Ceramics Monthly ANNOUNCINGA NEW CM HANDBOOK GLAZE MONTHLY PROJECTS 7Olume 19, Number 10 December 1971 FORMULARY Letters to the Editor

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We know children should never be left to fire a ceramic kiln (not even if it's a likeness of her teacher). But, our kilns are so easy to operate that children sometimes get the idea that they could handle the job. This easy operation is one of the reasons our kilns are so perfect for use in schools. For example, all five of our models have a completely reliable automatic shut-off that's built right into the kiln. This safeguards against over-firing. We also have a dust-proof lid that eliminates siftina. And you can fire a Skutt Kiln every day without forced cooling. This page isn't big enough to list all the advantages of our kiln. So, we'll stop bragging for now. But if you want to know more about our company and products, drop us a line We have a new brochure we'd like to send you

Sku~,t Ceramic Products Inc., 2618 S.E. S:eele Street ?~.~:.~.:'.'J Or,~ac:: :.'2r'2 9 o ~ z _. 2

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December 1971 3 CERAMI CRAFT Gas Kilns

,lIB - .w "The Pint Size Brute" Lid Bisque through Stoneware . . . Cone l0 (2350 °) and Loading •.. Lid and bottom are 3" of I.F.B .... All steel frame and bottom . . . Rolls on 3 steel casters • . . High and low peep sights . . . Calibrated Shelf damper. For more information write:

Model TL-D 18" x 18" x 20" (sitting area]

Office 1051 N. Edgemont Other Sizes La Habra, Cal. 90631 (213) 697-6441 15" x 15 I' z 20" ~ASONRY Plant 15" x 15" x 15" 11769 E. Slauson 12" x 12" x IS" <~ONTRACTOR Santa Fe Springs, Cal. 90670 (213) 693-5690

THOMPSON Offers All Of This For Only $49.50 O'TTE i E: W EEL!

I-V2" Drain Spout forf.a =X. cleaning 12" Dim, Head

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

Thomas C. Thompson Co. Dept. CM-12 -- 1539 Old Deerfield Road " IIGIIII~ ~IU~U IUI lnOAWlIIUlII ~LI~II~LII Large Knobs fo: easy Highland Park, Illinois 60035 • Partsor Servicesare Available adjustment-Horlzomelly [] Enclosed is payment for new kiln package. Catalog ~68 available showing our complete line of Jewelry Making, (Illinois residents add 5% sales taz.) Silversmithing, Casting and Enarn¢ling supplies. Price $1.00 deductible from first order of $.5.00 or more. Catalogs will be sent without charge [] Please rush FREE Thompson Catalog. to requests submitted on School or organization letterhead. Name ALLCRAFT TOOL= su,,,Y coMPANY,,NO Addre=~ Mall Orders and Correspondence I New York Salesroom Slate Zip 215 Park Avenue • Hicksvilfe, N.Y. 11801 I 22 West 48 Street * N. Y., N.Y. 10036 Phone(516)433-1660 & (212) 895-0686 Phone: (212) 895-0686 4 Ceramics Monthly ANNOUNCINGA NEW CM HANDBOOK GLAZE MONTHLY PROJECTS 7olume 19, Number 10 December 1971 FORMULARY Letters to the Editor ...... 7 • ~ ~ A

Itinerary ...... 9 i ,.~ OF LEADLESS Suggestions from Our Readers ...... 12 ~ GLAZES l Cardboard Supports for Clay Structures by David Huebner ...... 14 BY Show Time: Cranbrook, Oakbrook, Columbia, Chicago .... 17

Portfolio: Don Reitz by Catherine C. Brawer ...... 19 RICHARD A Watercolor Effect with Enamels by Marjorie Buffum __27 BEHRENS Printing with Tiles by Irene Kettner _ ...... 30 Publicotion Dote: December 10, 1971 Basic Matt Glazes for Cone 4 by Richard Behrens ...... 33 Potters everywhere will be pleased to hear that the Richard CeramAetivities ...... 34 Behrens handbook on glaze formulation is now ready far publication! This new CM handbook is much more than a collection Ceramics Monthly Index: January-December 1971 ..... 41 of glaze recipes . . . the projects include a commentary an raw materials, suggestions as to possible uses for the recipes, and New Books ...... 42 interesting background information. like to experiment in glaze making, this handbook Index to Advertisers ...... 42 For those who will be invaluable. GLAZE PROJECTS is a very readable text, and the informal treatment of the subject matter is an aid to On Our Cover understanding more about the nature of glazes and glaze making. This exciting new handbook was compiled using a selection of Wisconsin potter Don Reitz is pictured in his studio as he articles by Mr. Behrens that appeared in Ceramics Monthly and adds the finishing details on a large stoneware urn. Catherine a group of projects the author prepared specifically for this book. Brawer's Portfolio feature, starting on page 19 of this issue, is Included is a unique glossary of materials which the potter will be an excellent reference source. concerned with the potter's phil~sophy of working and living find to author- and poln~ out how his daily activities are reflected in the The first book of its kind, GLAZE PROJECTS provides an itative and convenient source of information for the potter on ceramics he creates. Bruce Fritz's photographs record some of the formulation and application of a variety of leadless glazes the processes Don Reitz uses in making a large-scale jar that in all firing ranges. is thrown as an inverted, narrow-based form. USE THE COUPON Editor: THOMAS SELLERS BELOWTO ORDER Assistant Editor: FgANCES SAWYER Art Director: Roar.aT L. CREAOER YOURCOPY OF Circulation Manager: MAR'/' RUSHLEY Advertising Manager: CONN:E BELCHER GLAZE PROJECTS Publisher: SeE~cv.a L. DAvzs Advisers and Special Contributors: F. Carlton Ball; Richard only $3.00 per copy. Behrems; Kathe Bed; Edris Eckhardt; Zena Hoist; John Kenny; Karl Martz; Ken Smith; Helen Worrall; Don Wood. F m m m m m m m m m Western Ade#rtising Representative: Joseph Mervish Associates, / 4721 Laurel Canyon. Suite 211, North Hollywood, California CERAMICS MONTHLY Book Deportment 91607. Telephone: TR 7-7556, Area Code 213.

send me __ copies of GLAZE PROJECTS by Copyright 1971 Pro/essional Publications, Inc. Please Richard Behrens @ $3.00 Ceramics Monthly December 1971. Vol. 19 -- No. I0. Published monthly except July and A.tt~mt by Profemdoaal Publications, I~e. -- S. L. Davis, Pres.. 1). S. Emery, See.; at 1609 Northwest Blvd., Columbus, Ohio 43212. 1 1 Correspondence concerning" suimerlptions, renewals, and change of address should be addre~ed to the Circulation Devartment, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second Clm postage paid at Athens. Address Ohio, U.S.A. Subseriptiorm: One yegr $6; ~[~vo yee4"s $10; Three years $14. Copyright 1971. All right4 reeerved. Tip The articles in each issue of Ceramics Monthly are indexed in the Art C;ry, State Index and The Readers' Guide to periodical Literature. Microfilm Ohio residents add [2c per copy sales tax. I to suimeribers from University Microfilms, 313 I copiea are available ~T:.,Firat St:, Ann A r.Io~., Michigan. ManuseriDte and lll~strations dealing I enclose [] Check [] Money Order w]t.a cersm~c a~ acz]vi~zes are weloome and will be con~lderad for publi- I I eatmn. ~an?ser]pts.should ~. typed double-spaced and range from 800 L We Pay Postage -- Money-Back Guarantee u to 2000 ~woro~. ~encl manuscnpte amd eorrcsl~ndenee about them to the Editor, Ceramieg M~thly, Box 4[;48. Columbus, Ohio 43212. .J December 1971 5 A ProfessionalSpeaks ON LEAD RELEASE IN FIRED GLAZES

"Over two years ago we began the ambitious, time consuming task of having over two hundred Amaco glazes tested and, when necessary, reformulated to pass current United States Pottery Association and Federal Food and Drug Administration standards in respect to lead release. THE RESULTS... Over eighty per cent of Amaco's glazes in present production are now leadless or meet or exceed the minimum lead release requirements established. And for those artists who create non-utilitarian objects, we will continue to manufacture a brilliant array of glazes which cannot be formulated without the use of some lead bearing ingredients. These are not recommended for use on food or drink containers. All labels on current production glazes indicate whether or not they are suitable for food and liquid receptacles." In light of the above statement, you may continue your use of Amaco glazes confident in the knowledge that the American Art Clay Company, Inc. is, as always, vitally concerned for customer safety and well-being. An Amaco color chart and a listing of glazes suitable for food and drink containers is yours on request. Order Amaco ceramic products from your regular dealer and/or write us for Catalog No. 56 of Ceramic and Metal Enameling Sup- ager of the"fferamic Division, American Art Clay Co., Inc. plies and Equipment. since 1946.

gmgGg ,., co. INC., 4717 W. 16th ST., INDIANAPOLIS, INDIANA 46222

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t~ CEP~t¢~ SUPPLIES S¢I~kE FE R. I~RBORI4 Reward Ceramic Color Mfrs., Inc. r.bllQkl~ u,•12.b 314 Hammonds Ferry Rd., Glen Burnie, Maryland 21061 6 Ceramics Monthly LETTERS

CHEERS craftsman. I am so glad I got to see and it would be nice to include information I am an art teacher and department read it. about Mr. Gordy in the luncheon sou- chairman on a leave of absence from my On October 30th New Echota Council venir program. Your article provided an teaching duties and would like to say Grounds was the scene of a sesqui-cen- excellent source for some valuable informa- "thank you" for publishing an outstanding tennial celebration honoring Sequoyah and tion. Mrs. ]ohn L. Reese, ]r. magazine. My increased interest in ce- the adoption of his syllabary by the Chero- Calhoun, Ga. ramics became contagious in the classroom kee Nation• The luncheon decorations POWER IN THE MAN and we now have a fine ceramic program committee decided to feature dried floral Mr. John Novy needs no defense from for grades 7-12 in a rural school Many arrangements in various pieces of Mr. me or anyone else for that matter, in of the ideas we used and much of the Gordy's handcrafted pottery. We thought Continued on Page 32 equipment we purchased were found in CM. In private life I started a small studio. Starting with earthenware, I started making my own glazes and became "hooked" on a ceramic hobby. I became interested ~f in raku and took a great course at Rhode Island College where guest lecturer Gerry :. i~? Williams from New Hampshire taught us his technique of firing bisque raku wet. He wedges a substance called Ka-o-wool into his clay formula. I am now working in stoneware and have been throwing teapots. I find the long 3C" overhead pulled handle very time-con- # suming and difficult to teach my students. I am requesting information on where I can purchase ready-made bamboo handles for teapots. I vaguely remember an article in CM about this, but can't seem to find it. I would appreciate any help on this subject. > f Have you or would you consider pub- qs,mr lishing a magazine article or purchasable papers on all the stoneware glazes (formu- lations) you have acquired in the years you have been publishing? I believe potters would be greatly interested, as would students in high school whose time and chemicals are limited. Please consider this request. Again thank you for a good ceramic magazine. Wanda Eastham For Consistent Glaze Results N. Scituate, R. I. You will find re/erences to bamboo YOU need tile accuracy of an OHAUS Scale handles in ads in CM. If you ever want It is a thrill to open your kiln and take out a piece with a to try making your own bamboo or reed beautiful glaze, made yourself out of ingredients combined handles, you may want to refer to Angelo according to your own formula. Garzlo's article on this in the April 1967 And of course you need a scale.., a durable scale offering issue of CM. consistent accuracy at reasonable cost. The newest CM handbook, "Glaze OlqAUS Projects," includes many of the stoneware Ohaus Triple Beam balances are the perfect answer, easy glaze formulas given by Richard Behrens to work with and built to last. in articles written since 1962. An adver- Choose from several models: tisement for this addition to our handbook Stainless steel plate, Model 750S, $29.75 line can be found on page 5 of this Removable stainless pan, Model 710, $34.75 issue. -wEd. Removable polypropylene scoop, Model 720, $39.75 Capacity up to 2610g -- Avoirdupois models available. THE GORDY PORTFOLIO Whichever model you choose, you'll open the door to I traveled to Cartersville recently to 32 page catalog greater enjoyment. select some of William Gordy's pottery for describes use in an upcoming historical event in our complete line Note to Teachers: Ohaus scales have proven themselves in county and, I might add, to get another of Ohaus science labs and classrooms',fOf, more• than 50 years . . . piece for my small personal collection. products. they really stand up. While talking with Mr. and Mrs. Gordy, For complete information and the name of a dealer near she showed me the June 1970 issue of you, write: CERAMICS MONTHLY and I immediately sat down and read it. The article was OHAUS "SCALE CORPORATION very well written and the accompanying 29 HANOVER ROAD • FLORHAM PARK, N. J. 07932 photographs marvelous. It was a perfect (201) 377-9000 and well-deserved tribute to a true artist-

December 1971 7 or The Discriminating Ceramist MODELA-99B

Fire immense loads daily Th|s enormous 10 sided kiln is 27" deep and 23~" in diameter for a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily. The three movable sections havetheir own 4-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6 ~ 2300 °, everything from china paints to porcelain. Add a 4½" blank collar for full 31½" depth. EXCLUSIVE! INCH OF BLOCK INSULATION IN UD AND BOTTOM

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

FREE.. crating., instruction manual Convenient Credit All size eKri/ns available ~steel stand. 1 YEAR TO PAY to fill ev firing need

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

You can have TWO good WOOl] Wheels for the price of only ONE good STEEL WHEEL Now you can A WOOD WHEEL can: • Be made at much less cost than a steel wheel • I-love the advantage sought for in a steel wheel (endurance, rell- KIT packages ENAMEL a b!ll,ty, precision, etc.) e. Be available in wmcn anyone can assemble • Be aesthetically wooden Denver's mast popular wheel, THE WILLIS WHEEL, is now being offered nationally at ALUMINUM WHOLESALE PRICES (from factory, with loving care, to you). with Copper Enameling Equipment and Techniques METAL KIT ...... $75.00 We supply you with aluminum enamels 80 14" A1Mg throwing head: 281/2" tool steel keyed shaft; 14" mesh, lumps, and threads. You can order and two heavy duty, steel, pillow- steel pulley with bushing: in the same way as you have always block bearings. (NOTE: These components cost over $150 at retail.) ordered enamels and apply opaques and have WOOD KIT ...... $50.00 transparents with the same skill you Deslgn-cut parts, bolts, and mold for 150 lb. flywheel ready for spent years learning while enameling cop- assembly. per. You can avoid costly copper and use COMPLETE WHEEL KIT ...... $110.00 inexpensive, easily obtainable aluminum. ASSEMBLED WHEEL ...... $175.00 Write for our introductory kit and -- it weighs With or without welghted flywheel. Please specify instructions. 150 Ibs. Kit contains • Eight beautiful colors with MOTORIZING KIT ...... $100.00 3~ hp totally enclosed, explosion-proof motor: clutching assem- transparents and opaques • Aluminum bly: switching assembly; and mounting assembly. 0 to 350 rpm. cleaner • Trays and assorted shapes (Note: Again, a savings under retail of over $100.00) Complete kit costs only $8.75 postpaid Freight charges are COD. Prices quoted above do not include Federal, State or local taxes, and are sub ecf to change without Write: notice. Lot prices are available. Send at least 60% of our quoted price per order. Brochures are available for 25c. CERAMIC COATINGCOMPANY WMS POTTER WHEELS P.O. Box 370 Newport, Kentucky 41072 The Barn • HeritageSquare • Golden,Colorado 80401 Largest domestic manufa~lwm,of enamels Telephone (303} 279-3833 for both art and ledesthry. g Ceramics Monthly ITINERARY

Send your show announcements early: through December 17 The 15th Annual Smithsonlan Institution; at the Fort "Where to Show," three months ahead Contemporary Crafts Juried Exhibition; at Wayne Art Institute. of entry date; "Where to Go," at least the Delaware Art Museum. sb: weeks before the opening. i~'[AINEj ORONO ILLINOIS, CARBONDALE December 3-4 United Maine Crafts- December 1-18 "Twelve Dutch Potters" men Show; University of Maine. WHERE TO SHOW exhibit; University of Southern Illinois. INDIANA, EVANSVILLE MASSAGHUSETTS~ BOSTON INDIANA, FORT WAYNE Flea Market February 13-March 12, 1972 The 12th December 9-12 Boston through December 12 "Toledo Glass at Commonwealth Pier. Annual 1972 Mid-States Craft Exhibition Christmas Show; III," Traveling Exhibition of the is open to craftsmen living within a 200- National Continued on Page 10 mile radius of Evansville. Media include ceramics, enamels and glass. Fee; Pur- chase and Merit Awards; Entries due January 13-23. For information, write: Craft Committee, Evansville Museum of Arts and Science, 411 S. E. Riverside Drive, Evansville 47713. IOWA, AMES January 16-February 16 The Third Annual Clay and Paper Show is open to artists living within a 300-mile radius of Ames. Media include ceramics. Entries due January 7. For information and entry blanks, write: The Octagon Center for the Arts, 232½ Main, Ames 50010. OHIO, YOUNGSTOWN ]anuary I-February 27, 1972 The 24th Annual Ohio Ceramic and Sculpture Show is open to present and former residents of Ohio. Media include ceramics, enamels and sculpture. Purchase prizes. Deadline for entries: December 12. For information, write: Secretary, Butler Institute of Ameri- can Art, 524 Wick Ave., Youngstown.

WHERE TO GO ALABAMA, HUNTSVILLE December 3.5 The Fourth Annual Christmas Arts and Crafts Show, sponsored by the Delta Zeta Sorority; at the Mall. AI~IZONA, PHOENIX through December 5 Heard Museum Guild Indian Ar:s and Crafts Exhibit; at the Heard Museum. CALIFORNIA, OAKLAND through December 19 Faculty Art Ex- hibit; at the College of Holy Names. CALIFORNIA, SAN LuIs OBISPO through December 20 The Fourth An- nual Invitational Show for California Craftsmen; at the Art Center, Mission Plaza. "rEXJ ~NI C-~A)~I::)BE,~ .I~R~. KICK V~-tEELTC~F__I~ FI~/~ OME OF oul~, ~t~ FOta, ~09.50 cI]-tA-r3 ALL-II-IE METAL PAIE~) IFYOU IK~JO~/A COLORADO, COLORADO SPRINGS UI-ILE C~F~. OR,. b'VN~ ITF=~II~E ,z~ D ~-'T~aA_-I'I-IE ~ i:JRF-OJT KICK WI-IrrJEL MOI::)EI.~ APE" " through December 5 "Norwegian Crafts," FOR.AM ~ 32,5.00. ALL OUR. ~ AMD AVAII~BLE AT NV~OR CERA/~IC SUPPLIF_J:LS N~TIOMWIDE. ~EE OIME. ~VHILIE American Federation of Arts Traveling YOU'RE "I]-tlNI~KIG- OF ~.E:)!JR I:~VORI'I1E PUil~K. AT C:I-IRI~'I]VV:~5, OP~ WR]I~ U5 FI:)R. Exhibition; at the Colorado Springs Fine A FREE BREX:~URE Arts Center. WE: ~ BEFFEI:

December 1971 9 ITINERARY tion for Michigan Artiat-g3rafUmen; at Association's Fifth Annual Exhibit; at The Detroit Institute of Arts. Currier Gallery. Continued from Page 9 MINNESOTA, DULUTH MASSAGHUS]gTTS, NEW HAMPSHIRE, SHARON CONCORD December 6-31 Craft Commitment Ex- , throftgh December 12 "Massachusetts through December 24 Gallery Members' hibition; at the Tweed Museum of Art. Show; at Artist-Craftsmen"; at the Concord Art Sharon Arts Center. Association. MISSOURI, ST. LouIs NEW JrasE~,, December $-29 The PARAMUS MIGHIOAN~ Eighth Annual December 2-24 DETROIT Holiday Exhibition. New Jersey Designer December ll-]anuary 9 Craftsmen exhibition and sale; "The Ameri- through December 20 St. Louis Artists' at the can Porcelain Tradition," Bergen Community Museum. a Traveling Ex- Competition-Objeets '71; both hibition circulated at the Craft by the New Jersey State Alliance Gallery. Museum; at the Detroit Historical Mu- NEW YORK, CORNING seum. NEW HAMPSHIRE, MANCHESTRR through December 26 "Contemporary through January 2 The 22nd Exhibi- through January 3 New Hampshire Art Finnish Design by Tapio Wirkkala," a Traveling Exhibition of the Smithsonian Institution; Coming Museum of Glass. NEw YOKE, NEW YORK December An Exhibition of Stained Glass from the Metropolitan Museum's collection; at the Cloisters. December 4-12 The Second Annual New York Art Festival; at the Americana Hotel. December 2-23 Annual Christmas Show; at Greenwich House Pottery. NEW YORK, 'ROCHESTER December 4-26 "Crafts for Christmas"; at the Memorial Art Gallery. December 7-January 12 Exhibition of recent ceramic work by Bill Stewart; at The Schuman Gallery.

NEW YORK, SCHENECTADY through December 26 The Schenectady Craft Show; at the Schenectady Museum. NEw YORK, UTICA through December $ Satsuma Ware, Japanese ceramics from the Proctor Col- lection; at the Fountain Elms. OHIO, CLEVELAND December 3-January 3 Work of Hay- stack School of Crafts faculty, past and to present; at the Design Corner. ( through December 21 Latin American Crafts; at the Karamu House Art Gallery. OHIO, YOUNGSTOWN Continuing Ceramic, enamel, and sculpture exhibits change monthly; at The But- ler Institute of American Art. There's no limit to the effects you OHIO~ ZANESVILLE can get December The when you use the Ohio University Invita- quality glazes developed by tional Alumni Exhibition; at the Art Asso- MAYCO® COLORS. Used singly or in combinations, ciation of Zanesville. MAYCO glazes lift every piece out of OKLAHOMA, TULSA the ordinary. And all MAYCO products -- Glazes, December $-28 The Fifth Oklahoma Under- Designer glazes, One Stroke -- Craftsmen Exhibition; at the are homogenized for Philbrook Art Center. easier application, and fire at Cone 06. Send for free OREGON, color chart of America's finest colors. PORTLAND through January 12 "Reflections on Glass" exhibition; Portland Art Museum. PENNSYLVANIAj EDINBORO mayco colors through December 15 The Second Ce- ramic Invitational includes work of Jack Earl, Wayne Higby, Run Pivorar, Don 20800 Dearborn Street Reitz, Suzanne Stephenson and David Chatsworth, Calif. 91311 Tell; at Edinboro State College. Dealerships Available Continued on Page 32 10 Ceramics ~Monthly SHIMPO DOESN'T JUST BUILD POTTER'S ...... WHEELS

IT ENGINEERS THEM. THERE ARE OVER 25 ENGINEERS AT SHIMPO PLUS A LARGE SUPPORT STAFF WHICH HAS CAREFULLY PERFECTED EACH DETAIL OF THE WHEEL'S DESIGN. COUPLE THIS WITH A NO NONSENSE QUALITY CONTROL SYSTEM THAT MONITORS EVERY STAGE OF WORK AND YOU CAN SEE WHY WE RECEIVE ONLY ABOUT FIVE MAINTENANCE CALLS OUT OF EVERY ONE THOUSAND RK-2'S SOLD~

WE AT SHIMPO-WEST ARE CONCERNED WITH OFFERING AN ELECTRICIPOTTER'S ...... WHEEL THAT WILL PERFORM FLAWLESSLY. WE DON'T ASK YOU TOTAKE .OUR WORD FOR. THIS. ASK ANYONE WHO HAS EVER PURCHASED OUR/WHEEL.

9i+~6 " "" ,~ " ".-~'~ ":~':'~;~" .... ;~ .,.,. SHIMPO-WIEST P.O. BOX 231n. LA PUENTIE. CALIFORNIA

December 1971 11 Now Represented In CANADA SUGGESTIONS Variable Speed [rom our readers POTTER'S WHEELS GUM AND WATER SOLUTION Any number of times I have read of inquiries referring to breaking and cracking of greenware in the firing. In my ten years of experience with college students, we haven't had more than five accidents! Besides wedging the clay to free it from air pock- ets, we also insist that whenever water is needed that a mixture of 1/5 gum and 4/5 water solution be used in place of and/or mixed in with sllp in handbuilding. When mixed with soft clay, it makes an excellent mender. It also should be used when adding handles, knobs, etc. to thrown pieces. We never have a handbuilt piece that hasn't had some applications of diluted gum solution, nor have we had startled faces when the kiln was opened only to find an error was made. ----Sister Mary Angela Wilson, Manitowoe, Wis.

BONFIRING Here is an easy and interesting way to glaze fire pottery .... have a bonfire! This can be done simply by gathering a few pieces of equipment (depending on what you have available) and finding an open out-of-doors location. Small handbuilt pots ~ Model RK-2 work the best using a low-fire (Cone 04) glaze. I have done some experimentation ALL MODELS C.S.A. APPROVED with bonfiring and the following are the equipment and procedures I have found to work Exclusive Importer and Distributor the best. Location: Large out-door area (farm, field, dirt lot, etc.). Equipment: Heavy metal grate (to hold pottery), fire bricks (to support grate), sheet metal (to surround top of grate HIRO DISTRIBUTORS Ltd. to hold in fuel), dry corn cobs (main fuel), wood, dry grass (other fuel), cow dung, wet leaves (reduction 518 BEATTY ST. VANCOUVER 3, B.C. agent), shovel, tongs, hatchet, newspaper and matches and dirt (to cover fire). Clothing: Gloves, hat, insulated jacket, and thick soled shoes. Most of the equipment can be found at home, on a farm, or in a junk yard. NEW LOW PRICE: $4.95 Begin by digging a pit over which you will place the grate THANKS TO PRODUCTION SAVINGS supported by the fire brick. The pit is to allow plenty of ventila- tion under the fire once it gets started. Place the metal around ON OUR SECOND EDITION! the top of the grate, and the wood and grass underneath in the pit to begin the fire. Once the fire is started, place the pottery around the edge of the grate to warm it slowly, then move the pottery into the center of the grate. Once the pottery is in the center (about 45 minutes from the start), begin putting the corn cobs on the pottery. Add these slowly until all the pottery is covered. Continue adding the corn cobs until the fire is red hot and the glaze has melted on the pottery. (Remember to keep the area under the grate open; the oxygen wiU keep the fire hot.) Once the glaze has melted (one or two hours) let the fire die down some and cover it with cow dung or wet leaves and then immediately throw on dirt until the entire fire is covered, including under the grate. Oxygen must not get into the pottery. Let cool at least 45 minutes; if time permits a longer cooling, fine! Then uncover the pottery. Because of the reduction firing, the glazes take on a metalfic look and may turn many different colors because of the Do you wish you could qUICKLY AND EASILY create a glaze or action modify an existing formula fo achieve a new effect? This nine-inah of the direct flames. Unglazed areas will be black or smoke- circular calculator allows #he craftsman to convert bacK and marked. The results you will receive would forth between molecular and batch formulas without becoming be impossible to Involved in complicated arifhmatical calculations. Accompanied by obtain in a gas or elect.fie kiln. --Kathy Hansen, Omaha, Neb. a 26-page *'Guide to Designing Glazes.'*

TOO GOOD TO BE TRUE? MONEY REFUNDED IF NOT SATISFIED MASKING TAPE I want to share with CM readers a useful, time-savlng de- m m m m m m mmm m mmm m lumm vice. Instead of using wax to protect the base of pots while glazing, use masking tape that DIAL-A-GLAZE, Box 88, Davenport, Calif. 9S017 may be cut to shape. It is quick, economical and equally efficient. ---Dina Please staid G copies of DIAL-A.GLAZE CALCULATOR Kijnev, Glendale, Wis. I enclose $4.95 [] Check [] Money Order Name Addres~ DOLLARS FOR YOUR IDEAS City . State Zip Ceramics Monthly pays up to $5 [or each item used in this Add 20a Sales Tax In California. Add 50c if paid in Canadian column. Send your suggestions to CM, funds. DEALER INQUIRIES INVITED. Box 4548, Columbus, Ohio 43212. Sorry, but we can't acknowledge or return unused items.

12 Ceramics Monthly - Operating from one of the most modern ~ -~ facilities of its kind, A. D. Alpine, Inc. has specialized for more than a quarter of a century in the design and manufacture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. I ~-+-'J~"+ Alpine supplies professional potters, schools, and institutions, throughout the entire United States. forty-eight different We manufacture jl+~ mm . " :~ " +! models of high fire gas and electric kilns. In pottery wheels we have designed an electronically controlled model with variable speed and constant torque, but we still manufacture the old "KICK WHEEL" too.

~!:',:,~i~:::.... !r!!,,iir! Iltl'I " .? ,, *li

Also avaiFablefree of charge is our book- •et "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department."

WRITE TODAY Dept. B

December 1971 13 ONE OF THE SIMPLEST methods I have found for creating Cardboard Supports slab pots is one that makes use of just two items commonly found in the studio -- cardboard and a rolling pin. The possibilities from working in this way are for Clay Structures virtually limitless, however, and the forms constructed with roiled-out by DAVID slabs and cardboard supports are not only HUEBNER surprisingly light but they are structurally very strong. It is not out of the ordinary to find pieces of a height from 24 to 36 inches with walls that are as thin as ~ inch. These are not the only advantages of working with this technique, since texture or design can be applied to the clay surface before the walls are constructed in order to create special interest in the pieces. The material for the supporting structure can be either corrugated or smooth cardboard, as long as it functions as a rigid wall to hold the soft clay skin until it stiffens enough to support its own weight. Corrugated cardboard leaves a distinctive ribbed pattern on the clay surface which is pleasing in itself or which complements either horizontal or vertical decorative motifs. If smooth cardboard is used for the support, there generally is little or no texture unless it is added after the walls have stiffened and the cardboard has been removed. The cardboard used for the framework must be pre- shaped by folding or scribing it to create outer wails for the desired shape before any clay is applied to it. It is very important that corners or curves fall easily into the planned shape. Once the cardboard form is cut and/or folded to the desired shape, it is placed fiat on the working surface and clay is rolled into sheets or slabs that will cover the cardboard. These clay slabs can be rolled out on cloth, as is conventionally done, or they may be rolled directly onto the cardboard itself. If the clay /s roiled onto the cardboard, it will stick tightly and cannot be removed until the clay stiffens somewhat and shrinks. Became of this, any texturing that might be desired must be done by placing the texture-producing material on the surface of the cardboard before the clay is rolled onto it. If the clay is rolled out onto a cloth or canvas, the exposed surface can be stamped, beaten, or textured with exacting reliability, then the cardboard can be placed over the textured surface and rolled gently but firmly to adhere the clay to it. After this, the clay is turned over and the cloth is removed. Once the clay is textured and rolled onto the cardboard, it is ready to be manipulated into the desired form. If the shape is a squared or rectangular one, the cardboard should be folded at the seams (with the clay on the inside), and the corners should be creased; where the two ends come together, these can be carefully joined into a seam. The clay seam should be made while the form is still in the horizontal position since it is easier to work on it; the cardboard should also be taped for added reinforcement. A base for the project is prepared by rolling out another slab of clay of the same thickness as the wall section. This slab is placed on a bat in preparation for adding the wall. When it is ready, the wall structure is raised to the vertical position and any adjustments made to bring it to the planned shape. Since the clay wall unit 14 Ceramics Monthly 1. Cardboard is cut and shaped to/~Tm cithe~ a 2. Corrugated cardboard is coz, s'red wittL circular or a rectangular vertical shape. overlapping strips of clay that are %-inch thick.

4. Excess ~lay is trimmed away, then the cardboard is manipulated to shape the clay form.

5. Where the l;co ~ide., ~ome to~,~,th~,~, ~'~t~a clay i~s 6. A coil is worked into the clay seam while tile added to reinforce the seam. form still is in a horizontal position.

December 1971 15 7. The cardboard wrapped cylinder is held vertically and positioned firmly to the base slab.

8. Clay coil is added to rein[orce seam just before the top section is added.

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9. A thrown top is added to the reinforced wall to form a shoulder and neck for the vase.

10. When the clay has firmed up, the cardboard t supporting structure is peeled away. is protected by the cardboard on the outside, the hands and-slab structure, or it may be thrown, as is demonstrated can safely grasp it quite firmly for placement on the here. No matter how it is made, it should be added soon prepared base. A firm joining of wall to base is made after the walls are in place. by tapping on the top of the cardboard with a flat board When the clay in the walls has stiffened enough to or by lifting the bat and thumping it sharply on the support itself and the added top unit, the cardboard working surface to effect a bond between the two clay may be removed and any finishing work carried out. sections. At this time, more clay can be added and then It also is possible to leave the cardboard around the worked into the seam inside the wall unit in order to pot and allow it to burn off during the bisque firing. give extra strength to the joint. I have found the above method of slab building to A top section can be added at this time if it is wanted. be quite easy, very fast, and absolutely satisfying as to This top can be slab built, perhaps as another cardboard- the final results.

16 Ceramics Monthly Cranbrook Alumni Oakbrook Invitational Gallery Tour Craft Exhibition

CRANBROOK ACADEMY OF ART alumni sponsored a public tour on October 16 of art galleries in the Detroit, Grosse Pointe, Birmingham, Royal Oak, and Bloomfield Hills areas that were exhibiting work by Academy students, faculty, and almnni. Purposes of the event were to give participants an idea of the wide and varied contributions that artists associated with the Academy have made to the cultural life of this country, and to re-acquaint the public with the artistic directions of the institution. Ceramic work by Maija Grotell, former Cranbrook faculty member, was featured at the Cranbrook Art Galleries; other potters represented in related exhibits included Dick DeVore, present head of the Academy ceramic department, John and Suzanne Stephenson, Edith Pirtle, and John Glick. Pictured is Glick's teapot, which was among work by the potter featured at the Allen Rubiner Gallery in Royal Oak. The piece is 11 inches high and was fired to Cone 10 in reduction atmo- sphere. The main section of the pot was thrown on the wheel and the sides were faceted. The handle was pulled, and the spout was of slab construction. The Bloomfield Art Association, Birmingham, featured as its part of the "Alunmi Go" a showing of an open competitive glass exhibition and the one-man show by Harvey Littleton. juror of the exhibition.

THE OAKBROOK INVITATIONAL CRAFTS EXHIBITION presented work by 79 craftsmen in an outdoor showing at the Oakbrook Center Shopping Mall, Oakbrook, Illinois, in July. Eleanor Caldwell, of the Northern Illinois Uni- versity Art Department, was the director of the Exhibi- tion, and Alma Eikerman, Indiana University, served as juror and presented the awards. Work by 26 ceramists was included in the displays on view during the two-day event. Dennis Jennings, Cedar Falls, Iowa, was given an award of excellence for his pottery; honorable mention awards went to Edna Arnow, Chicago; John Bowitz, Franklin, Wisconsin; Edith Frank- lin, Toledo; William Tersteeg, Bethaldo, Illinois; and Arthur Towata, Alton, Illinois. Pictured is a section of Eselean Henderson's display, which featured stoneware windbells. It was estimated that over 200,000 persons viewed the work by potters, weavers, glassworkers, enamelists, metal- smiths, and textile designers in this fourth annual event sponsored by the Northern Illinois University Art De- partment.

December 1971 17 South Carolina Burke Ceramics at State Art Collection Chicago Public Library

~'~:ORK BY SOUTH CAROLINA ARTISTS, native or resident, CLAY SGULPTURE AND CERAMIC POTS created by Roy O. is being selected to form a State Art Collection under Burke, associate professor of art at Illinois University, the auspices of the State Arts Commission. Begun in DeKalb, Illinois, were exhibited in the art department 1968, there now are 44 works of art in the group, in- of the Chicago Public Library in September. The salt- cluding three ceramic pieces added in 1970 and 1971. glazed flower container shown is from the exhibition. Pictured is an oxblood salt-glaze pot by Ron Meyers, of The piece measures 13 x 13 inches. the Department of Art at the University of South Caro- Speaking about his work, which has been exhibited lina at Columbia. It was selected from the 20th Annual in one-man shows throughout the country, Burke says: Guild of South Carolina Artists' Exhibit. "As a ceramist I feel a kinship with the potters of The entire collection is available for loan; maintenance antiquity, those men and women who thousands of years and storage are handled by the Columbia Museum of ago must have found in clay the same responsiveness to Art, whose curators also transport, hang, and dismantle personal expression I find today. I am caught up in the exhibit when it is on loan. During December, the the intrigue of glazes and with the endless possibilities show can be seen at South Carolina State College at of blends and colors and materials which make each Orangeburg; during January it will be on display at kiln-opening an event. I am challenged to solve new Clemson University's College of Architecture; and during problems and to accumulate understanding and increas- March it can be seen at the Florence Museum, Florence, ingly greater command of the materials I use. Good South Carolina. While the collection to date has traveled ceramic pieces must reveal not only craftsmanship but only to border states, it is hoped that eventually it will be a sensitivity to ideas and materials. In an age when seen throughout the nation. rules, guides and standards are often set aside, I believe it is more important than ever that an artist adhere to his own sense of 'rightness' which he has developed over many years of work and study. Although I have experimented with various trends that have come and gone in ceramics I always return to classic forms with their endless variations. "I believe that art should enhance man's life, not dominate it, and as a consequence I resist much repeti- tion of even my more successful techniques. Some years ago I was motivated to produce a ceramic bottle that would approximate my own height. When I had learned the technique and technical requirements of making a six-foot-tall bottle, I was satisfied. I continue to approach ceramics with the philosophy that when one challenge has been met I am ready to explore again."

18 Ceramics Monthly Don Reitz A Ceramics Monthly Portfolio by CATHERINE C. BRAWER

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°. u~ © FoR DON REn'z, clay is the core of existence. "It's the nucleus of my philosophy of what life is about. When I talk, people think I'm talking about clay, but I don't separate clay from my life. My work, my family, my farming, my teaching, my religion are all one. Some days I plow the fields, work with my horses or teach at the University of Wisconsin; it's one flowing event. I let each day build, as when I throw a pot." The continuity with which Reitz pursues his daily activities is reflected in the ceramics he creates. His fluid, spontaneous style is an organic extension of his direct and often intense personality. It is molded by past experiences and stimulated by the new forces Reitz encounters. Each piece that he throws is, for this reason, the sum total of everything that has happened to him. His discovery of clay came as a direct result of a teacher's remark to him that he had the hands of a potter. Reitz responded to the immediacy of clay and liked the ease with which he could project himself into it. In a broader sense, clay appealed to him because its intrinsic worthlessness challenged him to transform it, through his creative powers, into a work of art. Because Reitz has always enjoyed being with people, teaching became a natural extension of his own artistic explorations. He felt the need of stimulation through dialogue with students and liked the satisfaction 1. Don Reitz beats a 65-pound ball o/ wedged clay of being a catalyst for their work. into center on a bat fastened to his wheel. Workshops and lectures also give Reitz exposure to new people and ideas, and whereas he regrets the and you have to decide whether to go with it or amount of time he is forced to spend away from the to impose your idea on the clay. Maybe you decide to do farm and his shop, he feels that contact with other a little of both." This give-and-take with his materials artists and students helps him evaluate his own work. is only possible, Reitz finds, if he goes into the shop Reitz feels very strongly about not imposing his own and begins to throw without having decided on a style or aesthetics upon his students. He does not particular form. He might start out by throwing pitchers suggest that they work with salt glaze, not because he is which, depending on his mood, might be bulbous or afraid that they will make Reitz-like pots, but because he hard-edged. In the course of doing a pitcher, other ideas believes that every artist must work from within, come to him because of the way he is reacting to the not just apply a professor's method which might be clay. By day's end, he might end up with platters. foreign to the student's personality. Whereas Reitz has An equally important factor in his creation of a pot is a preference for the container form because of his his willingness to take risks. Confident that his technical childhood associations of taking a pitcher of milk out of skill and rapport with the clay will produce successful the icebox or cookies from a covered jar, his students results, he deliberately works with as complex a might identify with entirely different forms, such combination of accidental elements as possible. For as parking meters or automobiles. What Reitz hopes to that reason, Reitz considers his ceramics unfinished until offer them instead is his technical knowledge and they have been fired and cooled, at which point he an opportunity to express themselves. He also tries to decides whether or not a piece will continue to exist. show them, through his own example, that a good If it passes his aesthetic judgment, he then calls it artist sustains the level of his work by continually setting finished. In making this decision, he forces himself higher standards for himself and meeting them to be rigorous, refusing to allow his emotional successfully. What worries Reitz is the young artist involvement with a piece to interefere with his who is heard about for a year, but is then unable to meet commitment to maintain a high standard of quality. new challenges after his initial success. Reitz's experiments with clay are governed, first, by A potter, according to Reitz, must work intuitively. his dictum that "everything melts and clay shrinks," He must be flexible enough to identify completely and, second, by his awareness that salt glaze reveals the with his material and daring enough to allow himself to surface of the clay. He therefore places a great deal be shaped by the clay. "You have to listen to the clay, of importance on the preparation of the clay, generally because there's a point at which the clay takes over, mixing six hundred to eight hundred pounds of the Ceramics Monthly

2. He pushes down in centering the clay, letting it 3. Reitz bears down with his [ist in opening the spread to the edge o[ the bat. lump to the bat, then pulls clay back toward him. cheapest clay he can find, together with grog, silica sand, sawdust, or other materials he feels will enhance the surface of the pot. In the course of throwing and decorating his ceramics in a traditional manner, forming a piece one day and decorating it the next, Reitz discovered that by the time he had worked on a piece for several days, he was so far removed from it that he found it impossible to bring himself to glaze it. He then realized that he could make the wheel serve his intuitive style if he disciplined himself to work quickly, not taking a piece off the wheel until it had been decorated and was ready to be fired. "I began to decorate with wet slips while a pot was still on the wheel, allowing for the shrinkage of the pot as it dried. By working this way, I found I was able to record all the color notations, scratches and brush strokes on a piece while ! was still in tune with it." In general, Reitz uses three devices to decorate his ware: wet slips, tools, and additives to the clay. By adding-various oxides to a basic white slip, he is able to get a variety of colors. His palette is always strong, as he must apply exaggeratedly vivid colors because they will be toned down during the process of salt glazing. He might brush or trail the slip on to the wet ware, perhaps scraping some of it off. He might 4. The wail is raised by squeezing and pulling up. Rim apply it thickly so that it hangs on a piece, or thinly so is le[t thick and [fat [or adding more clay. that there is merely a slight color connotation. He might apply it with his hands, pour it on, or dip a whole piece into the slip. Other possibilities include rubbing raw oxides into the wet clay, mixing oxides and water to get a color wash, or using an air brush to spray oxides on the wet ware. At the same time that Reitz applies slips, he embellishes the surface of the clay to give it a lyrical quality by scratching it with needles, sticks or a comb. He might impress objects such as a stamp into the clay, or use small pieces of clay or any other material he happens to see, as an appliqu& Working with wet forms opened still further possibilities of recording the many forces imposed upon the clay. As soon as he cut a piece from the wheel and picked it up, a natural distortion would occur. Reitz's experimentations with these distorted forms led him four years ago to a series of cylindrical forms with collapsed rims, an unusual variation on the container form. But even more significantly for the rest of his work, these distortions have led him to apply handles to forms that are still wet, so that they will reflect the plastic quality of the wet clay even after they have dried. Because he feels comfortable working in this direct manner, Reitz is able to throw and decorate several pieces during the same working session. He might form a piece and decorate it, add appendages, in the form of a 25-pound coil, is added 5. More clay, and cut it off the wheel while it is still unfinished. He at the rim and then welded to it. then begins to throw another piece, but stops long enough to slash and add to the first one. In a short time, there will be several pieces in various stages of completion. Some will need handles; others, further tooling. For Reitz believes that the time to add handles or embellishments depends on the requirements of the individual piece. At the time that Reitz disciplined himself to complete his ceramics as much as possible before removing them from the wheel, he was forced to limit their size. However, his self-discipline acted as a liberating factor in his work. He soon found that he was able to do extended throwing of larger forms because he was able to sustain his interest in a piece while various parts dried. Reitz's desire to emphasize the texture of the clay was frustrated by the use of traditional glazes which, he found, wiped out rather than revealed the roughness, scratches or fingerprints on the surface. About eight years ago, he began to experiment with different glazes. When he tried a water-thin glaze as a coating, he found that it limited his color palette and did not work well with his forms. Sigillata gave him the kind of surface he wanted, but dry instead of moist. Wood-firing was another possibility, but that, too, imposed limitations on the color range, and with it . Reitz could not achieve the brilliance and sparkle he shaped with 6. The second wall section is raised and wanted as a contrast to the organic quality profile is achieved. a rib until the desired of the clay. Ceramics Monthly

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7. A ring is thrown to match the top o[ the second section; this is added and welded inside and out. 8. This new clay is raised and choked in. Finally, Reitz 9. As the pot rotates, colored slip is applied to the wet closes what will become the bottom section with ware; scratched lines are added to break the a cla~, slab. sur[ace visually.

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I0. Fresh clay is pulled and added near the rim o/the 11. When the added clay is leather hard, Reitz inverts pot to act as /eet /or the /inished urn. the pot and adds a coil which will be thrown to /orm a rim. Ceramics Monthly

Reitz also throws various materials into the kiln, such as wood ashes, which will melt into a glaze in a particular area; chunks of feldspar, which, when melted, become lumps on the surface of the ware; or fruit such as oranges and apples, which, upon burning, give different color blushings. Thus the kiln becomes part of the forming process of a piece, not just a box that contains heat. After he bricks up the door, Reitz must decide how high and how evenly to fire, relative to the uneven temperature he maintains intentionally throughout the kiln. He usually fires between cones seven and ten, using the lower heat for lighter values and the higher, for darker. Once Reitz starts to fire with propane gas, he selects the methods he will use to vary the firing and glazing process within the same kiln load. He might throw wood into one side of the kiln or introduce oil into one of the burners. Or he might add wood and then oil. By smoking one burner, he can cause some of the pieces to become reduced, and others to become oxidized. Still another possibility is for Reitz to blush one side of the ware by inducing carbonates that have been mixed in a salt-brine solution into one side of the kiln by means of a spray atomizer. Whatever his method, he makes 12. Pulled embellishrl2ents give the piece a lighter certain that each part of the kiln is affected differently. [eeling. It is now ready to be fired and salt glazed. He now makes up his mind how much of a sodium It then became evident to him that salt glaze, build-up he wants on his ware. He checks the build-up which he had first used at Alfred, would give him by use of draw-tiles, which he pulls out of the kiln the brilliance and texture he wanted. By the use of with a rod. There is always some sodium on the bricks wet slips, he was now able to extend the range of from previous firings, so if he wants merely a moist warm colors commonly associated with salt glaze surface without an orange-peel texture, he might to include a complete palette. Even more important, add no salt at all. If he does decide to add salt, he salt glaze offered the chance to experiment and will probably use pure rock salt. However, if he wants seek accidental effects while he was firing and cooling very dark values, he will use salt which contains the ceramics. Thus Reitz arrived at salt glaze because calcium and magnesium. of a stylistic need for it, unlike many potters whose Cooling the kiln also affects the color values of salt glazing does not grow out of, but is superimposed the ware. For darker wflues and a crystalline formation upon, their work. in the glaze, he cools the kiln slowly by leaving it To Reitz, even the stacking of the kiln is an bricked up tight for three days. If he seeks lighter values, important step in the creative process. After he has he cools the kiln rapidly, by taking down the crown decorated four or five large pieces (or 30 to 50 of the door. Another alternative for Reitz before the red smaller ones) which he still considers unfinished, he heat of the kiln is lost is to fume the kiln with places them in his 135-cubic-foot kiln. He estimates that different materials. For example, stannous chloride he fires as often as 65 times during the year. Reitz mixed with water in a small tinfoil container and places some of the pieces against the wall and groups placed in one side of the kiln, fumes part of the others tightly, in order to create a build-up of ware to give it an iridescent mother-of-pearl quality. sodium on the outside of the group. He might paint When the kiln is finally cool, Reitz removes the cobalt on a brick, so that the group of pots around ceramics and makes an aesthetic judgment as to whether it will take on flashes from the cobalt. He might each piece has successfully survived its trial by fire. hang pots over the bag wall where the highest Until the final moment in the creation of a piece, concentration of sodium will be. Perhaps he will lay Reitz takes risks. His work with unlimited variables, bottles on their sides on top of the ware (for example, from the irregular composition of the clay to the on a platter), so that there will be an unsalted high-fire use of salt glaze, represents to him the area. By putting straw in one bowl, which is then placed challenge of natural forces. It is Reitz's technical inside another, Reitz gets cross-firings and flashes ability that allows him to experiment with the controlled inside the larger bowl, as well as unglazed accident; it is his self-discipline that allows areas on both of them. him to be free. ~1~.~,~ y ~ ~~~~~ FOR THOSE ENAMELISTS who enjoy making wall panels A Watercolor Effect or shallow dishes with designs derived from nature, I'd like to introduce a technique which I call "direct printing with oil." A piece done by this method takes on a water- with Enamels color appearance, with an unfinished or incomplete design by MARJORIE BIJ'FFUM character that is reminiscent of Japanese brush painting. Depending upon the number of firings and upon the choice of colors, the project will have a feeling of depth and a kind of halation around certain areas which give it a glow rarely to be achieved by any other technique. The process is not too difficult for older children or teen- agers who have had some experience using transparent enamels, and it can be used alone or in combination with other methods to produce involved designs that appeal to experienced adults. The method for proceeding with this technique is to select a copper shape and apply and fire a coating of enamel to the back. Choose a fairly stable color related to one of those you plan to use on the front. Place a small stilt in the center of the enameled side of the tray, and add a little extra enamel where the points of the stilt rest. Now place the piece enamel-side-up on a wire rack and underfire just enough to adhere the stilt and give the enamel a pebbled surface; by underfiring, the enamel will safely undergo several firings and during these it will be brought to maturity. If you work carefully from here on, the stilt will remain on the underside of the tray throughout all the processes and only one set of stilt marks will mar the bottom. The piece is now soaked in a mild acid scale remover solution (I use "Sparex"), scrubbed and rinsed, after which an even coat of well-washed and dried transparent enamel is applied to the top surface. We spray and sift in three or four thin layers, wetting down each layer to the one below so that each grain of enamel can be stuck to the one next to it and under it. By using this method, a perfect coating can result and there will be no pitting when the piece is fired. I might point out here that it helps to examine the surface under a magnifier to check for places where a gleam of copper shows through the enamel; since these will make pits when fired, they must be covered before going ahead with the project. This transparent base coat may be a single color or it may be a blended background. If a single color is used, it might be a medium or dark brown (to be followed later with opaque orange, yellow and chartreuse), or it might be a medium or dark green (to be overprinted with aqua and blue-green opaques). The blended background is achieved by sifting two or three related transparent colors in a cloud-like pattern. Each color area may be sprayed and sifted separately, then another color area placed next to and slightly overlapping the first, and so on until the surface is covered. Another method for blend- ing is to sift on a complete coat of one color and then apply other transparents in irregular shapes over it. The piece is now placed under a heat lamp or on top of the kiln to dry before it is fired. Since this first coat is transparent directly over copper and probably will be Wall panel by the author has a brown background followed by lower-firing opaque colors, we find it best to with leaf shapes printed in yellow-green and fire the base coat to maturity before proceeding. This shades of orange. means giving it several quick hot firings at about 1550 °

December 1971 27 to 1600 °, or even higher, until it becomes clear and uniform in color. (!!iii¸ ¸ Now choose several fresh leaves of interesting shape, and perhaps some grasses with seed heads, if available. During winter, house plant leaves make good choices. Try placing some of these forms on the enameled plate or panel, rearranging until they assume a pleasing pattern in relation to the basic shape, yet still leave some open areas where the transparent background will furnish contrast. When leaves have been selected, place them on a sheet of wax paper and use a good brush to coat the back (or vein) sides with a generous covering of squeegee oil. Next, pick up a leaf and invert it oil-side-down on the enamel in the planned location. Do not move the leaf around; it is important to keep the background clean of oil at this point. Also, a sharper line results if the leaf

2. The leaf is pressed, oiled-slde-down, to the surface of an already enameled plate.

Other materials such as thread or coarse netting may be impregnated with oil and printed in the same way as the leaves. Any loose grains of enamel on the background can be removed by blowing them off. Any dust on the enamel may be removed with a brush dipped in water; edges of

1. Squeegee oil is applied by brush to the back (vein) side of a fresh leaf. makes a sharp and clear print, not a smeared one. Because you will be working with the oil left by the leaves, you now have several options for proceeding. You may carefully press all parts of the first leaf against the enamel and leave it there while you do the same with the others, oiling and pressing them down until all are in place. Or you may do one leaf at a time, pressing it down, then lifting it straight up and off with the fingers or tweezers. After the oil is transferred from the leaf to the enameled background, pour a generous amount of opaque 3. The leaf is removed and enamel is sifted enamel into the sifter and sift thickly onto the oil print; heavily into the oiled print on the plate. allow this to set a minute until the enamel has absorbed the oil, then tip the plate or panel and shake it or tap the edge on the table to remove the loose enamel. leaf forms may be sharpened in the same way, if desired. When a leaf has been removed, you may shade another It is unnecessary to dry the enamel in the usual way color around the edges, or you may have left some oiled when firing oil designs, but it is important to smoke off areas without enamel so that another color may be sifted the oil in the kiln. To do this, place the piece on a rack, on at this time. Tendrils or stems may be suggested by pen with the firing fork well balanced under it. Open the kiln or brush lines done with oil, then sifted with enamel. door and hold the piece inside the kiln for from 6 to 8

28 Ceramics Monthly seconds; when you remove it, you will notice smoke rising from the piece. Wait until the smoking stops, then repeat the process, perhaps three or four times, until there is no more smoke. Next, allow the kiln to return to about 1550 °, then enter the piece and fire it until it is just shiny, at about 1450-1500 ° . If you do not take the precaution of smoking off the oil first, it may catch fire in the kiln, give a loud "boom," and send out a cloud of carbon which may fall on your

6. Plate by Loyal LaPlante shows effect o[ over[iring the background and overprinting at a lower temperature.

or you may wish to make some overlapping designs by ..... overprinting with other plant forms in contrasting color values. Be careful not to overfire these opaque colors; however, if you should do so and they become transparent (as many of the aqua, green, and light blue opaques do), you can bring them back to their original 4. Edge o[ the plate is tapped sharply to remove opacity by firing them again at a much lower temperature. enamel [rom the unoiled areas. You may wish to overfire them deliberately, since they leave a slightly depressed design with an iridescent glowing project and even blacken the front of the kiln above the quality that is unique. Then you may overprint with a door. There also is danger that the enamel may be dis- harder-firing opaque, or the same one fired at about lodged from the surface and fall where it isn't wanted. 1500 ° , which leaves you with some glowing shapes around It is best to take time to smoke the oil off! opaque ones. Actually, you must try many comb!nations The project may be considered complete at this time, of colors and firing temperatures to reap the rewards of this unusual technique.

MAR]ORIE BUFFUM studied enameling with Kenneth Bates and, this past summer, with June Schwarcz at Arrowmont School. She has taught both adult and children's classes at Philbrook Art Center, Tulsa, [or the past 16 years. Mrs. Bu[[um also has been active in the South Central Region o[ A.C.C., having served as Regional Chairman, Con[erence Chairman, and Editor o[ the newsletter, "Pro[ile."

5. The plate is held in the kiln brie[ly to smoke o[[ the oil beIore the normal [iring.

December 1971 29 TILES serve many purposes. They may be used as hot- Printing plate holders, trays, wall and floor coverings, and table- tops; they also may be used purely as decoration. Presented here are files which serve double purposes. with Tiles They may first be used as blocks to make prints, then later mounted or framed for use as table tiles or pictures by IRENE KET'rNER to decorate a wall area. The prints may be used for greeting cards, wrapping paper, letterheads, book illustrations, or advertisements. And of course they could be framed for use as pictures. The tools required to make a tile are a wooden dowel or rolling pin, guide sticks for rolling, and oilcloth backing for rolling onto, carving tools, a knife, and a pointed tool or crochet needle. The materials needed for the priming include printing ink, a sheet of glass, a brayer, and paper. The ink may be water or oil base; water-base ink washes off easily after printing is completed and is cleaner to work with. An oil-base ink requires turpentine for clean up. Various kinds of paper may be used. Among the good easy-to-print papers are tissue, rice, newsprint, mimeograph, and construction paper. Each will give a distinctive quality to the print. Rice and tissue papers are lightweight and translucent; prints on this paper have a pleasing effect when mounted on colored construction paper. Newsprint is a lightweight opaque paper. Mimeo- graph and construction paper have more body; they are also opaque. If the prints are to serve as greeting cards, special envelopes could be made to fit the exact size of the print. Lightweight construction or mimeograph paper works well for this purpose. The tile is made by rolling out a slab of well-wedged clay, approximately ~-inch thick. An oilcloth backing or canvas board is used under the clay so that the slab can be removed easily. Guide sticks are used to ensure uniform wall thickness. The slab is cut slightly larger than the size desired for the print in order to allow for

1. Design is sketched on paper, then trans- /erred to a leather- hard clay tile.

2. The design is in- cised into the leather- hard clay surface to !v~ ¸: !( i !~il ii ~:i~i:~ a depth o/ ~ inch. ~_ ...... - -...... :..!~

30 Ceramics Monthly clay shrinkage. After the tile has stiffened slightly, the flat, hard, non-absorbent surface, such as a piece of glass. underside is grooved to a depth of approximately one- Spread the ink evenly over the glass surface by rolling third of the tile thickness; this is done to minimize the brayer through the ink in all directions until the warping. When the clay has reached the leather-hard roller is evenly covered. Now roll the brayer over the stage, the tile is ready for its design. surface of the bisque tile in order to deposit an even If the design is first sketched on paper, it may then layer of ink on the raised portion. Position a sheet of be transferred to the tile by positioning the sketch on paper over the tile, press it down, and rub the surface the clay surface and going over the lines with a pencil. with the fingers. Carefully lift off the completed print If lettering is used in the design and you wish to come and set it aside to dry. You will find that it is necessary up with the design positioned the same as the sketch, to re-ink the tile for each print. the design must be reversed before transferring it to the Spread the prints out and allow them to dry thoroughly. tile. It will then print the same as the original sketch. If the prints are to be used for cards, the paper may be This procedure is most easily done by placing a piece cut to the size of the print before printing. If a border is of carbon paper wrong-side-up under the original sketch desired, the paper should be cut larger than the size of and tracing the outline with a pencil. When the paper the print, and a guide may be improvised so that each is turned over, it contains a negative printing. This nega- print is accurately centered. If a guide is not used, the tive side is traced onto the clay. border may be cut from the sheet of paper to the desired A simple way to make a tile is by incising. The leather- size after the print is dry. hard clay surface is scratched approximately ~-inch deep Colorful prints may be made by using materials other with a crochet needle. Any excess clay which accumulates than paper for making the background print. A coarse from incising is brushed off. The tile is allowed to dry sandpaper makes an interesting textured background de- slowly on a wire screen or sandwiched between plaster sign. Roll the ink over the sandpaper and position a bats; however it is done, it must lie flat during the drying, sheet of paper over it, rubbing the surface. A textured as well as the firing period. We might mention here that surface will appear. Allow it to dry, then print the design the dry tile should not be positioned near heating ele- from the tile over it. A lighter-color ink should be used ments during the bisque firing. for the background in this case. Another background A raised-surface tile can be made by cutting out the effect can be made by rolling various colors of printing design parts from clay to a depth of approximately ink on the paper. When this is dry, proceed to print with inch, or by cutting away the background. Any rough the desired tile. edges from cutting are smoothed with a damp sponge. The standard method for making a two-color print A slip-trailed tile could be made by applying slip from involves the preparation of separate tiles for each color. an ear syringe and trailing it evenly over the sketched-on Start with a basic design and make a tile for each of the design. Since the slip makes a low shallow relief, some colors. The file using the lightest color is printed first. of the background, as well as the design, will take up The second tile is printed next, using the darker color ink and print. This can be most effective with certain of ink. In most cases, one of these blocks would not be types of designs. complete enough for use as a decorative tile. Following is the procedure for the printing process. When a file has served its function for printing, it is Squeeze a small quantity of ink from the tube onto a ready to be framed and used as a decorative wall plaque.

3. Block-print ink is rolled [rom a brayer onto the surface of the tile after it has been bisque fired.

4. Paper is pressed over the tile surface, rubbed to get a good impression, then lifted o[[ to dry.

December 1971 31 NEW CATALOG ITINERARY iPn!:;n I Continued [rom Page 10 No. 21 for '71 PENNSYLVANIA~ PHILADELPHIA through January 3 Crafts for Christ- • Ceramics inas Giving; at The Philadelphia Art Alliance. • Stained Glass December 12-January 16 "Objects: USA"; at the Philadelphia Civic Center. • Lamp .parts, lighters, mus,c boxes PENNSYLVANIA, WALLINGFORD December 3-4 Wallingford Potters Guild • Kemper tools show; at the Community Arts Center. • Marx brushes SOUTH CAROLINA, GREENVILLE through December 14 One-Man show • Porcelain Flowers .... i: by Don Lewis features salt-glazed and • Rhinestones, jewels, sculptural pots; at Watkins Gallery, Fur- e Variable Speed man University. Starlites • Reversible 9" Tr.xAs, EL Paso • Jewelry Findings, Throwing Head December Wisconsin Designer/Crafts- porcelain blanks men Traveling show; at the University NOW...own this professional quality of • Crushed glass, marbles potter's wheel at this unbelievable Texas. price! Look at these other features: TEXAS, SAN ANTONIO • Copper enameling • Rugged cast aluminum base through December "The Meyer Family: a Plastics • Built-in water container Master Potters of Texas"; at the Witte • Removable drain plug Memorial Museum. 134 pages of more, more, morel • Speed range of 38-130 rpm. Rush $I for your copy today. • Attached wedging wire, arm rests VIRGINIA, BRISTOL • Completely portable through December 19 "British Designer Craftsmen," a Traveling Exhibition of the B&I MFG. Smithsonian Institution; at Virginia Inter- R O. BOX 146 ADRIAN, MICH. 49221 national College. DIVISION OF THE SIGNPRESS COMPANY WAS HINGTON I SEATTLE through December 26 Seattle Art Mu- seum Asiatic Art includes ceramics; at the Please Mention CM Seattle Museum. when writing our advertisers • ®

LETI'ERS SERVING Continued [rom Page 7 2300 ° F -- CONE 8 NORTHERN CALIFORNIA answer to Mr. Jack Troy's letter question- H Shimpo. Robert Brent, Skuft and ing whether Lockerbie wheels. or not he is right about his Kilns • Kiln Kits father's estimate of a thousand flower pots Gas WRITE FOR LITERATURE & Electric kilns. a day (March, 1971 CM). 30 clay bodies and raw materials. In 1968 I visited the Wedgwood Pot- A-1 KILN MANUFACTURERS Complete pottery supplies. tery at Stoke-on-Trent in England. One of Mailing Address: Box 2254 the production potters Santa Cruz. Catalog 75c was throwing a Calif. 95060 Phone (408) 423-3200 Free to No. Calif. Schools & InstHufions bowl, the type Wedgwood is famous for, and he didn't spend any thirty-eight sec- GEONELL'S onds doing it, either; I hardly had time Order Books Ceramic Supplies Inc. for three fast shots with my Nikon and Now he was finished. He paused to speak to for Christmas Giving 3525 Victor St., Santa Clara, Calif. 95050 me for a moment and a woman handling the production amount told him they now needed candlesticks. He took the tray of CERAMIC wedged clay for the candlesticks, slapped one on the center and zap! he had cen- EQUIPMENT tered it, flattened it and brought it up. SPECIALISTS Thirty-elght school seconds? I didn't time it, but We Manufacture all Kinds of ~~...forand I'm sure that is about the time he needed Wheels: studio! to make two. KICK, 2-SPEED ELECTRONIC, When I read in CM that JAPANESE HAND WHEELS. John Now KICK Vg./'Hj~;F-,I.~ WHEEL KITS, KILNS, PUG- was here in San Diego, I went down to Basic Mod. $119.00 MILLS, DOUGH MIXERS, CLAY i see him. He did shake my hand and tried Powered Vers. $159 BOXES,WARE TRUCKS. • BALL MILLS, SLIP MIXERS, Let the Walker Pug Mill not to break it, but I could feel the great SCULPTURE STANDS, mix RAKU EQUIPMENT, MIXING TABLES, FREIGHT your clay. Eliminate drudgery power in the man. Mr. Troy, don't make DOLLIES, HAND TRUCKS, etc. save time for creative him angry. For ln]ormatlon Write To-- effort a::d instruction I like the protective mailing cover on the magazine. Eugene M. Potts ESTRIN MFG. LTD. ~ 1767 W. 3rd Ave. VANCOUVER San Diego, Calif. 9, B.C. • Canada - PHONE: 731-0312

32 Ceramics Monthly Basic Matt Glazes for Cone 4 by RICI-IARD BEIIRENS

EFFECTIVE AND INTERESTING matted MATT GLAZE VI MATT GLAZE XlI glazes may be produced when the Lepidolite ...... 16.6% Amblygonite ...... 40.4% silica (acid) content is reduced to a Spodumene ...... 30.3 Sodium Silico Fluoride ...... 41.5 level below that found in the average Barium Carbonate ...... 50.0 Flint ...... 18.1 clear glaze. This reduction in the Flint ...... 3.1 lOO.O% silica content increases the various 1oo.o% Add : Bentonite ...... 2.0% metallic oxide percentages in the glaze, Add : Bentonite ...... 2.0% "A bright matt" best describes Glaze resulting in an increase of basicity of Here is a glaze of a stony matt char- XII. the glaze. This generally enhances the acter. possibilities of obtaining interesting MATT GLAZE XIII MATT GLAZE VII Lithium Carbonate ...... 4.7% surface textures and color variations. Sodium Fluoride ...... 7.3% Nepheline Syenite ...... 38.4 A number of such basic glaze for- Barium Carbonate ...... 35.0 Whiting ...... 10.6 mulas are offered for trial. Zinc Oxide ...... 10.7 Barium Carbonate ...... 33.5 Magnesium Carbonate ...... 3.6 Flint ...... 12.8 MATT GLAZE I China Clay ...... 11.4 Albany Slip ...... 50.2% Flint ...... 32.0 100.0% Add : Bentonite ...... 2.0% Zinc Oxide ...... 33.6 100.0% Calcium Carbonate ...... 8.4 Here is a matt glaze that has a ten- matt for Lithium Carbonate ...... 7.8 Glaze VII is another bright dency to produce an interesting tex- 100.0% Cone 4 use. ture. This first glaze formula produces a MATT GLAZE VIII cloudy amber matt. Sodium Sillco Fluoride ...... 28.0% MATT GLAZE XIV 3.9% Whiting ...... 25.6 Whiting ...... MATT GLAZE II 52.7 China Clay ...... 24.4 Barium Carbonate ...... Amblygonite ...... 50.4% ...... 6.1 Flint ...... 22.0 Zinc Oxide Wollastonite ...... 24.4 China Clay ...... 9.8 Flint ...... 25.2 100.0% Flint ...... 27.5 Add: Bentonite ...... 2.0% 100.0% 100.0% This formula produces a good matt Add: Bentonite ...... 2.0% Glaze XIV is a satin matt. glaze. Glaze II gives a smooth matt effect. IX MATT GLAZE XV MATT GLAZE III h{ATT GLAZE Sodium Silico Fluoride ...... 25.4% Potash Feldspar ...... 52.0% Nepheline Syenite ...... 33.3% Zinc Oxide ...... 13.6 Lithium Carbonate ...... 4.2 Whiting ...... 11.0 26.6 Whiting ...... 19.3 Barium Carbonate ...... 30.1 China Clay ...... 11.0 China Clay ...... 15.1 Whiting ...... 9.5 Magnesium Carbonate 26.0 Flint ...... 22.9 Flint ...... 100.0% This is a murky bright glaze. 100.07o 100.0% Bentonite ...... 2.0% Here is another good matt glaze. Add: MATT GLAZE XWI This formula results in a glaze that MATT GLAZE X Whiting ...... 10.5% described as a bright matt. might be Zinc Oxide ...... 27.5% Barium Carbonate ...... 20.5 Strontium Carbonate ...... 11.5 MATT IV Whiting ...... 5.6 GLAZE Lithium Carbonate ...... 7.5 Lepidolite ...... 23.6% Lithium Carbonate ...... 12.5 Frit 3293 (Ferro) ...... 43.5 Spodumene ...... 43.0 China Clay ...... 22.5 China Clay ...... 6.5 Magnesium Carbonate ...... 29.0 Flint ...... 22.5 Flint ...... 4.4 Titanium Dioxide ...... 9.4 100.0% 100.0% 100.0% This final glaze is a matt with a some- Add: Bentonite ...... 2.0% Glaze X is what might be termed a what stony character. Glaze IV is a satin matt. smooth matt. CERAMICS MONTHLY is pleased MATT GLAZE V MATT GLAZE XI to announce the publication of a new Lepidolite ...... 23.8% Lepidolite ...... 67.0% CM Handbook by Richard Behrens, Spodumene ...... 43.7 Sodium Fluoride ...... 4.5 the author of this article on Basic Zinc Oxide ...... 28.2 Fluorspar ...... 19.4 Matt Glazes. Full details about Mr. Flint ...... 4.3 Flint ...... 9.1 Behrens" book, "Glaze Projects, a ioo.o% 100.o% Formulary of Leadless Glazes," can Add : Bentonite ...... 2.0% Add: Bentonite ...... 2.0% be found on Page 5 of this issue. Pub- This glaze also is a satin matt. This is a bright yet murky matt glaze. lication date is December 10.

December 1971 33 CERAMACTIVITIES STBY people, places and things KILNS POPOVI DA national importance, as has Bruce Grimes. Indian artist Popovi Da, 49, died in Following the showing in Athens, the October, it was reported from Santa Fe. Alumni Exhibition will travel for one year A native of the to museums, galleries and schools whose Formerly . San Ildefonso pu- facilities will accommodate it. Those in- eblo in New Mexi- terested in booking the exhibition should POTTERY by DOT co, Popovi was one contact the School of Art at Ohio Uni- of four sons of versity in Athens. -~ famed potter Ma- ria and her late NEW STANDARDS COMMITTEE husband, Julian The Southern Highlands Handicraft Martinez, also an Guild has reorganized its Standards Com- artist. While the mittee and will operate with five members, other sons retained three of whom will not be Guild members the Martinez name, but chosen by the Board of Trustees for Popovi chose to their nationally recognized abilities and formally lcgMize his Indian name; his four diverse knowledge of crafts and design. children also carry the family name of Da. For two-year terms, outside-the-Guild Popovi studied painting with Dorothy members are: Herbert Cohen, Director of Dunn at the Santa Fe Indian School, and Exhibitions at the Mint Museum; Florence also learned to make his own pottery. In Pettit, a member of the Connecticut State 1956 he assumed a role of full partnership Commission on the Arts; and Robert Turn- with his mother, decorating her pottery as er, Acting Chairman of the Department of his father had done and helping with the Art and Associate Professor of Sculpture- firing. All of the pieces made with his Pottery, State University of New York mother carry both of their names. College of Ceramics. In addition, the fol- In his own ceramic work Popovi Da lowing Guild members have been appoint- experimented extensively; he revived the ed: ]ames Bobbitt, Dean of Berea College, art of polychrome decoration and de- and Freida Terrell, who is employed with NOWI veloped the "sienna" line of pottery. He the North Carolina Agricultural Exten- was an eloquent speaker and traveled ex- sion Service. tensively, talking about pueblo art and A Good Kiln exhibiting its pottery. After the war years WORKSHOP AT WESLEYAN POTTERS he established a crafts shop at San Ilde- A workshop with David Cohen, of Edin- fonso to promote work made at the pueblo. burgh, Scotland, was sponsored by the Need Not Be For eight years Popovi Da served as gov- Wesleyan Potters on August 30. Included ernor of the San Ildefonso pueblo, just as were demonstrations, discussion of pottery his father was also governor before him. forms, decorating techniques, production Expensive methods, and raku. LUCIE RIE EXHIBIT An exhibit of English Craft Arts opened Save up to 37% using a few at the International Design Center in pleasant hours to fit together Minneapolis on October 21. Wendell Brust- one of our easy-to-assemble man, President of the Center, writes that kiln kits. Fun to do m efficient the exhibit included ceramics by Lucie Rie, to use. Step by step instruc- the internationally known English potter. tions for assembly and easy Miss Rie works in her studio at Albion beautiful firing. Mews and, since 1960, has been teaching pottery at the Camberwell Art School. These Are Kilns Made By People Who Do Ceramics and ALUMNI INVITATIONAL AT ATHENS The Know What A Kiln Has To Do. Ohio University Alumni Invita- tional Exhibition opened in the Seigfred Hall Gallery on the Ohio University cam- Commerc;al Kiln Kit. pus in Athens 24"x24"x27" deep ...... 1;219.00 on October 8 and continued through October 29. Partially spon- Studio Kiln Kit, sored by the Ohio Arts Council, this ex- 18"xl 8"x18" deep ...... $109.95 hibition included the work of fifteen !ii Mr. Cohen returned to Scotland Hobby Kiln Kit, alumni. in Sep- 12"xl 2"x131/2" deep ..... $ 69.95 Ceramists included in the exhibition are tember to resume teaching at the Edin- recent graduates, Dick Hay and Bruce burgh College of Art, where he has been Grimes who graduated from the Univer- on the faculty since 1963. He also owns Send for free bro©knre. sity in 1964, and Kenneth Vavrek who and operates the Kilncraft Studio in graduated the following year. Hay and Edinburgh, which produces ceramic murals WESTBY Vavrek were recently included in the in- and wheelthrown domestic pottery. He has vitational exhibition, "Claythings : 20 been an active exhibitor in Scotland and Ceramic Supply & Mfg. Co. Americans" at the Museum of Contempo- has had several large mural and sculpture 408 N.E. 72nd St., Seattle, Wash. 98115 rary Crafts in New York, and have par- commissions. For the past few years he ticipated in exhibitions of regional and has been involved in relating ceramics

34 Ceramics Monthly Amateur or professional-Minnesota with other media such as aluminum and bronze. His latest exhibit was with the Clay is your best single source for Scottish Craft Society at Edinburgh's Royal Scottish Museum earlier this year. quality materials, chemicals, CHIHULY.CARPENTER equipment, tools & accessories! An environment of white glass shot through with neon was created by Dale Chihuly and ]amie Carpenter for their joint exhibition in the second floor gallery of the American Crafts Council's Mu- , Clay , Chemicals , Glazes. seum of Contemporary Crafts in New , Alpine Wheels & Kilns , York. The mammoth sculpture, along with smaller pieces of opaque white glass, was Lockerbie. Robert Brent & exhibited this fall. The elements were Shimpo Wheels , Walker Pug primarily tall slender stalks rising out of soft-edged bases resting on the floor. Other Mills , Ohaus Gram Scales , elements were more globular in shape, composed of thin, transparent bubbles. All Orton Cones , L & L Kilns , the elements, some of them as much as Thermo-Lite Gas Kilns-Portable eight feet tall, have been hand blown and each consists of one continuous, flowing , Bamboo Teapot Handles , piece of glass. The smaller pieces are or- 11/2"--6" Corks, Books, ganic in inspiration and combine chunky forms with sinuous, twisting, linear elements of great delicacy. Chilhuly and Carpenter have been col- laborating on their glass and neon sculp- Write for our new catalog! ture for the past )'ear and a half, and plan to continue their experimental work with both materials. Dale Chihuly started blowing glass at the University of Wis- consin in 1966 after working with stained MINNESOTA CLAY glass in Seattle for three years. He went 2410 E. 38TH STREET/MINNEAPOLIS.MINN. 55406/PHONE 612-729-9085 to the island of Murano on a Fulbright grant to study glassblowing in the Italian factory after receiving degrees from the University of Wisconsin and Rhode Island School of Design in 1969. In addition to teaching summers at Haystack, Penland. and the University of California in Berk- eley, this summer he started a glass-blowing school in Seattle. Jamie Carpenter is a botanical illustrator who studied at the Rhode Island School of De.iign and in Austria, and has taken part in botanical expeditions in Peru, Colum- Ilia, Brazil, Madagascar and Labrador. He first started blowing glass a year and a half ago when he and Chihuly made a series of illuminated glass flowers. They work in Providence, Rhode Island, where both are affiliated with the Rhode there should be Island School of Design.

SUMMER ART CART The Art Cart is a privately funded pro- ORTON gram in conjunction with the New York State Council on the Arts and run by the Use of three Orton cones with each setting is the "professional" Hudson River Museum in Yonkers. The way to uniformly fine ware.., firing after firing. program is now in its fourth year of operation, and during this period approximately Orton cones may be used as visual guides during firing, and 30,000 children and adults have been given as a means of analyzing firing conditions afterward. a creative art experience which they would And, Orton cones can be used in conjunction with automatic normally not have had. shut-off devices. During the summer of 1970 and 1971 Get the interesting story on how to help yourself to better firing a professional potter, Vera Cotler, in- results with cones. See your dealer for a free copy of "Cones structed the ceramic section of the Art for the Hobby Potter." Cart. Her assistants, college and high school students, in addition to neighbor- hood Youth Corp and Workstudy students, The Edward ORTON Jr. Ceramic were given basic instructions on handling the clay. These students in turn would The acceptedstandard FO g N DATI O N for over 70 years 1445 SummitStreet • Columbus,Ohio 43201 • Phone(614) 299-4104 Continued on Page 36

December 197/ 35 CERAMIC CLAYS CERAMACTIVITIES and Sculptors-Potters- Ceramists Continued [rom Page 35 CALL FOR GLAZE instruct the children ira various aspects of MATERIALS KEMPER TOOLS pottery. A display of the work accomplished was on exhibition at the Hudson QUALITY.UTILITY. DURABILITY River Museum in the fall. CERAMICSUPPLY, INC. Since 1947 "(rifitff 9016 DIPLOMACY ROW Used in colleges,universifes and schoolsthtoogh CALIFORNIA ARTISTS DALLAS, TEXAS 75235 out the UnitedStates. Listed below are just a tew The Oakland Museum's recent ceramic PHONE (214) 631-0,540 nf tka k.nflratle ~f Uamnar T~le ~u~;l~kla acquisitions were displayed in the Special Gallery Bay this past summer. The eight works, all by California artists, are part of the Musemn's permanent collection. Art-Crafts Supplies, Inc. Included are a glazed yellow-green stone- 235 N.E. 67th St. Miami, Fla. 33138 ware cross (pictured) weighing 3000 Distributor for: PARAGON Kilns • DUNCAN, GARE & ORTON CONES MARX Brushes • JACQUELYN S~ins

L & L KILNS • . . the most complete line! The only kilns with patented DYNA.GLOW element holders. Write for information. L and L MANUFACTURING CO., Box 348 144 Conchester Rd., Twin Oaks, Pa. 19104

CERAMIC EQUIPMENT WALKER pug mills • LOCKERBIE, OSCAR PAUL and SHIMPO WEST potter's wheels. Send large stamped addressed envelope for brochures. • •i ~ < Capital Ceramics, Dept. CM Gare is dressed to kiln pounds, by ]ohn Mason; "Grotesque A," 2174 S. Main St., Salt Lake City, Utah 84115 a low-fire glazed ceramic sculpture by • . . in stainless steel jackets and a 2-year factory warranty on electrical components. ]ames Melchert; a low-fire glazed cup by Check Gare's net prices before you make your Ran Nagle; an untitled stoneware cube next kiln purchale and make a killing. The Famous with combination glazes by Michael Lopez; KLOPFENSTEIN Gare Ceramic Supply Co., Inc. "Artworks," a porcelain sculpture in the P.O. Box 830, Haverhill, Mass. 01830 shape of a rooster by Robert Arneson; POTTER'S WHEEL "Astronaut," a stoneware vase with a Write for FREE Information combination high-fire glaze and refined H. B. KLOPFENSTEIN & SONS china paints by Viola Frey; a porcelain RFD. #2 Dept. A Crestline, Ohio 44827 the LOCKERBIEPotter's Wheel vase/candelabra with low-fire glazes and ~ FINESTKICK WHEEL MADE china paints by Paul Nelson; and "Winged Used by colleges, schools Pot," an earthenware pot with low-fire end studio potters $175.00. glazes by Richard Shaw. Write for new circular to Purfex Co. -- 7812 Boulder POTTERY BY JACQUES BAKKE Ave., Highland, Calif. 92346 Wcrks by the art faculty of McMurry College in Abilene, Texas, were exhib!ted in the gallery of the new Amy Ryan Fine Arts Center this fall. Included in the show were porcelain, stoneware and salt-glazed Van Howe pottery by assistant professor Jacques R. Bakke. While most of the work consists of utilitarian "mcunted" bowls and domed Ceramic Supply serving dishes, many of professor Bakke's NEW forms are non-functional s2ulptural con- cepts. In addition, some of the work im- CATALOG parts a flavor of the orient, particularly #11 Catalog $1 that of the Shilla period (Korea 57 B.C.- of Clays, Chemicals, Glazes, tools, etc. 935 A.D.). Other pots in the show were sent FREE to Catalog Sent Free deliberately broken and repaired (in part) SCHOOLS, INSTITUTIONS and POTrERS. To Schools & Institutions and exhibited as sherds. The artist's statement concerning this: "Eventually as sur- vival becomes critical, pots, like all things, STANDARD lose their original meaning and if and VAN HOWE CERAMICSUPPLY CO. when salvaged, become objects for pedes- CERAMIC SUPPLY CO. 11975 E. 40th, Denver, Colorado 80239 Box 4435, Pifl~burgh, Pa. 15205 Continued on Page 37

36 Ceramics Monthly HIGH OTASH CERAMACTIVITIES Continued [rom Page 36 LDSPAR tals. Therefore, I find it quite provocative and valid to explore this idea of deterring Looking for a high content potash and accelerating inevitable deterioration." feldspar? We've got if! Ask for Widely traveled in Asia and America, our K-200 (13.0% K20) Bakke spent five years in Korea and is now teaching pottery at both McMurry Col- Standard Ceramic Supply Co. lege and Hardin-Simmons University. Box 4435, Pittsburgh, Pa. 15205 MEYER POTTERY RETROSPECTIVE Gre, wing interest in Texas pottery has MOLDS IN STOCK resulted in a 250-piece exhibition titled OVER 5000 ;n our expanded facilitles from "The Meyer Family: Master Potters of LEADING PRODUCERS. Texas." which continues in the Friedrich Mold Catalog $1.00. Free to schools and Galleries of the Witte Memorial Museum institutions. Phone 607-432-3812 in San Antonio, Texas, through December. SEELEY'S CERAMIC SERVICE INC. The exhibiti(m, pr()hahly the largest ever 9 River St., Oneonta, N.Y. 13820 staged using Texas pottery exclusively, showcases the efforts of one family and its majer production of pottery at Atascosa where the kiln was located. The small two- man operatic:n started in 1887 and became an active, prospering plant which enjoyed a peak of success during the early 1900s, and was still in business in 1962. Notable in the Meyer collection is the Leon slip glaze clay which has an ahnost endless variati.n in its color and finish.

BLUE AND WHITE PORCELAINS OF THE FAR EAST The ceramic ware illustrated here is one of 65 pieces in a recent exhibition at the Los Angeles County Museum o/ Art. The works of art included plates, bowls and vases created by potters from China, Korea, Japan and Annam, which is now ONE-STOP CERAMIC SERVICE a l)~lrt ,,f VietnanL Dec.rative designs and

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CERAMIC& SCULPTURE SUPPLIES CLAYS • TOOLS • GLAZES RAW MATERIALS KILNS • WHEELS to schools and+studios. - ..... Catalogs $1 Ideducfible with first $15 order) RICHLAND CERAMICS, Inc. We guarantee satisfaction. If you are Post Office Box 3416, Columbia, S. C. 29203 not entirely pleased, return it to us~ in orginal condition within 10 days and the full 41~/ SAN DIEGO Kickwheel Kit -- S69.00. purchase price will be • ~'/ Lockerble, Oscar Paul, Shimpo wheels, Elec. immediately refunded. "~d ~ tric and Gas Kilns on display. Pug Mills, Ac- We ship freight collect ~.~u~ J eessories and Supplies. Phone: 424-3250 to any place. pictures painted in cobalt blue under a 6MONTHS ., ~. ~~ WAY-CRAFT transparent surface glaze are representative UNCONDITIONAL 394 Delaware St., Imperial Beach, CA 92032 of the delicate beauty apparent in many GUARANTEE Oriental art forms. The production of ce- MADE IN U.S.A. "~i~l~l~ ramic pieces is the oldest and longest las ,- Send cash, cl~eck or money order and coupon ing creative art form in the Far East, and Ceramic & Enamel MENCO ENGINEERS, INC. some of the works displayed date back to Phone Supplies - Equipment 5520 Crebs Avenue (213) 881'-1167 the 13th and 14th centuries. Tarzana. California 91356 INSTRUCTION - CATALOGS With beautiful color charts I Number of wheels wanted ~70A Ceramic Supplies & Equip. $1.00 CRAFT STUDENTS LEAGUE ~67B Enamel Supplies & Equip .... 50 A new small gallery is now maintained Name, Costs refundable with coupon (FREE to Schools and Institutions) I for the display and sale of original works Address TEPPING STUDIO SUPPLY CO. by students and faculty of the Cra[t Stu- City. professional staff dents League, New York. Although it is State Zip not open on a set schedule, members of (California residents add 5% sales tax) Continued on Page 39 (Reseilers send California resale certificate)

December 1971 37 KERAMOS CLAY AND GLAZES FOR THE POTTER by Franz Kriwonek. All of the basic areas of by Daniel Rhodes. Two complete books in Recommended ceramic work, from digging clay to build- onel Fundamental details on both clay and ing and operating a kiln, are covered in glazes make this book a "must" for every books on ceramics this new book. The examples of pottery are student, teacher and potter. $7.50 impressive both in number and quality. from the There is a refreshing treatment of subject KILNS: DESIGN, CONSTRUCTION matter that makes the book unique among & OPERATION the various texts now available. $4.00 by Daniel Rhodes. Everything you need to THE TECHNIQUES OF know about kilns m setting up, firing, various types of kilns -- is described and demon- PAINTED ATTIC POTTERY strated in thls first complete book on kilns. by Joseph Veoch Noble. This lavish book Over 100 drawings and photographs. $10.00 unravels the methods used by the Athenian Book Department potters to produce the greatest pottery in STONEWARE AND PORCELAIN ancient European art. Includes information by Daniel Rhodes. Describes techniques and ORDER ANY OF THESE SELECT on the famous Greek black glaze. $25.00 materials used in high-fire pottery. Includes TITLES 01t OUR MONEY-BACK A POTTER'S BOOK sections on clay bodies, glazes, colors, textures and decoration. $7.50 GUARANTEE. WE PAY POSTAGE by Bernard Leach. Now in its twelfth Amer- ican edition, this book should be in the library of every potter and student of RAKU: ART & TECHNIQUE ceramics! $8.75 by Hal Riegger. The first complete book on Raku. Covers clay and glaze preparation, CERAMICS kiln building and firing techniques. Beauti- NATURE AS DESIGNER fully illustrated. $12.95 by Bertel Bager. This unusual and stimulating by Glenn C. Nelson. A new, revised and en- larged edition of a favorite title. An out- book presents a treasured collection of plant METAL ENAMELING life which demonstrates in a unique and very standing handbook for potters and teachers. effective way the beauty of form in nature. 348 pages, hardcover. $10.95 by Polly Rothenberg. The emphasis in this The forms will suggest an infinite number book is on new methods of enameling and of shapes and textures for pottery. An out- SELLING YOUR CRAFTS new applications of the age-old techniques. standing gift selection. $14.95 by Norbert N. Nelson. In a concise step- Many of these unusual experimental proiects by-step presentation, this book leads you have never before been published. $7.95 MAKING POTTERY WITHOUT through the actual stages necessary to sell A WHEEL successfully what you produce. Covers such CREATIVE CLAY DESIGN by F. Carlton Ball and Janice Lovoos. This diverse channels of sales as wholesale, retail, comprehensive by Ernst Rottger. A wonderful aid to those and richly illustrated book mail order and specialty markets. $5.95 who are learning covers every phase of handbuilding and and those who are teach- decorating clay pieces. No book ing others how to explore the creative pos- covers the sibilities subject of texture and form so effectively. WE PAY POSTAGE ] of clay. $5.95 Includes section on firing. $9.95 POTTERY & CERAMIC SCULPTURE by Herbert Sanders. A thoroughly revised DESIGN MOTIFS OF ANCIENT MEXICO OBJECTS: USA by Lee Norclness. A superb publication fea- edit;an of Mr. Sanders' best seller CE- by Jorge Enciso. A compilation of 766 ex- RAMICS BOOK. Completely up-dated with amples divided into geometric, natural and turing over 250 of our most talented artist/ craftsmen working ~n ceramic, enamel, glass, new material, including section on haw to artificial forms. Includes designs based on build a potter's wheel. Thls is an excellent flowers, birds, fish, etc. 170 pages. $2.50 metal, plastic, mosaic, wood, and fiber. In- cludes a photo of each craftsman, a brief book for beginners. $1.95 biography, and an example of his work. 360 THE WORLD OF JAPANESE CERAMICS STEP-BY-STEP CERAMICS pages -- many in color. $14.95 by Jolyon Hofsted. In this complete in- by Herbert Sanders. This handsome book troduction to ceramics, the beginner is led CERAMICS FOR THE ARTIST POTTER illustrates the forming and decorating pro- through all of the basic clay forming and by F. H. Norton. The most complete book cesses and the unique tools used by the decorating processes. There are special sec- on the subiect, from choosing the proper potters of Japan. Includes glaze formulas, tions on the Potter's Wheel, Glazing, Firing clay to putting the final touches on a piece, color charts, and American equivalents of a Kiln, Building Your Own Kiln, Decorating all clearly explained. $9.75 Japanese glaze compositions. $12.50 Techniques and Raku. $2.50 CERAMIC GLAZES ENAMELING ON METAL HANDBOOK OF DESIGNS AND DEVICES by Cullen ~V. Parmelee. This invaluable by Oppi Untracht. Step-by-step photos are by Clarence Hornung. Over 1800 sketches reference book completely covers glaze used to describe fundamentals on through of basic designs and variations including the making, including formulas and batch to newly developed experimental styles. Thls circle, llne, scroll, fret, shield, snow crystals recipes. 314 pages of technical information. complete guide is a major contribution to and many more useful symbols. $2.00 For advanced students. $9.95 the art of enameling. $7.50 CERAMICS AND HOW TO DECORATE THEM POTTERY: FORM AND EXPRESSION CERAMIC DESIGN by Joan B. Priolo. Presents detailed descrip- by Marguerite Wildenhain. A truly beauti- by John B. Kenny. Complete instructions for tions and illustrations of dozens of decorat- ful book! Magnificent pictures of the author methods of forming and decorating ware are ing techniques and shows how to use them. at work and of ancient and contemporary given, with step-by-step photos to guide the Excellent for hobbyists. $6.95 potters. Outstanding gift select~on. $9.95 designer along the way. Contains appendix, list of materials, recipes, and glossary. $9.95 Order Form -- We Pay Postage CERAMIC SCULPTURE BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212 by John B. Kenny. Contains over 1000 photos and sketches covering oil phases of the [] Eager--Nature $14.95 [] Kenny--Sculpture $9.95 [] Nelson~Ceramics $10.95 sculptor's art: figure work, models and [] Ball & Lovoos--Pottery $9.95 [] KannymPottery $7.50 [] Nelson--Sellin9 Crafts $5.95 casting, firing, etc. A valuable aid for all [] Encis~Desicjn $2.50 [] Kinney~lass Craft $7.50 [] Nordness~Objects $14.95 teachers and craftsmen. $9.95 [] Hofsted~Ceramics $2.50 [] KriwanekmKeramos $4.00 [] Norton--Artist Potter $9.75 [] Hornuncj~Desicjns $2.00 [] Noble--AHic PoHery $25.00 [] Parmelee--Glazes $9.95 THE COMPLETE BOOK OF [] Kenny--Des;Dn $9.95 [] Leach--Potter's Book $8.75 [] Priolo---Ceramics $6.95 [] Rhodes--Clay & Glazes $7.50 POTTERY MAKING [] Rhodes~Kilns $10.00 by John B. Kenny. The "best seller" in the NAME [] Rhodes--Stoneware $7.50 ceramic field! Step-by-step photo lessons [] Riecjcjer--Raku $12.95 cover all of the pottery-making techniques: ADDRESS [] Rothenbercj--Enameling$7.95 clays, glazes, firing, plaster, etc. $7.50 [] RoHcjormCreative Clay $5.95 CITY STATE ZIP __ [] Sanders--Pottery $1.95 GLASS CRAFT [] Sanders~apanese $12.50 by Kay Kinney. The complete book on fusing, I enclose [] Check [] Money Order [] Untracht--Ename1|ncj $7.50 laminating and bending glass. Basic tech- iOh;o residents: add 4% Sales Tax) [] Wildenhaln--Pottery $9.95 niques and step-by-step projects. $7.50

38 Ceramics Monthly CERAMACTIVITIES Continued [rein Page 37 the staff or the League committee will gladly show the collection to interested hown: Model :~2~ I'''"S~t~sii~i persons during afternoon hours. All of the works shown are for sale and represent a I Ste~ x 18" high broad view of the school's activities. Net | with automatic shutoff. $206.50 proceeds go to the benefit of the YWCA. I ManufaeLu~er of Fine I Ceramic Kilns WOODS-GERRY GALLERY t Established 1948 A show of ceramic work done by Har- riet E. Brisson, assistant professor of ceramics at Rhode Island College was held at the Woods-Gerry Gallery of the Rhode Island School o[ Design, in May. Ruth ENAMELING SUPPLIES Long, wife of the director of the Gallery, EVERYTHING FOR THE ENAMELISTI Decoupage -- Leaded Glass writes of the work in the show: "Novelty CATALOG $1 (Decoupage Catalog $1.00) and simplicity of the form enhances and KRAFT KORNER redirects attention to the possibilities and 5842 Mayfield Road Mayland Annex Cleve and, Ohio 44124 Phone (216) 442-1020 beauties of glazed ceramics .... Patterns produced through firing are spread out on tiles bound together by leather thongs.

Sold only by Authorized

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POTTERY EQUIPMENT SPECIALISTS Tip the scales in your favor.

LEADING LINES OF KILNS (gas and This new college text gives you a electric), WHEELS, TABLES, PUG weighty advantage in unscrambling the MILLS AND TRUCKS. mystifying science of glaze calculation, Southern Sales Office covering southeastern Highlighted by charts, reference tables U.S. -- N.C., Tenn. and all states southl and step-by-step guidelines, this book • makes a most valuable addition to the PAUL STROMGREN & ASSOCIATES These patterns created by heat, an aspect 3919 Seville St., Tampa, FI. 33609 library of both the serious student and Write or :all: (813) 831-8081, night or day. of the raku process, are a major factor in the independent potter, Sales & Service a piece consisting of tiles shaded from blue T to gray. Clay and fiber combined demark levels of depth within a flat format." Pic- tured is a hanging utilizing stoneware tiles PARAGON Kilns -- enameling and ceramic. Complete line of THOMPSON enameling sup- and hemp. plies. Distributor for all DUNCAN products and JACOUELYN ceramic stains. Classes in ART OF CERAMICS enameling and ceramics. Large selection of A s]ide-tape lecture on ceramics has been GREENWARE. prepared by Eleanor Heller, Sarasma Cross Creek Ceramics, Inc. ceramist, for use by the educational de- --1in ~--Z...... | 3596 Brownsville Rd., Pittsburgh, Pa. 15227 partment of the Ringling Museum. The lecture, entitled "Art of Ceramics," is forty minutes long. It presents a brief historical survey of ceramic art forms and demonstrates techniques in clay that have New 1971-72 Catalog been used from early times to the present. • Raw Materials Examples chosen are from the Ringling • Frits, Glaze Stains Museum, the collection of Sylvan and Edna Rosenbaum of Sarasota and Kala- • • • • • • • • • • •o e = o e e o i • e e e e e • • e• • • el oil • Glazes ~ Low & High Fire mazoo, the Museum of Modern Art, and • billikcn prcji ." & Basic • Clays ~ Blended the Museum of the Isle o[ Rhodes. The : P.O. Box 8564 San Jose, Calif. 95125 : • SKUTT, OSCAR-PAUL slide-lecture is available for circulation to !• Please send me __ Postpaid copies of LOCKERBIE Wheels art centers and schools in the State of • Glaze Calculation @ $3.95 each. (Calif. • • PARAGON & SKUTT Kilns • res. add 5% tax) • Florida. For information, write to Mrs. : Catoleg $1.00 Leslie ]. Ahlander, Director of the Depart- Name (Free to Schools & Institutions) ment of Education, Ringling Museum of Art, P.O. Box 1838, Sarasota, Florida • Address Paramount Ceramic, Inc. 33578. 220 No. State Falrmont,Minn. 56031 i City State Zip • Continued on Page 40 oeeeoooeoooeoo e• oo•ooo •oeooeeooooooe

December 1971 39 CLAY MASTER Quality Kick & Electric Kick Potter's Wheels CERAMACTIVITIES EXCLUSIVE FEATURES • Steel Rimmed 110 Lb 26" Continued [rom Page 39 die. concrete flywheel • Extra ~ large, wide, sate, footrests CERAMICS BY ROBERT ELECTRIC KICK WHEEL • Table has raised edge • YARYAN sz4o.oo roe FACTORY Made entirely of mefal & A one-man show of ceramics by Robert concrete • All kick wheels I'ar),an was exhibited at are equipped for Motor Drive the Hobart Gal- • Add our motor drive kit leries in Ferndale, California during the later if desired month of October, writes IVilliam Simons Wrlfe for circular of the College o[ the Holy Narr, es. Yaryan, INLAND who teaches METAL FABRICATORS ceramics, weaving and gen- P.O. Box 723 eral crafts and is Gallery Director at the STANDARD KICK WHEEL San Bernardino, Calif. 92402 Art Center of College of the Holy Names, |165.00 FOB FACTORY Phone (714} 885-4614 Oakland, is widely known for the unusual quality of his ceramics. Pictured is his FRANCOISE CERAMICS DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes, Underglazes. Bisq-Stain and Molds. IN STOCK: Large selection of Atlantic • Arnel • Luclwlg Schmid • Holland • White Horse • Fros-O-Lone & Weaver molds. Complete line ceramic supplies. WHOLESALE AND RETAIL 113 49th St. South St. Petersburg, Fla. 33707

CLAYS GLAZES TOOLS KILNS "Dark Sun," a high-fired, glazed and un- Schools and institutions write for glazed slab construction. His work has been FREE li+erafure. exhibited nationally as well as in Cali- fornia, and is in many private collections as well as in the Oakland Art Museum. • Solid Construction • Vibration Free t Easily Built Prior to joining • Used Professionally • Sensitive • No Maintenance the College of the Holy Names faculty, he taught at California WALLIS DESIGNS KICKWflEEL College of Arts and Crafts, Oakland. AVAILABLE IN KIT FORM $49.95 TOLEDO AND AREA CERAMICS WALLiS DESIGNS On the basis of qualifying entries in the 145 Valley View Dr., South Windsor, Conn. 06074 recent successful Toledo and Area Ceramic Ceramics exhibit, the judges for the show suggested a Fine Arts Category be created. The win- by ner for this new award was Betty Blom- quist for her metal enameling, "Davy Jones Glenn C. Nelson

In this impressive, new edition (third), the author has been particularly concerned for the role played by the professional potter in the studio, in education, Please Mention CM and in industry. Throughout the book Mr. when writing our advertisers Nelson has introduced new ideas, mate- I . rnals and eqmpmenf, especially in the chapter on kilns. $10.95 per copy. PACIFICA Potter's Wheels ml BB BB Be IB ml ml n mB BIB BB am BBI CERAMICS MONTHLY Book Department • mmany models from kits @ U Box 4548, Columbus, Ohio 43212 $39. to professional potters U Please send me __ copies of CERAMICS, B wheels for $149. m new 3rd edition, @$10.95 | --are more rigid than most ~easily dismantled Locker," which is pictuzcd, lla Periat for mov- m Name. E ing writes that the Fine Arts Category will be- mhave a unique system of adjustments so that they come a part of their future annual exhibits. mAddress COMFORTABLY fit users from 4' to 6' 4" fall u City State 71p m Send news, and photos, i] available, about All models now ready for m Ohio residents add 44c per copy sales tax. m immediate shipment "People--Places--Thlngs" you think will Wrtte: be o/ ceramic interest. We will be happy m I enclose [] Check [] Money Order B Box 1407, Dept. C; Feradale, Wash. 98248 • II to consider them for use in this column. We Pay Postage m Money-Back Guarantee ~mm m m m m mmm mmm m m m m mlm 'mq

40 Ceramics Monthly CERAMICS MONTHLY Index January 1971 December 1971

Clay and Slip Don Reitz, Brawer, Dec., p 19 Balloon Forms from Buttered Clay, Staryos, March, p 31 Franz Kriwanek, Wolverton, Jan., p 13 Low Temperature Frit Porcelain, Behrens, Nov., p 33 Herbert Sanders, Ball, Nov., p 14 Raku Unit for High School Potters, A, Spray, April, p 17 John Novy, Third Generation Potter, Sweetman, March, p 13 Terra Sigillata, Behrens, Jan., p 31 Marianne de Trey, Lewenstein, Sept., p 14 Where and How to Find Clay, Kriwanek, April, p 16 Pennsylvania German Pottery ... Tools and Processes, Powell, Nov., p 18 Decoration Snake Pottery, The: Peter C. Bro~n, Goettsch, Feb.. p 16 Clay Cooking Pot, The, Eilenberger, Feb., p 20 Studio. The: Anthony Sterckx, Goettsch, Feb.. p 18 Decorating with a Slip Cup, Eilenberger, Jan., p 26 Tyrone and Julie Larson, Sharer, April, p 14 Handbuilt Puzzle Jugs, Eilenberger, Sept., p 26 Raku Beads, Hyman, Oct., p 28 Potter's Wheel Three Slip Trailing Techniques, Fournier, Sept., p 21 Bird Feeders, Baldwin, Oct., p 16 Canteen Forms Adapted from Stones, Johnson and Peterson, Departments April, p 30 Consult the contents page o[ each issue [or the [ollowing de- Centering With a Leather Strap, Sweetman, March, p 14 partmental lectures which appear regularly in CM: Ceramic Sculpture from Wheel-Thrown Parts, Helrauth, Answers to Questions May, p 22 CeramAetivities Don Reitz, Brawer, Dee., p 19 Itinerary Pennsylvania German Pottery ... Tools and Processes, Powell. New Books, Jan., p 37; Sept., p 41; Nov., p 41; Dec., p 42 Nov., p 18 Suggestions from Our Readers Pot Clusters, June, p 28 Summer Workshops, April, p 19 Throwing the Covered Pot, Helmuth, Nov., p 26 Throwing the Large Plate, Lee, Sept., p 18 Enameling Electroformed Enamels, Rothenberg, March, p 22 Raku Footed Cloisonne Bowl, A, Rothenberg, Feb., p 25 Raku Beads, Hyman, Oct., p 28 Fun Jewelry, Berl, Jan., p 29; April, p 27 Raku Murals of Paul Rayar, The, Rothenberg, June, p 14 Liquid Enamels, Berl, Nov., p 30 Raku Unit for High School Potters, A, Spray, April, p 17 Watercolor Effect with Enamels, A, Buf[um, Dec. p 27 Sculpture Glazes and Glazing Ceramic Forms from Layered Slabs, Eilenberger, June, p 16 Are Lead Glazes Dangerous?, Littlefield, J~n., p 25 (reprint) Ceramic Sculpture of Joe Ann Cousino, Bonham, May, p 16 Barium Glazes, Behrens, Oct., p 27 Karen Park's Ceramic Wall Reliefs, Blanchard, Oct., p 24 Monumental Ceramic Sculpture for Southern Illinois Campus, Basic Matt Glazes for Cone 4, Behrens, Dec., p 33 April, p 28 Fluoride Glazes, Behrens, Sept., p 33 Formulary of Leadless Glazes, A, Behrens, p 24 Show Time Low Temperature Frit Porcelain, Behrens, Nov., p 33 Burke Ceramics at Chicago Public Library, Dec., Nepheline p 18 Syenite Glazes, Behrens, June, p 33 Ceramic Raku Unit for High School Potters, A, Spray, April, p 17 League of Miami, Oct., p 21 Rosy Gold Glazes, Behrens, March, p 26 Ceramic Statement 1971, San Francisco, June, p 30 Terra Sigillata, Behrens, Jan., p 31 Conversation with Don Reitz and Bruce Breekenridge, A, Two-Component Glazes, Behrens, May, p 33 Brawer, March, p 17 Cranbrook Alumni Gallery Tour, Dec., p 17 Handbuilding Indiana Artists/Craftsmen, June, p 31 Balloon Forms from Buttered Clay, Staryos, March, p 31 Mid-South Ceramic Exhibition May p 26 Canteen Forms Adapted from Stones, Johnson, Peterson, Natzler Retrospective Exhibition, Oct'., p 14 April, p 30 Oakbrook Invitational Craft Exhibition, Dec., p 17 Ohio Cardboard Supports for Clay Structures, Huebner, Dec., p 14 Ceramic Show, June, p 30 Ceramic Forms from Layered Slabs, Eilenberger, June, p 16 Persian Ceramics After Islam, Jan.. p 20 Clay Cooking Pot, The, Eilenberger, Feb., p 20 Place Setting, The, June, p 31 Handbuilt Puzzle Jugs, Eilenberger, Sept., p 26 Ruth Rippon Retrospective Exhibition, March, p 20 Impromptu Plates, Eilenberger, March, p 27 South Carolina State Art Collection, Dec., p 18 Joe Ann Cousino Demonstrates Sculpture, Bonham, May, p 18 Toledo Area Artists, Oct., p 21 Karen Park's Ceramic Wall Reliefs, Blanchard, Oct., p 24 Toledo Glass National, May, p 28 Monumental Sculpture for SIU Campus, April, p 28 Twelve Dutch Potters, Nov., p 31 Raku Beads, Hyman, Oct., p 28 Studios, Tools and Equipment Relocating a Plate Rim, Eilenberger, Nov., p 23 Slab-Built Cylinders Cricklade Pottery, The: Kay and Ivan Martin, Goettsch, from Molds, Rothenberg, May, p 34 Feb., p 14 Miscellaneous Experiment in Building a Hillside Kiln, An, Erkkila, Jan., p 22 Marianne de Trey, Lewenstein, Sept., p 14 Jurying . . . Science, Art. or Gamble?, Brennan, Oct., p 31 Pennsylvania German Pottery ... Tools and Processes, Powell, Lighting Problems and Solutions, Nelson, Oct., p 22 Nov., p 18 Potter's Trip, A, Morton, Sept., p 32 Primitive Pottery at Red Dog, May, Primitive Pottery at Red Dog, Ball, May, p 29 Ball, p 29 Printing with Room Design and Curriculum Planning, Rash, Sept., p 30 Tiles, Kettner, Dec., p 30 Snake Pottery, Room Design and Curriculum The: Peter C. Brown, Goettsch, Feb., p 16 Planning, Rash, Sept., p 30 Studio, The: Anthony Sterckx, Feb., p To Market, To Market!, Wolverton, May, p 21; June, p 27 Goettseh, 18 Tz'u-ehou Stoneware, Sept., p 24 Teachers, Articles for Portfolios Balloon Forms from Buttered Clay, Staryos, March, p 31 Experiment in Building a Hillside Kiln. An, Erkkila, Jan., p 22 Coming of Age at Haystack, Merritt, June, p 19 Jurying . . . Science, Art, or Gamble?, Brennan, Oct., p 31 Don Reitz, Brawer, Dee., p 19 Making an Ocarina by the Slip-Cast Method, Traylor, Feb., p 28 Summer Workshops, April, p 19 Primitive Pottery at Red Dog, Ball, May, p 29 PoH~'s and PoHery Printing with Tiles, Kettner, Dec., p 30 Raku Unit for High School Potters, A, Spray, April, p 17 Ceramic Sculpture of Joe Ann Cousino, Bonham, May, p 16 Room Design and Curriculum Planning, Rash, Sept., p 30 Conversation with Don Reitz and Bruce Breckenridge, A, Brawer, Slab-Built Cylinder from Molds, Rothenberg, May, p 34 March, p 17 Tz'u-chou Stoneware, Sept., p 24 Crieklade Pottery: Kay and Ivan Martin, Goettsch, Feb., p 14 Where and How to Find Clay, Kriwanek, April, p 16

December 1971 41 Advertisers Index NEW BOOKS December 1971 A-1 Kiln Mfrs ...... 32 EARLY AMERICAN FOLK POTTERY by Harold F. Guilland Allcraft ...... 4 The author, a potter himself, developed Alpine Kilns ...... 13 the concept for this book from his desire American Art Clay Co ...... 6 to interest contemporary potters in the en- Art Consultants ...... 40 during heritage and values left by early Art-Crafts Supplies, Inc ...... 36 American potters. He accomplishes this B & I Mfg. Co ...... 32 with background information on the Co- Bergen Arts & Crafts ...... 32 lonial environment, specifically calling at- Billiken Press ...... 39 tention to the basic needs of that period Brent, Robert, Potter's Wheels ...... 9 and noting particularly the rise of pottery Campbell, Gilmour ...... Cover 4 eWHEEL CLAYS ...Cone 06 thru 10 production. He traces this rise in a chapter, "The Earthenware Tradition," then Capital Ceramics ...... 36 eSLIP CLAY ...... Cone 06 and S progresses to "The Stoneware Tradition." Central New York Ceramic Supply .... 37 e SCULPTURE CLAY ...... Cone 10 He next discusses the form, quality and Ceramic Coating Co ...... 8 beauty of American folk pottery in detail. Craft Students League YWCA ...... 42 This section is further amplified by 200 Creek-Turn ...... 36 pages of photographs in black-and-white Cross Creek Ceramics ...... 39 and color, each with information relating Dawson, W. P ...... 39 to use of the piece, glaze, and details of Dial-A-Glaze ...... 12 decoration with approximate originating Duncaln's Ceramic Products ...... 3 date and location. 322 pages; photographs Estrin Mfg. Co ...... 32 in black-and-white and color; $12.50. Chilton Book Company, 401 Walnut St., Evenheat ...... 39 Philadelphia, Pennsylvania 19106. Francoise Ceramics ...... 40 Gate Ceramic Supply Co ...... 36 COMMON CLAY Geonell's ...... 32 INDUSTRIALMINERALS CO by Charles Counts 1057 Commercial St., San Carlos, Ca. 94070 Charles Counts begins his book with a Haystack-Hinckley School of Crafts .... 42 page-long dedication wherein he includes Hiro Distributors ...... 12 a tribute "... to the total involvement of Industrial Minerals ...... 42 a potter and his day. Now... and in the Inland Metal ...... 40 past. •. and in the future too." Collabora- ting with photographer Bill Haddox, he has Jay-Bellman ...... 4 created a handsome and inspiring account Kemper Mfg. Co ...... 36 of potters living and working in the South YWCA CERAM ICS Klopfenstein, H. B. & Sons ...... 36 840 8 AVE SCULPTURE today. With photographs and prose inter- Kraft Korner ...... 39 AT SIST NYC 10019 Spring Term Jan 28- May 22 mingling, he presents Cheever Meaden, Bill Gordy, D. X. Gordy, Waymon Cole, L &L Mfg. Co ...... 36 CRAFT STUDENTS LEAGUE Nelle Cole Graves, Norman Smith and |212) 24(,-4712 Open House - dan 25, 6-9 pm Marshall-Craft ...... 3 / SEND FOR Walter Lee Cornelison. In a short chapter, Mayco Colors ...... 10 CLASS CATALOG Coursesin 26 Craft Fields "Workshirt," the author writes of his own Menco Engineers ...... 37 introduction to pottery, his inspirations and Minnesota Clay Co ...... 35 aspirations. He also includes a Common Ohaus Scale ...... 7 GLASSBLOWING Clay Portfolio and a chapter on Rising Fawn. A final chapter is directed to future Ohio Ceramic Supply ...... 40 JEWELRY -- PHOTOGRAPHY potters and deals with the fundamentals Orton Ceramic Foundation ...... 35 CERAMICS -- WEAVING of craftsmanship. 141 pages; 152 photo- Oscar-Paul Corp ...... 39 GRAPHICS -- FOUNDRY graphs in black-and-white and color. Pacifica Potter's Wheel ...... 40 $19.95. Droke House/Hallux, 116 W. Orr Paragon Industries ...... 8 2 Four.Week Summer Sessions Offered to High School Upper Clossmen Street, Anderson, South Carolina, 29621. Paramount Ceramic ...... 39 Held at The Hinckley School, Hinckley, Maine Parfex Co ...... 36 KILNS AND KILN FIRING FOR THE CRAFT POTTER For further information write to: Reward ...... 6 by H. Fraser Erllncj H. Helstad, Director Riehland Ceramics ...... 37 "Pottery is possibly man's oldest industry," Rovin Ceramics ...... 6 HAYSTACK-HINCKLEY so the author begins this British treatise on kilns, and continues with observations Seeley's Ceramic Service ...... 37 SCHOOL OF CRAFTS on discoveries made 15,000 years ago. The Skutt Ceramic Products ...... Cover 2 7C Highland Ave., Lebanon, N.H. 03766 evolution of the kiln from Egyptian time Standard Ceramic Supply Co ..... 36, 37 to the present-day modern studio kiln is Stromgren and Associates ...... 39 discussed in the first chapter. Subsequent Tepping Studio Supply ...... 37 chapters contain explanations of kiln Thompson, Thomas C., Co ...... 4 Back Issues construction, design, accessories, and in- Trinity Ceramic Supply ...... 36 The lollowing back issues of CM are still strumentation. The author deals with available at sixty cents each. (Ohio resi- problems and techniques of firing, in- Unique Kilns ...... 40 dents pay 4% sales tax.). We pay postage. eluding a chapter on reduction firing, Van Howe Ceramic Supply ...... 36 and a final section on pottery faults and 1962 February 1970 September how to overcome them. Four appendices W. M. S. Potter Wheels ...... 8 October complete the book. Line drawings and Walker Jamar Co ...... 32 1971 June photographs are used. 134 pages. Ap- Wallis Designs ...... 40 Please send check or money order to: proximately $3.60. Pitman Publishing Cor- Way-Craft ...... 37 CERAMICS MONTHLY poration, 20 E. 46th Street, Nerv York, Westby Kilns ...... 34 Box 4548, Columbus, Ohio 43212 N.Y. 10017. Westwood Ceramic Supply ...... 11

42 Ceramics Monthly Quality Handbooks on Cer 3mics for Hobbyists • Schools • Libraries • Craft Centers

THROWING ON THE Potter's Decorating Throwing Pottery POTTER'S on the Wheel with Clay, Projects Potter's Slip & Glaze NH££L Wheel ~lv THOMAS SeLL.S~,~ edited by Thomas Sellers by F. Carlton Ball by Thomas Sellers

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

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

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

m m m m m m m ~ •

8OOK DEPARTMENT Box 4548, Columbus, Ohio 43212

Please send me the following: [] Ceramic Projects @ $2.00 [] Potter's Wheel Projects @ $2.00 Underglaze Decoration @ $3.00 Brush [] Decorating Pottery with Copper Enameling @ $2.00 Decoration Clay, Slip & Glaze @ $3.00 for Ceramics [] Throwing on the Z Brush Decoration for Potter's Wheel @ $4.00 Ceramics @ $3.00 by Marc Bsllaire

[ enclose r- Check [] Money Order (Ohio residents add 4o/o sales tax) A fascinating book on the use and care of brushes. Shows how to make Name many designs for decorating ceramics using just three basic brushes b the watercolor, liner and square Address shader. Designs and sketches shown in this exciting book will offer many City State Zip decorating ideas. Excellent choice for rams m m m m beginners. 64 pages $3.00 For Hobbyists • Schools • Art & Craft Centers • institutions Manufactured by GILMOUR CAMPBELl. - 14258 Maiden - Detroit Michigan 48213

KINGSPIN Electric Banding Wheel KINGSPIN Wheel

• Heavy Kinalloy 7-inch table NEW with Wagon Wheel Base • Top and base are cast Kinalloy • New -- with height trimmer • Top measures 61/4" • Shipping weight 3 Ibs. • Solid cast aluminum case • 110 volt motor, 35 RPM Model W-6 only ...... $4.95 • On & Off switch, B-ft. cord • One-year service guarantee With 7-inch table • For light throwing Model W-7 ...... $5.50 Model E-2 ...... $24.95 With B-inch table E-2T with trimmer ...... $26.95 Model W-8 ...... $7.50 Model E-3T ...... $30.50 (More power for light throwing) With 10-inch table E-3 less trimmer ...... $28.S0 Model W-10 ...... $9.95

KINGSPIN Kinolite Turntable KINGSPIN Kinalloy Turntable

New 12-1nch model with many uses • A 12-inch wheel for the price • 10" model of an B-inch • Made of KINOLITE -- la'~st slnktop material used • Heavy KINALLOY Table in newest homes • Heavy Kinalloy round base • Just the thing to use on those lace dolls. • Heavy Kinalloy round base

• Easy Spinning With Wagon Wheel Base Model W-12 ...... $6.S0 Model KR-7 ...... $6.50 With 7" Table q With 12-inch Aluminum Table Model KR-8 ...... $8.75 Model A-12 ...... $16.95 With 8" Table

Model T-12 ...... $7.50 Model KR-10 (shown) ...... $11.2S

KINGSPIN Lowboy Steel Wheel KINGSPIN Steel Wheel

• Our Economy Model • Kinalloy ~ .~ • Our Economy Model Bearing • Easy Spinning • Zinc • Kinalloy Bearing Plated-Rustproof • 7" Steel Top & Bottom • Highest Quality • • Knurled Stem Low Price • Easy Spinning • Zinc Plated -- Rustproof This new model may be used as a mold stand, for clay modeling or • 7" Steel Top & Bottom as a decorating wheel in spray • Highest Quality booth. • Low Price Model S-L. $3.25 Model S only ...... $3.50