh, Pa. 15227 library of both the serious student and transition from a more primitive culture the independent potter. to "modernization." T The results of Mr. Cardew's visit to America have inspired a group, headed by Charles Counts, to plan an African- kmerican craftsman-to-craftsman project. The sponsoring group has invited Mr. Cardew to return to the United States and bring with him the oustanding Nigerian potter, Ladi Kwali. For six weeks, begin- ning in April they, with C. Ko[i Athey, Director of the JOS Museum in Nigeria, will be traveling here. Thls will provide an opportunity for Ladi Kwali to demon- strate her skills, especially to young black Americans. Mr. Cardew and Mr. Athey L CLAY MASTER will interpret not only the language, but Quality Kick & Electric the meaning of the potter's process to Kick Potter's Wheels contemporary artist-audiences. The pro- ~.~ jr~ ~ EXCLUSIVE FEATURES • •eooee * ••eeeoeeoeeeee • eeeeeoooe gram will include slides, lectures and u Steel Rimmed 110 Lb 26" dia. concrete flywheel • Extra : biJlikcn i'JrcJJ ". question-and-answer discussions. Organiza- large, wide, safe, footrests tions interested in further information may ELECTRIC KICK WHEEL • Table has raised edge • P.O. BOX 8564 San Jose, Calif. 95125 SZ40.00 FOg FACTORY Made entirely of metal & ~, Please send me __ Postpaid copies of contact Charles Counts, For African concrete u All kick wheels Craftsmen in America, Route #2, Rising are equipped for Motor Drive • Glaze Calculation @ $3.95 each, (Calif. • Add our motor drive kH : res. add 5% taxi • Fawn, Georgia. later if desired Write for circular • Name • INLAND • Send news, and photos, i/ available, about METAL FABRICATORS "* Address *- "People--Places--Things" you think will P.O. Box 723 be o[ ceramic interest. We will be happy STANDARD KiCK WHEEL San Bernardino, Calif. 92402 City State Zip $165.00 FOB FACTORY Phone (714) 885-4614 O00000000QOOOOOOOOOOOO00000000000000 to consider them [or use in this column.

38 Ceramics Monthly ITINERARY Continued [rom Page 13

~Foctory .N[ARYLAND, BALTIMORE i :!i i through February 4 Maryland Craft Council juried exhibition; at the Jewish Community Center. March 5-31 "Three-Man Show," fea- tures work of Sonia Gordon, Marti Stroud, and Milton Hartman; at the 201 Home- land Avenue Gallery.

.'~'IASSAC H US ETTS ~ BOSTON through May 28 "Ancient Art of the *WHEEL CLAYS ,..Cone 06 thru 10 Americas," an exhibition of 145 objects • SLIP CLAY ...... Cone 06 and S from 23 collections in Boston and New • SCULPTURE CLAY ...... Cone 10 eVariable Speed England; at the Boston Museum. ~ • Reversible 9" MIGHIGAN, ALBION Throwing Head through February 13 Ceramics by Georgette Stull; at Albion College. Professional quality wheel, yet simple enough for beginners; also available ~ICHXOAN, DETROIT with motor, bench. Ask for literature. • Rugged cast aluminum base through March 25 "Pots That Potters • Built-in water container Admire" exhibit; at Pewabic Pottery, • Removable drain plug 10125 E. Jefferson. • Speed range of 38-130 rpm. • Attached wedging wire, arm rests MICHIGAN~ GRAND RAPIDS • Recessed head for making bats February 13-March 1 "Twelve Dutch INDUSTRIALMINERALS CO 1057 Commercial St., San Carlos, Ca. 94070 Write for literature on lapidary Equipment Potters"; at the Grand Rapids Art Center.

B&I MFG. MINNESOTA, ST. JOSZP~-ST. CLOUD DEPT C, BOX 1267, GALESBURG, IL 61401 February 14-March I0 "Craft Commit- ment" exhibition; at the College of St. Benedict. We're celebrating MISSOURI, ST. LOUIS Gare is dressed our 20th year of publication! to kiln February 6-March 1 Ceramics by Jack • . . in stainless steel jackets and a 2-year factory warranty on electrical components. Cannon; at the Craft Alliance Gallery. Check Gate's net prices before you make your next kiln purchase and make a killing. NEW JERSEY, NEWARK Gate Ceramic Supply Co., Inc. Continuing ReinstaIlation of the Ori- P.O. Box 830, Haverhill, Mass. 01830 ental Collections includes pottery from China, Korea and Japan, ranging from POTTERY the 10th century B.C. to the 19th century. Korean pottery from the 4th to 17th cen- EQUIPMENT ARISTOCRAT OF CRAFTS turies and Japanese pottery are among Classes & Supplies for: Enameling • Decoup. SPECIALISTS age • Macrame • Leaded Glass • Flower highlights of the exhibition; at The New- Ceadincj n Silversmithing • Full Line Grum- ark Museum. bather Art Materials LEADING LINES OF KILNS (gas and Open Daily 9 AM-4 PM Eves by Appt. electric), WHEELS, TABLES, PUG Continuous C:asses NEW YORK, ALBANY MILLS AND TRUCKS. KRAFT KORNER through February 20 "Victorian Glass," Southern Sales Office covering southeastern 5864 Mayfield Road a Traveling Exhibition; at the Albany In- U.S. -- N.G., Tenn. and ell states southl CleYeland, Ohio 44124 Fhone (216} 442-1020 PAUL STROMGREN & ASSOCIATES stitute of History and Art. 3919 Sevilla St., Tampa, FI. 33609 Write or cell: {813) 831-8081, night or day. SEW YORK, NEW YORK Sales & Service through April 2 "Salt Glaze Show," an exhibition of work by eighteen well-known potters, including Bill Alexander, Karen NEW Karnes, Don Reitz and Byron Temple. Technical information will be featured; at NEW No. 12. 1972 Catalog the Museum of Contemporary Crafts. February l O-A pril 16 Ceramics by CATALOG Rosanjin; at Japan House Gallery. $1.00 February 24-March 18 Greenwich House Catalog Sent Free Potters and Sculptors Kitchenware Show and Sale; at Greenwich House Pottery. To Schools & Institutions SCHOOLS, INSTITUTIONS and POTIERS. through April "Bernard Palissy and His School," an exhibition from the Museum's STANDARD VAN HOWE CERAMICSUPPLY CO. collection of earthenware of Bernard Palis- 11975 E. 40th, Denver, Colorado 80239 sy, his followers and imitators; at the CERAMIC SUPPLY CO. Continued on Page 40 Box 4435, Pittsburgh, Pa. 15205

February 1972 39 COMPLETE 55-PAGE CATALOG • Raw Materials ITINERARY • Frits, Glaze Stains Continued /torn Page 39 • Glazes- Low & High Fire • Clays -- Blended & Basic Metropolitan Museum of Art. Continuing "Ancient Mexico"; at the • SKUTT, OSCAR-PAUL, Museum of Primitive Art. LOCKERBIE Wheels Continuing through June "Stained Glass • PARAGON & SKUTT Kilns Windows of the Middle Ages and the Catalog S1.00 Renaissance," an exhibition of all stained (Free in Schools & Institutions) glass in the Metropolitan Museum's col- Paramount Ceramic, Inc. lections; at the Cloisters. 220 No. State Fairmont, Minn. 56031 NEw YORK, YONKERS through March 5 "Sky, Sand and Spirits: Navajo and Pueblo Indian Art Watch for the annual and Culture Exhibition"; at The Hudson River Museum. SUMMER WORKSHOPS DIRECTORY in the April issue of CM NORTH CAROLINA, CHAPEL HILL March 4-5 Fifth Annual Carolina Friends' Craft Fair; at the Wesley Founda- -- r-r i,.t~, ~, 7k~USI, r1=u~ tion. CERAMIC EQUIPMENT -- ¢oncrere TtVWrle¢/ WALKER pug mills • LOCI(ERBIE, NORTH DAKOTA, GRAND FORKS OSCAR PAUL and SHIMPO WEST February 2-18 Ceramics by Daniel J. potter's wheels. Send large stamped ] kolt]:o, ~¢15y~o~,i?~ [] Anderson; Ceramics and Sculpture by Tom addressed envelope for brochures. B: Iv~.¢~;¢J P~rlx Kilx ~B Gipe; Prints and Drawings by Martin Capital Ceramics, Dept. CM Garhart; at the University Art Gallery. 2174 S. Main St., Salt Lake City, Utah 8411S

NOVA SCOTIA, HALIFAX February 1-15 "First Canadian Na- T ,o tional," Student Ceramic Exhibition; at i.~I J~_~, rl~ ~'~h F~~'c 1co ~,,, ~] the LOCKERBIEPotter's Wheel ,u~j V~'Y_" ";15"398-3~!';~ 52~'-6548 ilWII the Anna Leonowens Gallery. [][ ...... ]" FINEST KICK WHEEL MADE OHIO~ YOUNGSTOWN Used by colleges, schools through February 27 The 24th Annual and studio potters $175.00. Ohio Ceramic and Sculpture Show, at the Write for new circular to Butler Museum. Pnrfex Co. -- 7812 Boulder Ave., Highland, Calif. 92346 OKLAHOMAj OKLAHOMA CITY CATALOG February 27-March 19 Helen Watson Exhibition of Ceramics and Ceramic Sculpture; at the Oklahoma Art Center. FRANCOISE CERAMICS DISTRIBUTOR FOR: Paragon Kilns, Duncan Gle~eL No. 21 Underglazes, Bisq-Stain and Molds. IN STOCK: OREGON, EUGENE Large selection of Atlantic • Arnel a Ludwig Continuing Exhibition of work by 35 Schmid a Holland • White Ham • Fres-O-Lone & Weaver molds. Complete line ceramic supplies. * Ceramics artists includes ceramics by Rudy Autio, WHOLESALE AND RETAIL Betty Fevcs, Kenneth Shores, Henry Take- 113 49fh St. Sou~h St. Petersburg, Fla. 33707 * Stained Glass moto, and Peter Voulkos; at the new Gallery of Contemporary Northwest Art. o Lamp.parts, lighters, Museum of Art, University of Oregon. music boxes PENNSYLVANIA, PHILADELPHIA e Kemper tools February 1-March 20 Craft exhibitior. :eaturing jewelry and a group exhibition e Marx brushes of sculpture in cooperation with the Gal- eria Bonino, Ltd. of New York; at Phila- o Porcelain Flowers delphia Art All!anne. e Rhinestones, iewels, SOUTH CAROLINA, CLEMSON Sfarlites through February 6 The State Art Col- lection includes ceramics; at the College • Jewelry Findings, of Architecture, Clemson University. porcelain blanks SOUTH CAROLINA, COLUMBIA • Crushed glass, marbles through February 13 "Contemporary Finnish Design by Tapio Wirkkala," a • Copper enameling Traveling Exhibition of the Smithsonian • Plastics Institution. 2300 ° F -- CONE 8 February 20-March 19 "Tidzwater/12": 134 pages of more, more, morel both at the Columbia Museum of Art. Rush $I for your copy today. Kilns • Kiln Kits SOUTH CAROLINA, FLORENCE February 24-April 2 South Carolina WRITE FOR LITERATURE State Art Collection; at the Flcrence A-1 KILN MANUFACTURERS ML~szum. Mailing Address: Box 2254 Santa Cruz, Calif. 9S060 Continued on Page 41 Phone (408) 423-3200

40 Ceramics Monthly ITINERARY II / KILNCO. Continued [rom Page 40 TEXAS. HOUSTON through February 13 Chinese Gold. Silver and Porcelain from the Kempe Col- | Shown: Model 439.0 Stainless lection; at The Museum of Fine Arts. |Steel. 17Vz" wide x 18" high ] with automatie shutoff. $206.,50 WASHINGTON, SEATTLE I Manufacturer of Fine through February 27 "Masterworks of I Ceramic Kilns Asian Art," includes pottery and porcelain. I Established 1948 Chinese ceramics of the T'ang and Ming Dynasties; at the Seattle Art Museum. ~¥EST VIRGINIA. CHARLESTON mvf-~r~ ~1 Sold only February 26-March 26 "Toledo Glass National III," Smithsonian Traveling Ex- ~l~U u IILgU~ ] , U orze d hibition; at the Charleston Art Gallery. Dealers ~;ISCONSIN, MADISON J 1147 E. Elm W. P. DAWSON, INC. Fu.erton. Calif. 92631 through March 19 "Glass: Art Nouveau to Art Deco"; in the Brittingham Galleries

LETTERS MI~OL CQ Continued [rom Page 7 P. O. Box 81 (:rod Claremont Potters who visit antique shows California all potters should, for ideas and inspira- 91711 Wheels From tion) might be urged to take particular S9S.00 notice of the salt-and-slip-glazed stoneware Write for new brochures pots, Pennsylvania Dutch and othvrs. This is honest pottery and has s¢'mething to say to us. Russell Henry Birdsboro. Pa. Art-Crafts Supplies, Inc. 235 N.E. ~.7th St. Miami, Fla. 33138 IN ANSWER Distributor for: My thanks to Mr. Henry for correcting the "batter jug." In PARAGON Kilns • DUNCAN, GARE & the identification of ORTON CONES Oregon, where I grew up. my mother had L L KILNS MARX Brushes • JACOUELYN Stains a similar method for preserving her • . . the most complete line! The only kilns with patented DYNA-GLOW element holders. Write far information. SAN DIEGO Kickwheel Kit -- $69.00. L and L MANUFACTURING CO., Box 348 Robert Brent, Lockerbie, Oscar Paul, Shimpo 144 Conchester Rd., Twin Oaks, Pa. 19104 wheels, Electric and Gas Kilns. Pug Mills, Ac- cessaries and Supplies. Phone: 424-3250 WAY-CRAFT all-occasion G IFT idea 394 Delaware St., Imperial Beach, CA 92032 A subscription to CERAMICS MONTHLY makes "starter yeast" for bread, but used a glass an ideal gift for any occasionl Simply fill in the canning jar instead of a handsome stone- subscription blank in this issue, mark it "gift," CERAMIC& We'll an- ware jug. and tell us how you want it signed. SCULPTURE nounce your present with a handsome gift card SUPPLIES I'm passing Mr. Henry's information on ~n your name. CLAYS • GLAZES to the Mercer Museum, where I know it RAW MATERIALS If the rnclpiant of your gift is already i KILNS • WHEELS will also be appreciated. They are blessed subscriber to CERAMICS MONTHLY. we will RICHLAND CERAMICS, Inc. with a weahh of Pennsylvania earthen- extend the current subscription. Post Office Box 3416, Columbia, S. C. 29203 ware and stoneware that was collected before it became popular to collect such items, but are hampered by the fact that the proper use or name of many items CERAMIC were either unknown or unrecorded at the time of acquisition. EQUIPMENT Would you be interested in seeing if any SPECIALISTS mystery of your readers can identiiy a We Manufacture all Kinds of item, the purpose of which is unknown? Wheels: I'm enclcsing a picture of a piece that is KICK, 2-SPEED ELECTRONIC, 13 inches in its longest dimension, salt- JAPANESE HAND WHEELS. KICK WHIJELS WHEEL KITS, KILNS, PUG- glazed, wheelthrown, with the top sealed Basic /V[od. $119.00 MILLS, DOUGH MIXERS, CLAY off and one side flattened and an extra Powered Vers. $159 BOXES, WARE TRUCKS. thrown "neck" added at the shoulder to • BALL MILLS, SLIP MIXERS, SCULPTURE STANDS, RAKU EQUIPMENT, MIXING TABLES, FREIGHT provide an opening. Whether it was meant DOLLIES, HAND TRUCKS, etc. here, or hang on to lie flat as it is shown For ln/ormation Write To-- Wheel the wall. only its use would reveal. PIEPENBURG Potter's 3rd Ave. SIS E. Windemere Royal Oak, Mich. 48073 Elizabeth A. Powell ESTRIN MFG. LTD. -- 1767 W. Newton, Pa. VANCOUVER 9, B.C. , Canada - PHONE: 731-0312

February 1972 41 i i i 1000 ISLANDSMUSEUM Advertisers Index February 1972 CRAFTSCHOOL CLAYTON, N.Y. 13624 A-1 Kiln Mfrs ...... 40 Alpine Kilns ...... 4 NEW BOOKS American Art Clay Co ...... 8 Art Consultants ...... 38 SYLLABUS FOR BEGINNING FOTTERY Art-Crafts Supplies, Inc ...... 41 by F. Carlton Ball B & I Mfg. Co ...... 39 Simplicity unders2ores all technical infor- Bergen Arts & Crafts ...... 40 mation in this syllabus, a text for begin- Billiken Press ...... 38 EARLY AMERICAN DECORATION -- Jane Bolster, ning potters. The author, F. Carlton Ball, Brant Lake Arts Center ...... 42 Helen Gross. William Hilton originally wrote the material, some of Brent, Robert, Potter's Wheels ...... 6 ENAMELING ~ Charles B. Jeffery PAINTING -- Rollin Hanson, Charles Dibble, Ray which has appeared in articles in CERAM- Campbell, Gilmour ...... Cover 4 Parks ICS MONTHLY, for use in schools. Now Capital Ceramics ...... 40 LEATHER -- Steven Edwards POTTERY -- Richard Butz Steven Edwards, published in book form, it is meant to Central New York Ceramic Supply ...35 Penelope Fleming, John Smoensk supplement existing beginning pottery Ceramic Coating Co ...... 8 GOLDSMITHING -- Barry Merritt WEAVING -- Muriel Barnes, Glory D. Koehler, books, serving to answer questions which Ceramichrome ...... 34 Berta Frey beset beginning potters. Clay, kinds of clay, Craft Students League YWCA ...... 42 For further information write to: Emily Post, Director and clay-forming processes are discussed Creative Industries ...... 32 l0 Boudinot Street, Princeton, N.J. 08540 in detail. Following is an explanation of after June Ist to: Creek-Turn ...... 40 the terms earthenware, stoneware, china Crcss Creek Ceramics ...... 38 1000 Islands Museum Craft School and porcelain, with firing temperatures Dawson, W.P ...... 41 Clayton, 1000 Islands, N.Y. 13624 applying to each. In the next two chapters Dial-A-Glaze ...... 34 ' are good discussions of the various types of Duncan's Ceramic Products .... Cover 3 kilns, with accompanying diagrams, and a section on pyrometric cones. A chapter, Estrin Mfg. Co ...... 41 Brant Lake Arts Center "Focus on Form," discusses this impor- Evenheat Kiln Co ...... 41 tant area and includes diagrams of 12 Francoise Ceramics ...... 40 SUMMER WORKSHOPSIN ADIRONDACKS cylinders with a critique of each. The Gare Ceramic Supply Co ...... 39 2 WEEK SESSIONS • JULY 3 - AUG. 25 author treats the subject of glazes, slip Geonell's ...... 37 CERAMICS (inc. Raku, Saltglazing, Reduction and engobes in some detail; some formulas Haystack-Hinckley School of Crafts ...42 firing), WEAVING and SCULPTURE. For Bro- are included with instructions for use in chute Wrile: BARBARA MARKS - DIRECTOR, Hiro Distributors ...... 34 many cases. "Dig Your Own Clay," the 3083 MAY ROAD, WANTAGH, N.Y. 11793 House of Ceramics ...... 35 final chapter, examines the possibilities of this subject. Included in the book are a Industrial Minerals ...... 39 glcssary of pottery terms and an appendix Inland Metal ...... 38 of pertinent study questions. 76 pages; Jacqueline Ceramic Art ...... 9 $4.00; Kerarnos Books, Bassett, Cali[ornia. Jay-Beilman ...... 32 r annual Kemper Mfg. Co ...... 37 Klopfenstein, H. B. & Sons ...... 36 craft THE DICTIONARY OF WORLD seminar POTTERY AND PORCELAIN Kraft Korner ...... 39 by Louise Ade Boger L & L Mfg. Co ...... 41 The purpose of this ambitious volume is Mayco Colors ...... 13 perhaps best expressed by Louise Bcger Menco Engineers ...... 37 in her Foreword when she states, "This Mikol Mfg. Co ...... 41 book in dictionary form gives an account Minnesota Clay Co ...... 7 New York State Craftsmen of the meaning and significance of the New York State Craftsmen ...... 42 Box 733. Ithaca. N.Y. 14850 names and terms most frequently en- countered in the study of pottery and Ohaus Scale ...... 11 porcelain over a span of almo*t 7000 Ohio Ceramic Supply ...... 37 years." Subjects covered include the work Orton Ceramic Foundation ...... 7 YWCA LEAGUE POTTERS Oscar-Paul Corp ...... 41 840 8 AVE EXHIBIT of all countries and periods, ranging from AT 515T Bronze Age pottery to contemporary "Ob- Pacifica Potter's Wheel ...... 38 NYC 10019 7fh ANNUAL SHOW jects" collected for the Johnson Wax Col- Paragon Industries ...... 10 CRAFT STUDENTS LEAGUE lection, entries made by manufactories, as Paramount Ceramic ...... 40 12121 246-4712 Mar 14-25 well as individual potters, and there are Parfex Co ...... 40 SEND FOR 4th Floor Gallery CLASS references to styles, decorators, material, Piepenburg, Robert ...... 41 CATALOG Courses in 26 Craft Fields colors, and the process of working. Mrs. Real Wheel ...... 40 Boger, who writes the monthly column, Reward ...... 10 "Antiques: Questions and Answers," for Richland Ceramics ...... 41 FABRIC DECORATION House and Garden Magazine, includes Rovin Ceramics ...... 8 2200 entries in her handsome guidebook, GLASSBLOWlNG -- LEATHER Seeley's Ceramic Service ...... 36 with 150 drawings, 550 photographs, and JEWELRY -- PHOTOGRAPHY Skutt Ceramic Products ...... 12 60 color plates. 533 pages; $25.50. Charles Standard Ceramic Supply Co ...... 39 CERAMICS -- WEAVING Scribner's Sons, 597 Filth Ave., New York, Stromgren and Associates ...... 39 New York 10017. GRAPHICS -- FOUNDRY Tepping Studio Supply ...... 36 2 Four-Week Summer Sessions Offered Thompson, Thomas C., Co ...... 10 to High School Upper Classmon THE HOME POTTER Thousand Islands Museum ...... 42 Held at The Hinckley School, Hinckley, Maine by lan Lauder Unique Kilns ...... 38 For further information write to: The author, a self-taught potter, describes Van Howe Ceramic Supply ...... 39 Erling H. Heisl~d, Direotor the processes a beginning potter needs to W. M. S. Pctter Wheels ...... 32 HAYSTACK-HINCKLEY know. In addition, he detail; his designs for kilns and wheels. Explanatory draw- Walker Jamar Co ...... 38 Way-Craft ...... 41 SCHOOL OF CRAFTS ings and photographs accompany the text. 143 pages; $5.95. Universe Books, Westby Kilns ...... 36 7C Highland Ave., Lebanon, N.H. 03766 381 Park Ave., S., New York, New York. Westwood Ceramic Supply ...... Cover 2

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Manufactured by GILMOUR CAMPBELL 14258 Maiden, Detroit, Michigan 48213 (313) 568-0561 See It In Action a4' the TOWN & COUNTRY CERAMIC SHOW MARCH 3, 4, & 5, 1972 LAKE COUNTY FAIR GROUNDS Main Exposition Building, Corner U.S. Route 45 & 120 GRAYSLAKE, ILLINOIS Watch far signs