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The first thing you do when you get a Skutt Kiln, is curl up with a good book.

It's jam=packed with information. A total of 28 pages of information on how to operate and care for your Skutt Kiln. There are sections on loading, firing, "trouble shooting" and repairs. We even tell you how to uncrate it. It's illustrated with 51 photos and . And it's free.

2618 S.E. Steele S and, Oregon 97102 At last! Here is the pottery handbook we have been waiting to publish for many years! POTTERY STEP-BY-STEP By Henry Trevor

Here is the complete guide on the techniques of pottery that we have always wanted to publish. Not only does this unique handbook provide a superb, step-by-step photo-and-text descrip- tion of every stage of pottery making, from clay to finished pot; this exciting book presents valuable reference material and a magnificent gallery of pottery masterpieces. The author de- scribes the characteristics of clay; preparing clay for use; ways of making pottery without a wheel--slab, pinch, coil, and similar methods; how to draw a pot on a wheel; how to trim, handle, and decorate the finished pot; how to glaze and fire the pot. Containing directories of schools, museum collections, organizations, pottery suppliers, and a glossary of pottery terms, no book has ever covered the subject as thoroughly and effec- tively as Pottery Step-By-Step. Students, teachers, amateurs, and professionals will find this new guide instructive and inspiring. 128 pages. 7~ x 10~. 200 hal[tone illustrations. School Direc- tory. Museum Directory. Suppliers List. Bibliography. Glossary. Index. $7.50

THE TECHNIQUES OF PAINTED ATTIC POTTERY ENAMELING FOR BEGINNERS By Joseph Veach Noble By Edward Winter j This lavish book, published in cooper- One of America's most renowned enamelists has written a popu- _....-~~ ation with The Metropolitan Museum lar introduction to enameling for students, hobbyists, and future of Art, brilliantly unravels the meth- professionals. He shows how to make ashtrays, bowls, plaques, ods and unsurpassed artistry of the animal forms, other decorative objects. Deals with copper, steel, ancient Athenian potters and vase- aluminum; stencils, silk screen; sgraftito ; etc. "This book painters who produced the greatest should prove inspiring both to beginners in enameling and to pottery in ancient European Art. Mr. more experienced craftsmen looking for new ideas."--Ceramic Noble (Operating Administrator of Abstracts the Metropolitan Museum of Art) 128 pages. 77/s x 101./4.90 photos. Bibliography. Index. $8.50 describes all the major types of Attic vases and tells how each shape was formed, how colors were applied; etc. SEND FOR THESE BOOKS AND EXAMINE THEM Illustrated with masterpieces from FOR TEN DAYSmWE PAY famous museums. POSTAGE

Here are some rave eotnlnent$," WATSON-GUPTILL PUBLICATIONS, Dept. 1317 2160 Patterson Street, Cincinnati, Ohio 45214 "Mr. Noble's book sounds like a splendid volume for scholars and technicians--and for scholars and technicians only. Nothing could be Please send me the following: I understand I may return further from the truth: a fascinating book which has riveted every Quint. my selection within ten reader I have shown it to, it is lavishly and pointedly day~ for full refund if I am illustrated and not satisfied. (Offer good written with an unusual crispness and vigour."--Edward Bacon, The [] Pottery Step-By-Step ..... in USA only) Illustrated London News. [] Tech. of Painted Attic I enclose $.-- "The scholarly title of this book hardly expresses its fascination .... Pottery ..... [] Check [] Money Order readers will find the book irresistible for the beauty of the pottery Note: Add sales tax where [] Enameling itself, and the way it takes us into the intimate circle of a world for applicable (for NYC add Beginners ..... 5%; for Calif. add 4%; etc.) which, in the author's superbly chosen illustrations, comes to life before our eyes. Mr. Noble's clear writing makes even the most tech- Name nical information understandable, and though it is brief and limited to Street unadorned facts, it is electrffying."--lnteriors City State Zip-- 232 pages. 9 x 12. 260 illustrations. Color frontispiece. Bibliog- raphy, lndex. $17.50 WRITE FOR OUR FREE CATALOG. [] Check here for new catalog '66 amaco'si cePamlc calal0g ELECTRICKILNS. WHEELS. CLAYS. GLAZES DECORATINGCOLORS. METAL ENAMELS

Latest developments in equipment and supplies for pottery craft and metal enameling appear in Amaco's Catalog No. 50. Two ~ . new co~or cha~s are inoluded. ~IZ~ Illustrated in beautiful, accu- ~ : tel~0 rate color are 291 glazes and ~ ~;~;~ ceramic decorating colors and L~ 56 meta enames n ~il. 60 PAGE CATALOGFREE 0N REQUEST

AMERICAN ART CLAY CO., I NC. INDIANAPOLIS, INDIANA 46222

FREE . . . for dealers only. This attractive heavy-wire magazine display rack [s supplied free to every studio selling single copies of Ceramics Monthly. It is part of a "full-service" program we offer ceramic studios everywhere. Learn more about this program now -- send the coupon below or REWARD-HART write on your letterhead. Problems with your present glazes? Through re- Circulation Manager has eliminated the diffi- CERAMICS MONTHLY search, Reward and Hart 417S N. High St., Columbus, Ohio 43214 culties most frequently encountered in application and firing of ceramic glazes. Reward, the most Please send us information an your single copy sales i program m far dealers only. duplicated line of quality controlled glazes, is your assurance of the finest glazes available anywhere. I '| STUDIO Reward D first in color, textures and finishes. e ; ADDRESS REWARD CERAMIC COLOR MFRS. INC. i ?;*/;:.'?.' ...... 6811 WASHINGTON BLVD. ELKRIDGE 27, MARYLAND 4 Ceramics Monthly MONTHLY

...... ~:' : -~ t ~ Volume 14, Number 6 June 1966 Special OVER-THE-SUMMER Issue DE Suggestions from Our Readers ...... 6 Letters to the Editor ...... 7 Summer Workshops ...... 8 Itinerary ...... 10 by Thompson Construction Pots by Roger A. Goettsch ...... 12 Texture and Pattern on Metal Bases: Part 2 A by Kathe Berl ...... 15 COMPLETELY NEW Modeling from a Solid Block of Clay COLOR SPECTRUM by Lucia B. Comins ...... 16 AWAITS YOUR DESIGNS Portfolio: Ceramic Arts U.S.A. 1966 ...... 19 VIA THOMPSON ENAMELS Enameled Wind Chimes by Polly Rothenberg ...... 27 -- all completely described Fused Wind Chimes by Polly Rothenberg ...... 30 and accurately pictured in Thumb Print Decorations the new "Color Guide" sec- demonstrated by Marc Bellaire ...... 32 tion of the latest Thomgson Glazes of the Ming Dynasty by Richard Behrens ...... 34 catalog available to you CeramActivities ...... 36 absolutely free. Ceramic Shopper ...... 42 Index to Advertisers ...... 42 Over 200 printed reproduc- tlans of opaque, transparent, On Our Cover opal and crackle enamel colors are yours to select Porcelain Covered Jar by Donald E. Frith, Champaign, Illinois, from as well as instruction books to was exhibited in "Ceramic Arts U.S.A. 1966," an invitational guide you in every showing of 102 ceramic pieces sponsored by International Min- step of porcelain enamel work and glasscraft. Copper erals & Chemical Corporation in Skokie, Illinois. This piece, pieces, shapes, tools, materials and supplies are pic- along with 31 others selected from the exhibit, is on exhibit at tured and accurately described to facilitate the Smithsonian Institution in Washington, D. C. through June ease of 30. Mr. Frith describes his piece as "a small fluted jar. The ordering for your every project. copper red reduction glaze breaks to whitish over the flutes and is a very deep in red the flutes. The inside is white translucent You can rely on the quality of all Thompson products glaze." The piece is 5 inches high. Other pieces from the invi- tational exhibition held at Skokie are pictured and described in and supplies through a reputation built up over 70 the special CM Portfolio which starts on page 19 of this issue. years as leader in the enameling field.

All orders are filled and on their way to you within Editor: THOMAS SELLERS hours after receipt. Prepare now for your next enamel- Art Director: ROBERT L. CRBAGER ing project. Send in today for your FREE copy of the Business Manager: SPENCER L. DAVIS new Thompson catalog with the fabulous "Color Circulation Manager: MARY RUSHLEY Guide". Simply mail the coupon below. Advisers and Special Contributors: F. Carlton Ball; Richard Behrens; Marc Bellaire; Kathe Berl; ; Zena Hoist; John Kenny; ; Ken Smith; Don . Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California. Telephone: TR7-7556, Area Code 213. THOMAS C. THOMPSON CO., Dept. CM 1S39 Old Deerfleld Rd., Highland Park, III. 60036 Copyright 1966 Professional Publications, Inc. Please rush my FREE catoleg of complete enameling craft supplies with Color Guide today. CERAMICS MONTHLY June 1966, Vol. 14--No. 6. Published monthly except July and August by Professional Publications, Inc.--S. L. Davis, Pres., P.S. Emery, See.; at 4175 N. High Street, Columbus, Ohio NAME 43214. Entered as second class matter at the post office at Athens, Ohio, U.S.A. Subscriptions: One Year $6; Two Years $10; Three Years $14. Copyright 1966. All rights reserved. Microfilm copies are ADDRESS. available to subscribers from University Microfilms, 313 N. First St., Ann Arbor, Michigan. MANUSCRIPTS and illustrations dealing with activities are welcome and will be considered for publication. CITY. STATE 7~ p Manuscripts should be typed double-spaced and range from 500 to 2000 words. Send manuseripts and eorrespondeuce about them to the Editor, CERAMICS MONTHLY, 41"/5 N. High Street, Columbus, Ohio 43214.

]une 1966 5 SUGGESTIONS HANDBOOKS from our readers KILN STACKING AID I have found that loading the kiln is much easier if I plan the stacking in advance. On a table near my kiln I have the ...... ~!i top marked off in the exact size of the kiln interior. I place the THROWING ON THE kiln posts on this plot and try out positions of the various pieces POTTER'S WHEEL so that I know everything will fit in advance of a firing. This by Thomas Sellers prevents much frustration when the loading of the kiln is actual- Here's a complete manual ly done. --Mrs. W.H., Scranton, Pa. on how to use the potter's wheel. Covers all basic WEDGING APPARATUS steps from wedging clay If you have a bench situated near a wall, you can make a to making specific shapes. 80 pages $4.00 convenient wedging bench simply by installing a bench on the table and placing an eye lag screw into the wall and attaching baling wire ~ A between the two. As a means of fastening

I • the wire to the vise, the wire can be CERAMIC PROJECTS wrapped about the jaw of the vise and edited by Thomas Sellers \. c, given a turn or two about itself. The vise Outstanding group of can be used to get tension simply by projects for the classroom, screwing the vise out until the wire is as home and studio. Foun- taut as desired. Wedging can be done on tains, planters, jewelry, o E01 the work bench if a of canvas is bottles, bowls are includ- : I stretched over the working surface. When ed. 64 pages $2.00 the wire is not needed for wedging, it i can be unwound from the vise jaw and allowed to hang from the eye bolt, thus UNDERGLAZE freeing the vise for normal use. In the DECORATION sketch, A shows the wire tied to the eye; by Marc Bellaire B is the length of baling wire; and C This complete handbook shows the wire tied to the outer jaw of the bench vise. has all the answers on --Joe Cantrell, Oxford, Ohio materials, tools and tech- nique. Step-by-step proj- FOR BURNISHING ects are profusely illus- To give a smooth, burnished finish to a leather-hard piece trated. 64 pages $3.00 of clay which will be bisque fired but not glazed, a small stone or glass marble can be used. I also have found that a glass drink-mixer with a round or spoon-shaped end is more con- venient than the stone or marble. It is easier to grasp and can COPPER ENAMELING be used to reach into every area more readily. by Jo Rebert ----Mrs. George Sherman, Ho-Ho-Kus, N.J. and Jean O'Hara Recognized as the best in SOLUTION TO CRAZING PROBLEM basic instruction, this In the March issue of CM, E.H. of Asheville, N.C. asked elaborate handbook h a s the reason for finished pieces crazing. I have had the same over 200 photographs. In- trouble and hope my simple solution will help her. Sometimes the valuable to teachers and crazing does not show up until a few weeks after firing. students alike. After much experimentation I found that in my eagerness 64 pages $2.00 to see the finished pieces, I opened the kiln in the morning after firing and after a short time removed the pottery with the aid of gloves. The kiln had not cooled slowly enough. BRUSH DECORATION Now I prop up the lid three or four inches for at least an FOR CERAMICS hour before opening the lid, and allow the pieces to cool slowly by Mare Bellaire until they can be removed with the bare hands. It is the exceptional glazed piece now that crazes. A fascinating book with easy-to-follow instruction --Sr. M. R., San Francisco, Calif. on the use and care of brushes. Excellent for be- CUTTING WIRE ginners. 64 pages $3.00 A cutting wire is a handy gadget to have around the studio. I made my own from two small sections of wooden dowel rod and a length of fine steel wire. I drilled a small hole through the center of each rod, then inserted an end of the WE PAY POSTAGE wire through the hole, wound it around twice, then twisted I c-RAMies MONT.' .ook De.artment I the end to fasten it. To avoid cutting the hands from the tag 4175 N. High St., Columbus, Ohio 43214 ends of the wire, I wound a small piece of tape around each Please send me the following: I twist. The cutting wire can be used to cut clay from a large [] Potter's Wheel @ $4 [] Copper Enameling lump, to cut thrown pots from the wheel head, and to cut [] Ceramic Projects @ $2 [-1Brush Deeorati°n g :: | clay for the wedging process. Altogether, it is one of the handiest [] Underglaze Decoration @ $3 I tools a potter can have; it is one of the least expensive, also. --]ohn Snyder, Fort Wayne, Ind. I Name .... I

I Addres.... I DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to $5 for each item used in this I City State Zip. I column. Send your suggestions to CM, 4175 North High St., f enclose [] Check [] Money Order Columbus, Ohio 43214. Sorry, but we can't acknowledge or re. B (Ohio Residents add 3% sales tax.) | L-. I I I I I I I ~m I I I I i turn unused items.

6 Ceramics Monthly LETTERS Share your thoughts with other CM read- wide range of subject matter covered here CRAFTSMEN AND ARCHITECTS ers--be they quip, query, comment or ad- makes it very exciting and well-rounded. I would like to see more articles on vzce. All letters must be signed, but names I particularly enjoyed the correlation be- classic design in both shape and decora- will be withheld on request. Address: The tween the "Toby Jug" article and "The tion as a basis for individual development Editor, Ceramics Monthly, 4175 North Power of Expression." And for just plain in all fields. Also, on the possibility of High St., Columbus, Ohio 43214. readable material, the story on jurying by educating architects in potentials Mr. Shepps is about the best article I have and craftsmen to the needs of architec- MORE AT CONE S ever seen on this subject. Congratulations ture, to the benefit of both, and the face More of us have kilns that fire in the on this magazine! It makes me anxious to of the U.S.A. in particular. intermediary range now, and I would like see what's coming in April• Mrs. ].C. Mrs. H. R. Heckendorn to see more articles on glazes for Cone El Paso, Texas Worthington, O. 5 and 6. This is just a suggestion. I've thoroughly enjoyed what you have pub- lished and always am delighted with the wheel techniques. Mrs. L. Sterry Fayetteville, N.Y.

CERAMIC ARTISTS l have enjoyed the articles on ceramic artists, their studios, their backgrounds and, of course, their work. Mrs. Rebecca Bennett Dahlonega, Ga.

CLASSROOM HELP CERAMICS MONTHLY is a great help in junior high classes. It enables me to "push" a seventh grade student beyond the ashtray stage. While I give a quick demonstration of several possible methods of working in clay, the photographs of some of the projects save me precious classroom time since they can be referred to by the student if he finds it necessary to take a second look at the construction method. • . . I recommend CERAMICS MONTHLY to every beginning art teacher and to those teachers who are interested in the possibilities of using clay in the classroom but have had very little, if any, formal training in ceramics. K. Kelly Louisville, Ky.

MORE ON GLASS I enjoy articles on glass and would like to see more of them. A great big "thank you" for such a fine magazine! ~O • O Mrs. Maude Hutchinson Los Angeles, Calif.

CURRENT TRENDS when the glazes come from I was happy to see the article by Mr. Hofsted on "Bent Ware" in the April issue of CM, and I hope that you will be show- ing more pictures of the current trends mayco colors... in pottery. Many of the pieces chosen for exhibitions these days seem to be quite Professional, amateur, beginner.., all know that pieces exciting, and others seem ridiculous. But finished with colors from MAYCO win more awards. whether or not we agree with what is That's because all MAYCO COLORS®- Glazes, Under- being done, none of us can afford to ignore what other potters are doing. Keep glazes, One Stroke- are prepared with infinite care up the good work of showing current for highest quality and easmr application. They're work from the different shows! homogenized and fired at Cone 06. Write today for free Bob Holman color chart. Detroit, Mich. MAYCO COLORS... America's finest colors MARCH CONTENTS 10645 Chandler Boulevard • North Hollywood, California I always enjoy my issues of CM and find at least one article that has especial dealerships available appeal to me. The March issue has just arrived and I want to let you know that this seems to me the best one ever! The June 1966 7 SUMMER WORKSHOPS

Summer Workshops give you that wonder- ginning, advanced and graduate levels. MISSOURIj COLUMBIA [ul opportunity to combine vacation travel Instructor: F. Carlton Ball. Write: Uni- June 27-August 5 with hobby fun. Whether you are tripping versity of Southern California, Depart- Stephens College offers a 6-weeks term east or west or only a little ways [rom ment of Fine Arts, University Park, Los in Ceramics and Art Crafts. Instructors: home, you'll find a workshop in ceramies Angeles 90007. Francis Sporer and Michael Warkoczew- to give you that flesh inspiration. Our list shi. Write: Mr. Russell Green, Head, to date: CONNECTICUT, BROOKFIELD Art Department, Stephens College, July 4-September 3 Columbia. ALBERTA, BANFF Brookfield Craft Center offers two 6- July 4-August 13 day workshops in fused glass with Pris- NEW BRUNSWICK, ST. ANDREWS The Banff School of Fine Arts offers cilla Porter; 2-week sessions in pottery July 4-29 a 6-week ceramics course. Instructor: with Jim Crumrine and Hui Ka Sunbury Shores Art and Nature Centre Steve Repa. Write: Banff School of Kwong; and a 1-week session in raku will conduct a 5-day session in the con- Fine Arts, Banff, Alberta, Canada. with Tauno Kauppi. Also listed, with struction of a hillside Japanese kiln; a potter-sculptor Albert Jacobson: "To raku workshop will follow, along with B.C., VICTORIA Develop a Personal Vision." Write : field trips. Instructor: Frank A. Colson. through July Brookfield Craft Center, Brookfield Write: Sunbury Shores Art and Nature The Gilmar Pottery offers 1-week cour- 06804. Centre, P.O. Box 100, St. Andrews, ses in pottery, wheel work, and murals. N.B., Canada. Instructor: M. Nehl-McLennan. Write: D. C., WASHINGTON Gilmar Pottery, 1700 Kings Rd., Vic- June 13-August 5 NEW HAMPSHIRE, DURHAM toria, B.C., Canada. The Corcoran School of Art offers 8- July ll-August 19 week summer sessions in beginning and Paul Creative Arts Center, University B.C., VICTORta advanced ceramics. Instructors: Charles of New Hampshire, offers a 6-week July 4-29 Plosky (beginning) and Malcolm session in ceramics conducted by Alfred The Osborne Pottery Studio is offering Wright (advanced). Write: Registrar, R. Potter. Instruction includes explora- sessions in wheel-thrown pottery, form Corcoran School of Art, 17th St. & tion of three-dimensional forms in clay and decoration. Instructor: L.F. Os- New York Ave. N.W., Washington. and studio practice in clay preparation, borne. Write: Osborne Pottery Studio, glazing and kiln firing. Write: George 5757 West Saanich Rd., R.R. 7, Vic- IDAHO, BUHL R. Thomas, Department of Fine Arts, toria, B.C., Canada. August 1-15 Paul Creative Arts Center, University "Experiment A Program" workshops at of New Hampshire, Durham 03824. CALIFORNIA, CARMEL VALLEY Buhl (and Jerome, Arizona, Aug. 22- June 20-September 2 Sept. 2) offer direct, primitive pottery NEW MEXICO, LAS VEOAS Tassajara Project is a new concept in with Hal Riegger, and metal in rela- June 13-August 19 summer craft programs, with clay, fire, tionship to clay forms with Bob Win- New Mexico Highlands University of- kilns, batik, stitchery, glass blowing, etc. ston. Upper division college credit fers basic processes of construction, Instructors: Riegger, Robinson, and available for both workshops. Write: decoration and firing; also, advanced others. Write: Hal Riegger, Tassajara Hal Riegger, 469 Panoramic Hwy., Mill activity in throwing, firing, and glaze Project, Box 408, Carmel Valley. Valley, California. formulation. Instructor: Paul Volcken- ing. Write: Dept. of Arts and Crafts, CALIFORNIA, GUERNEVILLE INDIANA, INDIANAPOLIS New Mexico Highlands University, Las June 27-August 26 June 13-August 19 Vegas. Pond Farm Pottery offers nine weeks Amaco Ceramic and Metal Enameling of instruction in throwing, hand build- Workshops offer two 2-week sessions in NEW MEXICO, RUIDOSO ing and decorating. Instructor: Mar- ceramics and two 1-week sessions in July 2-t6 guerite Wildenhain. Write: Pond Farm metal enameling at the John Herron Carrizo Lodge offers a 2-week course Pottery, Box 322, Guerneville 95446: Art School. Instruetors: Justin M. in copper enameling. Instructor: Dr. Brady, William GeM and Ken Smith. Emilio Caballero. Write: Mrs. Pauline CALIPORNIA~ IDYLLWILD Write: American Art Clay Co., 4717 Greggerson, Carrizo Lodge, Drawer A, June 26-August 5 West 16th St., Indianapolis 46222. Ruidoso 88345. The University of Southern California, Idyllwild School of Music and the Arts, INDIANA, NEW HARMONY NEW YORK, ALFRED offers a ceramic workshop of three 2- June 13-July 22 June 27-August 5 week sessions in hand-building and Ceramic Workshops are offered by Pur- Alfred University offers 6-week terms throwing, glazing, slip decoration and due University at New Harmony. The in ceramic design and pottery produc- use of the wheel. Instructor: Susan two 2-week sessions include pottery mak- tion at four different levels. Instructor: Peterson. Write: USC -- ISOMATA, ing and salt glaze techniques. Instruc- Theodore A. Randall. Write: Fred H. Idyllwild 92349. tor: Bill Farrell. Write: Dr. Marvin Gertz, Summer Sessions, Alfred Univer- Hartwig, Evansville Center for Advanc- sity, Box 805, Alfred 14802. CALIFORNIA, Los ANGELES ed Study, Evansville College, P.O. Box July 1-September 1 329, Evansville, Indiana 47704. NEw YORK, CHAUTAUQUA Mary Sharp Enameling Workshop is an June 27-August 26 8-week course stressing enameling on MAINE, DEER ISLE Chautauqua Institution Summer School copper, steel and silver and including June 20-September 9 is offering 1- to 8-week courses in champleve and cloisonne. Write: Mary Haystack Mountain School of Crafts ceramics and ceramic sculpture. Instruc- Sharp, 6219 Alviso Ave., Los Angeles offers four 3-week sessions in ceramics: tors: James T. Achuff and H. Richard 90043. hand building, slab construction, and Duhme, Jr. Write: Joseph C. Clarke, throwing on the wheel; ceramic sculp- Chautauqua Institution, Chautauqua. CALIFORNIA, Los ANGELES ture; glaze formulation and firing tech- June 20-August 6 niques. Instructors: Gerry Williams, NEW YOR~¢, CLAYTON The University of Southern California Jolyon Hofsted and . Summer offers 7-week ceramic course.s at the be- Write: Haystack, Deer Isle 04627. The Thousand Islands Museum at Clay-

8 Ceramics Monthly ton announces summer workshops in O NTARIOj ORANGEVILLE Write: The Pottery, Box 181, North ceramics, enamel and other crafts. In- July IO-August 5 Hatley, P.Q., Canada. structors: Orsini (enamel) and Vally Hockley Valley School offers a 4-week QUEBEC, ST. Pm DE BAOOT Possony (ceramics). For information, term in ceramics and ceramic sculpture. June 25-September 5 write: Emily Post, Director, 90 West- Instructor: Arthur Handy. Write : Le Vieux Moulin Art Center offers cott Rd., Princeton, New Jersey 08540. Hockley Valley School, 602A Markham St., Toronto, Ontario, Canada. all phases of ceramics, including turn- NEw YORK, NEW PALTZ ing, glazing and firing. Instructor: June 27-September 2 QUEBEC, NORTH HATLEY Marianne Suda. For information, write: State University College offers a 10- June 27-August 27 Mr. Homer Dufresne, Le Vieux Moulin week summer session in advanced ce- "The Pottery" offers three 3-week ses- Art Center, St. Pie de Bagot, Quebec, ramics (II) at the New Paltz campus. sions in ceramics. Instructors: Dean Canada. Instructor: Robert Sedestrom. Write: Mullavey and others to be announced. Continued on Page 39 Summer Session, State University Col- lege, New Pahz.

NEW YORK, NEW YORK lune 6-luly 29 Craft Students League, West Side Branch YWCA, offers 8-week workshops in ceramics, jewelry and enameling. In- structors: Roberta Leber and Gertrud Englander (ceramics); Adda Husted- Anderson (enameling). Write: Helen T. Warner, Director, Craft Students League, 840 Eighth Ave., New York, 10019.

NEW YORK, ROCHESTER ]uly 5-August 12 The School for American Craftsmen. Rochester Institute of Technology, of- fers a 6-week summer course in ceram- ics for both graduate and undergraduate credit. Instructors (tentative) : and Hobart Cowles. Write: Director of the Summer Session, Ro- chester Institute of Technology, Ro- chester 14608.

NEw YORK, WHITE PLAINS June 27-August 7 Westchester Workshop for Arts and Crafts is offering 6-week classes in ce- ramics and modeling. Instructors: Es- teIle Halper and Walter Yovaish Write: John Ruddley, Director, West- chester Workshop, County Center. White Plains 10606.

NORTH CAROLINA3 PENLAND May 30-September 23 Man, we're excited about this one.* Penland School of Crafts offers alternat- ing 2- and 3-week sessions in ceramics, metal, jewelry, enameling, glass, sculp- ture and other crafts. Faculty to be announced. Write: Registrar, Penland Here is a gas kiln that performs like a School of Crafts, Penland 28765. dream. You can control it. You can depend OHIO, COLUMBUS June 20-September 2 upon it at all times. It fires evenly, at all The School of Art, The Ohio State temperatures. The kiln has been designed University, offers l 1-week courses in introductory and advanced ceramics. In- to keep your firing expenses down and to structors: Paul Bogatay and Eugene operate for years. It's a West Coast Kiln, Friley. Write: Eugene Friley, School of Art, The Ohio State University, Colum- and we feel it's the best. Send for our bus 43210. literature and catalogue. You certainly won't OHIO, DAYTON get your fingers burnt. August 22-31 Tahara Ceramics offers one-week class- es in wheel work, decoration, ceram- ic sculpture and glass and enamel. In- structors: Carlie Tart and Helen Altieri Tart. Write: Tahara Ceramics, 2017 Salem Ave., Dayton 45406. Westwood Ceramic Supply Co. 610 Venice Blvd. Venice, Calif. June 1966 9 ITINERARY

Send your show announcements early: In case of rain, the show will be held MICHIGAN, SAUGATUGK "'Where to Show," three months ahead Sept. 25. For information, write: Burpee July 16 and 30 Outdoor Art Fair, of entry date; "Where to Go," at least Art Gallery, 737 N. Main St., Rockford sponsored by the Saugatuck-Douglas Art six weeks before the opening. 61103. Club, includes work in crafts. Fee; Open to all artists. Write: Mrs. Kenneth Parent, KANSAS, ARKANSAS CITY WHERE TO SHOW 6985 121st Ave., Ganges, Michigan (for June 10-11 Sidewalk Arts Festival, July 16); and Mrs. James ILLINOIS~ ROCKFORD Boyce, 275 sponsored by the Chamber of Commerce, North St., Saugatuck (for July 30). September 18 The 18th Annual Green- is open to all artists. Media include crafts wich Village Fair, sponsored by the Rock- and sculpture. Jury; Prizes; Fee; Entry OHIO, MASSILLON ford Art Association, is open to artists and cards due June 1; Work due June 6. July 3-September 5 The 31st Annual craftsmen in Northern Illinois and South- Write: Chamber of Commerce, 102 N. Ohio Artists and Craftsman Show, spon- ern Wisconsin. Entry deadline is July 16. Summit, Arkansas City. sored by the Massillon Museum, is open to all Ohio artists and craftsmen and former Ohio residents. Media include ;::'< . "; "%' i * * * * * * * * crafts, sculpture, collage, prints and draw- ings. Entry fee; Jury; Cash and purchase awards. Work is due by June 20. For in- formation, write: Mary Merwin, The Mas- NATIONAL TRADE SHOW sillon Museum, 212 Lincoln Way E., Mas- sillon 44646. TEXAS, SAN ANTONIO , : 'ii WASHINGTON,D.C. November 6-27 Fourth Regional Ex- hibition of the Crafts Guild of San An- tonio is open to resident craftsmen from Park Sheraton Hotel, July 14-15-16 Arkansas, Colorado, Kansas, Louisiana, New Mexico, Oklahoma, and Texas. Spe- cial cash awards; Jury; Work due October 1-12. For information, write: Crafts Guild of San Antonio, Witte Memorial Museum, iN Brackenridge Park, San Antonio. TEACHERS • DEALERS • DISTRIBUTORS VIROINIA~ VIRGINIA BEACH July 14-18 Eleventh Annual Boardwalk Don't miss this year's national trade show and conference to be held in Art Show includes ceramics and sculpture the beautiful Park Sheraton Hotel in Washington, D.C. The NCA educa- and is open to all artists. Jury; Prizes. tional conference will begin on July 12 and run through July 16. The Write: Mrs. Gordon Atwill, The May- NCMA trade show will open July 14 and run through July 16. Many flower, Virginia Beach 23451. outstanding seminars and demonstrations have been planned for teachers, dealers and distributors by the NCA committees. There will SPECIAL FOR HOBBYISTS be a full schedule of events for the flve-day conference. The trade show will offer wholesale buyers the opportunity to see a wide variety of D.C., WASHINGTON products for the ceramic hobby field and each manufacturer will have July 14-16 The National Ceramic representatives on hand to answer questions concerning their product Trade Show and Conference will be held line. You'll also want to plan to take in a few of the sights during your at the Park Sheraton Hotel. Show Chair- stay in Washington. Make a note of those dates now . . . July 12 man is Olevia Higgs, 6811 Washington through July 16. Blvd., Elkridge, Md. 21227. ILLINOIS, CHICAGO EXHIBITORS August 26-28 The Chicago Ceramic Alberta's Molds J.J. Cress Ken Ocorr Molds Show will be held at the LaSalle Hotel. American Art Clay Cunningham For information, write : E. Kane, Box 115, Art Orton Cones Wilmette, Ill. American Beauty Duncan Paragon Arnel's Molds Evenheat Kilns Pemberton-Neal MASSACHUSETTS, SWAMPSCOTT Arts & Crafts Fiesta Colors Pink Rooster September 9-11 Ninth Annual Boston Atlantic Mold Care Ceramic Popular Ceramics Ceramic Show, sponsored by New Eng- B and C Mold Holland Mold Rainbow Stain land Ceramic League, Inc., will be held Bells Jacquelyn Reward Ceramic at the New Ocean House in Swampscott. Blair Products Jamar Amateur competition, discussions, demon- Sculpture House strations, and exhibits. Write: New Eng- Blue Diamond Jaygot Skutt & Sons land Ceramic League, 80 Boylston St., Ceramic Colors Kemper Mfg. Spectrum Boston, Mass. Ceramic Scope Kay Kinney Tahara Ceramlchrome Inc. L & L Trade News MISSOURI, KANSAS CITY Ceramics Monthly Marx Brush Weaver August 19-21 "The Kansas City Ceram- Ceto Mayco Colors White Horse Mold ic Show," co-sponsored by both ceramic Chad Stan Mickie Stains associations of the Kansas City area, will Willoughby be held at the Continental Hotel, l lth Chula National Artcraff Yozie Molds and Baltimore. Booths; Competitive ex- Columbine hibits; Demonstrations and teaching. For for Information write: Mrs. Olevla Hiqgs, show chairman. information, 6811 Washington Blvd., Elkrldge, Maryland 21227. write: Bonnie White, 3147 Continued on Page 40

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June 1966 11 THE BEGINNER in ceramics usually starts with simple pinch pots and progresses to pieces made by the coil and slab methods. Many of these simple projects are im- portant in learning basic methods of working with clay, but all too often these beginning pots are quite small and lack good three-dimensional quality and are not very satisfactory generally. As the student progresses, he usually wants a more finished and "striking" pot, as well as one that is taller and more massive. Sometimes he can go ahead and make these successfully, but all too often the resulting pieces are clumsy and heavy. Sometimes the beginner feels that he can get a better result by making simple drawings of what he wants to do in advance of actual work with the clay. Drawing certainly has a place in ceramics, but the stu- i dent usually does not realize the importance of repre- senting all sides of three dimensional pottery shapes in making his drawings. By working with what we call "construction type pottery," the beginner is able to eliminate the drawings or, better yet, use the drawings to realize his basic de- sign. Our method makes use of an assortment of boxes CONSTRUCTION and tubes. The student chooses the forms he wants and assembles them with pins to construct a model. This is done by adding or subtracting forms until he arrives at a piece that seems well balanced and properly pro- POTS portioned. When the model is finished to his satisfaction, by ROGER A. GoErrsc,~ he is able to view it from all sides and know in ad- vance of working with the clay some of the problems in design and construction. As he works from this rough "sketch," he can make the minor changes that seem

i necessary in translating the shape from cardboard to plastic clay. The first step of actual construction involves disas- sembling the model and covering all of the separate pieces of carton and tubing with wrapping paper, news- paper, or paper toweling. The covering is done so that the clay slabs can be wrapped around the cardboard pieces to shape the different parts of the clay construc- tion. The paper "slipcovers" allow the clay to be removed easily from the cardboard forms after they are stiff enough to hold their shapes. Masking tape or Scotch tape can be used for taping the paper; if the paper is taped only to other pieces of paper and not to the car- tons, this will eliminate many problems in removing the clay later on. Clay for slabs is rolled out between pairs of quarter- inch-thick sticks. Rolling on an oilcloth surface makes removal of the slabs easier, we have found. Rolling is done from the center of the ball of clay, outward in both directions. If any foreign matter is discovered in ROGER A. GOETTSCH the clay as it is rolled, it should be removed. is art instructor at Central A clay pattern is prepared by placing the first paper- High School at Fargo, North covered cardboard container on the clay slab, then Dakota. Mr. Goettsch writes lightly pressing all four sides against the clay in a rolling that the method described in motion to give an impression of the size and shape his article has given excellent needed for this particular shape. This outline is used results and makes a good cli- to cut the clay shape from the slab with a fettling max to the activities o[ the knife. Next, the clay slab is wrapped around the con- beginning ceramic class. Pho- tainer, the edges are coated with thick slip, and the tos: James Heising two seam edges are knit together with a modeling tool.

12 Ceramics Monthly This form is placed on another section of slab and top sections of the clay forms are made and attached a bottom section is traced out and cut from the clay. in the same manner as for the bases. In doing this we Slip is used on the joining surfaces and the bottom is found that it is faster and easier to work on all pieces knit to the walls of the box form. during the same class session; this allows for a more This same procedure is used to make all of the consistent drying of the new clay to the leather-hard remaining forms needed for the construction. If all shapes. components are made at the same time, it is possible The spouts are made in the same basic way as to leave them out in the air to dry to the leather hard the containers. The clay is rolled out to the same con- stage before continuing. If the parts are made in dif- sistent thickness and then cut into strips with the width ferent class sessions, the ones made first nmst be wrapped of the same length as the spout. The clay is wrapped in plastic and set aside to "keep" until all parts are around the paper-covered tubes or sections of dowel finished and can dry together. It is important that the rod, the edges are cut at a proper angle to make good pieces dry to the leather hard stage evenly. joints, then slip is applied to the joining edges and When the clay bottoms and sides of all containers the forms are knit together. Clay at the rims may be have stiffened, the container shapes are removed from flared out a bit at this time, if this is desirable, or clay inside the walls. These should come out very easily if can be added to change a shape in any other way. paper covers were made for the cardboard forms. The The small cylinders of clay necessary to join the clay forms must be dry enough at this stage to support various sections of the construction are made in the their own weight and to be handled with safety. same manner as the cylinders for spouts. When the clay When the cardboard forms have been removed, the is of the proper consistency, the rods or tubes can easily

1. Students select what they want [rom an assortment 2. A pi~'ce zs constructed by using piJls to assemble a o[ cardboard boxes and tubes to make their models. basic shape [rom the boxes and pieces o[ tubes.

3 7'he model i~ takct~ apart at~cl all ~cctiorls arc co~'cr~,:l 4. Clay [or covering the [orms is rolled out into slabs with paper to prevent clay [rom adhering to the [orms. between two quarter-inch parallel sticks.

]une 1966 13 5. Clay is wrapped around the [irst cardboard [orm, 6. Tubes are covered in the same way to make spouts then the cut edges are joined with slip. and sections to be used in joining sections together.

7. Spouts are attached to the top o[ the [orm by 8. It may be m:cessary to have help in the final as- knitting the new clay to the leather-hard forms. sembly o[ separate pieces into a complete construction.

be slipped from inside the clay cylinders. We found at this stage that it was necessary for Spouts are attached by placing one or more of the student to have some help in assembling the pieces. them on the top of one of the clay forms, drawing Slip was used to hold all the joining cylinders in light lines around the cylinders with a scriber or pencil place on one piece while the knitting together was done. point, then removing them. The fettling knife is used to Slip and the knitting technique were used on all pieces cut holes the size of the interior of the spouts in the to join them together firmly. When the assembly was top. Spouts are attached with the use of slip and a finished, all workmanship was checked thoroughly be- modeling tool. fore the piece was set aside to dry slowly. Slow drying When all of the spouts are in position, the bases is a necessity in this type of construction if cracking is of the various forms in the construction are assembled to be prevented. We found that it was necessary to check in their proper arrangement. It is easy at this time on the progress of the drying frequently and repair any to see if any changes or variations are needed in cracks that had developed. order to produce a better balanced form or a more Depending on the size and complexity of any form. pleasing composition. It is at this particular stage that the actual working time needed for the completion of we found that more graceful forms resulted if clay a construction pot varies from one to three hours. The cylinders were added to raise some of the shapes from finished forms are fun to do and they can be most at- the floor and thus eliminate any bulkiness in the com- tractive and a welcome change from the pieces produced pleted forms. by the traditional techniques of hand building.

14 Ceramics Monthly Texture and Pattern on Metal Bases Part 2

by KATHE BERL

TEXTURED METAL BASES under trans- example here. First, the metal base When the exposed radiating lines parent enamels give some very strik- must be polished and absolutely free are all made, and with very little ing effects when light "catches" in of grease. I usually do the final clean- space between them, the piece goes the different levels of metal and ing on such a base by rubbing it with into an acid bath for etching. I would enamel. When the texture or pattern a cotton ball saturated with pure recommend the use of an etching is arranged in groups of repeated alcohol. The whole base -- front, solution that can be obtained in a lines, the enameled piece seems alive edges and back -- is covered either craft supply store, because the use of with the moving play of light under with black asphaltum or a special a nitric acid solution is too dangerous glass. This seemingly mysterious ef- compound sold in craft supply stores for beginners in the craft. The lines fect has long been a tradition with for this purpose. Whichever one is being etched here are not deep ones enamelists and was used extensively. used, it must be applied very evenly and this commercial solution will You may remember the enameled in a thin coating. The metal shape work very well. After the enameler watches that were family heirlooms, must be completely covered; if any has had more experience with acid perhaps to be found now only in pinholes appear as the coating dries, and is comfortable with it, he will antique stores; these had backs enam- repair these before continuing. The of course use it for etching techniques eled blue, white or pink over what asphaltum should be allowed to dry such as this one. Acid should be used seemed to be a moving pattern in the completely before the piece is given in a plastic or Pyrex vessel if possible; metal. This same technique was used any further handling. if an enameled vessel is used, it must on mirror backs, compacts and ciga- The lines that are to be etched be in good condition; there should rette cases until the style finally was out are made by pulling a needle be no bare spots! I once used acid in discarded as old fashioned. Old-fash- through the coating with a light an enameled pan that had a pinhole ioned styles have a habit of reappear- touch in order to expose the metal. spot, and soon the acid had eaten ing, however, perhaps in different It is adequate to just expose the away at this until I had a flood of variations and with new names at- metal, not scratch it. The best needle fuming nitric acid streaming out of tached to them. They become con- for this purpose is one sold in artist the pan! temporary style again! supply shops for copper engraving. The piece is submerged in the solu- For example, an old watch or a This needle is not only sharp and tion or acid bath; if bubbles form mirror had on its back what is called stiff, but it also is inserted in a wood- on the piece, it is swished around a "paiIIon" under the enamel. This en handle so that one can get a good with a glass rod to remove the bub- was simply a repeated line design grip on it. bles. Bubbles can be removed with a in the metal base that resulted in an To make the precise straight lines feather, too[ In case any of the pro- optical illusion. This technique has needed for the effect we are after tective coating flakes from the metal been revived today and is known here, it is necessary to have a guide form, remove the piece from the bath under the fashionable name of "Op of some kind. Since the tray is at once, rinse in water, dry and re- Art." curved, a flat ruler will not do. We touch with asphaltum or compound. This kind of optical illusion under must have some object that will fit When the etching has taken place enamel is achieved by repeating lines the curve of the tray! If the enamel- and the lines are deep enough for the in ever-so-slightly changed directions. ist is using commercial shapes and is needle to catch in the grooves, re- Generally they are densely spaced so willing to sacrifice one that is the move the piece from the solution. that the viewer, either by moving same shape as the tray he is using for rinse in water, dry and then remove slightly himself or by moving the pat- this project, he can make an excellent the asphaltum with turpentine; if terned object, sees light move over guide very easily. Cut a metal shape the craft shop compound is used, it the different angles and depths in the exactly in half, right through the is cleaned off with ether. The cleaned metal base. The easiest pattern is a center, and use the edge as a cutting form is pickled, and then enameled set of lines radiating from the center line guide. This is placed over the with transparent colors to finish it. of the piece; this is known as the dry asphaltum-covered tray and the Here is one more design sugges- "sunburst" pattern. The lines must needle is drawn along the cut edge tion: Try, scratching concentric cir- cut reasonably deep for this effect; a of the guide to make a straight line. cles into the compound instead of needle stuck into one of the cut By turning the guide slightly to a radiating lines. The circles can be grooves must really catch in it. The new position, the cut lines can be made with a metal-pointed lines also must be perfectly straight. made very easily in a sunburst pat- instead of the engraving needle. By These lines can be engraved, but en- tern. If the metal is only exposed and varying the distance between the cir- graving perfectly straight lines is not not scratched, mistakes can be re- cles, the tray can be made to look easy. It is best to leave engraving to paired by retouching the surface. very deep! There are many other fas- the engravers and do our lines by the It should be mentioned that a cinating effects of mobile design that etching method. straight strip of metal can be bent can be made by the enamelist who is Since most enamelers work on to the exact curve of the tray and "game" enough to play with this trays, we shall use this form for our used in place of the half-tray. fascinating idea.

June 1966 15 MODELING FROM A SOLID BLOCK OF CLAY

by LucIA B. COMINS

EVERYONE seems to be fascinated with owls, so here's a advantage of working with the solid clay is its stability, study of the way I have made some of mine. As an intro- so try to obtain the exact consistency that you can work duction to the construction of them, it might be helpful with. Clay that is too dry or stiff also has its disadvan- to review a number of methods available and state why tages. One can only learn what is best by experience, for I chose to make mine the way I did. verbal description can never take the place of actually There are two traditional techniques in modeling (or working with one's own hands. in construction, as is the case here) which almost guar- The owls were made from a finely grogged red clay. antee the ceramist interesting and provocative results; Blocks of clay were constructed and set aside to stiffen both of these are done by working with thin walls. The a bit. Needless to say, the clay had been properly wedged first method involves the assembling of pieces thrown on to insure there being no air holes. The process of man- the potter's wheel; the second makes use of the slab ipulating the clay is a combination of both carving away method of construction. and, in some places, adding. The feet of some of the owls The first method, using cylindrical forms made on have been much exaggerated, simply because I preferred the wheel, calls for imagination and very careful handling them that way. Heads need study, for there are many of the clay. The restriction of working with these shapes kinds of owls and each shows off its own particular char- can result in amusing and well-designed products. Slab acteristics there. The beak, the ears, the distinctive space construction, which involves the use of clay that has been around the eye that gives that wise look; all these individ- rolled out with a rolling pin, has the decided disadvantage ual parts, unique in each species, have to be taken into for the beginner of being quite difficult to manage. Like consideration and translated into the designer's own style throwing, it too is well worth mastering, because of the of rendering. The fun lies in trying to emphasize these delights one gets from the results. special distinctive features. In case one has not yet learned to control his medium Tools should be used only when the fingers fail to well enough to be able to use either of these traditional model the detail one wishes. Otherwise the basic model- methods of construction, I would like to suggest a tech- ing may be neglected, and then no amount of detail will nique that is not used as much as the others, but one ever take the place of a well-modeled form at the begin- which does give excellent results. This method involves ning. When I want a smooth surface, (which I did when working from a solid block of clay, and it is the method I made the owls), I labor over it several days during the used to make the owls demonstrated here. hardening process. At about the leather-hard stage, I use I like to take a well-wedged block of clay of about tools. The eye holes are made with the rubber end of a the same size as the thing I want to model. If the clay pencil. Long feathers are created with the use of a lino-, consistency proves to be too soft to work with, it should leum gouge tool, and the "V" shapes with a "V" cutter. be allowed to dry out just a bit so it will not collapse and When the piece has been completed, and it has dried give the piece a proportion you had not intended. The and been fired, then comes the problem of making an

16 Ceramics Monthly tttt U~lli'15 O.'llt 0(' ttlOlltltt'([ at/(/ it'a\¢ (/...... I ...... ~" '~¢ ,~¢~I~.

is 1. The owl is made [rom a solid luml~ of clay which 2. ]atious tools arc u,wd to add t~xtur~, to the basic carved away or added to~ as needed." [orm at the leather-hard stage. June 1966 17 appropriate mounting. I had two requirements in mind a day. If it loosens before it hardens, nothing can be for the owls. One was to allow for overhang, and that done to remedy it. called for a cylindrical rather than a square-shaped block. Finally, the mounted owl is brushed with a coat of Secondly, I hoped to make owl and mounting look well hot wax (I use Butcher's White Paste Wax). If it is pos- together, either in coloring, texture, or both. I solved the sible, the bisque owl should be slightly warm; this keeps problem by using aged wood for some of the the wax from congealing too fast. The surface will soon mountings. begin to look milky, at which time it should be rubbed Chestnut trees were the victim of a serious blight with a soft absorbent cloth in order to remove some of about 50 years ago, but their fibers are so tough that the surface wax and yet retain the wax that settled in there are still many tall ones to be found in the , the depressions. In an hour or so a strong contrast will long since dead, but leaning upright in the crotches of have begun to appear between the red clay surface and living trees. Freezing and thawing, and help from the the white of the textural patterns. It is at this point that birds, have made deep fissures in the outer surfaces which it becomes obvious that light wax on the clay and the long ago took on a soft gray patina. Cross sections cut old chestnut wood make a well unified whole. near the crotches make excellent mounting blocks. The owls were scraped out at the bottom before the drying time had been completed. These open spaces come LUCIA COMINS has taught high school art and in handy for mounting. After fitting a slightly bent iron adult education classes in ceramics and in rod or heavy wire in the wood block, and making sure Greenwich, Connecticut. Though she is now retired, she of a good fit within the empty area in the owl, I use one continues to pursue her interest in art. She writes: "'My of the commercial crack fillers to cement it in place. work has a certain "earthy' quality which you will no One must be very careful not to handle the piece until doubt observe." Miss Comins was the author o[ several the cement is entirely "set." This usually means at least articles that appeared in CM in 1957 and 1964.

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3. Sketch shows block of wood with bent wires attached, 4. Mout~tcd oz~l is ,~mt, a ;,,~ti~ ~ ¢~,hitc ~ua.~ that l~- ready for mounting the bisque fired owl. mains in the depressed textured areas ]or contrast.

18 Ceramics .Monthly An invitational exhibit of work by 102 Minerals' established art program. In versity of Illinois; William Fan'ell, leading American ceramic artists was addition to having some 200 pieces of Purdue University; Karl Martz, In- sponsored by the International Miner- art displayed at its administrative cen- diana University; Eugene Friley, The als & Chemical Corporation in co-oper- ter in suburban Chicago and at various Ohio State University; Charles Lakof- ation with the Smithsonian Institution other company locations, the firm has sky, Bowling Green State University; and held at the corporation's head- been host to a number of art exhibi- Theodore Randall, State University of quarters building at Skokie, Illinois tions during the past few years. These New York at Alfred; and , during February. A total of 32 pieces have included New Horizons in Sculp- Scripps College. Professors Martz, Ran- from this showing, including award ture, Canadian Art Festival, and Es- dall and Soldner acted as the Jury for winners, went on exhibit May 2 at the kimo Art. The company's administra- Awards and also made the selection of Smithsonian Institution's Hall of Ce- tive center building has received a pieces for showing at the Smithsonian ramics and Pottery. This Washington, number of leading architectural awards, Institution. Consultant to the Jury for D.C. exhibition will continue through including the American Institute of the Smithsonian selections was Paul June 30. Architects' "Award of Merit" in 1960. Gardner, Curator of Glass and Ceram- The exhibit, "Ceramic Arts--U.S.A. An advisory committee of leading ics for the Smithsonian. Eldon Dan- --1966," is one of the few completely ceramic art educators was impaneled to hausen, Associate Professor and Chair- invitational shows sponsored by a pri- guide International Minerals in spon- man of the Sculpture Department at vate company. Sponsorship of this ex- sorship of this ceramic show. The com- the School of the Art Institute of hibit is in keeping with International mittee included Donald E. Frith, Uni- Chicago, and a member of the Inter- - ! Ceramic A rls U.S.A. 1966 A Ceramics Monthly Portfolio - I Cookie Jar by Robert Turner, Alfred Station, New-York.- Award. Stoneware Cone 10 reducing fire. Size: 11 by 10 inches. Merit Toast-colored body; beige-to-russet speckled glaze; 1

Glass Decanter and Two Liqueurs by , Grand Rapids, Ohio. Free-blown glass; decanter, 11 inches high, including stopper; liqueurs, 3 inches high. Merit Award. "'The color is clear with cobalt and amber variations in body and stopper. The liqueurs are the same. This [ree.hand blown decanter has decorative prints added on each side, and matching prints on the stopper. The coloring at the base o[ the decanter is matched in the stopper and liqueurs."

Stoneware Slab Vessel by , Missoula, Montana. Stoneware, reduced iron brown color. Polychrome decoration in black, yellow, chrome green and white. Cone 10; about 20 inches high. "'The piece was [ormed by using so[t slabs pressed together, and it was rather quickly made. The glazing and pattern were done with more deliberation." Stoneware Vase by F. Carlton Ball, Whittier, California. Buff stoneware clay; wax-resist decoration with red iron oxide; brown matt glaze; reduction fired at Cone 10. The vase is 32 inches high. "The design was inspired by thistle down. The /iring was accidental, turning part o[ the design the reverse o[ the way it v_,as intended. These dark areas are light and the light ones dark, with an intriguing final result."

Porcelain Footed Bowl by , Philadelphia, Pennsylvania. Translucent white porcelain; no glaze; Cone 9. Approximately 6 inches high, I0 inches wide. "'The piece is made up o[ a "collage" of thin slabs, each slab superimposing another, giving the tonality o[ light transmitted through the overlapping layers. The piece was formed over a balloon for temporary support." Porcelain Bottle with crystalline glaze, "Desert Gold #2," by Herbert H. Sanders, Los Gatos, California. Merit Award. "Thrown, then paddled; approximately 8 inches high. Burnt orange and gold-[lecked background with gold crystals. Firing, between Cone 12 and Cone 14."

Stoneware Structure by J. Sheldon Carey, Lawrence, Kansas. Over 27 inches high; reduction fired to Cone 8. "The sides were [ormed [rom part o[ an orange carton, then attached to an oval cylinder. The neck and base were thrown. The spots on the sides go [rom white centers to green, to iron black. The top and bottom and the narrow edge are white glaze and dark slip."

Ceramic Bottle by Cecil G. Strawn, DeKalb, Illinois. Stoneware with iron stain; reduction fired to Cone 9. Height is 19 inches; color is brown. "This is one of a series o[ pieces involving the application o[ three dimensional textures to thrown pots."

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Ceramic Plaque by John Mason, Los Angeles, California• Hand formed, 14 by 16 inches; body fired to Cone 5. The cadmium-selenide glaze is yellow with an orange spot; fired to Cone 07. Merit Award.

Stoneware Vase by Otto and Vivlka Heino, Concord, New Hampshire• Cone 11 stoneware, reduction fired; toasty color; 22 inches tall. Iron slip and blue slip decoration; white matt glazes. "The piece has added knobs like ears, and a changed [orm which was done when thrown, be[ore taking it [rom the wheel." r- •

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Stoneware Casserole by Ruth Gowdy McKinley, Wayland, New York. Thrown shape with incised decoration and sculpted handles; capacity, over two quarts. Dark body with off-white, semi-matt glaze; wood fired, reduction, at Cone 10. "As all of my pots are [ired unsaggered in a wood-burning kiln, the wood ash circulating through this down draft kiln [uses with the glazes and the body of each pot. This additional mark of the fire is often quite wonderful and always varied."

,J Ceramics Monthly Sarcophagus, " as Captain Mandrakas," by Fred Covered Stoneware Jar by Angelo C. Garzio, Manhattan Kansas Bauer, Whitmore Lake, Michigan. Merit Award. Kansas clay with a yellow matt glaze interspersed with white "'The hinged box is 3 [eet high, 2 [eet wide; it was [ired under wax-resist and black line accents created with iron over clay. Cone I0; about 7 inches high. to Cone 11. It is red-brown with yellow ash areas, white sides are [reely depressed, giving the [eeling o[ a slip and underpainting on the [ace. It has clay hinges "The The contrast o[ the yellow and the with brass hinge pins and latch (nose) with brass ring and casually thrown [orm. brown-black against the white was an attempt to capture lock pin. It has leather straps [or lid stop and latch pin." the [eeling o[ eroded rocks with their natural characteristics in the surroundings o[ a rocky seashore or tundra area."

Stoneware Jar by , Alfred, New York. Cone 10; 12 inches high. "Wheel thrown, altered [orm, with applied clay relie[ accents. Color is grey with warm brown and yellow mottling."

j t S. ; ' ,44

Bottle by Joel Philip Myers, Milton, West Virginia. About 11 inches high, 6 inches wide. "Free-blown glass, formed by marvering chrome oxide in the first gather, then forming a 'post' 12eck; the glass in this case is blue. Then this preliminary blown form is covered with crystal glass and blown further to completion. In effect, a cased ~ i;!ii:i! ~ ~ ?iece." • i::~ i¸' Ceramic Vase by Abraham Cohn, Milwaukee, Wisconsin. Warm-brown stoneware, 18 inches tall, fired to 2350* F, oxidation. "'This is a thrown piece, carved national Minerals & Chemical Corpora- Carlton Ball, Karen Karnes, Ruth Mc- when leather hard to form facets. tion Fine Arts Committee, acted as a Kinley, Val M. Cushing, Otto and A matt black slip glaze was applied to special advisor to the group. Vivika Heino, and Albert J. Borch. the bisque. Edges of the facets were Awards of Merit, each amounting to This comprehensive show of work sgraffitoed to reveal the bisque; $500, went to the following: Dominick by 102 American potters will probably two white matts were brushed on in Labino, Grand Rapids, Ohio; Robert prove to be the outstanding ceramic selected areas and to cover the edges Turner, Alfred Station, New York; art exhibit scheduled for 1966, accord- of the facets. The matt black, covered Fred Bauer, Whitmore Lake, Michi- ing to some art educators. Plans are in areas with two matt whites, gan; Herbert H. Sanders, Los Gatos, being formulated for a Smithsonian- produced two blues in those areas. California; Rudolf Staffel, Philadel- sponsored tour of U.S. museums and Edges of the facets are white." phia, Pennsylvania; and John Mason, art centers for the 32 pieces that make Los Angeles, California. up the show now on display at the The 26 ceramic artists whose entries Smithsonian. There also is a possibility are being shown along with the award that the show may be exhibited over- winners at the Smithsonian are Rudy seas under sponsorship of the U.S. Autio, William Parry, Joel Myers, Information Service. Charles Lakofsky, Norman Schulman, CERAMICS MONTHLY is pleased to James Wozniak, , Louis Men- present in this Portfolio a selection of dez, Ernie Kim, Win Ng, and David photos from the invitational exhibition Shaner. held at Skokie. Wherever possible, the Also, Warren McKenzie, Kenneth photograph is accompanied by a short Ferguson, John Stephenson, William statement by the artist. Farrell, Gordon Barnes, , Jerry Rothman, William Alexander, F. \

Ceramics ~,lonthly ENAMELED WIND CHIMES

by POLLY ROTHENBERG

METAL AND GLASS wind chimes com- bine pleasing sound, movement and flashing color. The enameled chimes illustrated are decorated with art glass shapes. Some of the chimes are enameled on both sides; some have bits of glass fused to bare copper on one side and enamel on the other side. The unique feature of these chimes is the method of decoration. The pieces are all cut and formed from 18- sheet copper. When they are smoothed and cleaned, a hole is drilled in one end of each chime for stringing on a cord. The support piece is not enameled. It is bent into a spiral shape which will be suspended from one point only; this will make it mobile. In order to stiffen the spiral support and strengthen it, the piece is pound- ed all over with a small chasing ham- mer. Pounding hardens the metal and also gives it an interesting texture. Holes are drilled all along the lower edge. These holes will hold cords for hanging the chimes. A very practical and attractive cord for this purpose is linen fishline. It is slender, light- weight, and strong. The line used for the demonstration piece is 45 lb. weight. Sporting goods stores carry a variety of fishlines. The chimes are all counter enam- eled. Those which will be decorated with glass fused to the bare copper must be given a generous coat of counter enamel behind the spots where the glass shapes will be ap- plied. When a metal piece is fired it becomes very malleable. As the metal cools, it flexes; but glass does not flex, of course. If the metal shape is not

June 1966 27 counter enameled first, as soon as it is removed from the For chimes which will be decorated with longer glass kiln the glass will fracture when the cooling metal flexes shards, a base coat of enamel is fired to the second side. and warps away from the glass piece. Even after metal After glass has been fired on mica in preparation for cools, changes in room temperature can cause it to flex. application to bare copper, it will not fit perfectly Counter enamel holds the metal firm and prevents this flush with the metal. This is because variations in the flexing action. mica leave indented places in the fired glass. If the All the glass shapes which are used to decorate these glass does not fit snugly to the copper, it will be found copper wind chimes are first placed on sheets of nfica and during firing that oxidation takes place where any fired at 1400 ° F in order to round any sharp comers. tiny air spaces occur. Resultant firescale will prevent the When the glass pieces are cool, they are removed from glass from fusing properly to the metal. I have found the trivet and separated from the mica. It is very impor- the best way to solve this problem is to spread a thin tant to remove all traces o[ mi~:a [rom the back o[ each laver of moist, low-fusing flux enamel to the underneath [ired glass piece. I find a stiff wire brush to be excellent surface of the glass shape: then I press it firmly against for this purpose. If mica adheres to glass it will not the copper to exclude air. When the enamel has dried, the fuse to anything when it is retired. This is often a cause piece is fired at 1400 ° F long enough for the flux to for failure when glass is used by enamelers. melt and the glass to fuse to the copper. This should Small, short pieces of fired glass are selected for take at least three minutes or longer. When the flux those chimes which will not have a base coat of enamel. looks shiny around the edges of the glass shape, the

1

1. Chime shapes and a spiral support section are cut [7om 18-gauge sheet copper.

2. Copper pieces are [lattened with leather so that glass pieces will [it [lush on the metal.

3. Suspension support section is pounded all over to ,am give it both texture and added strength. ~ J d 4. Glass units are [ired on mica, then any trace o[ mica is removed [rom the backs o[ the [ired pieces.

5. Moistened [lux is added to back o[ each [ired glass Q piece be[ore it is placed on the bare metal [or [iring.

6. Longer pieces o[ glass are [used to enamel-covered sur[aces [or ornamentation purposes. . :: 7. Pieces are ready [o~ assembling. Those in bottom row i'i .... ~ ~i!iil;ii~!iii~i!il ' have glass [used to bare copper. 5 28 Ceramics Monthly of trivet is removed from the kiln and allowed to cool threaded through all the holes along the lower edge slowly. The piece is then removed from the trivet and the support piece and knotted to hold them securely in through placed in lukewarm (not cold) pickling solution in order place. The opposite ends of the cords are strung to remove firescale from the copper. If further ornamenta- the chimes and knotted. To keep the knots from unravel- of tion is desired, the bare metal can be engraved after ing when wind moves the chimes, I find a drop firescale is removed. If engraving is done before the final melted sealing wax, touched to each knot, to be effective. firing, firescale will become deeply embedded in the Cords should be just long enough to allow for free move- engraved design and be difficult to remove. ment, but not so long they become entangled. To hang A longer glass shard is fired to one enameled surface the set of chimes, a generous length of leather thong is the of each of the remainder of the chimes. The fired glass folded double, tile ends are knotted together, and in shape is applied to the enameled surface with gum, dried. loop is threaded through the hole which was ~drilled and fired long enough to fuse at 1400 ° F for at least the suspension point of the spiral copper support. A wind or 3 minutes. (The detailed process was described in Mrs. chime can be suspended from a tree, a garden arch, Rothenberg's article, "'Art Glass Decoration on Enamels," the ceiling of a porch. When the air begins to move, it in the February 1965 CM.--Ed.) gives motion to the quivering metal. If the metal is em- When the edges of all pieces have been stoned and bellished with enamel and jewel-toned glass, the set of smoothed with steel wool, it is time to assemble the chimes can be an object of charm and beauty in almost wind chimes. On the demonstration piece, cords are any appropriate setting.

.ii ;,III _/.2 ......

June 1966 29 FUSED GLASS WIND CHIMES

by POLLY ROTHENBERG

LONG, FUSED SEGMENTS of cathedral glass with silver the calcium carbonate also acts as a separator. Two-inch wire hangers form a colorful set of wind chimes that are lengths of fine silver wire are prepared by curving the easy to make. ends with small round-nosed pliers; shaped ends are Glass is cut into long random shapes with a carbide more decorative than blunt ends. The wires are bent glass cutter. The cutter must be pressed firmly enough double to form loops which will become hangers for to "bite" into the glass as it is drawn in a continuous each chime. A clean glass piece is placed smoothest-side- sweeping stroke from one edge of the glass sheet to up on the surface of one of the prepared insulating another. Then the sheet of glass is turned over on a brick blocks. It is advantageous to brush some enameling flat resilient surface, such as a magazine, and tapped gum over the piece of glass. This is not a "must," but it sharply along the scored line to separate it. An ex- helps hold wire and top glass section in place while the perienced glass craftsman can hold the sheet of scored block is transported to the kiln. A piece of the shaped glass in one hand, tap it once, and see it fall apart. silver wire is positioned on top of one end of the glass To form blocks on which the lengths of glass can be segment on the block so that the loop extends beyond fused in the kiln, soft insulating brick is sliced into sec- the end of the glass. A second glass piece is placed on tions with a small . The top surface of each section top of the wire and the first piece of glass--this time is rubbed gently with calcium carbonate (whiting), which with the smoothest side down. It makes a more interest- fills the pores of the brick and gives a smooth surface; ing chime if the edges of the two pieces of glass are not

Support for the class wind chimes is a piece o[ striated weathered wood suspended by small chains.

iii ~ ~ i I !i i i iiii

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.~-~:z:~: ~:;; ~ ~:. i) a ;~ ::i': : !~::!!ii~i~i~ i

30 Ceramics Monthly exactly aligned but are slightly offset. Longer wires could shock to tile glass. When tile cooled glass chimes are be sandwiched between the glass segments in order to removed from the insulating-brick blocks, some residue form a pattern for an added decorative effect and still of whiting will cling to them; this is easily sponged off provide the exterior loops. Finally, the remainder of the with warm water. glass strips and silver hangers are assembled on sections A piece of satiny, striated weathered wood makes an of insulating brick, ready for firing. They are transported appropriate support for these wind chimes whose long to the kiln which has not yet been turned on. glass strips form a pattern of vertical striations. Glass After all pieces are in the kiln, it is turned on to colors are shades of blue, ~een, purple, and amber. Linen the "high" position and heated to 1400 ° F. This tem- fishline cords are strung through the silver wire loops perature will fuse the glass but will retain the individual and tied to small staples driven into the back of the glass shapes and the seeded effects which appear in some weathered wooden support piece. A drop of melted seal- kinds of art glass. If a smoother, more-fused effect is ing wax touched to each knot insures it against unravel- preferred, the temperature may be raised to 1450 ° F. ing when wind moves the chimes. The demonstration Then the kiln is turned off and allowed to cool com- piece is hung with two lengths of chain. Flashing color pletely. Glass must not be removed from the kiln while and delicate music created by these art glass wind chimes it is hot, unless it is being fused to copper. In that case are ample reward for the small amount of effort required the red-hot copper cools slowly enough to prevent air- to form them.

1. A porous m.~ulating brick i,~ cut with a saw to pro- 2. Silver wire "hangers" arc plac~d between gla.~, t'ide refractory surfaces for fusing the glass. pieces, which are in position on the brick for firing.

3. The fused glass chime sections may be strung on 4. If any whiting ha~ ~maincd on ttt, bacl,,~ of tit, linen fish line cord for attaching to a support form. chimes, it can be removed with a damp sponge.

June 1966 31 THUMB PRINI DECORATION

demonstrated by MARC BELLAIRE

PRINTS are the source of much decoration that is done orates. The colors used here are pink and purple for on greenware. Marc Bellaire already has demonstrated the flower prints, green for the leaves, and black for the the use of various studio objects for making prints-- brush lines and spatter detail. brushes, plastic foam, rubber foam, erasers, sponges, When the first color is of the proper consistency, a and rubber stamps. Each of these makes a distinctive small amount is poured out into a jar lid. The. thumb is shape or texture, depending on the material used. then simply dipped into the color and touched on the The decorator's finger can also be used as a printing perimeter of one of the pencilled circles to make a device, simply by dipping it into underglaze and then solid print. This same procedure is repeated, placing four pressing it against the surface of the greenware. The prints of this first color on each circle. When all of these absorbent nature of the dry, unfired clay takes the are in place, the same color is used to make secondary color from the finger and makes a neat print. Such a petals between the first sets of four prints. Each flower print might be used by itself, prints might be used in now has eight purple petals. clusters, or prints could be considered as basic shapes, The second color is prepared for the dots in the or "frames" on which to embellish or elaborate with center of each flower. Instead of the thumb, the little brush lines and strokes. finger is used to make these smaller prints. These are The thumb print might be considered as the most dotted in to give a spotted effect. These are not solid creative of the decorator's techniques because each per- centers; some of the white background is still visible. son "sees" something different in the abstract shape These pink prints do overlap some of the first purple made by the thumb. A thumb print may suggest the body prints, however. of a bird to one individual, a fish to another, or a A third color--green or blue-green--is used for the sleeping owl to someone else. It takes the addition of leaves. These clusters of prints are made on each side just a few brush strokes to show what the decorator had of the stems and Marc Bellaire uses five prints to each in mind when he first saw the print. Children especially leaf. The placement is such as to provide weight and are fascinated with this technique, which gives free play balance to the design and to help fill the space. If to their soaring imaginations! clusters of small leaves are used at the top, as in the For his project here, Marc Bellaire works on a small demonstration piece where the greenware shape narrows, free form platter that has a shape somewhat similar to the little finger can be used to make these prints. a thumb print. The subject for the decoration is flowers With the printing finished, accenting is put in with made from clusters of thumb prints. As in most of black underglaze. Some very loose outlining of the leaves his projects, Mr. Bellaire plans his composition in ad- is done with the liner brush. These lines run in and vance and makes a pencil plan on the greenware. The out of the color and the white background, adding a design consists of three circular flower shapes with stems certain sparkle and helping to make pleasant, rhythmic converging toward the bottom of the plate. Thumb prints shapes. Stems also are sketched in with this same brush will be clustered to form the petals and grouped to in order to help keep the design light and sparkling. suggest leaves. Some accenting will be done with brush Accenting of the flower shapes is done by adding a lines and spattering. concentration of black spattering in the centers. A spatter The underglaze colors for thumb printing should be brush is loaded with black underglaze, held close to rather thick and it is recommended that the colors not the centers of the flowers, and the spattering is done. be thinned. If the colors already appear to be too thin With the accenting complete, the piece is bisque for this work, they may be left uncovered in the jar or fired, then covered with a transparent matt glaze and jar lid for several hours until some of the liquid evap- then fired again to finish the platter.

32 Ceramics Monthly 3

1. A pencil plan is made o[ three circular [lowers with stems on a small greenware platter shape.

2. Thumb is dipped into thick underglaze color and pressed against the greenware to make prints.

3. The little linger is dipped in another color and used to make the small center dots on each [lower.

4. Cluster o[ prints is made in green to suggest lea~'es on either side o[ each stem.

Right: Black accent lines are brushed loosely around the leaves; spattering is done in [lower centers [or accent.

June 1966 33 "]'HE DYNASTIC REIGNS of the various in most of the cases weight units are glazes must be carried out with some Chinese emperors within historical indicated, it must be remembered that deductions, interpolations and calcu- times gave period classifications to the Chinese potter depended more lations. Chinese history, as well as its pottery. upon his experience and judgment in A perusal of these formulas shows Each period brought forth technolog- compounding his glaze than he did them to be similar to, but generally ical and artistic changes; each period on the use of the balance. In con- not as stable as, many that are in made its contribution. The Ming sequence, a reproduction of these common use today. Their reproduc- dynasty is famed for its use of an ex- tion and use offer an interesting exer- panded palette of color. Starting with cise for the modern potter. the elevation of the first Ming em- In the following ten formulas out- peror in 1368, the period was known lined, the original raw materials were as the "bright dynasty." GLAZES utilized whenever practical. Where Some ten colors were extensively our modern raw materials did not used by Ming potters on both the permit of accurate formulations, al- ware made for domestic consumption OF lowing for the impure Chinese and that made for an expanding ex- sources, the formula was cast into port to southern Asia, eastern Africa, its unity form and available material Asia minor and, to a lesser degree, THE was used to achieve the approximate Europe. Even the crude and often Ming formula. deformed ware containing such glaze Of the ten glazes most used by the defects as pinholes was marketed. MING Ming potter, the blue was much Very fine porcelains, thin, and dec- favored. This may be made from: orated in underglaze blues, celadons DYNASTY and even copper reds, also were pro- BLUE GLAZE (Cone 06-04) duced. Red Lead 61% Of the ten colored glazes, a rather by RICHARD BEHRENS Flint 12 complete and detailed formulary has Nepheline Syenite 27 come down to the present day. While 100%

Ming bowl from the author's collection is glazed with a white feldspathic glaze. The decoration is ,1,~, :~it', ir,~, r, ~]~. ~l~t ~r~i~w ~~Ib~:;' and bluc; of the "brioi, t drna;tr" 9criod.

34 Ceramics Monthly This blue glaze is colored with 0.6% IRON RED GLAZE cobalt carbonate and 0.05% of man- (Cone 06-04) Lead Carbonate ganese carbonate. This glaze matures (White Lead) 93.3% at Cone 06 to 04. Iron Pigment 6.7 A bright green glaze, again a lead 100.0% glaze, is made from: The Chinese potter placed his We Make It Possible For BRIGHT GREEN GLAZE glazed pots in various positions in the Anyone To Own A Perfect (Cone 06-04) kiln where he knew the fire would Red Lead 73% Production Kiln With Our be "weak," "moderate," or "fierce." Flint 24 Famous Pre-Cut Kiln Kits Kaolin 3 His white glaze was more of the I00% stoneware variety. One which will fire at Cone 7 is as follows: This is colored with 3.5% of copper carbonate; it fires at Cone 06-04. WHITE GLAZE A bright yellow glaze can be com- (Cone 7) Bone Ash (Calcium Phosphate) 5.1% pounded from the same recipe, with Whiting 17.7 different colorants added: Feldspar (Orthoclase) 54.0 Flint 23.2 BRIGHT YELLOW GLAZE (Cone 06-04) 100.0% Red Lead 73% Flint 24 A pale blue was made by adding Kaolin 3 0.1% of cobalt carbonate to the Cone 100% 7 white formula above, fired in oxida- To this should be added 2.5% of an- tion. timony oxide; it fires at Cone 06-04. A Cone 7 celadon glaze, fired in re- Bricks mitered, grooved, and drilled: duction, is as follows: every part, right down to the last nut A purple glaze results from the and screw, included. With blueprints, following formula: CELADON GLAZE and concise building and firing instruc- (Cone 7 Reduction) tions.... Order from this ad or write PURPLE GLAZE Feldspar (Orthoelase) 47.8% for detail sheet. (Cone 06-04) Whiting 17.0 White Lead 70% Magnesium Carbonate 2.3 Kaolin 3 Kits Kaolin 7.4 All Kilns and Kits now fire to 23S0oF. Flint 27 Flint 25.5 100% 12"x12"x131/2" deep ...... $ 62.50 100.0% 18"x18"xl 8" deep ...... 99.S0 This may be pigmented with 3.5% 24"x24"x221/2 " deep ...... ! 7S.00 manganese carbonate and 0.05% A Cone 7 brown can be made by 24"x24"x27" deep ...... 19S.00 cobalt carbonate; fires to Cone 06-04. firing the above glaze in oxidation ALL PRICES F.O.B. SEATTLE The Ming turquoise was a distinc- with 5% of red iron oxide as the tive glaze of the alkaline-copper type. colorant. Distributors For Some of these ten formulas, in the A close approximation to the original • ALBERTA'S MOLDS Ming formula is: case of the low-temperature-maturing group, fall short of achieving all the • ARNEL MOLDS TURQUOISE GLAZE good qualities of the modern type, • ATLANTIC MOLDS (Cone 04) • BELL PORCELAIN Potassium Nitrate (niter) but provide the potter with an in- (powdered to 100 mesh) 71% sight into the technology of early • CALIFORNIA CERAMICS Flint 27 China's "bright dynasty" with all its • DUNCAN'S PRODUCTS Bentonite 2 implications for the development of • GARE GLAZES 100% the ceramics arts. • GRUMBACHER BRUSHES This is colored with a 3% addition of • HOLLAND MOLDS copper carbonate and fires at about • KEMPER TOOLS Cone 04. -- MR. BEHRENS is • KEN OCORR MOLDS In obtaining the iron reds, the a graduate chemist • MACK CHINA Chinese calcined green iron sulphate who has worked in • MARGLOTEX STAINS at various temperatures in earthen- various industrial • MAYCO COLORS ware crucibles. This pigment varied and research fields • PEMBERTON-NEAL according to the time of calcining and and has taught the kiln temperature. Calcining at pure and applied • REWARD COLORS temperatures varying between low red chemistry at the • SYRINGA MOLDS heat and red heat (around 600 to adult and secondary 800 ° C or 1120 to 1480 ° F) will levels. Pottery is his major avocation POTTERY BY DOT produce iron-red-type pigments. The and he spends much o[ his time ex- Dept. CM, 408 N.E. 72nd St. Ming formula for this iron pigmented ploring the field o[ glaze technology SEATTLE, WASH. 9811S glaze is: in his workshop.

June 1966 35 CERAMACTIVITIES people, places and things

MAIJA GROTELL TO RETIRE DEMONSTRATION BY McKINNELL juror for crafts at the sixth annual Arts Maija Grotell, head of the ceramics de- /ames McKinnell, Alfred University, and Cra[ts Festival at Hodges Gardens, partment at Cranbrook Academy of Art, was the guest instructor for students and Many, Louisiana, on June 3-5. Alvin Sella, Bloomfield Hills, Michigan, has announced faculty of the Corcoran School of Art, of the University of Alabama, will judge her resignation from teaching, effective Corcoran Gallery, in Washington, D.C. in the art exhibits. June 30. Miss Grotell, one of the world's March. Pictured. left t- right, are students Miss Laird received a grant from the outstanding ceramists and teachers, was Texas Swedish Cultural Foundation in born in Finland and graduated from the 1955, studied at the University o[ Texas, Central School of Industrial Art in Hel- the University of Houston, and Cranbrook singfors. She came to this country in 1927 Academy o[ Art. She has exhibited in and attended class under Charles F. Binns Texas museums, the Boston Museum o[ at Alfred University. Following this she Fine Arts, the Syracuse Museum o[ Fine taught at Rutgers University School. She Arts and The Metropolitan Museum o[ came to Cranbrook in 1938. Prizes and Art. honors include the Binns Medal for nota- ble contributions to the advancement of CRAFTS IN BALTIMORE ceramic art; the Founders Society Prize Craft work by the Twelve Designer of the Michigan Artist-Craftsmen Exhibi- Cra[tsmen of Gatlinburg was displayed tion; the Silver Medal from the Paris In- during March and April at the Baltimore ternation Exposition; and the Founders Gloria ElIiott and Lane Poor, Dean Eu- Museum o[ Art. The 200 pieces of work Medal from the Cranbrook Foundation. gene E. Myers, Richard La[ean, head of on exhibit included pottery by Lynn the Ceramics Her work has been acquired for the per- Department, and guest in- Gault, Don Lewis, and Sarah Young, and manent collections of The Metropolitan structor James McKinnell. enamels by Peg Boarts and Jane Glass. Museum o[ Art, and museums in Cleve- Other members of the exhibiting group land, Detroit, Syracuse, Toledo, Minneap- CRAFT FAIR were Fred Smith, Tina McMorran, Ber- The 19th annual olis, Springfield (Mo.), Wichita, Washing- Fair and Exhibition nice Stevens, Alice Zimmerman, Bill Kos- of the ton, and numerous other cities. Pennsylvania Guild of Cra#smen loi~, and Fannie Mermen. The exhibiting will be held at East Stroudsburg State craftsmen operate their own craft shop in College, East Stroudsburg, Pa. from Au- Gatlinburg. The Baltimore exhibit was SOUTHEASTERN HOBBY SHOW PLANNED gust 17 through August 20. organized by Mrs. Dorothea Bell, Museum Plans are being completed for the South- Palmer Sharpless, of Bucks County, staff member. eastern States Ceramic Hobby Exposition, President, and Hampton Weil, of Allen- according to ]erry Gasque, president of town, Pa., General Chairman of the Fair, SYRACUSE REGIONAL AWARD Ceramic Expositions, Inc., of Asbury Park, have announced that the four-day event Henry Gernhardt of LaFayette, New N.J. The show will be held at the Palm will again bring together members of the York, received the Syracuse Guild Prize Beach Towers on the shores of Lake Worth 12 chapters of craftsmen throughout the in the 14th Syracuse Regional Art Ex- in Palm Beach, Florida; show dates will State who bring hundreds of items of hibition at the Everson Museum during be from September 29-October 2, 1966. their best work in ceramics, weaving, jew- elry, enamels, fabric printing, creative em- broidery SUDA ON FACULTY and other hand-made articles in the craft category--all Marianne Suda, well-known Canadian for sale. An exhibition ~eramlst. will be teaching the ceramics of work chosen by a panel of jurors who are classes at Le Vieux authorities in their fields Moulin Art Center will be a feature of the Fair. A series of demonstrations of various at St. Pie de Bagot, crafts will give visitors an opportunity Quebec, this sum- to see how fine crafts are produced. mer. Mrs. Suda is a native of Vienna, TWO-MAN SHOW came to Canada in The Canadian Guild o[ 1952 and continued Potters recently sponsored a two-man show of ceramics her ceramics work by Joan Bobbs and Ron at l'Ecole du Meu- Roy, both of Toronto and both recent graduates of the ble in Montreal. She Ontario College o[ Art. Mr. Roy was a currently teaches at special student at the O.C.A. and his work the Potters' Club, where she exhibits is represented in the permanent collec- annually. Her work has been in the 1965 tion of the school. During the past year Canadian Ceramics Exhibition and in the he exhibited in the Ontario Circuit Show Quebec Master Craftsman exhibition in and was an award winner in the Ceramics Toronto in 1966. "65 exhibition. Joan Bobbs served as as- sistant instructor in the ceramic depart- ILLINOIS SHOW DATES SET ment of the Ontario College of Art from The Rock[brd Art Association, Rockford, 1962-64. During the past year she re- Ill., has announced that its 18th annual ceived an award in the Ceramics '65 Greenwich Village Fair will be held Sep- show and exhibited in the Ontario Circuit tember 18. In event of rain, the date will Show and the Geneva Exposition Interna- March and April. Mr. Gernhardt's win- be September 25. The Fair is open to tionale. ning entry was a blue stoneware vase artists and craftsmen in northern Illinois (pictured). Nineteen ceramic and enamel and southern Wisconsin; entry deadline is JURORS ANNOUNCED pieces were selected for the show by juror July 16. Details for entry may be found in Ruth Laird, of the Museum of Fine Garabed DerHohannesian. The entire ex- the Itinerary columns of this issue. Arts in Houston, has been selected as the hibition contained 109 pieces in all fields.

36 Ceramics Monthly INDIAN ARTS CENTER The American Indian Arts Center, a retail shop for the display and sale of contemporary American Indian and Eski- mo arts and crafts, recently opened a new shop at 1051 Third Avenue in New York Orlon City. The Center, a non-profit enterprise of the Association on American Indian pyrome, Affairs, consists of a street level boutique standard and gallery; it specializes in a wide vail- ety of highly sophisticated home furnish- ings and fashions representing work cre- ated by talented American Indian and Eskimo artists and craftsmen from all areas of the United States. The Center Director is Mrs. Muschenhelm.

NOTES ON CM SURVEY cons#tent quality ware The publishers of Ceramics Monthly more recently released the results of a com- Orton cones are the recognized standard throughout the ceramic prehensive survey believed to be the first of its type in the industry. Readers of CM industry, and these same cones will insure you more uniformly and individuals engaged in business in the fired ware.., at very low cost! ceramic arts and crafts field participated in the survey. In a breakdown of readers Ask your dealer for a FREE copy of Orton's new booklet, "ORTON by interest, it was found that hobbyists IMPORTANCE TO THE make up 39.5% of the CM readership; PYROMETRIC CONES AND THEIR teachers in schools and craft centers ac- HOBBY POTTER." Especially prepared for the hobbyist and count for another 38.6%. The balance of the readership is divided among pro- studio potter, it covers in detail the subject of cones and their fessional potters (9.4%), teachers in col- proper use. leges and universities (8.5%), and miscellaneous (4%). The study revealed The Edward ORTON Jr. Ceramic FOUNDATION that 79.9% of CM readers own their own kilns and that 60.4% own their own 1445 Summit Street, Columbus, Ohio 43201 potter's wheels. In the marketing information section of the survey, it was reported that there now are over 110,000 electric kilns in use in the ceramic arts and crafts field. Manu- MAKING POTTERY without a wheel facturers' sales for the industry (kilns, wheels, colors, clays, etc.) were reported by F. Carlton Ball and Janice Lovoos to be over $10,500,000 per year. Copies of the complete survey are This comprehensive and richly illus- trated book, published by Reinhold, to business firms in the industry, -- available ~ .... :iptil covers every phase of hand-building and requests should be sent to the maga- | ~ T ~ f A ~ ~ ~ d ~ ~ ~I and decorating clay pieces. No book has zine office on business letterheads. ~~JL~JL'~.. I ever coveredthe subject of texture and I ~~-,'-]'.~F ~om more effectively. CRAFTSMEN'S FESTIVAL ~~t~ ~ The techniques illustrated in the book A special feature of the summer activi- I~'~-_l~i~-~T~.:] ~ .~:'~5~d~ start with simple projects suitable for ties at the Brookfield Craft Center, Brook- ~c~..~~bl~i~ ~ elementaryschool children and progess field, Conn., will be a Craftsmen's Festival, ~~~".~r* ~ to those of considerable difficulty. The ~~..~ author, working with tools usually June 3-5. Vivika and Otto Heino, Gordon that no the McKinleys, Ed Scheier, Bar- [ ~~~] ~IE found in the home, points out Keeler, r ~:.],~)~ J,a~ l~! special workshop or studio is required bara LaBarge, Leonard Billings, C. ]. i~~~rmO~/'p to produce the beautiful pieces of pot- Maglnley, Priscilla Porter, Dirk Rosse, try ~~'~ iF ! Jr~,, tery--a table in a kitchen, garage or Tauno Kauppi, Bernl Gorskl, the Eppel- ~~I~Y~. back porch will do. sheimers, Karlin Streng and many other nationally known craftsmen will be at the with big Craft Center for the three days --~,~ ~ ~ .~ff ~ ~r ~nspOational. It ~s a book eve~l ~eavhe~" displays of their work. There will be dem- should have. Price: $9.#5. onstrations by fine craftsmen in all media and many opportunities to "try-lt-your- WE PAY POSTAGE self." mm m m m am am m m m m ms I m m ~mm m m am CERAMICS MONTHLY Eook Del~=rtment CRAFTS REGIONAL 4175 North High St., Columbus, Ohio 43214 The Second Biennial Crafts Regional Please send me __ copies of MAKING POTTERY WITHOUT A WHEEL at $9.75 each. I Invitational Exhibition, sponsored by the I Madison (Wisconsin) Art Association at N,. the Madison Art Center, presented work Address by 46 midwestern craftsmen from Illinois, Iowa, Michigan, Ohio and Wisconsin. 91 City State Zip pieces of work in ceramics, glass, jewelry, | Ohio residents add 30c per copy sales tax. , enclose [] Check [] Money Order I metalsmithing, textiles and | SOLD ON OUR USUAL MONEY-BACK GUARANTEE __ were exhibited. Ikm .J

June 1966 37 CREATIVE CLAY DESIGN POTTERY & CERAMIC CERAMICS by Ernst Roftger SCULPTURE by Glenn C. Nelson Shows of all kinds of by Herbert M. Sanders An important addition to the elaborate shapes from slabs, A new, thoroughly revised list of books for both student strips and rolls of clay. Over edition of Mr. Sanders' best and teacher. Many step-by- 250 examples of work by chil- seller, Ceramics Book. Com- step photographs of clay-form- dren and students. $4.95 pletely up-dated with new ing and decorating techniques. material, including section on Review of Equipment. $6.75 how to build a potter's wheel. POTTERY: FORM Excellent for beginners, $1.95 FREE BRUSH DESIGNING recommended AND EXPRESSION by Egbert and Barnef by Marguerite Wildenhain MAKING POTTERY beautiful WITHOUT A WHEEL The authors' exciting ap- Contains many large proach to painting and de- photographs. This impressive by F. Carlton Ball books on and Janice Lovoos signing develops confidence volume gives excellent basic in the new artist. Extremely technical information on proc- This comprehensive and rich- ly illustrated book covers well adapted to ceramic dec- esses and materials. An out- oration. $3.95 standing gift selection. $7.75 every phase of hand-buildlng ceramics and decorating clay pieces. No book has ever covered the STONEWARE AND CERAMIC SCULPTURE subject of texture and form PORCELAIN by Betty Davenport Ford more effectively. $9.95 by Daniel Rhodes The author leads the reader Describes techniques and ma- to a high level of profession- terials used in high-fire pot- alism in the design and tech- tery. Includes sections on clay nique of an ancient craft. ORDERANY OF TH bodies, glazes, colors, textures Animal. human, plant and ON OUR and decoration. $7.50 abstract forms are shown. SELECTTITLES $5.50 ~NEY-BACK GUARANTEE GLASS CRAFT by Kay Kinney DESIGNS AND HOW The complete book on fusing, TO USE THEM MOSAICS, HOBBY & ART laminating and bending glass. by Joan B. Priolo by Edwin Hendrickson Basic techniques, step-by-step Top-notch decorating can be This profusely - illustrated projects and a "Glass Clinic" achieved by following the handbook for the beginner to help solve problems. Hard simple motifs which may be and advanced hobbyist in- covers, 200 pages. $7.50 enlarged or transferred. A cludes step-by-step instruction on 12 basic projects. $3.50 complete list of subjects: A POTTERY SKETCHBOOK birds, fish, etc. $6.95 CERAMIC SCULPTURE by Aaron Bohrod by John B. Kenny Bohrod, one of America's dis- CLAY AND GLAZES FOR Contains over 1000 photos tinguished painters, is well THE POTTER and sketches covering all known in the pottery field by Daniel Rhodes phases of the sculptor's art. for his decoration of pottery Two complete books in one! A valuable aid for all crafts- thrown by Carlton Ball. Fundamental details on both men. Large format (7"x10"), Thousands of sketches. $7.50 CLAY and GLAZES make 302 pages. $9.95 this book a "must" for every HANDBOOK OF DESIGNS THE COMPLETE BOOK AND DEVICES hobby - craftsman, student, OF POTTERY MAKING teacher and potter. $7.50 by Clarence Hornnng by John B. Kenny Over 1800 sketches of basic The "best seller" in the DESIGN MOTIFS OF designs and variations includ- ceramic field! Step-by-step ing the circle, line, scroll, fret, ANCIENT MEXICO photo lessons cover all of the by Jorge Enciso shield, snow crystals and many pottery - making techniques. more useful symbols. $2.00 A compilation of 766 exam- Clays, glazes, firing, plaster, pies divided into geometric, etc. 242 pages. $7.50 natural and artificial forms. CERAMICS AND HOW Includes designs based on CERAMICS FOR THE TO DECORATE THEM flowers, birds, fish, human ARTIST POTTER by Joan B. Priolo figures, etc. 170 pages. $1.85 by F. H. Norton Mrs. Priolo gives detailed de- The most complete book on scriptions and illustrations of dozens of decorating tech- ENAMELING ON METAL the subject, from choosing the proper clay to putting niques and shows exactly by Oppi Unfrachf how to go about using them. Step-by-step photos are used the final touches on a piece, all clearly explained. Ce- Starts where other books to describe fundamentals on leave off. $6.95 through to newly developed ramics at its best! $7.50 experimental styles. This com- plete guide is a major con- tribution to Enameling. $7.50 BOOK DEPARTMENT 417S North High St. Columbus, Ohio 43214 DESIGN FOR ARTISTS PLEASE SEND ME THE FOLLOWING lOOKS AND CRAFTSMEN [] Rottger--Cley Deslcjns $4,95 [] HendricksonmMosaic $3.50 by Louis Wolchonok [] Wildenhaln~Pottery $7.75 [] KennyDSculpture $9.95 One of the best books on de- [] Ford--Sculpture $5.50 [] Kenny--Poffery $7.S0 sign. it will prove to be in- [] Priolo--Designs$6.95 [] NortonmArfist Potter $7.S0 valuable to pottery and sculp- [] Rhodes--Clay & Glazes $7.50 [] Nelson~eramlcs $6.75 ture enthusiasts as well as [] Encls~Deslgn $1.85 [] Ecjbert & Barrier--Brush $3.95 decorators. Geometric, flower, [] Untracht~Enamelincj $7.50 [] Rhodes--Stoneware $7.50 bird and animal forms are [] Wolchonok~Oesign$4.95 [] KinneyDGlass Craft $7.50 shown in detail. $4.95 r_lF1Jenkins & Mills--Mosaics $5.9S [] Bohrod--Sketchbook $7.50 SandersDPottery $1.95 [] Hornung~Desicjns $2.00 [] Ball & Lovoos~PoHery $9.95 [] Prlolo~Ceramics $5.95 THE ART OF MAKING MOSAICS by Jenkins and Mills NAME This fascinating book shows the beginner how to make ADDRESS unusual and beautiful mosaic CITY STATE 71P__ pieces in home or workshop. I enclose [] Check [] Money Order (Ohio residents: 3% Sales Taxi WE PAY POSTAGE Well illustrated. $5.95

38 Ceramics Monthly IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII MFG. OF SCULPTURE Sculptors, Potters AND WHEEL CLAYS WORKSHOPS MOIST OR DRY ATTENTION Continued [rom Page 9 cone 06-04 cone 4-6 New Kemper Tools QUEBEC, WAY~S MILLS cone 6-9 July 4-Septernber 16 The Rozynska Pottery offers ten 2-week LOW TEMP. in Choose from Kemper's complete sessions of individual instruction cone 06-04 hand building, throwing, glazing, deco- YELLOW line of American made tools for rating, kiln design, building, stacking Sculptors and Potters. and firing. Instructor: Wanda Rozyn- and ska. Write: Rozynska Pottery, Way's GREYSTONE Mills, Quebec, Canada. SLIP • All-Wood Tools RED SLIP • Wood and Wire Tools TENNESSEEj GATLINBURO June 13-July 22 GLAZES • Double Wire-End Tools Craft Workshop in the Smokies offers Gloss, Matt full and half sessions in beginning and and Texture advanced ceramics and enameling, and cone 06-04 All available in 6", 8" and 10" a short session (July 18-22) in advan- cone 4-6 sizes. Made out of select imported ced enameling. Instructors: Ann Van Free Brochure m Mold Catalog 50c South American and African Aken, ceramics, and Helen Worrall, en- ameling. Write: Craft Workshop, Pi . Beta Phi Settlement School, Gatlinburg. NEW- EQUIPMENT- USED

Write for the new 1966 Kemper Cata- TLNNESSEE, MEMPHIS Wheels • Pug Mills • Tile log, enclosing 25c to cover mailing and June 1J-July 22 Presses • Slip Blungers • Gas handling. The Memphis Academy of Arts offers & Electric Kilns • Spray Guns 6-week terms of beginning and advan- ced pottery. Instructor: Thorne Ed- • Compressors • Screens KEMPER MFG. CO. wards. Write: The Memphis Academy Send stamped envelope. of Arts, Overton Park, Memphis 38112. P.O. Box 545, Chino, Calif. 91710 TEXASj HOUSTON IIIIilIIIIIIIIIIIIIIIIIIMIIIIIIIIIIIIIIIIIIIIIIIII June 13-July 23 The Museum School of Art, Houston, Please Mention CM offers 6-week courses in wheel work methods and tech- when writing our advertisers and handbuilding ANDERSON CERAMICS COMPANY, INC. niques. Instructor: E. Ruth Laird. Write: Museum School of Art, 1001 1950 S. McDuffle St. Bissonnet, Houston 77005. Anderson, South Carolina SCHAUER ENAMELS At last ~ an American source for the interna- tionally famous Jewel-Tone Transparent & Opaque UTAH, SALT LAKE CITY Complete Ceramic Supplies enamels for copper, silver and gold. Manufactured by SCHAUER & CO., VIENNA. June 27-July 22 AUSTRIA and distributed by The University of Utah offers a 4-week NORBERT L. COCHRAN summer workshop in ceramic arts, 2540 So. Fletcher Ave. Fernandina Beach, Fla. 32034 ceramic sculpture and metal design. CERAMIC and ART SUPPLIES Write for color range & prices. Instructor: Angelo Caravaglia. Write: AMACO, SCULPTURE HOUSE, DUNCAN Clays, Glazes, Wheels, etc. Department of Art, Building 441, Uni- PARAGON, PASCO. SKUTT Kilns versity of Utah, Salt Lake City 84112. Ceramic and Art Books WINSOR NEWTON, DELTA, ART and SIGN Brushes and Art Supplies VERMONT, CHARLOTTE July and August MIAMI STUDIO SHOP 2360 W. Flaqler, Miaml, Fla. 33135 HI 8-0721 Wing's Point Pottery offers an 8-week course in clay work, throwing and glaz- ing. Write: Mrs. K. P. Grenfell, 1168 Lowell Rd., Schenectady, N. Y. Please Mention CM when writing our advertisers VERMONT, LUDLOW July 4-August 27 Fletcher Farm Craft School offers 2- RED EARTHENWARECLAY week sessions in ceramics and other crafts. Write: Mrs. Harriet C. Turn- for throwing or handbuildlng quist, Fletcher Farm School, Chelsea, Cone 04 to Cone 4 Vermont 05038.

STONEWAREBODIES WISCONSIN, MENOMONIE to Cone 10, oxidation or reduction June 20-August 12 for throwing or handbuilding Stout State University offers Ceramics for both graduate and undergraduate WRITE FOR SAMPLES AND PRICES credit: basic design and techniques of ceramic production for the artist-potter. Castle Rock Stoneware Guest instructor: John R. Tuska. Write: Route 2, Castle Rock, Colorado 80104 Registrar, Stout State College, Men- omonie.

June 1966 39 1965 revision Catalog of 6000 molds IT'S BERGEN from 45 companies ...... $1.25 ITINERARY Hew Mold Supplement only ...... S0c FOR • Lighters Continued from Page 10 (to bring 196S catalog up.to-date) Large Supply • Lamp Parts Rowland, Kansas Catalog ...... $1.50 City, Kansas; or Jewell (Refundable on $1S Order) Pietrafeso, 9905 E. 82nd Terrace, Ray- • Rhinestones town, Mo. "Do's & Don'ts ol Ceramics"....$1.50 • Music Boxes OHIO, COLUMBUS September 9-11 Sixth Annual Ceramic • Crushed Glass Festival, sponsored by Ceramics Anony- Midwest Ceramic Center mous, will be held at the Exposition 722 Southwest Blvd. Kansas City, Mo. 64108 • Jewelry Findings Grounds. Write: Mrs. Geneva Cathel, 200 S. Cypress Ave., Columbus 43223. • Porcelain Flowers WHERE TO GO FRANCOISE CERAMICS DISTRIBUTOR FOR: Duncan's Melds, EZ Flow • Tools, Stilts, Brushes Glazes and Bisq-Wax • Ceramichrome Products CALIFORNIA, BELMONT • Atlantic-ArneI-Holland and Schmid Molds • • Copper Enameling June 11-24 Tenth Annual Exhibit of Porcelain Slip-Ceramic Supplies a Large selec- Bay Area Arts and Crafts Guild, a juried tion of quality Greenware • Mack's China Paints (America's largest selection of • Brushes, Tools, Kilns, Art Books, Slip, and show of crafts in various media; at the Clay • WHOLESALE and RETAIL shapes, enamels, trivets, etc.) College of Notre Dame Art Studio. 113 49th St. South St. Petersburg, Florida CALIFORNIA, SACRAMENTO BERGEN ARTS & CRAFTS, INC. through June 26 The 41st Annual Ex- CERAMICS - MOSAICS hibition of the Kingsley Art Box 689 CM, Salem, Mass. 01971 Club includes mosaics and sculpture; at E.B. Crocker COPPER ENAMELING Rush complete catalog w~th crushed glass Art Gallery. Huge Stocks ~ Feel Service ~ Quality color chart. Enclosed is 50c (refundable :Vlerchandise Ik Write now for FREE literature with Ist order). CONNECTICUT, BROOKFIELD June 15-July 9 Exhibit of work in [LLINI CERAMIC SERVICE Name crafts by instructors at the Brookfield 439 North Wells, Chicago 10, Illinois Address. Craft Center. D.C., WASHINGTON City State Zip NEW m NEW m NEW through June 30 "Ceramic Arts -- U.S.A. -- 1966," invitational exhibition Complete Book on using rubber stamps for decorating ceramics D S1.S0. Special letru- sponsored by the International Minerals ductary offer m S1.0O. Special stamps made and Chemical Corporation; at the Smith- to order. The Famous sonian Institution. SEELEY'S CERAMIC SERVICE, INC. 9 River St., Oneoata, New York 13820 KLOPFENSTEIN FLORIDA, TAMPA POTTER'S WHEEL through June 30 Juried Exhibition by Write for FREE Information Members, at the Tampa Art Institute. H. B. KLOPFENSTEIN & SONS GEORGIA, ATHENS FHAMFLIHG SUPPLIFS RFD. #2 Dept. A Crestline, Ohio June 9-11 Workshops in Craft Design "Everything for the Enamelisr' include sessions conducted by Joel Myers School and Studio Discounts Available (glass), Paul Soldner (ceramics), and Catalogue S0c Bernard Kester (fabrics). At the Depart- KRAFT KORNER Ceramic Supplies ment of Art, University of Georgia. $860 Mayfield Rd., , Ohio 44124 and Art Supplies KANSAS, ARKANSAS CITY Buy your ART supplies and CERAMIC supplies from one source . . . we have a complete line June 10-11 Sidewalk Arts Festival in- of bo~. We are located just 23 minutes west of eludes crafts. Sponsored by the Chamber Sold only Chicago via the Eisenhower and East-West Toll- by way, 2 miles north of Route 59. of Commerce. RETAIL and WHOLESALE Authorized Schools and Institutions write for FREE catalog. LOUISIANA, ~_.ANY Dealers June 4-5 The Sixth Annual Arts and Crafts Festival at Hodges Gardens, 16 DAWSON 1100 "H" East Ash miles south of Many on U.S. Highway W. P. Fullerton, Calif. 92631 171.

r - - "; MICHIGAN, DETROIT through June 15 "Selections from the Art-Crafts Supplies, Inc. SPAREX Institute Collections," at the Detroit In- 23S N.E. 67th 5t. Miami, Florida stitute of Arts. Pickling Compounds Distributor for: FARAGON MICHIGAN, EAST LANSING Kilns • DUNCAN, SYMPHONY, The easy to use, SAFE replace- CERAMICHROME and DRAKENFELD ment for dangerous sulfuric acid. June 3-26 Undergraduate Exhibition MARX Brushes • JACQUELYN Stains of work in all media by students at Michi- Use SPAREX NO I for cleaning gan State University. At Kresge Art Cen- iron and steel. Use SPARE)( NO ter. 2 for copper, brass, silver and precious metals. Order from your NEW HAMPSHIRE, DURHAM supplier through June 10 Annual Student Ex- hibition of crafts, and prints, at ~)UIMBY & COMPANY Paul Arts Center, University of New 60 Oekdclo Road, Chester, H. J. 07930 Hampshire. Continued on Page 41

40 Ceramics Monthly TORCH FIRING now available A sensible approach to fusing and manipu- ITINERARY lating glass fragments and rods in an ordi- nary propane torch available in most hard. Continued from Page 40 ware stores. our NEW Includes annealing harp ate construction; NEW HAMPSHIRE, MANCHESTER instructions for rod and stained glass shards; price list. Available April 15, 1966. through June 12 Annual Exhibition ( CATALOG #8 Children's Work. at the Currier Gallei $2.00 per copy, postpaid. of Art. This new 64-page catalog lists (Glass Catalog: 50c postpaid) you need- a com- NEW HAMPSHIRE, NEWBURY everything line of kilns, glazes, tools The 33rd Craftsmen's Fai plete KAY KINNEY -- CONTOURED GLASS August 2-6 plus general supplies and of the League of New Hampshire Arl 725 Broadway, Laguna Beach, Calif. 92651 equipment, with many new and Crafts, at Mt. Sunapee State Part items added. Hobbyists, teach- ers and studio potters will NEw YORK, ITHACA find the catalog invaluable. Intermountain Area Headquarters August 1-6 The 13th Annual Yor sponsored by the Yor You'll want a copy of this all for Ceramic Supplies State Craft Fair, the very High School new catalog at hand Special Attention to the Needs of Schools and State Craftsmen. At Ithaca you need ceramic, Institutions. Supply catalo9 available $1.00 lex- next time cept 50c to Utah, daho Montana Wyoming and NEw YORK, NEw YORK mosaic or metal enameling Nevada). Free to schools and in'stltutlons when your home studio "The Art of th supplies for requested on letterhead. through June 2 or school. Send for your copy Capital Ceramics, Dept. CM Craftsman" features work by members o now ! 2174 S. Main 5t., Salt Lake City, Utah 84115 Artist-Craftsmen of New York: Donah Mavros, Marianna Von Allesch, Asteric Matakos, and Ellen Gennaro. At th, Trias Gallery. Send S0c for New Catalog #8

FREE COLOR CHARTS NEW YORK, NEW YORK TEACHER5 NOTE: This new catalog is and Gare sent FREE to schools, institutions end on famous Symphony Glazes through June 19 "7,000 Years oJ shops. Bisque Stains. Newly printed in full color, craft showing complete line. Write today to: Iranian Art." Smithsonian Institutior Traveling Exhibition, at Asia Society. GARE CERAMIC SUPPLY CO., INC. 165 Rosemont St., Haverhill, Mass. 01830 NEw YORK, SYRAGUSE July 5-28 Contemporary Ceramics Van Howe selections from the permanent collection Ceramic Supply at the Everson Museum of Art. 1185 S. CHEROKEE, DENVER 23, COLO. NEw YORK, UTICA June 5-July 24 School of Art Annual Exhibition of Adult Student Work, al Munson-Williams- Proct or Institute. NORTH CAROLINA, ASHEVII,LE July 18-23 Craftsman's Fair of the Southern Highlands Handicraft Guild. POTTER'S TOOLS GLAZES CLAYS BAMBOO TEAPOT HANDLES OHIO, AKRON through June 5 The 43rd Annual ve • O Spring Show, at the Akron Art Institute. OHIO, CINCINNATI through September 5 Annual Exhibi- tion by students of the Art Academy of 2410 E. 38th St. Minneapolis, Minn. Cincinnati, at the Cincinnati Art Museum. ONTARIO, TORONTO gAN LEONARD CERAMICS Clays through June 5 "Art Treasures from ,24 Corona Ave. Corona, L. I., N. Y. Wheel & Sculpture Japan," 161 objects gathered from shrines, ~GIC GREENWARE RELEASE (8 oz.)..$1.25 Wide range of colors, with or without grog. and temples. vee yourself aggravation. Releases green- Moist ready to use. CERAMIC CHEMICALS & museums, private collections, in half the time, will nol stick. RAW MATERIALS. Send for price list. At the Royal Ontario Museum. LN SURFACE BRICK HARDENER (16 oz.) ...... 51.75 NARDCO CERAMIC PRODUCTS PENNSYLVANIA, EAST STROUDSBURG II harden and prolong life of your kiln. P. O. Box 66774, Houston, Texas 77006 August 17-20 The 19th Annual Fair pps kiln brick from shedding and flaking. and Exhibition of the Pennsylvania Guild of Craftsmen, at East Stroundsburg State 0SCAR-PAULProfessional College. CERAMIC WISCONSIN, WAUSAU through July 22 First Annual Wiscon- CLAYS POTTEgS sin Deslgner-Craftsmen Traveling Exhlbi- and tion, at the Marathon County Historical EEL Society. GLAZE DESIGNS MATERIALS lrwo Models. Ught weight, yet rugged BEE BASCH 70 & First 5ts., Englewood, Fla. 33S33 enough for cJossroom or production use. block east Wood's Cocktail Lounge, Hwy. 776 Noiseless. Write for information: Our Molds are designed for CREATIVE use and EDUCATIONAL purpose CEP~MICSUPPLY, INC. CORPORATION r&ite OSCAR-PAUL Send $I.00 today for )01E DIPLOMACY ROW • DALLAS, T~0~ 75235 522 West 182nd St.. Gordeno. Calif. 90247 i Illustrated Catalog, Tips & Ideas M[lrm~ 1-0540

June 1966 41 Advertisers Index SUMMER June 1966

American Art Clay Company ...... 4 WORKSHOPS SHOPPER Anderson Ceramics Co ...... 39 Art-Crafts Supplies, Inc ...... 40 NEW WHEEL INTRODUCED Basch, Bee, Designs ...... 41 Gilmour Campbell has introduced a new Bergen Arts & Crafts ...... 40 electric wheel to his line of potter's The Frederic Taubes wheels Campbell, Gilmour ...... 39, Art Course and turntables. This professional-type Cover 4 wheel Capital Ceramics ...... June 20th - July 1st is portable and has a foot pedal for 41 speed Carrizo Lodge ...... control. The manufacturer reports that the 42 Castle Rock Stoneware ...... 39 Watereolour Painting & Enameling Central Ceramic Art Supply ...... 40 Ceramic Art Center ...... Dr. Emilio Caballero 40 Cochran, Norbert L ...... 39 Oil Painting Workshop Craft Students League YWCA ...... 42 Creek-Turn Mary Lee Garrett ...... 39 Dawson, W. P ...... 40 July 4th - July 15th Duncan's Ceramic Products .... Cover 3 Franeoise Ceramics ...... 40 Portraiture Gare Ceramic Supply Co ...... 41 Emily Guthrie Smith Illini Ceramic Service ...... 40 Kemper Mfg. and Co ...... 39 Kinney, Kay ...... 41 Landscape -- Still Life Klopfenstein, H. B. & Sons ...... 40 Ruth Tears Kraft Korner ...... 40 L & L Mfg. August 1st - August 12th wheel is more powerful than others in the Co ...... 11 Leonard, line, is easy to use, easy to clean and con- Jean, Ceramics ...... 41 venient to store away when not in use. Mayco Colors ...... 7 Write: Plaster throwing bats that fit the wheel Miami Studio Shop ...... 39 THE GREGGERSONS head also fit on the "Kingspin" line of Midwest Ceramic Center ...... 40 hand wheels. Gilmour Campbell, 14258 Minnesota Clay Co ...... 41 Maiden Lane, Detroit, CARRIZO Mich. 48213. Nardco Ceramic Products ...... 41 LODGE National Ceramic Manufacturers Assn. CHINESE CERAMICS BOOK 10 Dr. A, Ruidoso, New Mexico 88345 Ohio Ceramic Supply "Chinese Ceramics," a new book pub- ...... 39 Orton Ceramic Foundation lished by Tuttle, is called "a treasure house ...... 37 Oscar-Paul of the finest examples of the potter's art." Carp ...... 41 13th ANNUAL Covering over 3,000 years of superlative Pottery by Dot ...... 35 ceramic design and production, it begins Qulmby & Co ...... 40 with the painted York State Craft Fair jars and the black pottery Reward ...... of 4 August the earliest historical periods and con- 1st through 6th, 1966 Seeley's Ceramic Service ...... 40 Ithaca High tinues through all the great epochs of School, Ithaca, N Y. Skutt & Sons ...... Cover Chinese history. There are 22 large color 2 DEMONSTRATIONS • EXHIBITS a SALES plates and 92 large black and white plates, Tepping Studio Supply Co ...... 41 plus over 200 text illustrations. The authors Thompson, Thomas C., Co ...... 5 are Seizo Hayashiya and Gakuji Hasebe. Thousand Islands Museum ...... 42 THE THOUSAND ISLANDS MUSEUM Charles E. Turtle Co., Rutland, Vt. Trinity Ceramic Supply ...... 41 at CLAYTON, Unique Kilns ...... 41 NEW YORK an•ounces TRIPLE BEAM BALANCE SUMMER WORKSHOPS in Ceramics, Van Howe Ceramic Supply Early The Ohaus Scale ...... 41 American Decoration, Enameling Corporation has an- (Orsini), - nounced that Watson-Guptill Publications ...... 3 ing, pottery (Vally Possony), Rug.hooking it has completely redesigned and Westwood Ceramic Supply Weaving. Fur information write to: Emily Post, its triple beam balance, incorporating mag- ...... 9 Director, 90 WestceH Road, Princeton, New netic damping that increases the speed and York State Craft Fair ...... 42 Jersey 08540. accuracy of weighing. Another feature in- eluded in the new design is an end post ...... + Back Issues CRAFT The lollowing back issues at Ceramics STUDENTS I CERAMICS Monthly are still available at sixty cents LEAGUE Wood, Stone & Terra per copy (Ohio residents pay 3% sales YWCA Cotta Sculpture. A wide tax). We pay postage. variety ot ether crafts. 840 8th Ave. 1953 August O1 Slst, N. Y. Men, Women, Teenagers. 1954 March, July, August, December Circle 6-3700 1955 November, Day, Evening. Catalog December (212} C. 1957 April, July, August, September 1958 June, September 1959 November 1960 June, November, December 1961 January, October, November, December Change 1962 January (9-year Index issue), February, of Address ~+/ : : : ...... April, May, June, November 1968 June, November U.S. Post Offices will no longer forward mag- which not only retains the beam 1964 February, azines, even but also May, June, September, Novem- if they have your new address. provides for end reading, ber, December Your magazines will be returned to the pub- thereby reducing lisher parallax 1965 November at a charge of 0c each. If you move, error. The baked epoxy base stores 1966 May please notify us at least 4 weeks in ad- attachment weights to vance g v ncj both new and old addresses, bring the balance Please send remittance and s'end addressed to a capacity of 2610 grams. (check or money part on of your mailing For complete order) with list of issues envelope to Ceramics Monthly 4175 N. High information, write: Ohaus Scale Corpora- desired. St., Columbus, Ohio 43214. {Don't forget to include your ZIP number on new address.) tion, 1058 Commerce Ave., Union, N.J. CERAMICS MONTHLY 07083. 4175 N. High St. Columbus, Ohio 43214

42 Ceramics Monthly new from 5 exquisite CRACKLETONE GLAZE

4815 CHERRY BLOSSOM A truly delicate, translucent pink. Exceptionally beautiful when crackle pattern is stained with a scarlet India Ink. 4816 EMPRESS YELLOW A strong, sparkling yellow. Quite opaque. Ideal for non detailed pieces. Fine cracking pattern. 4817 DYNASTY BLUE A most exciting clear, deep translucent blue. Best when applied to highly detailed pieces. #818 IMPERIAL AMBER Rich, golden amber tone with truly beautiful translucent qualities. Use on highly detailed items for exceptional results. #819 ORIENTAL MOSS An exciting warm translucent olive green color. Apply to finely detailed pieces to truly appreciate its beauty. 4 oz. jar a~ 65¢

These new Duncan CRACKLETONE GLAZE COLORS are now available at all of the Duncan Distributors listed below.., ask for them soon!

~++ A£1en Urtve. .... 2809 6.E. Stork, Portland, 97215 Wichita Falls. 76309 • MET LOUISIANA -N-E'VAD~t" ROOM ...... LA CERAMICS, INC. ALICE CERAMIC AR'I~ PENNSYLVANIA C£1Ut MIC ]13 4916 St. So., 1190 Rldgewood Drive. ]906 Western , Las Vegas. 89102 BECKER'S CERA~.~C 2517 E Yandell Drive ALASKA 33707 El Paso. 79902 THE MUD RUT S~. Petersburg. Memtrie, 70001 NEW JERSEY SUPPLy CO. DOLLY CERAMIC ART STUDIO 426 Lincoln Way WesU ROtS'ION AR~ & CRAFTS 1227 Cordo~ S., Anchorage. 99501 LA LENA CERAMICS SHREVEPORT CERAMIC 30 MontKomerv S ree, Ne~ O~ord, 17350 2048 Marshall, Houston, 77008 105 S, Beal Beach.St., 32548 SUPPLY ARIZONA FT. %%alTon 07011 CERAMIC GROVE GIFT ~EST TEXAS CERAMIC SUPPLY MARJON CERAMIC SHOP 444 Olive, Shreveport, 71104 Clifton, MARCIE'S 'A'ORKSHOP SHOPPE 1409 Scurry st., B~g Spring, 7972£ 3418 N. 24th St., Ph~nix, 65O17 GEORGIA CERAMIC N.J. Route 24, Stewartsville, 08886 109 12th Ave., ALLSON'S cERAMIc MAINE 16601 UTAH 5LPPLI~ SMITH'S CERAMICS Juniafa, Alt~. ARKANSAS 04401 NEW MEXICO CAPITAL CERAMICS CSIIAM1C ART CENTER 1500 Mary ALlison Drive, 268 MazneSt., Bangor, LANGELL'S CR(~SS CREEK CERAMICS 1916 No. Filmnre, 1334 Sts. Run Road. 2174 South Main, Columbus, 31907 St., N.'A'., SaLt Lake cte... 84115 LitHe Rock, 72207 LEILA RENTZ CERAMICS MARYLAND 3600 4Lh Albuquerque. 87107 P1ttsburgtL 15236 FARLAND CERAMICSUPPLY 2425 S~. PattersonSt., MARYLAND CERAMIC EI~IES" CERA~c SHOPPE VIRGINIA NEW YORK Elsie Smeltz. East Main Street. CERAMICS Rt. I Box 71, 7318 Rogers, Vald~sta, 31601 HOUSE, LTD. DILL-HAWK 7902 Harford Road. DOLL},~'.N CERAMICAvenue SUPPLIES Heg:ns. 17938 Box 436, Roanoke. 24019 Fort Smith, 72903 FLORENCE ROBER'P~ CERA~,flCS BaBlmore, 21934 663 ~a[den Rt. 2. 528 South Central, Bapevdle, 30054 POTTERY ART STUDIO, INC. CALIFORNIA Buffalo. 14211 DOROTHY SEADER RANDCRJ~F'I~ GRACE ALDEN HAWAII MASSACHUSETTS STUDIO 4401 KHiam Ave., Norfolk, 23508 4511 N. Broad, Philadelphia. 19140 1235 Spear Ave., ArcaLa, 9552l TERRA CERAMICS OAKS3 CERAMIC STUDIO GATE HOUSE ARTS ] A~Jlney Stree. Saugus, 01905 50 Spauldlng Lane, SUNSHINE CERAM]C~ WASHINGTON AVANTY CERA~-flCS 1720 Kaplo[ani Blvd., 12477 AYLER CERAMICS Sauger ties.CERAMICS Rt. 307, R.D. 13, Moscow, 18444 887 57th st., Sacramento. 95831 Honolulu, 96814 MICHIGAN JENNIE'S N. 3214 Cresthne Street, BRO"N'S CERAMICS & GIE'I~ Road, RHODE ISLAND Spokane. 99207 1904 North Chester Avenue. IDAHO JOY REID CERAMIC STUDIO 13ox 254. Dunnsville 2015N. Telegraph, Schenectady, 12306 CEI~tM-ARTSTUDIO& GIFTSHOP MILLE'$ CERAMIc Ba.kersfield, 93308 &RTLAND CERAMIC STUDIO & GIFT SHOP 168 E. , Pocatello, 83202 Dearborn, 48128 JEAN LEONARD CERAMICS 3101 E Ma n Road S.L.CLUTTSR .'~ Eruifland VALLEY CERA~.flCS TARI-TAN CERAMIC SLPPLY 96-24 Corona, Corona, L. I., 11368 Portsmouth, 02871 6 0 13112 Inglewood, Hawthorne, 90251 TREASURE CERAMIc SUPPLy CO. K~newick. 99336 Wilder, 83676 962 E. Fultnn Street. CENTRAL N. Y. CERAMIc SUPPLY LOUIS' HELEN S CERAKHCS If4 SmitMteld Avenue. Grand Rapids, 49505 645 Liverpool Road, VIRGINIA ILLINOIS MINNESOTA Lwerpool, 13088 Pawtuckel. 02860 WEST /177E.SanAntoml, St.,SanJose,9511~ ART ~L~IDA 'S CERAMICS KATY'S CERAMICS CENTRAL CERAMIC CERAMIC SERVICE 2627 El Camlno Real, Red~o~d Ci~', SUPPLY CO. CERAMICS BY DEE SEELEY'S 2029 Poplar Street, Keno~, 25630 1041 Cumberland St,, 9 River St., Oneonta, 13820 SOUTH CAROLINA " Road. East St. Paul. ANDEP~ON CERAMIC CO. WISCONSIN KIDDS CERA~.BCS P.O. BOX p, (Batavia 1950 S. MeDuffle St., 92050 of Route 59), Warrenville. 60555 55117 NORTH CAROLINA CASTLE C£RA]~RC STLDIO 332 W. 2TUb National CIW. knder~n, 29621 LEE $ CEP.t,6~C SUPPLY CERAMIC CREATIONS MISSISSIPPI CREATIVE CRAFTS 7552 N Teu on a Ave, DOUBLE L CERAMIC 5812 Yadkm Road. M~lwal.~ee. 532[,9 724 H~ 40, Va eJ,, 94593 4115 W. Lawrence Ave., DAKOTA Chicago, 60630 SUPPLY Fa>etteville. 28303 SOUTH S CERAMIC STLDIO PASO ROBLES CERAMIC SHOP GIFT ~AL'GH lX 47 Hwy. 80. DLRHAM CEP.A~HC SUPPLIES MCFARLING S CERAMIC & R~. 3, Tomah, 54660 3 26 Spring SI. P O. Box 246, SCRERTZ'S CERAMIC STLDIO Hr. 2. B, 739, 1201 w. Brons. Peoria, 61604 Jaekso,u 39209 1012 Ruxboro SL, Durham. 27704 P.O. Box 2 miles Eas~ n~: H~." 12 & 16, Pas,, Robtes. 93446 NORTH DAKOTA 2 I 2 Miles S. Rwy 37, Huro~, 57350 NITA S CERAMICS EILEEN S CERAMI C S[ ppL~, • CANADA 81335 INDIANA 239 9. ~. a n Tupelo 38801 NORTHV-'EST C&RAM]C 7626 Tampa. Resed~. HARRIS TENNESSEE CERAMICRAFT LTD. STAGGS CERAMIC STUDIO ABBY'S CERAMIC STUDIO SUPPLY MOUNTAIN VIEW 720 LanEs=de, MISSOURI ~23 Broadwav Fargo, 58 02 9045 Alondra Bh'd., 507 Pl*etffer Road, CERAMIC CENTER A'inmpeg 2, Mamtooa Bellflower, 90706 Evansville. 47711 GENEVIEVE'S CERAMIC OHIO ] 9 L)'nd~ Drive Chattanooga, 37405 LASNI£R STLDIO COLORADO EDITH'S CERAMIC NOOK STUDIO, INC. HOUSE OF CERAMICS, INC, DOERRLosanti~tlle, CERAMIC SLPPLY Box 424, Thet/-rd-.R~nes, VAN HOW~ CEP-JkMIC 65 Julian Ave,. 6514 Weber Road, 2237 Province of Q~ bec. SL Louis. 63123 10]1 No. Hollyw~d S rue, SUPPLY COMPANY Indtanapoli$, 46219 Cincinnati. 45229 IMemp;~ls, 38108 REGINA GLA.~ CO. OHIO

Model E2-T $22.95 Wheel only...... $6.00 (7" Aluminum Model K-7) Model E-2 less trimmer $19.95 Wheel with Trimmer Also Model E-3T with heavier Model KT-7 ...... $7.00 motor (35 RPM) for light With 7" heavy Kinalloy throwincJ ...... $26.50 table Model KH-7 ...... $8.00 With 8" heavy Kinalloy ..... Model E-3 less trimmer $23.50 table Model KH-8 ...... $9.25 Bats recessed for 7"...... 8So Bats for 7" & 8"...... $1.0O

KIHGSPIN STEEL KINGSPIN Wheel WHEEL NEW with W•cjon Wheel Bose • Our Economy Model • Kin- • Top and base are cast alloy Bearing • Knurled Stem • Easy Spinning • Zinc Plated Kin•lloy • Top measures 61/4.. mRustproof • 7" Steel Top & • Shipping weight 3 Ibs. BoH•m • Highest Quality • Low Price. Model w-6 only $3.95 Model S only $2,95 Also available with cast alumi- num head (Model SA)...$3.95

KINGSPIH Kinolite Turntable KINGSPIN Lowboy

New 12-inch model with many Steel Wheel uses t A 12-inch wheel for the price of •n 8-inch • Made • Our Economy Model • Kin- of KINOLITE ~ latest sinktop alloy Bearing • Easy Spinning material used in newest homes • Zinc Plated-Rustproof • 7" • Heavy Kinalloy round base Steel Top & Bottom • Highest • Just the thing to use on Quality a Low Price those lace dolls. Model S.L only $2.95 Model T.12 $6.95 This new model may be usecl ..l.. as a mold stand, for clay With 12-inch Aluminum Table modeling or as a decorating IModel A-12) ...... $14.95 wheel ;n spray booth.