0 MONTHLY JULY 1954

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clay on display Start Your Own CERAMIC LIBRARY These are carefully selected ceramic books which will offer you good instruction, enjoyable reading and ready reference sources. Make your selection nowm use coupon below for ordering.

THE FABER LIBRARY OF POTTERY AND CERAMICS HANDBOOK. THE COMPLETE BOOK OF POTTERY PORCELAIN includes 16 volumes devoted By Richard Hyman. MAKING. By John B. Kenny. to the finest in historical ceramics. Every Illustrated with almost 300 photos, it covers Exaggerated title? Not at all. All of the ceramist and collector will find these hand- all phases of pottery making, sculpture, most popular pottery maldng techniques some books~ an excellent addition to his and jewelry. Includes recipes for low-tem- are explained in detailed, step-by-step library. The volumes are uniform in format perature glazes, instruction for building photo lessons. Included is basic informa- and treatment. The texts are supplemented kilns and wheels, and an "equipment re- tion on clays, glazes, bodies, firing, with a history of factories and designers. view." Hard-bound edition. $2.95 plaster, many other subjects. Large format Black-and-whlte and color illustrations. (7"by 10"), 242 pages, more than 500 photos and drawings. $7.50 MEDIEVAL ENGLISH POTTERY Bernard Rackham MAKING POTTERY FOR PROFIT. A POTTER'S PORTFOLIO. By Bernard Leach. By Cole and Start. ENGLISH DELFTWARE F.H. Garner How to make pottery pay. What to make, An elaborate (111/2" by 14", cloth- how to make it, how to price, how to EARLY ISLAMIC POTTERY bound) edition in which Mr. Leach has merchandise. Has many ideas for new Arthur Lane chosen for discussion some 60 examples and original products. $2.95 of great pottery of the past down to the COREAN POTTERY W. B. Honey present. The pottery pictures are suit- A POTTER'S BOOK By Bernard Leach. GERMAN PORCELAIN W. B. Honey able for framing; some are in color. The famed Mr. Leach's book is the out- $17.50 come of 25 years' work in the Far East FRENCH FAIENCE Arthur Lane and England. It deals' with four types of pottery: Japanese raku, English sllpware, WEDGWOOD WARE W. B. Honey stoneware, and Oriental porcelain. Con- Above fitles.$S.O0 each LITERATURE ABSTRACTS OF CERAMIC siderable basic information is between GLAZES. By Koenig and Earhart. these covers as well. Illustrated, some in GREEK POTTERY Arthur Lane A review of virtually all literature on cer- color. $6.00 amic glazes. Drawn from nearly 90 sources ITALIAN MAIOLICA Bernard Rackham CERAMICS FOR THE POTTER. covering a period of more than 50 years. By Ruth M. Home Fully indexed. $7.50 19fh CENTURY ENGLISH POTTERY The chemistry, geology, history of ceramics AND PORCELAIN Geoffrey Bemrose presented in non-technical language. S~nce POTTERY MAKING. By Wren and Wren. the author began her study of ceramics ENGLISH PORCELAIN OF THE The authors, potters of Oxshott, England, "at the beginning," she is able to say in 18th CENTURY J.L. Dixon cover all the basic phases of pottery mak- the preface, "Only an amateur can ap- ing. In addition, they present information preciate the problems of an amateur." WORCESTER PORCELAIN on gas kilns, and building a small coke $4.so Franklin A. Barnett kiln. Illustrated, 140 pages. $3.50 MARIA: THE POTTER OF SAN ILDE- EARLY CHINESE POTTERY FONSO. By Alice Marriott. AND PORCELAIN Basil Gray THE POTTER'S CRAFT. By Charles F. Binns. The story of Maria Martinez, who revived LATER CHINESE PORCELAIN Written by the man who since his death the ancient Pueblo craft of pottery making Soame Jenyns has been called the "Father of Ceramics," and has become a legend in her own life- the book discusses the various origins of time. A unique biography, skillfully told. FRENCH PORCELAIN OF THE pottery, the nature of clayworking mater- Contains 294 pages; 25 illustrations. $3.75 18th CENTURY W.B. Honey ials and tools, and careful instructions for CERAMICS BOOK. a variety of projects.. For the amateur as By Herbert H. Sanders. EARLY STAFFORDSHIRE well as the student. $3.50 POTTERY Bernard Rackham Just published. Complete step-by-step in- structions on making specific pieces. Ex- Above titles $b.SO each CERAMIC SCULPTURE by John B. Kenny amples of pottery by well-known ceramists. The brand new book which promises to be Over-slzed format (8" by 111/2"), 96 pages. CREATIVE CERAMICS. as valuable as his "best seller" on "Pottery $1.75, paper back; $3.00, hard bound. By Katherine M. Lester. Making." Mr. Kenny uses the same step- Strong on modeling, the .volume also pre- by-step pictorial technique and an identi- sents detailed material on developing cal format. Containing over a thousand sim~!e designs, building decorative tile, photos and sketches it covers all phases of ENAMELING: PRINCIPLES & PRAC- making simple molds, glazing, firing. Il- the sculptor's art from beginning e:sent;als TICE. By Kenneth F. Bates. lustrated with works by contemporary pot- to advanced projects, including animals, The author, who has won many prizes ters and with fine old masterpieces. $4.25 chessmen, figures, and many others. $7.50 for his enamels, has penned a practi- cal guide for the beginning student and an authoritative reference for the crafts- man. Covers all phases of the art of enameling. Profusely illustrated, includ- Order Form Ceramics Monthy BOOK DEPARTMENT ing plates in color. $3.95 3494 N. High St. Columbus, Ohio Please send me the following books: We pay postage EARLY AMERICAN DESIGNS By Erwin O. Christensen. Interested in identifying Early American pottery? Here's an assist. The 48 pages (81/2"byll ") are filled with some 60 il- lustrations of ceramic decorations. $1.75

Name Address City. Zn__State I enclose $ ...... Send remittance w;th order. Ohio residents add 3% Soles Tax. I N ® TOP LOADERS ARE U [ App,oved.I

"They call me the guard cone because I should stand erect even at the end of the firing cycle. I'm blasted with intense heat hour after hour but because I'm made of tougher stuff, I can really take it! If I bend too much because of too high a temperature in the kiln - that means overfiring and the loss of valuable ware!" NOW-MORE THAN EVER Yes, our animated friend, Mr. Guard Cone, is the sentry who warns of the approach of overfiring. He and the other cones in the plaque furnish accurate information of exactly what The Finest...Sa/est is taking place within the kiln during the critical high-fire stage. Make it a point to have several plaques of ORTON Pyro- THE BEST metric Cones riding your next setting- to insure better, more profitable finished ware. Remember, it costs only a few cents a plaque to have this accurate time-temperature control. CERAMIC KILNS MONEY CAN BUY! WRITE FOR OUR IMPORTANCE OF UL APPROVAL INFORMATIVE BOOKLET Your local Electric Company or Fire Insurance Company will be happy to explain the extreme "the Properties and importance of having the Underwrlter's Laboratory Uses of Pyrometric Cones" (UL) seal o| approval on any appliance that is operated by electricity. NOTE: Others claim that wire and switches: are UL approved, but their Kilns ARE NOT!

WRITE FOR LITERATURE Electric Kilns ~~ Manufactu,ingCo. Chester 11, Pa. DEALER INQUIRIES INVITED

JULY 1954 ' IMITATED BEAUTY BUT NEVER e.CWa d BY THE DUPLICATED Ceramic Color Manufacturers BRUSHFUL MAKE YOUR HOBBY PAY $ $ $ Extra Spending Money with the Thrill of ENAMELING ON COPPER THE EASY WAY

RE-WARD'S KOPPER-KIT contains more than enough supplies to • PAY FOR ITSELF ...... $9.95 retail By the makers of those famous products that se/I themselves TRU-TONE ...... the beautiful ...... UNDERGLAZE ...... 2 oz. 4Sc VELVET ...... just lovely ...... DULL FINISH ...... 2 oz. S0c SUEDE ...... so different ...... DULL AND RUFF ...... 2 oz. 50c TRANS-MATTE ...... unmatchable ...... SEMI-GLOSS GLAZE ...... 2 oz. 50c BEAD.GLAZE ...... mysterious ...... VERY MODERN ...... 2 oz. S0c ALLIGATOR.GLAZE ...... bewitching ...... ARTISTIC ...... 2 oz. S0c MAGIC.MENDER ...... dependable ...... CERAMIST'S PAL ...... 2 oz. 40c MAGIC.SEALER ...... waterproofer and ...... NO FIRE GLAZE ...... 2 oz. 40c CHINA. PAINTS ...... don't grind--just mix ......

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2 CERAMICS MONTHLY Volume 2, Number 7 JULY • 19S4 50 cents per copy

in this issue

Itinerary ...... 4 Letters ...... 5 New & Useful ...... 6 A Letter from the Editor ...... 7 Pottery Today: for Show or Use? ...... Carlton Atherton 8 The Overglaze Page ...... Zena S. Hoist 16 From the Hoist Notebook ...... 16 Enameling: Tools of the Trade ...... Jean O'Hara 17 Decorating Lessons--No. 4: Curving Lines ...... 20 Briefs ...... 23 Suggestions from Readers ...... 26 Answers to Questions ...... Ken Smith 27 Clearest of the Clear Glazes Advertisers Index ...... 33 Never dims underglaze colors... brings them aut to their true brilliancy. Economical, too--lighter than ordinary Editor: Louis G. Farber application, produces best results. Associate Editor: Mary Elliott Business Manager: Spencer L. Davis You can use it on finest dinnerware... Art Director: Robert L. Creager it is highly craze resistant. It won't Advisory Editors: Carlton Athertan; J. Sheldon Carey; John B. Kenny; Edgar Littlefield craze when used over any good clay Contributing Editors: Henry Bollman: Zena S. Hoist; Karl Martz; Jean body that matures at the same tem- O'Hara: Dorothy Perkins; Thomas Sellers: Kenneth perature-Cone 06 to 02. E. Smith Cover by Gordon Kelth If these are the qualities you want in a truly clear glaze--try PEMCO PA- 300S. Get it from your dealer or write

Ceramics Monthly is published each month at the us for name of nearest distributor. Pack- Lawhead Press, Inc., Athens, Ohio, by Professional ed in l-lb. packages. Publications, Inc., S. L. Davis, President and Treas- urer: L. G. Farber, Vice President: P. S. Emery, Secretary. Subscription price in U.S.A. and Possessions: one POTTERY ARTS DIVISION year, $4: two years, $7; three years, $9. Canada and Pan America, SO cents a year additional: CORPORATION foreign, add $1 a year. Current issues, 50c: back P ,,iMP; 0 issues, 60c. BALTIMORE 24t MD. Subscriptions, and advertising and editorial cor- respondence, should be sent to the editorial offi- ces at 3494 N. High St., Columbus 14, Ohio. Manufacturer of a world-famous line of glazes, Entered as second-class matter at the post office colors and supplies for the ceramic industry. at Athens, Ohio, as granted under Authority of the Act of March 3, 1879. Copyright 1954 by Professional Publications, Inc. All rights reserved. AYC T1ne most t,.std 9 Send show announcements earlym e ;n Ceramic Cot at least three months prior to date for receiving entry cards and works for exhibition. its BRIGHTNI WHO won FIRST PRIZE its DEPENDABIL ior unusual glazes at WHERE TO SHOW its SMOOTHNi its EASE the Great Lakes Hobby KANSAS, Lawrence APPI.ICATI( October 30-November 31 Exhibition??? 1st Kansas Designer Craftsmen Show. Open to those resident in Kansas for one year (residents of greater Kansas USED BY: City included). Mediums include cer- VELVA.PLY of course! amics. Jury; fee $2. Prizes. Entries due .~teran's Hospitals October 18, 19, and 20. Write: 1st Kansas Designer Craftsmen Show, Uni, Red Cross versity Extension, University of Kansas. Army & Navy WHO won SECOND PRIZE LOUISIANA, Baton Rouge September 12-October 10 Schools & 13th Annual Louisiana State Art Ex- Kindergartens for unusual glazes777 hibition open to professional artists living in state at time of show. Hobbyists Mediums include ceramics. No fee. VELVA-PLY of course! Jury; cash prizes. Entry cards and Small & Large work due Sept. 1. For details, write Jay R. Broussard, dir., La. Art Com- Potteries Doesn't THAT prove that YOU mission, Old State Capitol, Baton Rouge. should be using VELVA-PLY cone 06 one-fire glazes? TOPS with the MAINE, Five Islands AYC JUDGES, and TOPS with ART- August 21-23 ISTS who care. These wonderful Community Club's Annual Art Show colors glazes have NO superior anywhere and Exhibition open to all artists. Mediums include ceramics. Fee $1. at ANY price. New kits of SIX Entry cards due Aug. 1; work, Aug. are in liquid radiant glazes in full FOUR 10. Write Dr. Nathaniel J. Hasenfus, OUNCE jars are ready for you at director, Five Islands. form, ready t ONLY $4.20 POSTPAID MAINE, Kennebunk easy to use August 3-28 At Brick Store Museum, members An- ~'8 Opaque under- PAPER GLAZING PATTERNS -- nual Exhibition including crafts. Fee: membership dues. Jury of awards. glaze colors the hit of the show. Ready in sets Entry cards due July 1; work, July 15. rranslucent one strok of SIX different design sheets, Write the Museum at 117 Main St. ruder and over the along with extra glazing paper MASSACHUSETTS, Worcester glaze colors) to make your own designs -- Oct. 15-Nov. 27, 1955 ~,atlna, one-fire colo~ ONLY $2.00 POSTPAID New England Craft Exhibition--1955, at the Worcester Art Museum. Open ~tin and Gloss finish) to New England craftsmen. Organized tt Transparent Glaz~ by Junior League of Worcester, Craft CERAMIC GLAZING PAPER so Center, and Worcester Art Museum. :o Mask-- for mask that you may cut your own pat- Selections to be made by committee ~art of a design . terns -- 8 sheets -- ONLY $1.00 from juried state and regional exhi- bitions this year. Arrangements for on .. let dry.. Peel , POSTPAID. Complete instructions individual entries after April 1, 1955. and price lists included in all Write Craft Center, 40 Highland St., FOR FREE PRICE I orders. Immediate shipment. Use Worcester. ~ge mold catalog and only with VELVA-PLY ONE- NEW MEXICO, Sante Fe on leaflets for: Undergl FIRE GLAZES. • One Stroke Colors August 22-September 20 p Self Gtaz;ng Colors The Fiesta Show: 41st Open-Door Ex- Mask- .50c hibition, for New Mexico artists and deslgner-craftsmen. All mediums. Entry cards due July 10; work, July 31. For the KAY HARRISONs,ud os details, write Exhibition, care of Mu- AYCq 8744 W. McNichols Rd., Detroit 21, Mfch. seum of New Mexico Art Gallery, UN 2-9222. West Palace Ave. lors, in NEW YORK, Syracuse Special notice: Closed for vacation )64S Chandler Blvd. Oct. 24-Nov. 28 July 19 to August 2. Get your 18th Ceramic National (lst Biennial), Address: P.O. Box 2 orders in early. sponsored by Syracuse Museum of Fine "1 HOLLYWOOD. ( (Please turn to Page 28)

4. CERAMICS MONTHLy ONLY NOW YOU CAN AFFORD

Wedgwood Likes Wedgwood Story *ou, ow- .o-, ...... Gentlemen : ~!~!~i!i~!~i!i!i~!!!!!i!~!~!i!i!~!~iiii:i:iiiiiiiiiiiiiii~i!i~i~i~iiiiii~i~!~!~!!i!~!~!!~i!~iiiiiiii~i~i~i!~!i!i!i!i!!i!!!i~!~!!!!i~!!~i!i~ii~ii!ii~!i!iiiiii!i~i!!!i~i~i~i? 14,. The story that Mr. Henry Bollman has written on Josiah Wedgwood [May issue] is one of the most accurate that has ever POSTPAID been published. Both you and Mr. Bollman POTTER'S WHEEL! should be complimented indeed on this point as well as on the entire presentation. As you know, so many people write articles drawing on their own imaginations for material, but Mr. Bollman has done absolutely unexcelled very accurate research and there is not one qualify on a statement that can be questioned by even the most learned student of Wedgwood . . . ANNIE REESE MONEY-BACK Josiah Wedgwood @ Sons, Inc., New York City GUARANTEE! Dear Mr. Bollman: FITS ANY ELECTRIC Your article on Josiah Wedgwood is most interesting and also quite attractively illus. HOME FOODMIXER trated. I read it with pleasure . . . ) attach, anyone can do it. Your article stated that the discovery of ratch or harm your mixer in oxygen by Priestley was not made until five years after Wedgwood's death. This state, ment also appears in the book on Wedg- wood published in 1948 by the Brooklyn E -- Light, compact, readily Museum. According to other sources, the or demounted, easily stored. discovery was made more than twenty years Ibs., approximately 9" high, before Wedgwood died in 1795. ~f these 11" long. sources are incorrect, l will be most happy to have you tell me about it . . . I0 OR WORKSHOP NEEDE~-- WXI.LIAM W. EDgE r a kitchen table or anywhere President of the College use your electric mixer. Dickinson College Carlisle, Pennsylvania EIt~Cushioned on rubber in a rame for minimum vibration. CM's Decorating Lessons Gentlemen : ROOF DRIP PAN designed for • . . Your series on "Basic Decoration" maximum convenience and efficiency. is the answer to a prayer for those of us who have not had art school training . . . Instantly REMOVABLE THROWING HEAD--Durable metal, plastic and plaster But why hide it under such a formidable title? I showed it to a friend, also a hobby- construction. ist, who thrust the magazine back at me Exclusive BIGHT or LEFT TURN with variable speed control from 30 to 200 rpm• without reading the article--claiming she feared it would be too difficult to follow. SMOOTH, POSITIVE TURNING ACTION at consistent, controllable speeds. May also be used as powered, It's a pity, for it is so easy to read, and variable speed decoratin0 wheel. so helpful. I pass this comment on to you as others may also be frightened off . . . and they ORDER NOW| shouldn't be . . . l.i TRIAL OFFER ! DON'T VERA LONGMAN Note that even if you Cleveland, Ohio went out and bought an i MISS THIS BIG VALUE! electric home-mlxer your | Use this handy coupon. Enclose your check, cash or Gentlemen : total investment in a | money order for $14.9S POSTPAID (plus any local • . . Best articles you have published to MECCO Potter's Wheel | sales tax where applicable). If not satisfied, return date. My major interest is in decorating would be far less than any • within ten days and your money will be cheerfully but my instructor doesn't believe in decor- other on the market• | refunded• ating so I've been at a loss. I've tried brush decorations with underglazes and with slip, also sgrafl~to, but never felt I knew what I was doing . . . The first article in the series [April] telling how to divide a piece into areas and suggesting the possi, bility of decorating within these areas was MECCO INDUSTRIES DIVISION just what I needed . . . Marine Enterprises, Inc. But why isn't an author's name included? Pasadena Maryland Certainly someone should be getting credit for this wonderful material . . . I want to take advantage of your unusual offer. Enclosed find Name Witheld by Request S for (quantity) MECCO POTTER'S WHEEL(S). "Basic Decoration" is now "'Decorating Lessons"; we hope this will prove less NAME frightening to the novice. As for author. ship, the series is worked up by the CM STREET staff in conjunction with several advisors. Reader acceptance is the only "credit" requested.--Ed. CITY ZONE STATE

JULY 1954 5 Florence Cox Ceramic Studio 543 Boulevard, Kenilworth, N. J. Spray Booth mission devise. The wheel weighs only Schools, hobbyists, and professional four pounds, is easily mounted, and Distributor potters alike will be interested in the can't harm the mixer in any way, the new inexpensive spray booth offered manufacturer assures us. It sells for Tru-Fyre • Renaissance • Won- by the O. Hommel Co., Pittsburgh, Pa. $14.9~ postpaid, on money-back guar- fire Glazes • Fine Art Brushes Finished in a rust-resistant green ham- antee. Write Mecco Industries Div., Marine Enterprises, Pasadena, Md. s Double B Wood Novelties • L mertone, the booth sits on a sturdy black stand. Please mention CM. & L Kilns s Altone Gold Eras- It comes complete with motor and ers s Jane Snead Publications exhaust fan which operates from or- s Silk Sponges • Florence Cox dinary household current and is able Molds * Coxcraft Gold, China to move thirteen cubic feet of air per Paints, Palette Knives, Wood minute. A hanger for the spray gun Wheels for Lace Work, Velvet and a jar holder are also furnished, as is a thirteen-inch diameter flange Picture Frame Backs, Water- for the exhaust pipe connection. mount Decals. Lycoming Wood The booth is two feet wide, two feet Tile Frames. Ray's Finger Tool. high, and two feet four inches deep; it sits on a two-foot eight-inch stand. Write to the O. Hommel Co., Pitts- burgh, Pa., for details. Mention CM. 1954 Greenware and Firing Price List 20 pages $1.00 Portable Potters Wheel Especially designed for the beginning hobbyist, the new Mecco Portable Four page supplement for your Wheel hooks up to an electric home food mixer! Power from the mixer 1953 price list--25c gives smooth, controllable speeds (30 to 200 rpm) through a simple trans- -fi, HI-Lfl with CEIIAMICHltHME-, perfect for Schools BY POPULAR DEMAND ideal for Hobbyists -k" solution for Potters TRANZ is now available in larger sizes. safe for the Student TRANZ, DETAIL, & REGULAR UNDERGLAZES High firing on ALL Popular Porcelain & Stoneware Bodies LOw firing on ALL Artware Bodies CONE 6 TO CONE 06 AND CAN BE ONE-FIRED CERAMICHROME PRODUCTS ARE LIQUID CERAMIC COLORS THAT ARE ALL PREPARED AND READY TO USE IN WIDE MOUTH JARS. All orders promptly shipped on these Quality Materials: THANKS ~ THANKS ~ THANKS • Thayer & Chandler Air Equipment To all who visited our booths at the Asbury Pare and Dallas • Halley Electric Decorating Wheels Shows! It was our pleasure and we'll never forget it! a Studio Stencils , Esther and Ed Greenstreet. THE LAST ONE IS COMING UP • Lucille ,Henderson s Patterns The California Hobby Show, July 28mAugust 1. In our Booths • Baldwin s Free Hand Fine Line Patterns many items will be on display far the first time presenting new • Master Striping Tool ideas, designs & decorating techniques. MAKE THIS SHOW. IT'S • Kemper Tools A MUST! • Wold & Paasche Air Equipment CERAMICHROME'S RED ART GLAZES • Craftool 901 Red 904 Orange 905 Yellow ARE SHOW STOPPERS! • Kilns bymParagon--lrco--Cress and Dickinson Ask your nearest Dealer for these BRILLIANT GLAZES that F ATTENTION SCHOOL INSTRUCTORS I you can use alonemintermix~or use in combination with all I Ceramichrome Products Do Not Contain Free Lead ~ I @eramlchrome Products. Brush, Spray or Dip them. I Antimony~or Barium Compounds in Their Formulation. They do not run, and fire to Cone 0b! I Be Safe ~ Healthy & Wise ~ Use Ceramichrome. KERNIAN KRAFTS-- 6 CERAMICS MONTHLY o letter from the editor

inexpensive According to statistics, such as they are, ceramic activity eases off during the summer months. I think it SPRAY BOOTH would be apropos, therefore, to suggest that you reflect for ceramists on the various ceramic projects you were engaged in Complete with Motor and Exhaust and that you tell us about them. SCHOOLS • STUDIOS Regardless of the category in which you place your- SMALL MANUFACTURERS self--hobbylst, school teacher, occupational therapist, and HOME CERAMISTS studio operator, professional potter, or what have you-- SIZE--Booth Size is 2 ft. 4 in. deep, 2 ft. high you must have clone something that would be of interest and 2 ft. wide on a 2 ft. 8 in. stand. to your fellow readers. We receive so many letters asking who may submit articles to CM that it might be well if I clarify that point. The answer to the question is "any one!". A paper is evaluated on its merit alonennot on the professional status of the author. If and when you send material that is factual and applicable, you may be assured it will be Finished in favorably considered. And, if an item is accepted, the author is paid (upon publication) for his material. Rust We have, of course, received many unsolicited manu- Resistant Black scripts and shorter items, and we shall be delighted to Green Sturdy have more. Don't allow yourself to be inhibited because Hammertone you don't have a college degree or because you are Stand "only a hobbyist." If you don't feel quite up to a feature- length article complete with illustrations, try your hand at a Brief. So . . . if you have something to offer, be sure to let us hear from you. The worst that can happen is that you receive a "rejection sllp" which we hope would make you mad enough to try again. WRITE Yours cordially, FOR PRICES AIR FILTER. GAUGE AND REGULATOR SPRAY GUN Assures smooth and uni- Available with 4 or 8 form finish by supprying ounce glass jars. The tittered air at any pressure "Standard" among potter- desired. Absolutely rel~- ies and glass houses for able, the regulator, gauge S0 years. and filter come assembled ready to set up beside the operator. Since 1891 *'. O. HOMMEL CO. Pittsburgh 30, Pa. "THE WORLD'S MOST COMPLETE CERAMIC SUPPLIER" West Coast Warehouse, Laboratory and Of{ice 47¢7 E. 4-gth Street, Los Angeles, Calif.

JULY 1954 7 show time 1954

POTTERY TODAY-

for or USE?

by CARLTON ATHERTON

Interest in pottery making, as voca- potters are relying solely on technique. confounded with virtue, mediocrity tion or avocation, has increased tre- With little respect for clay, they ex- with individuality. mendously during the last quarter of ploit its versatility rather than explore a century, and with increased interest the friendly manner of its cooperation. Play at Pot-Making? comes greater opportunity for us to see Novelties are produced for the sake of Surely the self-conscious quality of the work of our fellow potters. Never novelty, exposing the error of a far too the pots in the recent exhibits is an before have there been so many exhi- insensitive mechanical precision which indication of self-assertiveness on the bitions of contemporary American pot- is eminently inexpressive and insensi- part of the potters. Attention seems tery, making it easy for us to see the tive. Such ware is usually made for to be given almost entirely to visual work of our own day. It might be well personal aggrandizement and for little and tactile aspects. Is this an effort, to take stock of what we see. else. It should not be taken seriously conscious or unconscious, to beguile The current show-time scene pro- except that its influence on the public citation from judges who too often duces a strong feeling that too many is sadly profound -- virtuosity being award prizes to pots which won't even hold water? Are we losing our integ- rity, or is it that we are simply losing The author--potter, teacher and art hlstor- sight of what pottery is and just play- ianhls a man of single purpose: he aims to ing at pot,making? Such directions can "make potters in the true sense rather than hardly produce anything more than artists" of the young men and women (num- superficial dilettantism and defile the bering in the hundreds')who study ceramics dignity of one of the oldest professions. with him and his colleagues at Ohio State Isn't it time for us to evaluate care- University. Atherton, himself, studied at Pratt fully our aims and purposes? Even in Institute and the University of Syracuse, and this day of mass-production, the crafts- with the renowned Taxile Doat of Sevres. His man, through molding public taste, pottery is included in the permanent collec- could play a prominent part in the tlons of the Metropolitan Museum of Art, San pacing of commercial wares. Francisco Museum of Art and Worcester Mus- It takes more than visual and tactile eum. An early associate of Adelaide Robin- excellence to make a good pot; there eau, he helped establish the first Syracuse must, in addition, be skillful technique, Ceramics National, then called the "Robin- spirit, and the assurance of practical eau Memorial." A confirmed traveler, Ather- ton has made ten trips to European countries service. If the potter omits utility, his including England, Holland, Belgium, France ware will have little lasting value or and Italy. He has not visited Scandinavia, meaning. Such pieces as massive jars Germany, or the Near and Far East be- and minute-necked bottles, prevalent cause, he explains, "once I reach Italy, I in so many exhibitions, are made for like it too well to leave until I have to." decorative purposes rather than utility --they point to the fact that today's

8 CERAMICS MONTHLY show time 1954

OLD American jars, above, have dignity and forthright purposefulness. They give not potter is unfortunately preoccupied to heartwarming and comfortable about only visual pleasure but the feeling of a great extent with effect rather than the fine grays and earth colors of stone, having been highly satisfactory in use. The service. These productions are quasi- ware crocks and jars, but when they salt-glazed jar, left, was made at Lyons, sculpture, neither fish nor fowl. By are used almost to the exclusion of any New York, about one hundred years ago; the their very nature, they are too con- other colors, the results become mo- earthenware piece with dark, rich glaze was strained to attain the spiritual values notonously somber. made in Ohio at the turn of the century. achieved in sculpture. Yet if made with- The provocative possibilities of color out practical purpose they cannot be are so various and its appeal so de- pottery, for ever since man first dis- pendent upon subtleties outside the TEA JAR displays elegant reserve prac- covered the magical action of fire on realm of words that anything said is ticed in Japan. Made in the 17th century, clay pots have been made for use; and inadequate. The whole g~mut of color the form is extremely simple and the g|aze pottery to be genuine must be based is at the command of the potter. Color clothes it partially like a fine mantle. on this premise. It seems obvious that can be bright and airy, strong and . any other attitude would be presump- vibrant,anddrowsy°f deePtones.lambentTheblueshUeSand°r pur-S°ft tuous, a kind of snobbery in which the craftsman considers himself as produc- ples of grapes and plums, cool yellows ing only works of fine art and feels that of lemons and pears, the sharp acid making serviceable ware is beneath him. greens of melons and limes, the reds The influence of the painters, not- of persimmons and pomegranates can ably Picasso and Klee, is becoming lure the imagination into mysterious increasingly evident. Mr. Picasso is an realms, stimulating and evocative. The eminent painter but his sally into pot, cloudings and flamings dissolving in tery has given many a potter doubts the liquid atmosphere of the glaze can as to the depth of his sensitivity. His stir the emotions more surely and per- ware is certainly not pottery, and haps more deeply than either form whether it has any other value time or decoration. That such enjoyment will tell. Each time in history that should be denied is indeed regrettable. the potters have allowed the painters If we sense the shortcomings in our to influence them the results have been pots today, we must also face the un, disastrous as in Italian majolica. happy fact that the position of the contemporary potter in our society is And Where is Color? quite different from that of former Color is one of the most potent times. In the past, the potter was a elements the potter has at his disposal. workman who produced useful and Yet our contemporaries regrettably re- necessary ware. The pots he made were pudiate it. Color timidity -- an arid used largely for storing, preparing and restriction -- seems to have been visited serving both foods and beverages, and ! on American pots. There is something they played a very important role in

JULY 1954. ? FINE, large earthenware bowl is tin-enameled and decorated in polychrome. Easy, casua! charm of its ornament associates it closely with folk art. It was made at Delft in the 18th century.

SPRIGHTLY little earthenware jug has directness and racy zest o[ all folk art. Its tin enamel glaze is painted in purple, green, yellow and black. The quiet but vigorous form is ornamented in a most decisive man- ner. It was made in SIovakla early in the 18th century.

the life of man. Local materials, with the potter infused his ware with aesthe- embodied in them -- their friendliness, a minimum of refinement, were used; tic meaning which in turn evokes in sturdiness and casual manner, the as- and a few tools, often of the rudest us some of the gratification that he surance they give as to capable service. sort, with wheel and kiln, made up felt. "Enjoyment of works of art Some are sober, some jolly, yet all his equipment. But the potter knew is surer and more lasting when it comes possess the feeling of rightness that these tools and materials well. They as the incidental, half-conscious ac- comes from purposeful agreement of were his friends and he used them with companiment of some other interest--" craftsman, tools and materials. respect for they brought not only his writes the ceramics authority William daily bread but the regard of his fellow B. Honey, "just as the potter himself Potters' Plight man, and hours filled with contentment. was seldom concerned with the pure But unlike his predecessors, today's The potter was not considered an art of creating form but rather with potter no longer holds a responsible artist, even by himself, but an essential some practical problem of utility or position in the economic structure of member of his society. If he was a technical excellence." his society. He is neither an artist master at his craft he made a more The point is illustrated in the Sung epitomizing the hopes and ideals of his formal type of ware for palace use ware of China when pottery reached time, nor a craftsman making practical but still the ware was for utility, prac- a state of perfection never before ware to fill the requirements of every- tical to the customs of palace life. achieved and never since rivaled. The day living. Crowded out by industry Whether his work was spontaneous ware has a transcendental quality, not and barred from the realm of fine art, and direct as in folk ware, or more re- of aloofness but of quiet dignity, dis, he is in an enigmatic position. The rea- fined and urbane for court use, the playing its perfection with the modesty sons are too complex, the alterations in potter was well aware of the needs and simplicity of all that is truly great. society too great, for any concise state, of the people. It is the result of fine discrimination ment to be adequate. Some of the more coupled with complete and sympathetic apparent causes, however, might be Real Pots for Real Purpose understanding of the humble materials cited. The potter of old learned his craft involved. With strong assurance of We are products of an educational from childhood; it was not something significant purpose, the Sung potter system that aims at uniformity of superimposed at the end of the educa- gathered together every lurking possi- standards, intelligence and culture, not tional process. The principal business bility, produced a plastic fact and im- only ignoring the sensibilities but stulti- of his life, his vocation, was the pro- bued it with life. fying them. The pattern produces a duction of pottery by fruitfully apply- The same qualities, even if in lesser kind of anesthesia in which the active, ing acquired knowledge toward a degree, are seen in the pots of our dynamic forces that cause us to re- desired end. Work in that sense is a American forefathers. They are forth- spond to life become static. It is a con- warming word. It means the gratifica, right expressions of real purpose and dition of suspended animation in which tion of man and his purpose fulfilled they, too, are innocent of affectation. the intellect may be at work but the as well as pleasure derived in contribu- There is a splendid candor in the cow being, as a whole, is in a state of coma. ting real service. This gives a man ered jars; a quiet, unassuming dignity In addition, cultural tradition has dignity, self respect, a place in the sun. in the stoneware jugs -- real pots been waging a losing battle ever since Within the confines of practicality made for real purposes. We can gain the industrial revolution began. There and to the extent of his sensitivity, a great deal from studying the attitudes have been moments of renewed vitality,

10 CERAMICS MONTHLY show time 1954

PERSIAN jar, above, is large because it was used for storage. The sturdy lip and foot rim, and simple organic handles, give assurance of capability. Earthenware, it has fine copper blue glaze of the Near East.

ITALIAN majolica pouring jug, above, is 14th century. It sits surely but easily brief struggles to retain values that and intensity of their use in relation an its base, is sturdy yet gracious with a are considered significant, but in gen- to life. In a well-ordered society, a strong, reassuring handle, easy to grasp. eral the elements essential to fine work balanced ministry to the spiritual, in- in art or the crafts have become more tellectual and physical needs shoed be and more diluted. Craftsmen have be- maintained, for overemphasis on any come a rarity and the folk arts have one eventually becomes destructive. all but disappeared. There are those It is of little wonder that our pots who declare that our public taste has are found wanting -- found wanting fallen to one of the lowest points. despite that fact that we have more CONTEMPORARY stoneware jar by Mar- Then there is science which has en, technical knowledge than ever before, guerite Wildenhaln has a quality of simple larged our knowledge of the physical fine smoothly - running equipment, beauty and dignity akin to the spirit of world and given us the means for util- chemically pure materials, a choice of the Sung potters. The sturdy plastic deco- izing natural forces hitherto unknown power for preparing clay and throw- ration is subtle and in complete agreement or only dreamed of. But has science ing more easily, and gas or electricity with both the nature of the material and broadened our spiritual and emotional to fire the kilns automatically. The the character of the form. Graceful spring lives? Has it been a unifying cultural potter Marguerite Wildenhain makes of the handle and inviting flare of the force, or furthered man's ability to live this forthright, if severe, evaluation: mouth-rlm give evidence of technical skill, with himself and his neighbor? It has ".... we have a background of several sympathetic understanding of clay and fine brought the atomic bomb. And chem- thousand years of good pottery in our creative imagination. Her work brought Mrs. istry has introduced the age of syn, ancestral blood, as well as the excellent Wildenhain the Award of Merit, first to be thetics. Science has given us all kinds work of all cultures of the world: made. at Scripps College Ceramic Show, 19S4. of substitutes, even for recreation. We Chinese, Indian, Incan and others, to seem, at best, one step removed from look at and learn from. And still, com- actuality. Can this kind of progress pared to theirs, is not our pottery the compensate for the weakening and most non-expressive, non-skillful, non- atrophy of our own resources, and the beautiful, non-imaginative that a cen- forfeit of a real life? tury has ever made?" Science, without doubt, has brought great advances in learning but has it I have attempted, here, to point out not also brought a deep sense of un- some of our shortcomings as potters easy fear to millions? Education has and to explore a little the reasons for failed to enlarge the horizons of basic them. Whether any conscious reform sensibility, much less preserve them. in the arts or crafts is valid or lasting And industry has brought in its train is dubious; such changes should grow many ills, chief among them the ex- naturally from within, but an objec- ploitation of machines, materials and tive examination of our work can be man. None of the so-called advances salutary. It might be wise to listen to of civilization is good or bad of itself. Moliere who said, "It is not only the Whether they are forces for good or things we do, but those we do not do, evil depends on the manner, purpose for which we are held accountable." •

JULY 1954 show time 1954

Three pieces from a group of six by L Pierce, Detroit, purchase prize. Mic~ Artist-Craftsmen, Detroit Institute of

"... here we see not the average Americc but examples selected by juries throughol best ... nevertheless, the general trend ca

Stoneware bottle by Eugene F, Bunk- er, Jr., Bozeman, Mont., purchase award; platter and covered jar, both by Peter Voulkos, Helena, Mont., honorable mention and Pot- tery- by - Dot Award, respectively. Northwest Craftsmen at Henry Gal- lery, University of Washington.

Dark blue bowl with white design by J. T. Covered and spherical jars in stoneware, Abernathy, Ann Arbor, purchased for Museum. resist decoration, by Peter Voulkos, Me¢ Alumni Exhibition at Cranbrook Academy of Honor. Decorative Arts and Ceramics of Art, Bloomfield Hills, Michigan. hlbitlon; sponsor, Wichita Art ASsoclatic

Bottle by Gertrude Englander, Kew Gardens, LI. New York Society of Craftsmen members' exhibition.

Decanter set of white porcelain by Luke and Rolland Lietzke, Mogadore, O. Michigan Artlst-Craftsmen show.

CERAMICS MONTHLY ' show time 1954

Deep plate with blue-gray mat glaze and brown metallic stain decoration by David Black, Bloomington, Ind., Maud Ainslie Craft Award. Louis- ville Art Center's Annual Exhibition.

Wheel-thrown teapot by John Polikowsky of Seattle; and individual salad bowl by Louis Mideke, Bellingham, Wash., wan purchase awards in Northwest Craftsmen's exhibition. pot being made today he country as among the ~e discerned...

Ceramic sculpture group by William M. McVey, Cleveland, special award. Rust-red covered jar by Marion Sue Cleveland Artists and Craftsmen an- Shrode, Pacific Palisades, Calif., in nual at the Cleveland Museum of Art. Scripps College Ceramic Annual.

one of the tendencies is toward more decoration m is this a bid for visual en- joyment only?.., and where is color?...

Textured brown clay bottle by Ann Grimes, coil-built vase in ivory mat by Mar Carter, and wheel-thrown decorated vase by Rose Migdal, displayed at Midwest Potters and Sculptors members' show, Chicago. i ¸!! ~ Pot with cover, wheel-thrown and brown mat glazed, by Elizabeth Anne Mesmer, Grand Island, N.Y., won prize for "most original creative use of ceramic mediums." Western New York show, Albrlght Art Gallery, Buffalo.

Bowl and jar with wax-reslst decora- tion by Charles Lakofsky, Bowling Green, O., first pottery prize at Cleveland Artists and Craftsmen.

JULY 1954 show time 1954

Part of group by Naoma Powell, Toledo, which took first prize in ceramics at To- ledo Area Artists annual at Toledo Museum. Hindu Dancer, one of group of three figures by Elizabeth McFadyen, Cleveland, first in ceramic sculpture, Cleveland Artists show.

each succeeding year brings a greater proportion of high- fired ware and an apparent increasing disregard for usefulness ... j

"Monk-Negro" in terra cotta by Michael F. Andrews, Madison, Wls., purchased by Wichita Art Assoc., at Decorative Arts Show.

Serving platter by James Crumrine, first; mortar and pestle by Sylvia Baker, second: decorated casserole by Else Sackler, third; nesting batter bowls by Mary Trow, fourth. Woman, by Margot Kempe, displayed Greenwich House Pottery Gourmet Show in New York Society of Ceramic Arts sponsored by Premier Foods, in New York. show at Museum of Natural History.

Warm gray, dark red specked, stone- ware bowl by Tom Sheffield, Lincoln, Neb., at CranbrooE alumni exhibi- tion, also purchased for Museum.

14 CERAMICS MONTHLY show time 1954

For "most outstanding group of work in exhibition", Roulet Medal went to Clyde E. Burt, Melrose, O. Toledo Area Artists show.

stoneware gives assurance of durability- but should we abandon the friendly casual qualities of earthenware entirely? . . ."

Ceramic wall hanging by Alexandra Kasuba, Queens Village, New York, also shown at New York Society of Ceramic Arts annual. Award of Merit went to Frans Wilden- haln, Rochester, N.Y., for pale blue and gray tile mosaic, for which warped clay slabs and sgraffito technique were used. Western New York Exhibit at Buffalo.

Three of five pieces in group that brought prize to Harvey Littleton, Madison, Wi~., Michi- gan Artist-Craftsmen exhibition.

Birdlike piece shown by Jacquetta Nisblt, New York City, at New

k York Society Ceramic Art show.

JULY 1954 15 Mediums for Mixing painting are usually caused by the use The purpose of the oil medium is of an inferior medium, or an im- to hold the mineral pigments together Mineral Pigments properly balanced formula. Every so that the mixture will adhere to the In overglaze decoration, the medium formula is probably good in one way glazed surface. It is instrumental in or vehicle used with powdered mineral or another for certain purposes, but developing the color in the process of colors is reflected in the finished decora- not all are good for general usage. The firing. The gloss of the finished paint- tion, and sometimes the important craftsman should, therefore, be able to ing will either be harsh or have a soft choice of the medium is difficult be- decide on one medium for painting sheen, depending on the ingredients cause of the many formulas available. with mineral colors. used in the medium. Since we are not There is also a variety, ready-prepared, An understanding of the function of confined to naturalistic painting with on the market; and there are what we the essential oils used in formulas the mineral colors, it is best to choose call light and heavy mediums. Most should be helpful. The best formulas a medium that will serve all painting teachers have a preference, and many include balsam of copaiba and the oils purposes as far as possible. My pref- mix theD own formulas. A student is of lavender and cloves. These are the erence is a very light formula which wise to accept the teacher's advice. most expensive oils when obtained in tends to soft blending of colors and It should be understood, however, that their purest form--as they should be. is diluted, to a degree, for rather fast no two people paint alike. Their styles The proportions vary in formulas and drying because I do not paint heavily. of painting can be so different that sometimes a combination of only two If I feel the need of a more open where one person uses a light medium, of these is used with an extender add- medium for covering a large area or another needs a heavy medium. Never- ed. No one of these essential oils is a tinted background, I simply add a theless, certain principles should not be sufficient in consistency to be used few drops of oil of lavender to the violated, for there is one overall goal alone. The balsam of copaiba is a fun- quantity of medium in my painting in china painting; that is, to retain damental oil but dries quickly. Oil of dish. No painting medium should softness of color and translucency. cloves evaporates slowly and if too cause the colors to dry out glossy on When the style of painting tends to much is added in quantity, the painting the china before firing. Too heavy a produce harshness, thickness of pig- must be oven dried before firing. Oil medium is apt to oxidize the dark ment, or brush strokes that show, the of lavender is a bit quicker, but is a pure colors such as purples, rubies and result is not good painting. good soft extender which will retard browns; in fact, it will affect any of I would not try to impose my own the drying of the prepared color ap- the gold oxide pigments. Such mediums style of painting on an individual be, preciably for large area work, and have an affinity to dust and lint and cause each must work out his own allow sufficient time for blending the make it difficult to retain a clean dec- particular style. I can only advise as colors. Some painters work much oration if painting is prolonged. to the best methods, and point out faster than others, and so prefer a The heavy oils used in some formulas that the results you achieve are very fast-drying medium. Others need an are fat oil and tar oil. These, if used dependent upon the mediums used. Un- open (slower,drying) combination of in quantity, are the cause of much pleasant results and troubles with oils for fluent painting. blistering and, even if diluted or cut down to soft enough consistency for fluent painting, will cause a loss of transparency in the decoration. Fat oil is often mentioned and recommended but it is for commercial decoration and '11" How can I reclaim gold from brush washings? not for hand painting. Fat oil is prop- Keep a jar of denatured alcohol for the washings of all erly used for stamp decoration, sten- metals, both paste and liquids; clean not only brushes but cils, spraying, etc. I would advise you empty bottles and glass slabs. You will salvage a surprising to avoid the use of any heavy oils, amount. The metals will settle to the bottom of the jar. except those prepared specifically for Pour off the alcohol and allow the settlings to dry. Mix enamels, pastes and ground laying-- with Roman gold for use as a first coating or with lavender these techniques to be explained in oil for a mixture to be used as is. If silver or an assortment subsequent issues. of metals are in the mixture, you will get some interesting Do be cautious about the quality results. For instance, use as a lining in a bowl. It will of every ingredient in a formula. There are preferred grades in all the essen- (Please turn to Page 29) tial oils. No medium should be sticky; (P/ease turn to Page 31)

16 CERAMICS MONTHLY for the beginner ENAMELING I1: Tools of the Trade

by JEAN O'HARA

Second of a series, this installment covers You don't have to have a fully equip- to select major equipment according the equipment, tools and palette of colors ped workshop of your own, complete to your own personal needs and that can send the beginning enamelist off to with kiln, electric buffers and grinding preferences. a good start. Last month, Jean O'Hara gave wheels, before you can begin to enamel. When you are ready to buy a kiln, procedures for cleaning copper and enamels: But, of course, you will need to have you will find many reputable ones on in subsequent issues, she will show, through firing facilities available as well as a the market--smaller ones to accommo- photo-lessons and texl, how to test the modest supply of colors, tools and other date jewelry and other small pieces enamel colors and make enamel pieces by small items to get started. With a little and larger ones that will take bigger such techniques as dusting, wet inlay and foil. experience, you will be in a position forms and plaques. When selecting

READY far worE, these enameling tools and equipment are suf- sable watercolor brushes recommended), spatula, spreader and ficient. I. copper screenlsifter or shaker typelfor dusting enamels: pointer; 8. fine-grade carborundum stone for clean-up work after 2. Nasal spray or atomizer for spraying gum solution; 3. small jars firing, tweezers, and file for finishing cutout copper shapes: 9. with screw or plastic tops for storing clean enamels; 4. metal- readymade or "spun" copper forms; 10. sheet of asbestos to set cutting shears and copper for making forms; 5. covered, acid- enameled piece on after firing, and heavy weight to place an piece, resistant jar holdlng pickle bath (nitric acid solution) for clean- while still hot, to prevent warpage; 11. asbestos glove convenient ing copper and, below, fine steel wool, also copper or stainless when inserting or removing pieces for kiln; 12. the kiln, of course, steel tongs used in acid bath; 6. stilts, trivets, marinite and menel with pyrometer at the back; 13. choice of implements for lifting wire screen for supporting enameled pieces during firing; 7. tools enameled piece and it~ supports to and from the kiln. See text for wet inlay technique: brushes (variety of ~3, ~4 or ~5 red for further details about work materials and their uses in enameling.

JULY 1954 17 in enameling, skill and control come through a sound knowledge of the art.., and experience a kiln, regardless of size, look for the center of the piece or at its sides; all gelatinous vegetable materials, can these things: easy access to the firing a ceramic star stilt works very well as be used for the purpose. The agar chamber (top loaders are not handy a center support. A circle of refrac- solution is considered by some sources for enameling), even distribution of tory board marinite is recommended to be best of the three. Any one of heat, an accurate pyrometer or temp- and transite will not do--is sometimes them may be purchased in powdered erature gauge. substituted for the stilt (in which case, form and the preparation of all is Assuming that firing facilities are an area of bare copper is left on the much the same. available to you, we go to the materials back of the piece to accommodate the Redpe for Agar Solution you will need. Whether you use your circle). A larger piece of marinite, sub- own kiln or someone else's, you will stituted for the trivet, will require One.half ounce powdered or flake want these firing accessories: stilts, ceramic or firebrick blocks on the kiln agar added to one gallon of water. trivets, marinite (a type of refractory floor to support it. Variations of these Bring to boil, turn off flame, and let board), tongs, asbestos gloves, and firing arrangements are numerous and stand over night. By morning it will some kind of weight such as a flatiron. here, again, you will soon arrive at be a thick gelatine like mixture. Strain The stilts, shaped like an upright personal preferences. it through a nylon stocking (knotted "u" with flattened base, support the There are two types of tongs for at the ankle area and used as a sieve). enameled piece during firing. Trivets, lifting enamel work: forge or crucible Add two quarts of water to the mix, then add three d~ops of phenol (car- shaped like the stilts, but inverted, tongs which grip the edge of the bolic acid) to prevent souring. stand on the floor of the kiln and sup- trivet, and two-pronged wire tongs port the stilts. For the firing process, which slide under the trivet (a long- We come now to the enamel colors the enameled piece is placed on the handled spatula or pancake turner --and which of them to buy. The list stilt, the stilt on the trivet, and the could be substituted). Of these, the of colors available commercially is prac, three-part whole is lifted in and out of two-pronged type, especially when it ticaUy limitless. You will do well, the kiln with the tongs. Readymade has a heat guard to protect your hand, however, to begin with a small though stilts and trivets may be purchased, or seems most comfortable to handle. Al- varied palette, perhaps with the follow- the items can be fashioned at home though not essential, an asbestos glove ing selection of seventeen colors. from thin stainless steel sheets or metal is convenient to wear when you are Opaques Transparents wire such as monel wire screen. (One- firing. The flatiron is used to weight Red Flux (colorless, soft. piece units which perform the func- the piece, counteracting possible warp- Medium blue or medium-fusing) tions of both stilt and trivet are also age, when it comes from the kiln. White Red available.) The important considera- Then you will need some working Gray Yellow tion is that these items be constructed tools and materials to do the enameling Black Green of a metal which will not develop fire- on the copper forms you have pur- Medium chartreuse Dark blue scale to flake off on the enamel. That chasedl These, together with the firing Light green Lavender is why copper is not used. accessories just mentioned, are shown Turquoise Gray A stilt may support the enamel at in the photograph of equipment on Lemon yellow Aqua page 17. Most of the material is avail- able commercially but substitutes or Enamels in powdered form and in homemade counterparts can be used small amounts are available from cer. in certain cases. Sifters, for example, amic stores and direct from manu- are easily made with copper screening facturers. They may be purchased in [see Briefs, page 25]. A corset stay lump form by the pound but then or nutpick with flattened end could there is the tedious task of grinding substitute for the enamel spatula, a them yourself--not recommended for jeweler's scribe or orangestick for the large quantities--and a pound of color pointer, a dental tool with bent end goes a very long way unless it is di. for the spreader, but the tools manu- vided among several people. Some com- factured specifically for enameling are panies offer enameling kits, with a good excellent and good to own. selection of colors, in small amounts, A gum type of solution, acting as at reasonable prices, enabling you to an adhesive, is used in enameling to investigate various colors before be- wet powdered enamel or the metal coming involved in large amounts. surface or both. Ideally, the wetting Remember in ordering enamels that agent is water which properly used you must indicate the mesh or grind, will not cloud transparent colors, but 60-mesh being coarse and l~0-mesh in many situations some form of ad- very fine. For our general purposes, hesive is needed to hold the grains of 80-mesh is recommended. And all the enamel in place until they are fired. colors for our beginning work should In order to avoid clouding the trans- be medium.fusing, not hard-fusing. parents, the prime prerequisite of the On the following page is a brief adhesive is that it burn away as com- preview of the two enameling tech. KILNS of modest size easily accommodate pletely as possible during firing, leav- niques you will use most often: dusting small pieces and jewelry. Work shown here ing a minimum of ash. Solutions of and wet inlaying. Both methods are to is by Harold Martin, a Chicago enamelist. agar, gum tragacanth and gum arabic, be fully explored in coming issues. •

18 CERAMICS MONTHLY DUSTING, one of two commonly used enameling techniques, is WET INLAY is another basic method of applying enamel. Here demonstrated above. The underside of a thoroughly clean copper it iS done on a piece of metal which happens to have one fired form is being enameled. The form is balanced on the left hand, coat of enamel (it can be done, like dusting, directly on metal). fingers forming prongs beneath so the surface to be enameled As the name implies, wet inlay is enamel applied in wet form. The will not be touched and the piece can be rotated. First, the technique is used when two or more enamel colors are to be applied surface is sprayed lightly with gum solution which acts as an ad- next to, and level with, each other, and put through one firing. hesive; then, a light even coat of enamel is dusted, through a Enamel powder, wetted with agar solution (see text for recipe), sifter, on the mols! surface. This wetting and dusting process is is picked up with a spatula and pushed with a spreader into a repeated two more times. The coating is now a little less than sketched area. The enamel is wet to saturation so it will move 1/16-inch thick and the piece is ready for firing. Notice the ahead of the tool evenly. The area is then leveled off with a sifter he!d between thumb and middle finger with the index spreader. A red sable brush is placed at the edge of the enamel finger used to tap the side lightly for dusting. When applying to remove a little of the moisture, and is used to clean up the enamel by this technique, you have more assurance of an even coat edges, with care taken not to undercut the enamel with the brush. if you tilt the metal so the highest edge is toward your right or During the process, the enamel edge is packed down firmly with "sifting" hand. Rotate the form, by thumb movement beneath, and the spreader. In the last photo, a second color is being applied. sir? the enamel around the edge; then holding the form level again, This is a delicate operation because both colors must be equally dust flat areas. When an enamel coating is applied to the under- wet to saturation at the time the joint is made in order to make side of a form, as here, it is called "counter enamel." Its first a clean edge. The second color is pushed flush against the edge function is to set up strain or pull to counteract the pull from of the first, packed down well at the joint and then leveled off enamel on the front of the piece, during firing processes, thus again. A slight bleeding of one color into the other will always preventing cracking and chipping. Dusting and other ways of ap- occur. The llne at the joint, however, should be neat though it plying enamels are to be described fully in subsequent issues. will not be as crisp as the lines applied by some other methods.

JULY 1954 19 in.q Lessons"J

No. 4: Curving Lines

In decorating, curved lines have to actual muscular activity. ing" curves come from. Depending on a great extent the same character as The curved line, with supple grace, their character, curved lines can pro- diagonal lines for both are lines of leads the eye in an ingratiating way. voke sensations running the gamut movement. Your eye cannot remain It propels the eye from point to point from quiet reserve to reckless abandon. quiet or still when observing a curve with the least amount of resistance, The arc of a circle is a simple curve, but is forced to move along over its over a kind of lubricated course, giv- each point of which deviates from its length. This fact is a forceful device ing buoyance and satisfaction. It can neighbor in a fixed manner regulated in the designer's hand, for he can lead be formal and dignified or casual and by its relation to the center of the the eye at his will and give to his pat, gay. circle. But most curves are not simple, terns much greater variety than straight The character of a curved line-- being compounded of arcs from many lines alone would permit. dynamic and vigorous or calm and rest- circles of varying sizes. Such a curved Curved lines provide the kind of ful -- is determined to a great extent line is shifting constantly in speed, and easy flow that we see happening nat- by the direction the line takes in re- its relationship to either the vertical or urally in everyday life--in the smooth lation to the vertical or horizontal. horizontal is not fixed but varies. When course of flowing water, the sinuous When a curve is flattened, for example, the eye is given a variety of speeds, movement of a serpent, the lithe stealth it gives us a feeling similar to that of you can feel actual physical enjoy- of a cat, the billowing of a cumulus a straight line, the eye moving along ment, the kind of exhilaration experi- cloud, the spiral of a snail shell or the the flattened curve at a comparatively enced when the speed of an automobile unfolding of a fern frond. In curved slow rate. The greater the curve the accelerates in the descent of a hill after lines, we recognize, vicariously, the faster the eye is propelled, reaching the slower climb to its brow. You feel same kind of shifting motion as that maximum speed in a circle. This is this kind of acceleration when you ob- seen in nature and felt in our own where the terms "slow" and "fast-mow serve a spiral; the eye is forced to its

r

LAZY, passive curves, used excessively, can give a vague or aimless character to de- coration. Too many forceful and dynamic curves can give a reslless feeling. To pro- vide stability as well as variety, surfaces of pots are usually divided into zones or areas as shown in Lesson I. Within these areas, you can take liberties with movement or action--such activity giving satisfying contrast to the restrained horizontal and ¢ \ vertical frames. The curves can be gentle and soft, or active and compelling: they can lead the eye easily around the pot or compel it to move at the decorator's will. They V'V'VN can give a precise or loose, vertical or hor- izontal, feeling. They can be used in bands as borders or in fixed panels. In nature k rllf t you will find unlimited examples of the man- ner in which curved lines can be used and combined organically for decorating plans.

20 CERAMICS MONTHLY IT'll center in ever-increasing speed like an CLEAR shapes and relatively flat surfaces object drawn to the center of a whirl- of tiles and plates require different treat- pool. ment than the constantly shifting planes of The possibility of variety in curved a vase. You may enliven flatter surfaces lines is limitless for the slightest alter- with greater liberty than those which are ation in the movement shifts their concave or convex. Staccato and active speed and character. The decorator can movement which might appear nervous or use them in such a manner that they jerky on bowls or vases can be used with lure the eye to investigate the three- greater freedom. Patterns may hold closely dimensional quality of a pot, come to the directions of the edges, in concentric into harmonious play with the con- fashion; or be governed by radial lines from tours, reinforce the form. An excess the centers. With greater experience and of motion is to be avoided, however. judgment, you can use eccentric treatments That is why curved lines are usually --schemes in which the movement is largely accompanied by straight lines which counter to that of the contours and genera- either confine the restive movement to ting lines~ but in harmony with them. In ex- fixed zones or steady the pattern. amples above, decorations on flat surfaces With only a little experience, the are adapted from those on vases and bowls. decorator will soon find that the lines to be used will, to a great extent, be suggested by the shape and character WARNING to the decorator is illustrated of the pot itself. Generally, it is not in examples at right. In one case, surface advisable to let curved lines move over treatment is too actlve--llnes swirl around sharp changes of plane. Such treatment the piece with too little restraint, produc- ignores the structure and obscures rath- ing a whirling effect and detracting from er than emphasizes the form itself. the |orm. In the other case, the decoration Even a slight amount of experiment seems inappropriate and weak, the scale im- with curved lines will open many proper for the size of the pot. Scale is avenues which the decorator can fol, extremely important. Great care should be low with great satisfaction and reward- taken to make adiustments so decoration will ing results. • be neither too massive nor too insignificant.

JULY 1954 21 ENAMELING KILNS NEW!

ANOTHER DYNA. KILN BY L AND L • . . AND LOOK AT THESE FEATURES: . • VISUAL TEMPERA. TURE READING by means of a Pyrometer --Guesswork eliminated. • INPUT CONTROL SWITCH regulates fir- ing speed--You control Model E 49 the kiln! • RAPID RE- COVERY TI M E by Chamber: 4" x 8]fi2" x 8~6." means of input control- lerf • GRAVITY DOOR ~COUNTER- $68.00 WEIGHTED for easy Plus $2 crating charge loading & unloading! • DYNA- GLOW PORCE- Wrife For Liferature LAIN ELEMENT HOLDERS reflect heat . . . will nat chip in replacing . . . elim- inate shock hazards! OTHER FEATURES • More and Better Insula- tion 30 BRILLIANT CERAMIC COLORS • Cords & Wire "UL" Ap- MANUFACTURING CO. pro,ved • . . Ready for instant use! CHESTER 11, PA. • Pilot Light • Attractive ~ Use It Any- No fuss! No muss! Just dab a brush into any of Dealer Inquiries invited where! the 15 Liquid Overglaze or 15 Liquid Underglaze Colors and apply directly to your ware. Each set con- tains strong, deep colors. Easy to mix for intermediate I shades or with white for pastels. The Underglaze Colors can be used for Engobes or Slip Stains- work equally well on raw or bisque ware, in either one or two fires. There's one full ounce in each jar. Shhhl The Overglaze Colors are the finest obtainable, all milled superfine to make china painting a real pleas- ure. Included are three costly colors: Pink A-1644; Don't tell a soul . . . Maroon A-1645 and Purple A-1649, which contains gold compounds. Each jar contains about 1/10 pound But . . . of color. Each set is attractively boxed with two multi-purpose brushes and instructions. Order today/ We're developing an entire i~ I m IlU ml IR lU I ml III al II Illll~ el InfllllU l I I I I I I I I I m M I I II~ U ~U l Hi new line of copper enamels. : B.F. Drakenfeld & Co., Inc. CM : I l u 45-47 Park Place New York 7, N.Y. I Don't miss our August an- I • ! . Gentlemen: Attached is my check for . . . m [] Liquid Overglaze Set ...... $10 00 I nouncement. ; [] Liquid Underglaze Set ...... S'00 m | . . , " • c I will pay shzppmg charges. I | 1 t NAME I • ii ADDRESS • , : CITY/ZONE STATE__ • I I S. PAUL WARD, INC. . [] Send me the Drakenfeld catalog of prepared n m glazes, clay bodies, electric kilns and other ; 601 MISSION STREET ;, ceramic supplies. SOUTH PASADENA, CALIFORNIA SYCAMORE 9-2131 --PYRAMID 1-2552 " rakenfe/d

22 CERAMICS MONTHLY Y ¸¸¸¸::¸¸11¸%< "ie s

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • @

It may not be orthodox but it can be effective--letting glaze run down over a piece to form its own decorative pattern. I have tried the idea with the results you see here. The effect is largely accidental but not entirely--for knowing what, how, when and where to pour the glaze has something to do with it. A semi-opaque glaze, for in- stance, poured heavily here and lightly there, will give the play of shadows seen on the larger piece. Two glazes of complementary colors may be used, one running down the sides of the piece in its own course, the other following after and overlapping, as in the second piece shown. Color contrast between body and glaze, in either case, is an important consideration, too. Light colored glazes on red or colored bodies, darker tones on white and buff clays, bring out interesting patterns. Like any other accidental or "easy" technique, this one should be used with discrimination, avoiding above all the unpleasantly garish quality that comes from too many colors, too busy a decoration. Thomas Sellers Columbus, Ohio

Trying out new idea for decoration, above, Sellers pours glaze over a piece, not to cover it in the conventional way, but to let it run its own course, leaving areas of the red clay beneath to show in con- trast. Fired, the piece has the shadowy effect of an underwater motif or of certain Japanese pottery. For the second piece, far right, he used a light and a seml-dark glaze letting first one of the colors and then the other run down over the body.

JULY 1954 23 %ubriefs"

Slip trailing is a popular decorating technique which produces a rather thick fluid-looking line. The method involves filling a tube or bulb with slip--the decoration is created by guiding the tube over the clay surfaces as the slip is allowed to run out. One of the best slip trailers is a simple arrangement which can be made from a toy balloon and a medicine dropper, as shown in the illustration. The balloon can be filled with slip simply by pouring through a small fun- nel. The small rubber bulb is removed from the dropper, and the balloon is firmly attached in its place with a rubber band. Save the small rubber bulb for it makes a tight-fitting, slip-on cap for the open end, which will prevent evaporation for several weeks. The size of the hole at the tip of the glass tube can be made smaller if desired by heating the tip in a gas flame. In use, the balloon is a limp container which never sucks air back into the slip, a situation which would interrupt the flow of the slip (the major objection to using an ear syringe as a slip trailer). This decorating technique allows no time for ponder- ing, because the slip flows continuously once the tube is down on the surface. A quick movement leaves a thin line; momentary hesitations show up as thicker lines. Earrings are fun to make and wear, and an answer The demand of this decorating method for continuous to the ever-present gift problem. Forming them in a small action extracts from the ceramist, almost by force, an press mold adds to the pleasure; it is a simple, direct pro- expression as personal as handwriting. cess, and eliminates the tedious work usually associated Karl Martz with small pieces. Bloomington, Ind. The initial shape can be carved directly into plaster; or it can be fashioned in clay, the mold being made by pour- ing plaster over it. It is such a simple process that a wide variety of shapes can be made with little effort; two dif- ferent ideas are illustrated here. To make the earrings, you press a small wad of soft clay into the mold with the thumb, making sure the face of the wad is free from folds or other irregularities. The back is smoothed with a scraper or knife and the clay allowed to harden in the mold. Don't attempt to dig the piece out; it will free itself in short order. Naturally, all pieces from the same press mold will be identical in shape; a variety of decorating techniques, however, can make each pair an original. Marian Sawhill Bedford, Ohio

SEND IN YOUR "BRIEF" Interesting personalffies, glaze comb[natlons, dec- orating techniques, helpful ideas, or other items of interest will be considered for publication.

24 CERAMICS MONTHLY YOU CAN CREATE STUNNING ENAMELED Tea strainers and salt shakers are fine for kitchen NOW JEWELRY IN YOUR OWN LIVING ROOM! use but they leave much to be desired if used as enamel sifters. Being able to dust on a smooth coating of enamel powder is important if good results are to be had--and it's The secret is the difficult to accomplish with standard kitchen equipment. trinkit kiln . . . 41/4" Two types of utensils for dusting enamel may be made in diameter. Heats from fine copper screening (see photo). The first is the to 1500°f. in 4 min- lid-type sifter which is available commercially or which utes . . . uses ordi- you can make yourself from any small jar with a lid. nary house current The other type of sifter, which many prefer because (110 v. A.C.-D.C.), it is easier to clean when changing from one enamel color ordinary iron cord. to another, is the open-box type. It is easily made from a square or rectangular piece of copper screening by fold- ing up the sides and turning the corners over in a tri- ¢r 6 tubes of brilliant enamels--red, blue, green, yel- angular fold. A two-inch square is about average size. low, black and white--complete with plastic screens. The copper screening is available from most ceramic #r Copper discs and squares--enough trinkit jewelry supply shops or hardware stores. For either type of sifter, parts to make 2 pair earrings, a key chain, and 2 pins. use 80-mesh screening for sifting 100-mesh enamel and 60-mesh screening for sifting 80-mesh enamel. Spatula, brush, and asbestos board included. ~k If solders too~(solder includedt---each piece of jewelry is cleaned with sandpaper and soldered on ,screens for enameling the lid of the kiln ..on,er,u .,t $6 a fascinating hobby posfpald complete with kiln additional enamels and jewelry parts available--see cuff links, but- tons, tie clasps, pins, etc. in our catalog--trlnk;t comes packed for remafling, weighs 2 ]bs. ILLINI CERAMIC SERVICE 163 W. Illinois St. Chicago 10, Ilk Telephone: Michigan 2-3367

a N EW product!

If you are interested in "break-up" pattelms, this is the way to obtain an unusual one, using prepared materials. Apply a clear cone 06 glaze to a piece of green ware WHITEMIX and fire to maturity. Then apply a thin coating of liquid bright gold overall and fire to cone 019. Follow with an- pure white, craze-proof slip other thin gold application and cone 019 firing. Finally apply a thin coating of clear glaze and retire to cone 06 just starting to bend. The result is a deep--almost three-dimensional--effect a companion to well known WONMIX slip showing three or four different colors and textures of gold. In the photo, the light lines are the clear glaze over the white body; the darker areas are the gold in its various by the makers of WONFIRE, fool- colors and textures. proof, ready-to-use glazes . . . and Try this on a test tile before risking a finished piece. KRYSTACLEAR, the finest clear When stacking the kiln, be sure to keep the piece at least glaze made! two inches from the elements or the gold will burn out. Marg Maruth .llarg's Studio, Dencer, Colo.

order WHITEMIX direct from manufacturer:

200 west Third St., Dept. C, Plainfield, N.J.

JULY 1954 25 YOUR BEST BUY in TEST KILNS from our readers Stack Shelves & Posts the surface. The sponge takes I noted with interest the away the clay, exposing the "'Suggestion" for stacking kiln pieces of grog. shelves [February issue] with You can smooth up the wooden spools. I have been outside of your piece by rub- using the square posts cut bing with a wooden or metal from porous insulating brick, modeling tool or, perhaps best laid on their sides, for stack- of all, your fingers. ing my shelves. This saves --Sunne Candle storage space for both items. Houston, Tex. The posts are never needed Small Tool Gripper except when the shelves are be- An automatic art pencil of ing used. the type where a top push. Hazel McKeon button controls the lead.grip- Burlingame, Calif. ping chuck can form the basis for a very complete set of Paint the Mold! small modeling and sgraffito GARE TEST KILN-s19.95 One of the most annoying tools. forms of decoration seems to One such pencil holder is be the application of flesh Including ring as shown tones on figurines, because un. Inside Dimensions 61/2 x 61/2 x 61/2 • Fires to 2300°F sightly streaks show up quite often. I have overcome this by applying flesh.colored slip GARE CeeAMiC SUPPLY COMPANY to the mold rather than on the cast ware. 235 Washington Street e Haverhill, Mass. With a small brush, apply the slip (not underglaze) to every part of the mold that the A. W. Faber, Castell, No. represents flesh areas, then as- 9400. Its chuck will handle semble the mold and pour with any small tool shape with a white slip. Aside from some shank no larger than standard retouching which is required pencil lead. on the mold seam lines, the re. I have made pointed, chisel. sult is smoothly colored flesh edged, spatula- shaped, and areas. end-cutting tools from such This procedure is partic. assorted materials as spring ularly advantageous for finely and iron wire, bits of old clock spring, knitting needles, even nails. A file or sharpening stone, and a hammer for flat- tening are the only absolute essentials. Loop and hook tools of great shape.variance can be at this low FACTORY-TO.YOU prlcel ~i formed quite readily and easily Built to be best in performance, convenience, capacity and from standard bobby pins long service, the MASTER POTTER'S WHEEL is unmatched, feature for feature, by any other wheel at u.p to twice the embossed areas, because all of whose steel is tough and flex- price. Its precision design and many convenience features enable you to advance faster . . . create beautiful, professional work. the surface detail is retained. ible but still quite workable. A Massive, steel construction completely encloses mechanism to :::::::::::::::::::::::: --Mrs. Edward ]. Humphreys bobby pin clip can also be exclude clay and moisture . . . assure operator safety and ~:~-?j used to hold small bits of provide vibration-free performance. Other features ordinarily Baltimore, Md. found only in expensive wheels include pro-lubricated bronze sponge, sandpaper, or other bearings for quiet, long service; convenient arm rests, adjust- able wedging wire, large 18" throwing table with plenty of ~:~::~:!!~i~ Grog Hint finishing materials, making working space and a removable water cup. 10" throwing head If you are handbuilding a tiny and hard-to-get-at places has joggles for easy centering, underside reverses for casting i!:~:~:~iiii:i plaster bats. piece with grogged clay and easily accessible. You have complete hand freedom at all times . . . smooth, ii~ii:!iiii~!i you don't want the grog to DR. L. Diffendal instant change of speed from 30 to 150 rpm is controlled by foot pedal. Easy to use, even for handicapped persons. Use show, refrain from sponging Dayton, Ohio any 1/~ HP motor. (Not incl.) Shipped assembled. Wt. 45 Ibs. ~!i~i~~ Standard ~/~ HP motor $16.95 when purchased with Master z::::~::::: Potter's Wheel. Write for Circular ~ili:::i~ DOLLARS FOR YOUR THOUGHTS Ceramics Monthly pays from $1 to $5 for suggestions used in this column. Be sure to include photos and sketches if applicable. All items of interest to ceramists will be carefully considered. (We regret we cannot acknowledge or return items not accepted.) ~m mo ~v Jm ~=mmg.~=vnmm wvm=, 26 CERAMICS MONTHLY answers pal,'a~oi?. to ENAMELINGKILNS questions $35.00 up

CONDUCTED BY KEN SMITH 3 Models to Choose From One Year Guarantee

Q. Some ceramists recommend adding common table salt to the tempering water in the clay to cut down warp- SCHOOLS ing and cracking. Will salt vapors damage our electric kiln? A. You should not run into any difficulties. The The Paragon Enameling Kiln Model E 12 is actual amount of salt would be quite small, and we must especially recommended for use in the class- remember that glazes contain such things as soda, potash, room. The size is 12½" x 12½" x 5" and lead, etc., which are more or less volatile; they do not, how- the price is $75.00 (pyrometer extra). ever, adversely affect the kiln.

Q. Can a reduction firing be done in an electric kiln without damaging the elements? A. If a reducing atmosphere is created in an electric kiln, there will be some minor deterioration of the kiln elements. Unless a considerable amount of reduction is done in the electric kiln, the effect on the life of the elements will 1331 Race Street Philadelphia, Pa. hardly be noticeable. Reduction firing should be done in a well-vented room, Tru-Fyre Stencils Now in Stock because some vapors are given off which should be allowed to escape. Q. Do the hobby.sized electric kilns require the in, "in the ceramics field-it's stallation of special wiring in the home before they can be hooked up? A. No. Most of the smaller, low-temperature hobby performance kilns (cone 06,04) operate on regular household voltage (l10V.-115V.) and can be plugged into any one of the that counts" electric outlets. Some larger kilns may require 220V.-230V. lines which would already be available in homes which have you can depend upon it electric stoves. if it came from the Nation's Oldest Q. Most feldspars contain both soda and potash yet Hobbyist's Ceramic Supply House they are designated as either one or the other. Can you Model S-11-P enlighten me? Porcelain manufacturers & distributors 11 x 11 x 131/~ A. When a feldspar is called a "soda" spar or a "potash" spar, it means simply that the greater part of its complete ceramic supplies alkali content is soda or potash as the case may be. It does not mean that the alkali is entirely soda or potash. For for: example, a spar containing ~.18 per cent soda and 4.63 per cent potash would be considered a soda spar. • SCHOOLS CORRECTION. In the "Answers to Questions" • HOBBYISTS column for May, 22-gage copper was recommended for enameled jewelry. This was a typographical error, Mr. Smith's recommendation being 18-gage for most purposes. • DEALERS Depending on the size and shape of the piece to be made, 14, to 22-gage copper is used in enameling. CERAMIC

CATALOG S0c (refunded on first order) DEALE, MARYLAND Price Lisf Free

JULY 1%4 27 ENAMEL BUY A OUALITY PRODUCT MoJJ Jdf., JEWELRY KIT (Begins on Page 4) I TOP OR FRONT LOADING Arts, Onondaga Pottery Company and Ferro Corporation, at the Syracuse WRITE FOR FREE Museum of Fine Arts. Open to pot- CATALOG SHOWING 45 MODELS with KILN ters, sculptors, enamelists. Entry fee, AND ALL NECESSARY SUPPLIES $3; $2600 in prizes. Entries due at Regional Centers, Sept. 9, 10, 11: 770 N. Main St., Akron, O. School of Boston Museum of Fine Arts; Cleveland Museum of Art; Los $6.9.5 + 10°/o P°st. Angeles County Art Institute; San Francisco Museum of Art; Georgia ~w v,qr v,lr v,v-,v~ip,,v vv v'~p-'vv'qr v'~p-'qtr v,v,~v ~ Museum of Art, Athens; Syracuse P MOVING Due to increased business CERAMIC JEWELRY KIT Museum of Fine Arts; Royal Ontario To New and Larger Quarters 4 $3.00 & $6.00 sizes P.P. Museum, Toronto, Canada. Write 18th Our address after August 1st. Ceramic National, Syracuse Museum JEWELRY STILTS of Fine Arts. KILN-GARD I' 214--8th. Avenue, North 4 40c Doz.- I/2 size PENNSYLVANIA, Carlisle 50c Doz. Single point JACKSONVILLE BEACH, FLORIDA type 3Sc Doz. New July 30-August 1 protected "Lok - Tite" Annual State Craft Fair and Ex- features allow great- hibit. Open to members of the Pennsyl- Near Grand Island Bridge er shelf space and vania Guild of Craftsmen and held at NIAGARA FALLS, NEW YORK will not flip over. Dickinson College, Carlisle. Jury. Demonstrations. CULVER CERAMIC STUDIO WRITE FOR COMPLETE CERAMIC Only studio in LaSalle with a complete JEWELRY SUPPLIES NOW. WYOM[NC, Dubois stock of supplies for Ceramic Hobbyists SPECIALS: Various copper shapeg for July 2~-August 1 MEMBER OF enameling. 9 MM Cup Emwire $2.25 per Western New York Ceramic Dealers ASsoc. 6th Annual Exhibition of painting 194 Sixty-First St. Phone 3-3912 gross. ADHESIVE ~338, $1.00 per unit. and sculpture of Wind River Valley lists sculpture "in any medium." Open CHARLES HARRIS CO. competition. Jury; prizes. Entry cards Cathedral Station, N.Y. 25, N.Y. Dept. CM-7 and work due July 24. Write Mrs. CANADIAN WHOLESALE a RETAIL Mary Back, Dubois, Wyoming. POTTERS We have a full stock of all ceramic supplies-- fast mail order service. WHERE TO GO CALIFORNIA, Long Beach REAGH STUDIO LIMITED "Wall Plaques" July 28-August 1 3529 West 41st Ave., Vancouver 13, B.C. Supply and equipment show--Califor- nia Ceramic Hobby and Gift Show at Municipal Auditorium. Lix-Crax Ceramic Cement Mends in ALL Stages of Production CALIFORNIA, San Francisco The Best Ceramic Mender on the Market through July SOLD THRU DEALERS ONLY Clay for Today, Eighth Annual of the Write for Our Discount Sheet Association of San Francisco Potters, LIX-CRAX members' show. Pots and sculpture for every contemporary room. M. H. De. 403 S. Hancock--Colorado Springs, Colo. Young Memorial Museum. CALIFORNIA, San Francisco CERAMICS FOR FUN AND PROFIT through August 1~ West Coast showing of Designer- Let us help you set up a course for your Craftsmen U.S.A., at the Museum of school or community. Complete line of Art. The exhibition was drawn from supplies and equipment. nine juried regional shows and first Seeley's Ceramic Service displayed at the Brooklyn Museum last fall. More than two hundred hand. 7 Elm Street, Oneonta, N.Y. crafted objects by Americans. Includes ceramics. M95--Oval Plaques--4" x 6" x ~" Birds, Flowers & Clouds in High Relief-- MASSACHUSETTS, Marblehead NOW AVAILABLE 2 piece mold. July 10 PRICE $6.00 per pair Crafts demonstrations at Old Town House; also exhibition of original CREEK-TURN "Cherubs'" from M 49. 3 Position Cherub Marblehead pottery as part of Open Mold, 21/2" High (2 piece mold) * UNDERGLAZES (Please turn to Page 30) PRICE $4.00 * OVERGLAZES All prices F.O.B. Port Arthur, Tex. NEW 50,000 word cloth.bound book ALL about Add 10% for Packing Charge CHINA PAINTING * TRANSPARENT MATT GLAZE WRITE FOR FREE CATALOG or Overglaze. No pottery, molds or glazes. DEALER TERRITORIES OPEN by Nettle E. Pillet 841 Barrows Crt., Pasadena 6, Calif. McDANIEL Mold Co. Retail $4.25 Trade and quantity discounts CREEK TURN POTTERY P. O. Box 3086 Port Arthur, Texas Also 12 Correspondence C.P. Lessons $10.00 Route 38, Hoinesport, New Jersey Or $1.00 each. 300 designs--S3.00

28 CERAMICS MONTHLY If China Painting (Begins on Page 16) Is you, Cup Tea Trinity Ceramic Supply has everything usually fire with a crackled effect and with variations of you need to create pieces of lasting metal tones from silver to copper. Do not mix reclaimed beauty and fine craftsmanship: Re metals with unfluxed gold. Ward's China Paints, O. Hommel Co. China Paints, Brushes, Pallette Knives, ÷ Is luster "padded" with silk, the same as china paint is? Yes, but do not pat mother-of-pearl or opal or you will lose the iridescence. Other colors usually need a minimum of two applications and firings to bring out a richness, so at least pat the undercoats. The very dark colors such as copper, black and ruby do not need padding with silk.

4, What makes spots with a white or purple tinge appear on gold during firing? Moisture in the kiln or improper venting during the burning off of volatile oils causes whitish spots. The purple ones come from too thin an application of the gold. The remedy: simply retouch.

•1" Why do plates frequently crack in the decoration firing after they have gone successfully through bisque and glaze firings? You refer, no doubt, to low fire clay bodies. They cannot always stand the quick heating schedule which is often used for the overglaze decoration firing. Be sure to heat slowly and let cool naturally; otherwise, the expansion and contraction between the body of semi-vitrified ceramics and the thin glaze covering will cause breakage. It does not happen, under ordinary conditions, with vitrified china. These beautiful china paint The decoration firing cycle should be lengthened for "art" studies were the hit of the Dallas Ceramic bodies. Show and are now available to trace or copy on your china pieces. Sets of 6, com- •I, I have one of the two-piece china recess palettes. I paint from plete with easy-to-follow instructions the lid and keep my leftover colors in the wells in the bottom section. Can I add oil to keep the colors soft? $2.50 Postage Prepaid in U.S.A. Single study 65¢ each; Postage Prepaid in Storing mixed colors from one painting to the next is U.S.A. Write for Dealer's discount. very bad practice. It is impossible properly to recondition leftover paint for good painting. These containers originally But... were intended for holding large amounts of enamels, which are mixed thin and would run on a palette. The lid is If you Like ,to Save Money primarily a covering. and pottery is your preference, •i' I painted some bisque ware with a solid underglaze color and save those West Coast freight dollars by it looks streaked since the glost fire. Can I remedy this with china ordering Velva-Tex. the finest of white paint? casting slip, manufactured exclusively It might be difficult to match the color unless you by: don't mind a shaded effect; if you do, it would be better to use mineral pigments. A pretty finish would result from covering with mother-of-pearl luster. The iridescence would minimize the streaks and not change the underglaze color. ql 'IF Please tell me the difference between fluxed and unfluxed paste golds and their uses. In brief--you must use fluxed (Roman) gold on all hard porcelain such as dinnerware. Use unfluxed gold on soft china, art bodies and pottery. Also use unfluxed over fired colors and relief paste. TRINITY CERAMIC SUPPLY I00 Howell Street Mrs,. Hoist will gladly answer your questions about overglaze dec- oration. Send inquiries to: The Hoist Notebook, Ceramics Month- Dallas, Texas ly, 3494 N. H~gh St., Columbus, O., and enclose stamped, self- addressed envelope. Telephone PR-7248 dULY 1954 29 IT ISN'T HOW Tool And Clay LOUD YOU "HOLLER," Headquarters for iT'S WHAT YOU SAY Sculptors & Ceramists You name it! We've got it. Ceramic, THAT COUNTS . . . (Continued from Page 28) Marble, Plaster Casting, Sculptor's We carry one ot the most complete TOOLS. Ceramic, Modeling, School, House Day in Olde Marblehead. Spon- Plastelines, CLAYS. Exclusive seller lines o! hobby ceramic supplies o! sored by the Marblehead Historical So. of ROMA ITALIAN PLASTILINA. any house in the U.S.A ..... ciety, the Marblehead Arts Association Retail and Wholesale. Send today for and others. most complete catalog of tools and clays ever published. BIG, COMPLETELY NEW, MASSACHUSETTS, Pittsfield PROFUSELY ILLUSTRATED through July 29 SCULPTURE HOUSE "Massachusetts Crafts, 1954," spon, Dept. 9A 304 W. 42nd St., New York 36 SUPPLY CATALOG sored by the Massachusetts Association of Handicraft Groups and 12 state Now ready for distribution. Only museums. Work by Massachusetts rest. VOLLMERS CERAMIC STUDIO 25c in coin or stamps, deductible dents. At the Berkshire Museum. 1723 PAXTON ST.. HARRISBURG, PA. SUPPLIES--MOLDS---KILNS on first order a! $2.50 or more. HOBBYISTS NEW HAMPSHIRE, Gilford START RECORDING WEDDINGS & BIRTHS August 3-7 SPECIAL FOR JULY & AUGUST EX-CEL 21st Craftsman's Fair of the League 1 Glazed Open Book & 2 Decals--Birth of New Hampshire Arts and Crafts at or Wedding $1.50 post paid. Pa. Tax 1% cone 05 Wedding decals in Gold or Silver Belknap Mountain Recreation Area. Gold writing Pens $2.25 WHITE CASTING SLIP NEW HAMPSHIRE, Manchester Now only July 16-August 14 Selling to SCHOOLS 75c per gallon Design in Scandinavia Exhibition at is our specialty. in 10-gallon drums the Currier Gallery of Art. Sponsored A complete line of matched ceramic by the American Federation of Arts, supplies and raw materials available. plus $1.00 drum deposit this traveling show includes over seven CATALOG AND TIPS I Sc hundred items, mass produced and or Write on School Stationery. handcrafted, selected by top Scandi- BUFFALO CERAMIC SUPPLY CENTER HOUSE of CEI{AMICS navian designers. 76 Allen St. Buffalo 2. N. Y. 3295 JACKSON AVE. NEW YORK, New York through Sept. 8 Instruction Catalogue Memphis 12, Tenn. Fifth Annual Competitive Exhibition for Young Americans, 1954, at Gallery Now Available for Ceramisfs of America House. Auspices of Ameri- 2Sc Postpaid can Craftsmen's Educational Council. Dealers Ask for Discount Skeet. NEW YORK, Plattsburgh LAURINE BROCK CERAMICS through July 20 1651 W. Woodlawn, San Antonio 5, Texas Textiles and Ceramics exhibition at Original IV )lds State University Teachers College. One hundred or more examples of dis. Featuring Exotic Art Glazes tinguished ceramics and textiles in. Complete Line of Ceramic Supplies cluded in display. This traveling exhi- Classes--Firing bition is a selection from the Fourth Open Sat. all day--Sun, by appointment Biennial of the Museum of Cranbrook Irco & L and L Kilns, Tru-Fyre Glazes by Ludwig Schmid Academy. Jirele Ceramics 2116 N. Limestone Ohio's Largest Ceramic Studio NORTH CAROLINA, Asheville SPRINGFIELD Phone 3-0632 OHIO July 20-24 Craftsman's Fair of the Southern High- lands at City Auditorium. Demonstra. Clay Haven whose artistry is re- tions and work by mountain craftsmen included. Ceramic & China Painting nowned on four con- . Supplies finents . . . and whose :~; ~,;~t~i! NovA SCOTIA,Antigonish Evenheat and Jen-Ken Kilns molds produce ware July 12-16 Ceramichrome Distributors with proven sales ap- Annual "Craftsmen.at-Work" exhi. 6912 Schaefer Rd. Dearborn, Mich. peal! (Please turn to Page 31) LU 2-6871 Send only $1.00 for catalog -- refunded on first mold order. GAY-WAY Please seRd check or M.O. with mold Send Today order. "STUDIO TESTED" $1.00 for Mold Catalog that is really CERAMIC MATERIALS unusual. Completely illustrated variety of molds including Figurines, Animals, Christ- Transparent Gloss Glazes mas items, Angels, Planters, etc. Catalog True Majolica Opaque Enamels also includes many suggestions for decor- "Vitgobes"---Aztec Matts ating greenware produced from our molds, Suede Matts--Engobes also sketches for painting eyes and feat- LUDWIG SCHMID ures. Liberal discount to Bona Fide "Sure-Fire" Red Enamel Glaze Studios. $1.00 deductible on first $10 art ceramic studio Catalog Free order. D¢aler Inquiries Invited 838 Genetsee St., Trenton, N.J. GAY-WAY POTTERY Alberta's Ceramic Studio Dept. CM, Sharon, Conn. 1032 Mission St., South Pasadena, Cal.

30 CERAMICS MONTHLY ACID ETCHED CHINA Ready For Gold Decoration (Begins on Page 16)

it should be smooth flowing. If it seems necessary to thin a medium, use a small amount of rectified oil of turp- entine. The medium should be of such a consistency that the color can be mixed properly and applied without any tendency to run. A minority of china painters use fat oil as the mixing medium and paint with turpentine in i the brush. This does not contribute to Never before efficient painting because the turpen- a tool as versatile, as sensitive, or as adapt- Illustrated above is an AFTER DIN- tine dries too quickly for blending and ablel NER COFFEE SET of fine white china freedom of brush strokes. Heavy med- A precision instrument, it is a modeling and iums have a tendency to spread out carving tool in one. It features a double. ACID ETCHED all over in delicate ground, knife edge of hardened high-temper Rose and Daisy pattern. from the pigment leaving uneven edges, steel, for detailed carving of plaster, clay or and also to separate the pigments When decorated with gold this set is wax, and fine enough to do the minutest giving a streaky appearance. modeling. EXCELLENT FOR WHEEL WORK. impressively luxurious in appearance. Painting on a glazed surface which A balanced aluminum handle makes This is one of many ACID ETCHED does not absorb any of the oil makes this unusual new tool light, accurate, and pieces shown in our China Catalog the consideration of a proper vehicle easy to work with. @222. Ask for our Catalog C which For a new creative experience for both pro- most significant. The oils must evap- fessional and amateur . . . try these excep- will be mailed to you without charge. orate in the drying process and the tional CRAFTOOL modeling tools once . . . remainder burn out in firing. A palette and you'll never work with anotherl W. A. Maurer Company of dried, leftover colors would produce No. 600-- 6" SET OF8 TOOLS--S5.95 dull effects. It is best to prepare only 316-318 WEST GRAND AVE. No. 800-- 8" SET OF8 TOOLS-- 7.95 a small amount of color at one time No. 1000 -- 10" SET OF 8 TOOLS -- 9.95 CHICAGO 10, ILLINOIS and to destroy any that is left over. ESTABLISHED 1880 It is not advisable to try to recondition 10 DAY MONEY BACK GUARANTEE dried color. ALL SETS FURNISHED WITH A COMPACT (Please turn to Page 32) CANVAS ROLL KIT FOR CONVENIENT STORAGE OR HANGING NOW! Get the richness of true stone- ware glazes from your own kiln with SPECIAL OFFER! A copy of the i44 pg. illustrated book "CERAMIC HANDBOOK" by GLAZES Richard Hyman will be sent free Brush, dip or spray. Heat and acid resist- with any above Craftool Kit. ant. Exciting NEW rich, varied earthy (Continued from Page 30) tones--all yours at Cone 04. bition at Saint Francis Xavier Univer. six beautiful colors sity. Sponsored by Handcrafts Divi- White Enterprise... Velvet matte sion of the Nova Scotia Department of Black Jack... matte Trade and Industry. Eldorado Plum... rich red OHIO, Columbus Blue Stone... mottled Aubergine ... rich, dark brown through July 19 Tailing Tan ... khaki American Craftsmen exhibition at the ORDER NOW! 6 oz. sample of any color School of Fine and Applied Arts, Ohio IMPORTED $1 or all-color ass't, of 6-12 oz. pegs. State University. This traveling exhi. $8.95. Shipped prepaid. Money back bition by outstanding contemporary WHITE CHINA guarantee of satisfaction. craftsmen includes more than I00 Send 25c for catalog ...... examples of ceramics, enamels, silver. Deductible from first order NATURAL ORE GLAZE CO. smithing and other work. Sponsored Central City, Colo. by Smithsonian Institution. Maryland China Company Gentlemen Enclosed find $__ for 1436 N. Gay St., Baltimore 13, Md. which rush the following Natural Ore Glazes with complete Instructions at Ceramic Workshops $1.00 each postpaid: INDIANA, Indianapolis ( ) 6 oz. pkgs. in following colors: through August 21 A series of two-week workshops for occupational therapists and instructors TEACHERS ( ) 6 m 12 oz. pkgs. of assorted in public and private schools and col- WITH CONFIDENCE FOR YEARS colors at $8.95 postpaid. leges, offered by the American Art HAVE OBTAINED THE BEST CERAMIC (Other quantities, price on request) Clay Company in conjunction with the SUPPLIES & EQUIPMENT FROM TEPPING Name John Herron Art School. General and New 38 page illustrated catalog-2Sc Address individualized instruction in ceramics and metal enameling. Two semester /Sent FREE to Schools, Institutions City State hours of graduate or undergraduate and dealers~write on letterhead.) DEALER INgUIRIES INVITED credit for each workshop. For details Professional staff of long experience See Natural Ore Glazes at the Purple Cow, write American Art Clay Co., 4717 TEPPING STUDIO SUPPLY CO. W. 16th St., Indianapolis 24. 3517 Riverside Drive a Dayton S, Ohio

~IULY 1954 31 The NUMBER ONE KNIFE OVERGLAZE PAGE NOW AVAILABLE ... NEW LOW PRICE (Continued from Page 31) Copper ~, -by X'ClGbto it - $3 S There is much discussion among the NCLUDES: I for ceramists about the best medium to -Enameling Kiln ,~ Ceramic Hobbyists use with mineral colors on bisque ware. •x4x4t/2 ), 8-2 oz. Many figurines, for example, are finish- gs. Enamel )lors, Firing Craftsmen • Students ed in bisque and a soft sheen is de- icE, Handling sirable in the painting. It can be re- ,rk, Asst. Stilts, The perfect knife for tained only by using a very light Brush, Metal Sif- many hobby and studio ter, Steel Wool, Cleaner, Gum Solution, Cop- ceramic jobs . . . design- medium. A certain amount of a heavy ing, modeling, trimming, per Tray, and Blanks with Jewelry Findings. shaping.., it's adaptable oil would be absorbed by the bisque Kiln Only-- $23.95. Pyrometer--add $17.S0. for creating unusual de- and be difficult to burn out. Precaw DEALERS WANTED signing effects. tions are often taken by masking with Precision-made throughout Jack D. Wolfe Co., Inc. • . . durable, yet light. a thin gum solution, or by running the 62 Horatio St., N.Y. 14, N.Y. weight. Features instantly ware through two bisque firings to interchangeable, surgi- cally sharp carbon steel harden. Many people use a mixture blade• Insert a new blade of one part lavender oil and one part • Rhinestonesfor Figurines -prestol-you hove a new denatured alcohol as a medium for knlfe-extra blades at • Pin Backsand Ear Wires dealers everywhere. mixing the pigments, instead of using the regular oil painting medium. This • Cuff Link Backs,Catches, Etc, Plafe Hangers, "Flon" fell sfrips, No. I X.ACTO KNIFE-60¢ gives a softer sheen in the finish, but Tile Frames and other fast moving makes the blending of colors over a items. large area not quite so easy. The finish Send for Free Studio Price List Today with this medium is, in my opinion, BERGEN ARTS, Dept. CM N. J. No. 51 X-ACTO SET- more comparable to the old French 128 Main Street, Hackensack, No. ! knife with $ extra bisque and certainly worth the effort. assorted blades-S1.20 When using the mixture, alcohol in- [Send 20c to cover stead of turpentine must be used for KNAPINE CERAMIC STUDIO I ~ postage for illus- cleaning purposes. The formula has no \~ trated X-acto Knife Sno-White Non-Crazing Slip adhesive quality and so cannot be used Non-Crazing Transparent Glaze -- & Tool Catalog. on glazed ware. X-ACTO Inc. Good prepared tube and liquid MOLDS, MODELS, BLOCKS, CASES Sno-White Bisque Ware 48-41 Van Dam St., Long Island City I, N.Y. colors are on the market but the color selection is limited in comparison to the 212 S. llth St., Phila. 7, Pa. powdered pigments. They are, how- ever, preferable for commercial use be- Amazing New SPRAYER cause mixing on the palette takes time. LAMP PARTS for gayer CERAMICS For preparing powdered mineral Everything you need! colors for painting, a small grinding for glass is needed. This is a rough glass MAKING • REPAIRING that has been sand-blasted. Do not try CONVERTING to use a large palette knife for grind- ing the colors. Such small quantities SEND FOR OUR NEW CATALOG of powder are mixed at one time that Thousands of parts of every description it is best to use a very flexible steel illustrated, described, priced blade, only 2~ inches in size. For We sell and ship 1 or 1000 pieces holding the various vehicles, I like ANGELC) BROTHERS small flat jars with wide open tops and screw-on lids. Pour some medium into 2333 N. Mascher St., Philadelphia 33, Pa. one of the jars, and renew as necessary. Use pure spirits of turpentine in an- other jar for cleaning purposes. (Re- member that this is a different kind of turpentine from that used in formulas. Spirits of turpentine is the best clean- we pay postage ing agent with oil mediums. Oil of tur- O~ This new Burgess Electric Sprayer simpli- pentine will evaporate into fat oil if fies under and over GLAZING -- and does it better. Just plug in, and spray left in an open jar and, if used as a a exciting . . . • .. no compressor needed. The jeweled cleaner, will leave the brushes sticky.) _j new . . . sapphire nozzle means long constant use To mix a color for palette use, pour orngmaL ...... Sliding spray adjuster regulates a small amount of the powder on the pattern and volume . . . eliminates O Send 25e for catalog waste. Saves money and time. Send check grinding glass and grind with medium; that is, incorporate the powder with ]~ Sahuaro Molds, P.O. Box 133, Sta. A or M.O. today--The best investment you Studio at 560 College Ave. ever made. Guaranteed of course. enough medium to become well mixed PaIo Alto, California dealer inquiries invited and smooth. Dip into the medium with the tip of the palette knife and add to the powder just enough to form a thick When Writing to Advertisers paste. You should add the medium Please Mention gradually and keep the mixture just "CERAMICS MONTHLY" (Please turn to Page 33)

32 CERAMICS MONTHLY OVERGLAZE PAGE •Index Advertisers (Continued from Page 32) of JULY, 1954 dense enough to hold together while you turn the mass over and over with Alberta's Ceramic Studio ...... 30 Master Mechanical MIg. Co ...... 26 the knife. Press down, rub around on Angelo Brothers ...... 32 Maurer, W. A., Co ...... 31 the rough glass, turn over, press down Bergen Arts ...... 32 Mayco Colors, Inc...... 4 again, and repeat, until the mixture is Brock, Laurine, Ceramics ...... 30 Mecca Industries ...... 5 thoroughly ground. Then add one or Buffalo Ceramic Supply Center ...... 30 Model Ceramics, Inc ...... 28 two drops of medium to make a creamy Clay Haven ...... 30 Natural Ore Glaze Co ...... 31 consistency, but not enough to make it Cox, Florence, Ceramic Studio ...... 6 Orton, Edw., Jr., Ceramic Foundation.. I run on the palette. Breathe on the Craftools, Inc ...... 31 mixed color, and if it does not run, it Creek-Turn Pottery ...... 28 Pemco Carp ...... 3 is ready to be transferred to the paint- Culver Ceramic Studio ...... 28 Pillet, Nettle E...... 28 ing palette. If it seems too thin, add Drakenfeld, B. F., & Co., Inc ...... 22 Reagh Studio, Ltd ...... 28 more powder. Do not paint from the Gare Ceramic Supply Co ...... 26 Re-Ward ...... 2 grinding glass because its roughness Gay-Way Pottery ...... 30 Roder Ceramic Studio ...... 27 will soon wear the brushes down; use Harris, Chas., Co ...... 28 Sahuaro Molds ...... 32 a glazed tile or a tin-covered porcelain Harrison, the Kay, Studios ...... 4 palette. The latter has the advantage Schmid, Ludwig, Art Ceramic Studio...30 Holland Mold Shop ...... 2 Sculpture House ...... 30 of protecting colors from dust or lint Hommel, O., Co ...... 7 during any interruption of painting. Seeley's Ceramic Service ...... 28 House of Ceramics ...... 30 Place prepared colors on the palette Snead, Jane, Ceramic Studio ...... 32 with plenty of space between each Illini Ceramic Service ...... 25 Specialized Ceramics Carp ...... 25 color for freedom in filling the brush. Jirele Ceramics ...... 30 Tepplng Studio Supply Co ...... 31 Clean the grinding glass and knife Kernian Krafts ...... 6 Trinity Ceramic Supply ...... 29 carefully after mixing each color. Since Kiln-Gard ...... 28 United Artist Materials Co ...... 2 a few colors are similar in appearance Knapine Ceramic Studio ...... 32 Vollmers Ceramic Studio ...... 30 before firing, it is good practice to L and L Mfg. Co ...... I, 22 Ward, S. Paul, Inc ...... 22 write the names of each on the palette. Lix-Crax ...... 28 Winthrop Ceramic Supply Ca ...... 27 The gold pigments, previously desig- McDanlel Mold Co ...... 28 Wolfe, Jack D., Co., Inc ...... 32 nated as a separate category of colors Maryland China Co ...... 31 [May issue], must be segregated for X-acto, Inc...... 32 special preparation before placing them on the palette. Colors composed of gold metal oxides are very heavy and grainy. The better the color, the more pure oxide it contains, and the grainier it is. They produce the most luscious, /eau enle mV cu/sc h'on /o... rich colors but only if properly pre- pared. Before adding the medium to the powder, all gold oxide pigments ceramics monthly should first be ground with denatured alcohol, the pure alcohol used for many 3494 N. High St., Columbus, Ohio purposes in overglaze decoration. Use sufficient alcohol to make a thick paste 5 I year $4.00 [] 2 years $7.00 [] 3 years $9.00 turning the paste over and over until there is no gritty feeling. The alcohol Canada and Pan America add 50c per year for postage and service. Foreign add $I.00 evaporates very quickly so that the paste will soon be in powder form lAME again. Let it dry and then add the ,DDRESS medium. Some painters pre-grind with turpentine, but it evaporates slowly :ITY ZONE~STATE and the paste does not completely dry. If you have not been in the habit of [] Remittance enclosed [] Please bill me pre-grinding gold pigments, you will be surprised and pleased at the results. BACK ISSUES In these articles we have discussed i firing problems and the mineral pig- The following back issues of CERAMICS MONTHLY are ments-types and colors, the palette available at 60c per copy (Ohio residents add 3% Sales and the preparation of powdered pig- ments. In the next issue, we take up Tax). We pay postage. Please send check or money procedures for painting with mineral order with list of back issues desired. colors and brushing techniques. • 1953 1954 If there is any phase of overglaze April October January decoration which the reader would like July November February to have discussed in this series, the August December March author will be glad to consider it. Ad, dress Mrs. Holst in care of CM. September April

JULY 1954 33 ESIGN BOOK

THE ANSWER TO YOUR DECORATING PROBLEMS

Decorative Designs for Craft and Hobby Early American Design Motifs by Frances Johnson by Suzanne E. Chapman A designer and potter, the author presents 350 designs, A valuable reference and idea source, it includes Pennsyl- many in full size, with suggestions for proper colors. vania Dutch and many others. 343 illustrations with 10 in Oversize format (10" x 13"), 72 pages, paper bound. $3.00 full color. 8" x I1", cloth bound. $3.93

Handbook of Designs and Devices by Clarence Hornung Design Motifs of Ancient Mexico Basic designs and variations include the circle, line, scroll, by Jorge Enciso curvilinear, fret, shield, and many others. 1836 sketches, 240 A compilation of 766 examples divided into geometric, pages, 5" x 8", paper bound. $1.90 natural and artificial forms. Includes designs based on flow- ers, birds, fish, human figures, and many others. Cloth cover, 8" x I1" format, 170 pages. $3.95

Order Form Ceramics Monthly BOOK DEPARTMENT 3494 N. High St. Columbus,Ohio A Manual of Historic Ornament Please send me the following books: We pay postage by Richard Glazier The authoritative text is illustrated with 700 sketches and plates in full color showing examples from Byzantium, Chino, France, Pompeii, Persia and many others. Extensive bibli- ography and detailed index included. 6" x 91/z" format, 1114 pages, cloth bound. $3.50 Name Address__

City ;~n____State _ I enclose $ ...... Send remittance with order. Ohio residents add 3% Sales Tax.