Ceramics Monthly Is Published Each Month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S

AUGUST 1957 * 50c

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The CM Handbook on Copper Enameling...

Now in Its 2nd Printing

64 Pages of Instruction* Over 200 Illustrations* Completely Indexed* 8V2 x 11 Format

The articles on copper enameling by Jean O'Hara students. The step-by-step projects in this volume make and by Jo Rebert appearing in CM since June 1954 have it an excellent working handbook; the text and detailed been proclaimed the best in basic instruction. Twenty- index make it a valuable source of reference. one of these articles, representing basic fundamentals as well as illustrated how-to-do-its on jewelry, have now CONTENTS been combined in book fol"m and carefully indexed. Let's (Jet Started Copper-Wire Accents The publishers are proud to present this material Tools and Equipment Fitted Necklaces under one cover as a service to teachers, hobbyists, and All About the Enamels Wireless Cloisonne Sift-and-Stencil Method Jewels from Broken (;lass Wet-Inlay ~Iel hod Jewels Plus Foil Gold and Silver Foil Plaques for Compacts CEI{AMICS MONTHLY BOOK DEPT. How to Get Special Effects Mobile Earrings 4175 N. HIGH ST., COLUMBUS, OHIO Defects--Causes and Cures Simple Link Bracelets Please send me ...... copies of the COPPEII I~NAMEI,ING Designing with Bits of Foil [Iandhook @ $2 per copy. (CM pays postage). 3-D Bracelets Modern Cloisonne Pieces Make Large Plaques NAME I,ines for Designs Index

ADDRESS

CITY ZN STATE Ohio Residents: add 6c Sales Tax per copy. ORDER TODA I enclose [] Check [] Money order _ ...... Other Dealers Write for Information These glazes are making

iilJ

Here Are New Glazes Destined To Stimulate Ceramic Classes Everywhere ...

The good news is spreading llke wildfire. Every day, letters tell us how Re-Ward's new creamy-perfect BRUSH-ON GLAZES are inspiring school ceramic departments with their exciting textures and fabulous results. Instructors who are familiar with Re-Ward's Tru-Tone and Velvet underglazes are familiar with the tradition of quality which has made the name RE-WARD famous. We suggest you try our line of stoneware finishes designed for Cone 06-0S bodies and firing. Or would you prefer elegant Antique glazes, capturing the romance of yesteryear? Each offers foolproof results and is available to schools in 4 oz., plnt and gallon sizes.

STON'WARE 06 / SPEK-L-STON'WARE / ANTIQUES / LAVAS / BEAD and MAJOLICA GLAZES

Teachers and Instructors: Send $1 on school letterhead (or show proof of affiliation with school or institution) .q~. CWa,ld c,,,~,c co~o, MF,s.. ,NC. and we will send you samples of recommended school glazes and underglazes. Value $3.S0. 1987 Firestone Boulevard, Los Angele~ 1, Calif.

AUGUST, 1957 Chamber openlng advanced engineering put into these kilns. 13" x 13", depth 131/4"; Max. Heavy gauge steel frames power pressed to Temp. 2300; Volts 230; Amps 13; exact dimensions and electrically welded for Ship. Wt. 240; Price $]57.50 maximum strength . . . heavy duty four way switches, light weight easy opening lids, high quality block insulation, genuine Kanthal A wiring, and dust free interior coating. Gives your work that Professional finish. If you do not have one-write today for FREE ..... ~, ~-vvv -- i J,,,ly Catalog describing in detail the new Paragon Chamber opening 17" x 17", depth 18"; Max. Temp. 2300; "S" Series. Volts 230; Amps 28; Ship. Wt. 425; Price $299.50

ALL KILNS FACTORy GUARANTEED • NO PACKING CHARGE OVER 27 MODELS-- Paragon offers the widest range of WRITE FOR FREE CATALOG designs and sizes available in kilns. Regardless of fhe need- whether hobbyist beginner or commercial studio, Paragon can fill the need. PARAGON INDUSTRIES, Inc. STEEL STAND, INSTRUCTION Lllaml0er opening 15" P. O. Box 10133 Dallas, Texas BOOK, AND PEEPHOLE PLUGS-NO x 15", depth 18"; Max. Temp. 2300 EXTRA CHARGE--WITH EACH KILN. Vot$ 230; Amps 24; Ship. Wt. 340; Price $212.50

2 CERAMICS MONTHL ~ Volume 5, Number 8 August • 1957 50 cents per copy

in this issue

Letters ...... 4 Itinerary . 6 EVERYTHING Suggestions from our Readers 8 Craftsmen Talk it Over by F. Carlton Ball . 10 FOR ENAMELING Underglaze: Oriental Flora methods and designs by Marc Bellaire ...... 15 LOW COST KILN • . . for beginner or professional. Fires pieces up to Stoneware: Techniques with Engobes (part 2) by F. Carlton Ball ...... 17 43~ " diameter and 11/2'' high. It reaches enameling temperature quickly and maintains it constantly. All parts are Beginner's Potpourri by Verdelle Gray ...... 18 easily replaced at nominal cost. Hobby Show Highlights ...... 22 NEW BY THOMPSON Use a Stone Foundation by Lucia Comins 24 ENAMEL GLAZE PAINTS Portraits in Miniature by Nelly Allan ..... 26 A super;or decorating medium for painting designs over enamel base coats. Supplied in kits and bulk Ceram.Activities ...... 28 ~orm.

Answers to (~uestions conducted by Ken Smith . 29

Plaster Series: Casting Cues by Dorothy Perkins 32 ENAMELS Complete line of enamel colors including opalescents. Enameler's Column: Metal Settings by Kathe Berl 33

Overgloze: Iron Colors by Zena Hoist ...... 35 METALS All shapes and sizes in copper and the new silver plated steel which requires no pre-cleaning. Index to Advertisers ...... 36

Editor Louis G. Farber Btlsiness Manager Spencer L. Davis FINDINGS Assistant Editor Shirley Abrahamson For cuff links, ear rings, brooches etc., and all types of chain Art Directol Robert L. Creager in copper and brass. Editorial Associates Thomas Sellers Mary Elliott Circulation Thana Clay ILLUSTRATED CATALOG Write for your copy of our new catalog illustrating our com- Advisors and Special Contributors: Carlton Atherton ; F. Carlton Ball ; Marc Bellaire ; Kathe Berl ; Edris Eckhardt ; John Kenny ; Zenu plete line. Includes helpful hints and projects on ename/ing. Hoist; l)orothy Perkins; Jo Rebert; Ken Smith; l)on Wood

Cover by Robert L. Creager

Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis, Pres• and Treas. ; L. G. Farber, V. Pres. ; P. S. Emery, Secy. SUBSCRIPTION PRICE in U.S.A. and Possessions: one year, $5; two years, $9 ; three years, $12. Canada and Pan Am. add 50 cents a year; foreign, add $1 a year. Current issues, 50c: back issues, 60c. ALL CORRESPONDENCE (advertising, subscriptions, editorial) should be sent to the editorial offices at 4175 N. High St., Columbus 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under Authority of the Act of March 3, 1~79. Copyrbzht 1957 hy Professional Publications, Inc. All rights reserved. employ them to judge only the technical IDEA STOREHOUSE craftsmanship• A potter knows well the skill of another craftsmen working with Dear Editor: clay. The jury should be composed of You are to be complimented on such museum directors, design instructors, in- a fine magazine. We find it a great store- terior designers, architects. People who house of ideas and information. see the object in relation to its use, in BERTHA WATERS ON JURIES, VOULKOS, ETC. relation to history, in relation to homes Campton, N. H. and in relation to aesthetics. Dear Editor: The jury should have an organized Congratulations on having the courage scale to help them evaluate. This scale Dear Editor: and intelligence to bring the jurying prob- should take up the following points: • . . I am interested in more advanced lem out into the open. Please continue to Utility; Aesthetics (color, form, design); and less hobby type of material. But this publish constructive discussion on the Craftsmanship; Creativity (originality). is no criticism . . . Even one article which problem. My potter friends have long dis- The jury could follow a rating scale is "up my alley" makes up for any number cussed with me the confusion of various from 1 to 5 points. Only pieces that scored of others, so I eagerly await each issue . . . juries. Mr. Voulkos has had his name fre- heavily in all categories should be eligible LUISE W. RUSSELl. quently crop up as a controversial juror for awards• This should eliminate "warp- Portland. Ore. and the Miami fiasco was no surprise . . . ed, poorly fashioned, badly glazed and To strengthen the craft movement, jur- meaningless-in-form" pieces. It would ies should improve the understanding of serve to standardize the problem of "what EARTHENWARE VS. STONEWARE craftsmen with their craft. In every in- is a good pot." I would be interested in Dear Editor: stance, and in the sincere opinion of every seeing what other potters think of this potter I know, they only confuse it, al- type of rating scale and what other points Both Sills' and Bali's letters [Dec., Jan.] lowing personal prejudices and opinions to should be included. were thought-nrovoking and gratifying to overwhelm quality and standards. It con- J. DAVID BROUDO see. As a potter relatively, new to the ex- fuses the student and the professional and Massachusetts Assn. of Handicraft Groups hibition world, I have gaven thought to makes the teaching of the craft all the Beverly, Mass. the system of jurying and the types of more difficult. How can one explain to pieces which seem regularly to win awards his class why the 52-inch basically un- and be selected for exhibition. Dear Editor : My most intense work has been at necessary creation was awarded the top I have followed your Letters to the prize in Florida? Students expect more stoneware temperatures and I am there- Editor fracas about Peter Voulkos as fore partial to it. This year however my than "politics" or "it is different" as a avidly as everyone else. Having received a reason. students and I are firing at earthenware great deal of friendly inspiration and guid- temperatures and I feel that the results To criticize is meaningless without some ance from him, I am inclined to disagree have been equally good in most respects. constructive thoughts, and I offer some with many of the weird opinions, and If Mr. Bali's quote of Peter Voulkos is hoping other potters also will contribute remember a statement attributed to Gau- true, I find it somewhat disturbing. With ideas; and out of the confusion a more guin--"Artists can be only one of two all due respect to Mr. Voulkos whom I organized pattern of thought can be ar- kinds, either anarchists or plagerists." feel is one of the country's outstanding rived at. Plainly, we are dividing camp as the potters, I do feel that when it comes to First, I would eliminate all craftsmen profession develops traditions. jurying a show, an artist must attempt from having the final voice in jurying Lois CULVER as much as humanly possible to put aside their own craft. They are too opinionated American Art Clay Co. personal feelings. He must employ all the in regard to their own techniques. I would Indianapolis, Ind. (Please turn to page 30) For School Projects in Ceramics

Has prepared 2 school groups of selected, ready-to-use colors that are intermixable! 8 underglazes-from which 40 different shades can be obtained.I 9 glazes-intermixed will give 52 beautiful color tones! Please note that Instructive literature will be sent to teachers requesting same on School Letterhead. Ceramichrome's prepared colors eliminate common losses Manufacturers of: 3 TYPES OF UNDERGLAZES--Tranz, De- due to trial and error as they are prepared by competen~ tails and Regular Underglazes • SEMI-TRANSPARENT ceramic technicians who engineer these fine products to per- GLAZES • SEMI-MATT • BEAUTY-FLO • OPAQUE • MATT • ART • SPILLS • PATTERN BASE • RED ART • form under all conditions. CERAMI-BLOBB GLAZES • KLEERMATT • KLEER KRACKLE Ceramichrome colors are the solution to promoting a more • BLU-WHITE CHINA MATT • SATIN MATT CLEAR and 001 BRUSHING CLEAR GLAZES • MEDIA • MENDER • balanced and successful ceramic school program! Let us TRANZMASK • MENDSWARE • GLAZE THICKENER assist you in setting up your ceramic class program. • PALLADIUM AH-S Complete Ceramic Supplies for SCHOOLS~HOBBYISTS~TUDIOS and POTTERS

CERAMICHROME ,. boratori e s S choo, Dept. CM Phone Axminster 2-0781 211 ! W. Slauson Ave. Los Angeles 47, Calif. CERAMICHROME--MEANS CERAMIC COLORS

4- CERAMICS MONTHLY UL APPROVED FOR YUUK I"KUII:~IIUP¢ Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not!

TOP LOADERS 20 quality built, feature packed models from which , to choose. DYNAKILNS feature the patented DYNAo ~L~ GLOW porcelain element holders . . . 4-way switches ... 2 peep holes.., pilot lights.., and they are designed with your safety in mind. MODEL UI511t~- -"~-~/

ENAMELING KILNS Price includes Pyrometer, TEMPERATURE HOLDING Input Control Switch, Gravity Door, ENAMELING KILN Pilot Light, and Patented Dyna-Glow Can Also Do Ceramics? Porcelain Element Holders. Attractive . . . Plugs in anywherer s 7 &s 0 ,,...0o c,.,,o.:~,.,..: MODEL E49 ~-lr Chamber size: 4' x 812 x 8Y2"

WRITE FOR LITERATURE CO..A. CHESTER 11, PENNA. DEALER INQUIRIES INVITED AUGUST ]95 ~ ! TEACHERS~STUDIO OPERATORS-- 30 nfiles of Manchester for three months DEALERS--DISTRIBUTORS-- of the year. Ceramics included in media. MANUFACTURERS Fee: $3. Jury. Deadline for entries and work: August 20. For details write Director, Southern Vermont Art Center. Manchester. Send show announcements early--WHERE ~¢VASHINGTON, SEATTLI'; JOIN TO SHOW: three months ahead of entry September 6-8 date; WHERE TO GO: at least six weeks First Annual Ceramic and Hobby Show before opening. sponsored by the Washington State Ceramic Association. Competitive contest the WHERE TO SHOW open to amateur ceramists and hobbyists. ~rnational competition Ribbons and merchandise awards. For details write Mrs. Alice Miller, exhibit KANSAS, LAWRENCE chairman. 10752 Myers Way, Seattle. N. C. A. October 27-November 17 Kansas Designer Craftsman Show in the WHERE TO GO Union Building, University of Kansas. (;ALIFORNIA, SAN FRANCISCO The Only National Open to those who have lived in Kan- through September 15 sas or Kansas City, Mo. for at least one year. Jurled show includes ceramics, "American Jewelry and Related Ob- Ceramic Organization sculpture, enameling. Fee: $3, five pieces jects," circulated by the Smithsonian accepted. $800 in prizes. Write Marjorie Traveling Exhibition Service. at the San Whitney, Chairman Department of De- Francisco Museum of Art. ARE YOU A TALKER OR A sign, University of Kansas for entry MINNESOTA, MINNEAPOLIS DOER? At the Asbury Park blanks. through September and Chicago Shows, over 160 LOUISIANA, NEW ORLEANS The 19th Ceramic National, "The Syra- studios and teachers decided September 29-October 20 cuse Show." at the University of Minne- to do something about getting Art Association of New Orleans 33rd sota. Circulated by the Syracuse Mu- a national organization start- seum. Includes prize-winning pieces and Annual Autumn Regional Exhibit. Open a large selection of other work from the ed for our industry. Member- to members of the association residing in recent biennial. ship dues were set at the Louisiana, Arkansas, Texas, Alabama, Georgia, and Florida. Non-members may NEW MEXICO, SANTA FE practical figure of $5 per year. enter upon payment of $5 annual dues. Instead of talking, they did Work in all media accepted. More than through September 2 something about it. Each con- $700 in prizes. Deadline: September 21. Annual sales exhibit, Craftsmen of New Mexico, at the Museum of International tributed $5 towards a year's For details write: Exhibition. Isaac Delgado Museum of Art. City Park, New Folk Art. membership. You can become Orleans, La. a charter member by sending NEW MEXICO, SANTA FE in $5 immediately. If a mem- MAINE, FIVE ISLANDS August 18-September 30 bership of 1,000 is not attain- August 24-28 The 44th Open Door Exhibit at the Museum of New Mexico Art Gallery. ed, your monev will be re- ~'Annual Art Show and Exhibition of the Five Islands Community Club. Ceramics Includes work of artists of New Mexico turned. and sculpture included in media. Open in all media. to amateurs and professionals. Fee: $1. Entries must be received by August 10. NEW YORK, COOPERSTO\VX INVEST IN YOUR FUTURE! ! ! For details write Dr. Nathaniel J. Hasen- through August 22 fus, director, Five Islands, Maine. Twenty-second Annual Exhibit of the ~uallficafions: You must earn Cooperstown Art Association Galleries. a living from ceramics, either NEW JERSEY, MONTCLAIR Sculpture and crafts included. as a teacher, studio, dealer, November 3-December 8 The 26th Annual New Jersey State NEW YORK, ITHACA distributor or manufacturer Exhibition at the Montclair Art Museum. August 22-24 engaged directly in ceramics. Media includes ceramic sculpture. Artists Fourth Annual York State Craft Fair, living in New Jersey, or who were born sponsored by the York State Craftsmen. there, are eligible. Jury, cash prizes. En- at Ithaca College. This is What You Will Get: tries must be received by September 25. OHIO, COLUMBUS Listing in the Official Pro- Contact Mrs. Jean R. Lange at the Museum for more information and entry August 23-30 fessional Directory of the Cer- cards. Ohio State Fair at the Fairgrounds. amic Hobby Field. Free copy Ceramics, sculpture, and enameling in- of this Directory listing deal- NEW YORK, NEW YORK cluded in media. ers, distributors, studios, teach- August 30-September 30 OREGON, PORTLAND ers and manufacturers. ~Washington Square Outdoor Art Ex- hibit, an international show open to all through August artists, any medium. Fee: $3. Jury of An exhibition of regional craft work at approval. Prizes and scholarships. For the Oregon Ceramic Studio. details, telephone WAtkins 9-4302. VERMONT, SHELBURNE • Become a charter member so • OHIO, PORT CLINTON • our hobby can fake its proper • August 13-16 August 17-18 Vermont Craft Market, sponsored by the place in this growing industry. Fifth Annual Clothesline Show at Port • DO YOUR PART. Send your • Society of Vermont Craftsmen and the Clinton Waterworks Park. Open to art- State Arts and Crafts Service. • $5 NOW, to: Bill Martin, • ists living within 30 miles and also mem- Temporary Treasurer, 4115 W. • Lawrence, Ch;cago 30, IlL • bers of Port Clinton Artists Club and WASHINGTON, D.C. Cleveland United Artists Guild. Crafts August 27-September 27 Note: Funds collected will be included. Fee: $2. Entry blanks due Sixth Biennial Exhibition of Ceramic Art • held in a Trust Bank Ac-• Aug. 10. Write Marion J. Cleary, 639 sponsored by the Kiln Club of Washing- • count. State whether you • Monroe St., for details. ton, D.C. Under the auspices of the are a "~eacher, studio, deal- VERMONT, National Collection of Fine Arts at the • er, distributor or manufac- • MANCHESTER Smithsonian Institution. Work of foreign • turer. • August 24-September 2 artists, invited American artists, and ar- Southern Vermont Artists 28th Annual • • • • • • • • • • • tists of Maryland, Virginia and the Dis- Exhibit. Open to artists residing within trict of Columbia included. CERAMICS MONTHLY Better Ceramics NO W I, with MAYCO'S "homogenized" GLAZES

trouble-free firing on greenwore. ~r homogenized for the smoothest brushing you have ever ex- perienced. t~ Glossy . . Matt . . Art . . Speckled . . Foam . . for your widest selection. ~k create attractive, intriguing combinations as MAYCO glazes fire together beautifully. tasteful, harmonious colors for beautiful ceramics. tt safe to use. Recommended for hobbyists, schools, and hospitals.

Ask your nearest dealer for free literature on MAYCO glazes or write us. A postcard will do.

'RE GROWING--- Pby LEAPS and BOUNDS! There's not only A reason, There are Many reasons. Here are just a few: Reliability Courteous Dealings Prompt Shipments Complete Stocks And "Name Brand" Merchandise Sold At Nationally Advertised Prices 5 CAN ANYONE OFFER YOU MORE? • Portable ceramic spray booth has electric fan to draw spray dust into replaceable filter so dust cannot spread through house . . . no vent needed . . . weight only 20 Ibs. folds for easy storage . . . opens to 20" x 20" x 23". Green, baked enamel finish on welded back assures beauty and long service. 10 day money back HOUSE of CERAMICS guarantee. Only $34.95 F.O.B. Detroit. 3293- 3295 Jackson Ave. See your dealer or send check or money order to . . . DETROIT FABRICATING CORP. MEMPHIS 12, TENN. 7523 St. Aubin • Detroit 11, Mich.

7 AuGuST 1957 " from our readers

FOR FLAT RASES Continue application ol' Here is a quick and sure vinegar until the area way to take the "rock and around the crack becomes roll" out of a handcrafted pot. soft. Then work the solid Place carbon paper on a clay into the crack area table, carbon side up. Hold with a modeling tool from the piece of pottery in a per- either side, making sure fectly level position and lower that the vinegar-clay is it until it touches the carbon. soft enough to force out Rub lightly. This will darken any possible air bubbles. the high spots on the pot. As the vinegar evapor- Now grind or scrape off the ates, keep working with dark spots. the modeling tool until the By repeating this procedure clay becomes firm again as many times as necessary, and the crack has disap- you will eliminate all of the peared. The area can be rough areas on the bottom of smoothed with fine sand- the pottery giving a flat base paper, scraped or polished, quickly and easily and with- to match the original finish. out guesswork. Dress Up, Pep Up, Jewel Up Your Ceramics! Allow a suitable drying --Florence DeVote BERGEN Has ALL the Decorating Supplies You Need! period before firing. Re- FOR YOUR CERAMIC TREE: Chicago, Ill. The finest Christmas lights made.., our famous solid sult: Perfect Piece. color lucite (they light up just like real lights when I prefer the vinegar FINGERS FOR GOLD •';mall bulb is used in the base). treatment to most commer- NEW LOW PRICES! NEW EXCITING COLORS! The easiest way to apply cial preparations since it Order in bulk or in sets. Red, Green, Yellow, Blue, Crystal, Amethyst, Rose gold to rims of t)lates, tumb- does not leave a separation lers. and other containers is mark if properly done. A~ Each light ...... 10c Per set of 15 (asstd.) pkg'd in plastic bag $1.50 with the tip of your finger. --Allan Eastman Per set of 18 (asstd.) pkg'd in plastic bag 1.80 Cover the vlal of gold with Richmond, Va. SPECIAL! Phosphorescent light that glows after the index finger and tip it up. base light is out . . . 2~_~. -~ (Not included in sets) ...... each 15c Then run the finger slowly ~!~'~'.~ ~"_t "D""'~ Small star for top of tree ...... each 15< around the rim of the object, BRUSH SAVER .~-~j'~:',~;~Miniature Christmas Tree balls (approx. Ill" once or twice, until the gold For carrying pointed brushes ~. ~J~'..~.~ :~-~rdiam.) of imported glass.., perfect duphcates has been evenly applied. This ~~ of the regular-size ornaments. Hang them on with you, or to keep theni rsll~ your tree as a gay touch or convert them into gives a clean, even gold edge in good shape at home or in J~j~ ultra-smart drop earrings simply by attaching to --better than you can do with your studio, I find the follow- ~drop ear wire. a brush. ing procedure very practical. I/2" Christmas Balls, box of 24 assorted ...... per box 40c --Mrs. A. ]. Birchall, ]r. Drop ear wires ...... doz. pcs. 25c Cut a piece of corrugated Flat back Moonstones that will also light up 3/8"...... doz. 4Oc Personalized Ceramic Studio board which has end holes %"...... doz. gOc Atlantic Beach. Fla. large enough to accommodate Round Moonstones, most popular size #6 ...... doz. 25c GLITTER--available in all colors ...... jar 30c GLITTER ADHESIVE ...... jar 2Sc CRACK REPAIRER LUSTRE BEADS (Bafentine) in Gold, Silver, White ...... vial 30c There probably isn't a (Use Glitter Adhesive) potter in existence who has RHINESTONES -- flat back for easy Cementing. Most popular size {~18) in Green, Red, Crystal, Blue, Topaz, not, at some time or other, Aqua, Emerald ...... per doz. 15c had the misfortune to have SEE CATALOG FOR COMPLETE SELECTION OF RHINESTONES& JEWELS cracks appear in a bone- dry piece. Your troubles the handle of the brush. Pull Get Started Early--NOW IS THE TIME TO ORDER! are over if you follow this the brush through handle first FULL Studio and Distributor discounts on oil items. Write on method. so that the bristles remain in letterhead for quantity price list. Fill a water-color brush the cardboard and are com- with ordinary table vinegar pletely covered. This will offer and flow the vinegar into excellent protection for the the crack in the bone-dry bristles. BERGtH ARTS piece, making sure the --Marian Holden crack is completely filled. Van Nuys, Calif.

Dollars tar your though,}s & CRAFTS CM pays $1 to $S tor each item used in this column. Send your 300 S.W. 17th AVE. MIAMI, FLORIDA (DEPT.CM-8) bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio. Sorry, but we can't acknowledge or return unused items. • See ovr ad describln 9 new Catalog on pg. ]l 8 CERAMICS MONTHLY -- ~ow--..:~]~ ~ou;"o; ------I O. HOMMEL I the world's II----. MOSAICTILE TABLIS ond MURALS I most complete I Ceramic Supplier

I t I Sheets ~NDER~ZE CO LOR&~ ~:°~=~ • We carry everything for mosaic work. Imported Italian and I I French mosaic tiles and tessarrae, brass and wrought iron I iGLAZE STAINS ~iii!!~ table frames, legs, mastics, tools and grout. Wood Legs II IPREPARED GLAZES "!i~'~:~ | Wrought Iron Table Frames Brass Finish (Brass Tipped) | Legs--set of 4 set of 4 ENGOBE STAINS ,. I J Rectangular l Circular l 6"---- 6.95 6"---- 3.95 I J12½x121/~ [ 5.50 I i8" dia J 7.50l II" .... 8.95 12" .... 4.50 PREPARED CLAY BODIES J181,/2x181/~ I 8.5b J 24,, dia. I 9.501 it" .... 9.95 16"____ 5.50 1 I ]181/~x48]/2 J 19.95 I 30" dia. J 12.501 16 v .... 11.95 22" .... 6.50 OVERGLAZE COLORS J J 36" dia I 13.50J 22" ___12.95 28" .... 7.50 • I TILES ...... -__$~.45~per sheet and up (approx. l sq. ft.) II GLASS COLORb SOLID BRASS 1 rp STRIP 70e ft. drilled w/screw- SPECIAL CUTTERS ...... $1.59-$2.45 each J MOSAIC MASTIC ...... 95e tube, $1.35 pint, $2.25 quart I GOLD-PLATINUM- MOSAIC TILE GROUT ...... 40© lb. LUSTRES I for glass and china I illini B m ffl m B service, CHEMICALS1 FRITS I "'~..UALITT CERAMIC SUPPLIES" I m439 N.iWells,m Chicagojm lO,mlll, m m m mPhoneiMli2"3367Imr KILNS--all types WOOD MODELING TOOLS TU RN ING TOOLS BRUSHES--for decorating DECORATING WHEELS BRASS WIRE SIEVES ASBESTOS GLOVES and MITTENS .~ ~. UNDERGLAZE PENCIL!~~ and CRAYONS )dR BRUSHES

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AUGUST, 1957 ~i~f~RAFTSMEN TODAY" was the theme of this country's first nation- wide conference of craftsmen, held under the auspices of the American Craftsmen's Council. Five hundred craftsmen from 32 states, Canada, Japan, England and Denmark attended the three-day meeting which was held at Asilomar on California's Monterey Peninsula. Within 200 yards of the Pacific, in a setting of twisted cyprus and gnarled wind-swept pine, craftsmen explored their place in an increasingly in- dustrialized society and discussed thei~ practic,d and aesthetic problems. Each day of the conference a different aspect of the main theme was discussed. A aenerM meeting was followed by a panel discussion on the theme of the day. In the afternoon, media groups further developed the same theme through demonstration and further discussion. The groups were composed of craftsmen in the fields of ceramics, enamels, glass, metals, textiles. and wood. The ceramics group of 250 craftsmen, was the largest. I. THE $OClO-ECONOMIC OUTLOOK MRS. VANDERBILT ~TEBB, president of CRAFTSMEN the board of trustees of the American Craftsmen's Council, officially opened the conference on June 12. In her remarks, she stated that one of the most important results of the meetings would be that Talk it Over craftsmen could learn to communicate with each other, could learn to express their individual opinions, and learn to Five hundred craftsmen met at Asilomar understand and adjust to craftsmen with differences of opinion. Mrs. Webb hoped on the picturesque California Coast that an analysis could be made of the needs of the American craftsmen--in- to discuss their practical and aesthetic dividually, in regional areas, and on a national scale--and that both theoretical problems in their first natlon-wlde meeting and practical aims could be developed. DR. KARL WITH, professor o/ art, University of California at Los Angeles, in his keynote address stated: an exclusive CM report One o/ the nzost significant craft events "We are too used to accepting Victorian in this century took place June 12-14, ideas instead of catching up to our times by F. CARLTON BALL at Asilomar, on California's Monterey with our thinking. The Victorian idea of Peninsula. The significance of the first an- dividing the arts into categorles--such as nual nzeeting o/ the American Craftsmen's fine arts, minor arts, and decorative arts Council will be felt and understood when --was quite impractical and false. To seen through the perspective o/ time. separate art from daily living, as in the As a craftsman and a potter, I attended Victorian era, is confusing. only the ceramic sections of the confer- "The realm of art is identical with the ence, so this report is limited. Ideas flew man-made world. Art is made by man so fast that only some could be put down; and for men and there is no separation and many ideas are interpretations and as there was in the past. All art is utili- summaries of the comments of many out- tarian. If art does not have a function, standing craftsmen. I strived [or accuracy it isn't art. There is a great need for in presenting the ideas of the various par- art values in the mass-produced item. ticipants. However, because of the rapid This is one place where the craftsman pace of the meetings, there may be un- can fit into society, for only a craftsman intentional errors in instances where par- will make a really good industrial designer. ticipants are quoted. The machine can't produce the human This conference was planned as a con- element in objects in the way a craftsman vention of craftsmen. But it was more than can. that. Its effects will be felt by craftsmen "There is a great need for art education, [or many generations. I hope the follow- especially in the crafts. The need is to ing impressions will convey some of its train people to create in the craft mediums signi[icance.--F. CARLTON" BALL. and do it well. People must be trained !0 CERAMICS MONTHLY to see and feel a sense for quality in craft respective communities. These are the Through science, the impact of mass pro- products. But, most important of all, the things that can lead on to a new golden duction is profound. Craft's greatest emphasis should be ou the doing and not age of craft activity--one with a new strength is its individualism, for it's not on the finished object." outlook, new aims, where the soul of each packaged as industrial items are. But be- hind any good industrial design is the PANEL DISCUSSION Alan is the important product and the personal conviction and expression of a DAX:r,L RHODES Of Alfred (N.Y.) Uni- craft work only the reflection of the craftsman. Craftsmen are the leaders of cersity, setting the stage for the panel craftsman's soul." the professional and public taste. discussion on the socio-economic outlook MARGUERITE WILDENHAIN then follow- a~ related to ceramics, remarked that we ed with her ideas. "I do not accept the "Craftsmen must replace the souvenir are in the midst of a revival of interest general postulation that a technological industry in America. Craftsmen must work in crafts. age is in itself a danger to the craftsman. in the modern form and stop relying on influences from Europe. Use of new ma- "Evidence of this is on every hand . . . On the contrary, it really makes him free terials must be explored. New functions No one knows what this renewed interest to be quite personal in his own work. for the crafts must be found. Craftsmen signifies," he said. "Does it express a need It is assumed that a craftsman today can- design things for exhibitions to a great for self-expression? Is it a search for more not make a living at his work. We should extent, and far too much. Playing for the meaningful use of leisure tbnc? Or does try to find out why and not blaine mass gallery is not good. it reflect a dissatisfaction with mass pro- production. The reasons why a craftsman duction? What steps should be taken to may not be able to earn a living are: "Craftsmen should produce in a suffici- turn this interest in crafts to the best 1) A lack of direct contact between con- ent quantity and price their work in a possible human account?" he asked. sumer and producers in crafts. 2) The way that there is a ready sale for their sale of work at bargain prices by students work. There is a field that is wide open "It would seem that the field of the in cases where the schools supply equip- to the craftsmen and he can make a crafts needs the leadership of those crafts- ment and materials. This might be called tremendous contribution to American men who have arrived at positions of an unfair practice. culture." artistic maturity and philosophical conviction," he continued. "The potter must "Craftsmen should be represented by PANEL DISCUSSION continue his great tradition, but it must men of their own profession. Students, The discussion group on the "Design" release him for accomplishment in terms even with master's degrees, are not equip- topic was composed of Daniel Defen- of modern realities. Along with the de- ped to start earning their living doing bacher, moderator, president of California fining of the role of the craftsman in craft work. There should be something College of Arts and Crafts in Oakland; society, the conference should also, per- in the nature of the apprentice system Charles Eames, industrial designer from haps, consider the education of the crafts- set up so young people could learn their Los Angeles, Calif.; Anni Albers, weaver, man in terms of preparing him for the craft in a more thorough way." Yale University, New Haven, Conn.; and realities of his position." TosItiKO TAKAEZU expressed a very sen- Stanislawa Nowicki, architect and pro- Panel members who participated in this sitive attitude toward her work and her fessor of design, University of Pennsyl- discussion were F. Carlton Ball, professor relationship as a teacher to her students. vania, Philadelphia; Millard Sheets, chair- of fine arts, University o/ Southern Cali- She said that since the panel consisted man of both the Los Angeles County Art fornia; Marguerite Wildenhain, Ponds entirely of pottery teachers, all should dis- Institute and the Art Department of Farm Workshop, GuernevilIe, Calif.; and cuss their ideas of Toshiko Takaezu, Cleveland Institute of responsibility as lead- Art. Briefly, here are their viewpoints: ers and each individual approach to F. CARLTON BALL said, "I believe that craft wc,rk in r,.l,,- the more potters there are who are inter- tion to i,dividual~ ested in pottery, the better it will be for and society. "In a each potter. With potters competing, there mechanized age will be higher standards, better work, where basic warmth better equipment, tools and materials. and the human ele- There should be bigger exhibitions with more people included in the exhibitions. lllent iS non-exlst:/nt, I abhor the idea of limiting exhibitions there is a vital need of pottery to the talented few, keeping for the hand-crafted secret formulas, and currying political object. Craft work is favor to gain acclaim rather than to work a necessity for it is hard and earn it. a means by which men can search for an Scripps College, CIaremont, Cali[. "I believe that potters are working expression of individual ideas. Craftsmen DANIEL DEFENBACItER listed three dis- toward a more decorative idea of function. are in a position to create and experiment tinct groups whose work must be a union Potters need not compete with industry and not feel bound by mass production." of design and crafts: The creator of in- for there is a demand for the unique item dividualistic objects, the maker of objects and the personal expression of artists. The 2. DESIGN: Its importance and its rela- in limited machine and/or hand pro- potter is free to express himself in any 4"ion fo techniques duction, and the designer for mass pro- way he chooses, and the public will buy Discussion the second day of the con- duction. his work at a good price. ference was geared to highlight the new "It is always disappointing to see how "The shorter working week brings about avenues of approach and experimentation insular these three groups in America are more leisure time which should be direct- and consider the relationship of design in or, what is more important, how little ed, and leading craftsmen should train view of technological advances. conscious interchange of attitudes and teachers and educate people to use their JAY DOBLIN of the Institute of Design, ideas takes place between them. Though leisure time to advantage. Illinois Institute of Technology, Chicago, they differ in their motivations, they have "Craftsmen should work together. To- gave the keynote address. much to give each other. gether they can afford expensive equip- "Crafts are and should be more of a "We must remember that until the 18th ment and space for a studio. Craft Guilds vital force in America. Man is both a Century there was, in general, no separ- where people work together, do great practical and an emotional animal. There- ation between the designer- craftsman - things to raise the cultural level of their fore, he needs both science and art. (Please turn the page)

AUGUST, T957 II nically, but in design it quite often fails PETER VOULKOS: "When people talk for there is very litde originality. Charles about a set of values or a list of principles Eames did not agree. He said that crafts to govern design in pottery, I feel like suffered from too much originality, espe- perhaps I need to apply for a license cially too much in one object, and a type before I can make any pottery. I don't Craftsmen of originality that is far too self-conscious. like to stick to rules for working. How Craft work appears as if people didn't can I say what I am trying to do? Is it know what they were doing. necessary to know all the answers before Talk it Over Real design starts with the object and one starts making a pot? I think not! the material; it can't be superimposed. We just make what we like. It's part For a lasting quality in craft work, a of our lives. Our work, our ideas about craftsman should work for unanimity. design and why we do this and that are A n understatement constantly changing. We need no reasons makes for timeless- for creating pottery. We just want to be ness. Those people left alone to work. Function? What does who work selfishly it mean? It depends entirely upon who for an overpowering is looking at a pot to decide the function or demanding type of a pot." of results will be SCHEIER: "I think Pete's pots would hold people who are un- water, if you used some heavy grease in happy and miserable. them." In the afternoon PRIETO: "A craftsman shouldn't bother to session, t h e panel think of what people will use his pot for." on practical appli- DANIEL RHODES: "Pottery, being an old cation of design art form, has acquired a sense of meaning theories to pottery that we all draw from . . . We are wedded consisted of Peter to a wheel. Not too long ago it was our Voulkas of the Los oldest industrial tool. A potter then was Angeles County Art a workman, not an artist. An artist Panel group composed of Toshlka Takaezu, F. Carlton Ball. Margue- Institute; Antonio wouldn't dream of kicking a wheel." Prieto of Mills Col- rite Wildenhain, and Daniel Rhodes. SCHEIER: "I don't care about a jigger lege, California; Ed- wheel for it's just a tool to reproduce the maker. The 19th Century developed the win Scheier, University of New Hampshire, same form over and over. But I think of separation and this century adopted it as Durham, N.H.; Betty W. Feves, PeDdle- a potter's wheel as really an extension a tradition. I, for one, feel strongly that ton, Ore.; and Daniel Rhodes, chairman. of the artist's hand." the development of a rich product culture RHODES: "Can you tell me why you are in this country will only come when this The panel discussion was quite looking for new ways to make pottery, separation is ended. Of course, we can [ascinating but extremely vague-- Mr. Voulkos? You used to be a tremend- never go back to the one man creator- so vague that it was difficult to ous thrower." maker state to any appreciable degree. record anything definite. It is neces- But we can achieve a similar result by sary that the reader put these scat- VOULKOS: "I still use a wheel almost reunion on a spiritual, conceptual and tered ideas in place and make his exclusively. I'll stop potting probably, if intellectual plane." own interpretation. I stop throwing. I feel a wheel can be used more than it has been used. When EDWIN SGHEIER: "One makes a pot to say someone asks me what I am doing, I Each panel member had many something and it must be said in the can't answer 'til next week when the pot excellent things to say, but they |anguage of the pot. The pot should stir has finished going through the various were so rapid in responding that something deep within you. A pot should stages it must go through. Then, when it few ideas could be recorded -- be something more than decorative art, is finished, there is no use answering the especially in their entirety. But here something with deeper meaning, some- question, for the pot speaks for itself." are some o[ the ideas which were thing to stimulate more than the sense introduced. MARGUERITE WILDENHAIN" "Mr. Prieto, of sight and touch." why do you say you will only make one ANTONIO PRIETO: "Too much is being of a kind? I think a potter is only free Design is not a thing in itself, for de- said about industrial design. I like the to work as he pleases if he can make sign and techniques should be unified. individually designed object. I never want more than one of a kind. To make a Craftsmen can pioneer in unifying mass to make even two pots Mike. As far as dozen tea cups, to me, is like riding a production and the spirit that is found design goes, you start with the material bicycle or roller skating. You must make in hand work to produce better products and you may find the answer to design." thousands of things alike, then it is second with better designs. If we (craftsmela) nature to you." are to survive, we must become a nation BETTY FEVES: "I feel that traditions and PRIETO: "1 learned to make more than of people more interested in doing craft principles of art are guide-posts to good one of a kind too, Marguerite. But I re- work than we are at present. design, but one cannot follow a set of rules and come out with a good design. fuse to make two alike now. With my The thing that constitutes a good de- There are no timeless values. We are al- experience in teaching young women, I signer is a "whole person"---one that must ways in a period of change and flux. The find women enjoy making sets of dishes. have technical skill, an aesthetic philoso- context, the meaning, and expression Men don't like to make sets. I don't phy or aesthetic judgment, one that works choose to make sets." found in art pottery changes with our for himself and not the gallery. A good times. I like to see in craft work, the WILDENHAIN: "I do not agree that there designer and a good craftsman must have personal seeking of values. Craftsmen is any difference between men and women humility and assurance. Can we live up should always be looking for new values potters in that they choose to throw differ- to the challenge of our times? and new meanings to life. Each object ent forms because of their sex." American craft work is very good tech- created should be a personal expression." RHODES: "This can be a confusing state-

12 CERAMICS MONTHLY ment. Must there be a great difference two important points that were contro- between one pot and the next one? Why versial: One was 'should there be entry stress individuality to this extent?" fees for craft shows,' and the other was SCHEIER: "I feel a potter must repeat to 'only competent craftsmen should jury get to the point where he wishes to be." craft exhibitions'." EXHIBITIONS AND JURYING COMMENTS BY CONFEREES: "I believe that This special panel on exhibitions and the jury and prize systems over emphasize the jurying of exhibitions was composed the work as a work of art. If a craftsman of two craftsmen from each medium. can't be a great individualist, he doesn't Daniel De[enbacher was chairman o[ the stand a chance, and I feel this is bad. panel consisting o[ Jack Larson, Lee There should be recognition for good, Miller, Margaret DePatta, John Prip, average craft work. Why should a person Mike Cravitzki, Virgil Cantini, Maurice have to be a recognized craftsman to ex- Heaton, Peter Voulkos, F. Carlton Ball. hibit or jury a craft show. We should look for a wider representation." DANIEL DEFENBACHER: "There is more to consider here than the personal feelings Many craftsmen felt that it was of craftsmen. There must be organizations important to eliminate entry fees to put on exhibitions, and there are many from exhibitions. The majority of things to plan for. Exhibitions educate the craftsmen, especially all those who public fundamentally. It is the purpose of have been involved with putting on all exhibitions to get the public to accept their own exhibitions, stated that it fine craft work." was necessary to pay an entry fee. F. CARLTON BALL: "The things I don't "An exhibition is a craftsman's means of like about exhibitions and jurying are advertising. The exhibition, the catalog, these: 1 ) Some galleries do not announce the publicity all serve the craftsmen. And their juries before an exhibition. I think Author Ball and Mrs. Vanderbilt Webb he should help pay for his own advertising." this is poor policy. 2) In invitational engage in informal discussion. shows, some galleries invite craftsmen to send six pieces to a show. Then, in the Conferees who were connected exhibition, one or two pieces only are with art galleries stated that more displayed. These few pots serve as a than half the exhibitions would be background for one or two potters who discontinued if entry fees were dis- have 35 or 50 pots in the show. I approve continued. of a gallery featuring one artist, but I "Craftsmen who don't like entry fees believe that this should be announced on need not pay them, and need not exhibit. the invitation. The number of the pieces It's a free choice to all craftsmen" should also be listed in the catalog. I don't One excellent suggestion was for a list like the feeling that a gallery is trying of proposed jurors names to be placed on to slip something over on me. 3) I believe the entry blank of a craft exhibition. an alternate juror should be on all juries. Each person submitting work would vote When jurors are confronted with the work for his choice of the proposed jurors. An- of friends, relatives or students, they other suggestion that received much ap- should disqualify themselves and step out proval was the proposal that a good code temporarily. Then the alternate juror can of ethics be drawn up by a committee of take over and select work or award prizes. craftsmen and then be approved by all These things are damaging to the re- lationships between craftsmen and galler- craftsmen, prospective jurors and art gal- ies. They are also damaging to the crafts- leries. men and misleading to the public." "There is, at present, far too much vari- ance in jurying of shows, student work of JACK LARSON : "I wonder if weavers should jurors, work of friends of jurors, and even judge weaving and potters pottery. When work of craftsmen who share a studio with prizes are selected by a jury, I feel each a juror. This is unethical!" juror should sign his name after the piece that is chosen. I feel that craftsmen exhibit- There were comments upon the ing for the first few times should get notes relationship between the craftsmen of explanation when their work is rejected. and the galleries with reference to When donors of prizes are nearby during exhibitions. Among them were the judging of a show, there should be no these: comments or hinting made by the donors. I believe that in an exhibition of one craft, "For a long time art galleries and mu- for example a pottery exhibition, a one- seum directors have stayed by themselves man jury would be best." and continually told craftsmen what they could do, and what the gallery would do MARGARET DE PATTA: "The Designer- for the craftsmen. Since all contemporary Craftsmen of California have made a pro- exhibitions depend upon the work of the posal for exhibition practices. Craftsmen artist, why can't the artist have a voice have worked on it for several months. in exhibition policy? And why can't the (Copies may be obtained from Designer- artist tell the galleries what they want Craftsmen of California, 82 Fifth Ave., San done in an exhibition? In modem times Francisco 18, Calif.) There were at least (Please turn the page)

AUGUST, 19S7 ]3 the artists are as intelligent, as well-edu- It was the concensus of the panel that cated as the directors of museums, and are the "slave labor" of the wife or husband well-qualified to at least confer on exhi- made the craft business possible. The panel bition policy." made the following points: You must earn Craftsmen The meeting on jurying and ex- money, so find out if what you want to hibitions was brought to a climax make is saleable. If your work doesn't sell, by the very apt statements of Dr. try something else--perhaps a new design. Talk it Over Karl With, with which many Profit is based on production. Decide on agreed. what mechanization you need to produce DR. KARL WITH : "It is very difficult to be your work. Don't try to compete with a juror. It is a thankless job. Only a small mass production. expense account is Understand timing for selling your work. paid to jurors, and The more successful you are in selling your much time is used work. the more difficulty you will have in up in jurying. It creating new things. seems that many of PANEL ON MARKETING y o u conferees are Harold F. Sitterle of New York, Harvey feeling generous Littleton of Wisconsin, and Vivika Heino when you only insist of California, made up the group which on one craftsman on discussed marketing. Daniel Rhodes was the a jury. Why do you chairman. have to have crafts- Harvey Littleton presented the code of men on a jury? Gal- ethics and business practices drawn up by lery personnel a r e the Mid-West Designer-Craftsmen. In- highly trained f o r tegrity (design protection), acknowledg- their jobs, they don't ment of techniques, exchange of inform- need a code of ethics, ation, good name consignment, basis of they are also human pricing, and direct retailing were included beings with good sense. The judging of an in the code of ethics. exhibition should be primarily for the public, and with the public in mind. It's pecu- The discussion brought out these liar that so many of you craftsmen feel that ideas concerning the problems a only a weaver can judge weaving, and only craftsman [aces in marketing his a potter can judge pottery. This is an work. infectious process. Do potters only make "The pricing of pottery is a problem, for pots for potters, and sell pots only to pot- hand-made work is not cheap. It is too ters? Is it true that only a painter can expensive; it is not an everyday art ob- understand a painting? Is it true that ject. The mark-up on wares rewards the only a hen can enjoy the egg it lays?" salesman equally with the producer, and this isn't good. There should be ways for 3. PROFESSIONAL PRACTICES a craftsman to circumvent the excessive The keynote speaker for the last day of cost of selling craft work." the conference was Asger Fischer, director, "The craftsman must exhibit his work Den Permanente of Denmark. He spoke a- if he is to establish and maintain a repu- bout the two arts and crafts organizations tation. But the cost of exhibiting is a real in Denmark--The Danish Society of Arts problem. Should this cost be passed on to and Crafts and Industrial Design, and The the consumer?" Permanent Exhibition of Danish Arts and Crafts. Craft leagues and street fairs were mentioned as possible outlets THE SMALL BUSINESS MAN for the craftsman's production. Moderated by Henry Kluck, a textile printer from Illinois, this panel was com- "The New Hampshire League of Crafts- posed of Michael Higgins of Illinois, a men sells a good standard of craft work craftsman in glass; Edith Heath, a Cali- and, because of its good reputation, people fornia potter; Harold F. Sitterle, a por- have confidence in buying hand-made celain maker from Croton Falls, N.Y.; Al- things there. All craftsmen must stand by lan Adler, a Los Angeles silversmith; and the craft shop and not undersell the shop Asger Fischer of Denmark. or each other. Preceding the discussion, craftsmen were "Street fairs are an excellent means for asked a series of questions, with the follow- making quite a bit of money in a short ing results: It was estimated that nearly time, if you have the pottery to sell. Main- 45 craftsmen earned almost all of their tain one price and don't deal with discount Friendly argument between Arthur living from crafts, 31 earned all of their houses. Make prices high enough so you Pulos, metal, and Michael Higgins, living from crafts, 75 taught crafts for a can sell wholesale and give art galleries a glass. living, 10 earned part of their living as de- discount." signers or technical consultants, 20 earned Many more subjects were discussed, both a portion of the income by working with formally and informally, and many more architects or decorators on commission, and remain to be discussed. But they will have nearly 200 did craft work as a hobby. Only to wait until the second conference which 10 craftsmen marketed their work through will be held somewhere in the Midwest cooperatives. next year. •

14 CERAMICS MONTHLY DECORATE with UNDERGLAZES ORIENTAL FLORA methods and designs by MARC BELLAIRE

EVERYONE following the Marc Bellaire series of articles in CERAMmS 111 this series o[ articles, ao specific MONTHLY and those who are now familiar with his book know that his decor- brand o[ underglaze is either ating technique is to produce the essence of a subject rather than a camera ~uggested or implied. The national image. In other words you can paint a bird without ever painting a feather and brands are highly competitic'e i~z you can paint flowers and leaves without reproducing every petal and vein. quality and price. Mr. Bellaire's Shown here are two plant motifs done by Marc Bellaire in his typical style. advice is to use those brands The step-by-step photos show you at a glance how each of these motifs is built you [eel .~iz'e you the best results. up. With little effort you will be able to create interesting designs of your own. • (Please turn the page)

BAMBOO MOTIF

1. Swirl and spiral background in black the right hand applies color with a motif is outlined in black, making a and green is sponged on this cleaned sponge. Stark white underglaze is used rather dramatic design. Note how the and dampened bowl. The bowl is set for the bamboo motif. 2. Using quick heavy black on one side of the bam- on a decorating wheel, the stem of strokes and a large brush, the leaves boo creates a shadow which gives a which is turned with the left hand while also are put in in white. 3. The entire three-dimensional effect.

AUGUST, 1957 15 UNDERGLAZE: ORIENTAL FLORA (Cont.)

WATER LILY MOTIF

1 2 I. After careful cleaning and dampening, a background well-filled brush. 2. A series of lavendar leaf shapes, paint- of pale gray is dabbed on the kidney-shaped ash tray ed in with single strokes of the brush, constitute the flower. with a sponge in a rough-textured pattern. Lily pads are Accents al pale pink are pul on each ot the petals using painted in using a rich green and broad strokes of a large, a free brush stroke.

3 4 3. Highlights are brushed on using a white underglaze for no! neatly outlined, bul it is executed in a rather free the flowers and single strokes of chartreuse for the leaves. manner. Quick strokes with a sgrafflto tool make addi- 4. Finishing touches of black in outlining and decorative tional white highlights in several areas of the design. elements snap up the entire motif. Note that the design is The finished piece, glazed and fired, is shown above.

15 CERAMICS MONTMLY Strictly Stoneware

. techniques with engobes: part two

by F. CARLTON BALL

ht the [irst article o[ The tools for sgraffito are entirely 7 to 9, oxidation or reduction atmos- his current series (]uly), up to you. A medium-sized nail is ex- phere is R 17. Mr. Ball described the cellent. A looped steel wire is good, Semi-Matt Glaze, R17 technique o [ painting and such a tool is made and sold for parts with engobes. In subse- sgraffito work. The curved end of a Flint 98.8 quent articles in this bobby pin will do or the eye end of Kaolin ...... 65.5 ,wries, Mr. Ball will dis- a darning needle. The point of a knife Feldspar ...... 110.0 cuss additional decor- is excellent. In general, lines should Whiting ...... 70.0 ating techniques, includ- not be too fine so a needle point is Talc ...... 37.8 ing Mishima, slip trail- not good. Steel knitting needles of ing, wet slip trailing, and varying sizes are good. For multiple A really wonderful cone 8 to 10 variations. Thi, month, Mr. Ball discusses lines, a pocket comb, hack saw blade, matt glaze for both oxidation or re- the decorating techniques o[ sgraffito, wax or a notched scraper all work well. duction firing that should work well over most engobes is G Matt 3. resist and r'ariations o[ these methods.--Ed. Lines only may be scratched into Sgraffito the pot; but if areas are scratched out Glaze G Matt 3 with a knife blade and lines added to parts The sgraffito technique is one of the this, the results are more pleasing. A Kaolin . 30.0 easiest and most satisfactory of all line of varied thickness and depth is Feldspar ...... 156.0 techniques with engobes. The word the best type of llne to use. Whiting ...... 30.0 sgraffito is an Italian one meaning If a mistake is made, paint it out Zinc oxide ...... 54.0 "scratch." with more slip. Rutile ...... 6.0 Step 1. Take a leather hard or dry Barium carbonate . 60.0 pot and coat the surface with a good Step 3. Dry the pot and bisque fire it. Wax Resist layer of engobe. The engobe should be The wax resist techniques are mv a strongly contrasting color, such as a Step. 4. Apply a suitable glaze. A favorites. white engobe over red clay or a red colorless, transparent glaze is the engobe over white clay. The engobe Step 1. Use a dry, green pot, not easiest one to use. A colored, trans- a wet or moist one. Apply your sketch may be applied as a thin layer or a parent glaze also gives a good finish. with ink if you must. very heavy layer, depending on the re- I prefer a mat glaze that will let the sults desired. It may be sprayed on the design show clearly but in a subtle Step 2. Paint the design areas with pot like a glaze, poured over the pot, manner. A milky or translucent glaze wax using a brush. The best wax is a or the pot may be dipped into a jar of also is preferable to the hard clear water soluble wax named Ceramul engobe. I prefer to center a dry pot on brilliance of a colorless, transparent A. This should be diluted with water a wheel and apply the engobe with a glaze. up to 50% before it is used. It is pos- sponge. Three layers are sponged on, An obvious variation of the sgraf- sible to use any liquid wax; but in the first is a thin layer while the next fito technique is to paint the engobe my opinion, Ceramul A is the best. one or two layers are of thicker slip. into the pot in areas. For example, if Nearly all ceramic supply shops have It is possible to apply the engobe a stylized leaf pattern were to be used, this material on hand. immediately after throwing a pot the silhouette of the leaf could be Quite often I use ink or a dye to while it is still centered on the wheel. painted in slip and the lines of the color the liquid wax so it can be seen The engobe may be painted on a pot veins scratched in. Vertical or hori- clearly on the pot. The design should with a water color brush, but this zontal bands could be painted on the be painted very freely, in a fluid way, takes skill and practice to develop a pot and the design scratched within for this is the intrinsic beauty of the thick and thin texture or an even these bands of engobe. technique. coating. One engobe can be painted over an- The painted wax is really a stencil, Step 2. Scratch the lines or areas other, usually dark ones over light but because it's painted, all the beauty of design through the slip, into the ones. Generally the top coat of engobe of a full brush stroke is transferred to body of the pot. If you prefer a pre- is opaque. the pot. liminary sketch on the pot, it can be One or two layers of engobe over Step 3. Apply an engobe to the applied with a brush using a common each other can be applied to a pot, pot. The best method is to center the ink to color the sketch. The ink burns and then a line can be scratched on a pot on a wheel and with a sponge out in the kiln. The pot can be per- slant exposing the two or three colors. apply successive thin layers of engobe fectly dry or quite wet, but a leather- However, I have never seen this done to the pot as it revolves. If the engobe hard or black-hard condition is gener- well. It seems to be just an attempt to- is too thick it will cover the fine wax ally best. A clay body with coarse grog ward being novel or different and the lines. If the pot is wet the wax will not in it should be quite moist or just not finished pot is not outstanding except be thick enough and the engobe will used for the sgraffito technique. Fine- for being different. And that is not stick to the wax, but if all conditions grained clay is best for a clean enough! are right, the wax will resist the engobe scratched line. A good semi-matt glaze for cones (Please turn to page 34-)

AUGUST, 1957 17 BEGINNER'S POTPC

Basic hand-building and decorating techniques combined with a little

imagination produce distinctive and functional articles

by VERDELLE GRAY

hether they are interested pri- and can result in interesting and ser- variety of clever and useful objects. W marily in learning to work on vicable articles. The accompanying photographs il- the potter's wheel or in hand building, In addition, a knowledge of hand- lustrate the techniques of pinch, coil. I introduce all my students in adult building techniques provides a useful slab building, and combinations of education classes at the Craft Center background from which a hobbyist two or more of these methods. All in Worcester, Mass., to the hand- can draw later. When he becomes items shown on these pages were made building techniques. Beginners in pot- interested in applied decoration, or in by hobbyists at the Craft Center. They tery have proved that basic hand- the addition of handles and spouts, demonstrate graphically what you can building and decorating techniques, he will use these methods. At the do with vour hands--and a little besides being instructive, can be fun same time, the student creates a wide imaginatlon.

The figures below demonstrate a variety of shapes which can be I achleved by pinching, puffing and gouging.

• . 5: JRRI

1. PINCHED FIGURES All the animals illustrated in this group were pinched, pulled and gouged out with the hands and fingers. The hands and fingers also were instrumental as decorating "tools." Take, for instance, the giraffe. The lines on the giraffe were put in with a An imaginative planter proves that coils can be used to decorate finger-nail when the clay was leather pots as well as build them. hard. After the bisque firing, a stiff matt glaze was put on and then scraped off, leaving the glaze only in the impressions made by the finger nail (mishima technique). Simple tools can be used for decorating too. The interesting texture on the duck was made with the handle Tiles, planters and ash trays made from slabs provide inviting sur- end of a small bamboo paint brush. faces for various decorating techniques. The feathers on the goose were made with a modeling tool. 2. BUILDING WITH COILS The articles in this group were built entirely with coils with two exceptions. The two lids were pinched into proper shape and size. A coil then was added on the inside to serve as a collar or flange to prevent the cover from slid- ing off the pot. Coils also were used to form the handles on the lids and pitcher. The imaginative hanging planter with a pierced design was made up entirely of coils. Vertical coils were added to the lower area of the planter. The design was pierced into the planter with a long needle-like tool. The finished piece hangs from leather thongs. 3. SLAB BUILDING The large tile with a carved motif was produced by the slab method of building. Ten inches square, it was made to fit into a small wrought iron table frame. The carved design was cut fairly deep, and white slip was put (Please turn the page)

AbGUST, 1957 IC. into each incision. Next, a bright COl> per-blue puddle glaze was added to the carved area. Then a thin coating of transparent glaze was sprayed over the top of the entire tile. The tile was single fired.

The small fish tiles are a portion of those designed for use over a bath- room sink as a splash back. All the tiles were sprayed with white slip. Paper friskets (patterns) were cut out to form silhouettes and outlines of fish. When the first coat of white slip had dried leather hard, each frisket was dipped into water. Excess water was shaken off as the frisket was removed. Each frisket was placed in its proper position on the tile.

A dark brown slip then was sprayed over the tiles. By spraying heavy or light, you can obtain varied and interesting shading. When this final coating of slip dried leather hard. a needle-like tool was used to lift up the edges of the friskets which then could be peeled off. The remainder of the design, in the center of the fish, was scratched through the slips using the sgraffito technique. A thin coating of transparent glaze was sprayed over the Slabs and coils combined produce interesting results. Textured tiles. cloth gave the squirrel a ribbed effect. The flower design on the planter was carved in low relief. The glaze effect was obtained by first glazing Versatile slabs of clay may be draped, the whole planter with a light-colored glaze. When this had dried, a dark shaped or combined with coils glaze was sprayed on at a 45-degree angle to the design. As a result of this angle, only the high spots of the design caught the glaze.

The planter (lower left) has an impressed decoration. The design was pressed into the clay with a leaf- shaped tool carved from plaster of Paris. Design or texture can be pressed into the walls of the clay before or after you assemble the planter. But the design must be impressed before the clay becomes too hard.

4. COMBINING TECHNIOUES A combination of coils and slabs can produce interesting results too. The ribbed effect of the squirrel was obtained by rolling out the clay on a textured cloth. This piece of clay then was used to make a cylinder which was pressed "in" between the head and tail. The head, end of the tail and' paws were built up of coils. The vase was made with four slabs of clay joined together. Three coils of clay were added at the top. The pitcher, which was built up with coils, Slabs of clay draped over farms resulted in these pieces. Giraffe has a slab handle. The design around was carved from a solid bricE of clay. the top of the pitcher was made by

20 CERAMICS MONTI..4LY IC ......

Flat slabs, resembling bear skin rugs, were joined fogefher to |arm various animals--both large and small. carving through a stiff matt glaze more texture in the finished piece, a similar manner. A matt glaze was used which would not run in the glaze hack saw blade was used and the for both cats. First a light color was firing. giraffe was left unglazed. sprayed on. Then a dark color was A slab bottom, coils on the side and 6. SLAB SCULPTURE sprayed from various angles to accent- a circle cut from a slab to form the The large cats were made from tri- uate the form. top rim, made up an ash tray when angular slabs of clay. The clay must All animals in this group were cut assembled. The main body of the ram be quite firm to make large pieces from slabs of clay. After they were was made from a horizontal cylinder. such as these stand up. cut from the slab and laid out flat, Neck, horns, rump and legs were built Three elongated triangular slabs of they resembled bear skin rugs. They up with coils. clay were used to make the body of were carefully lifted up, braced, and 5. DRAPING CLAY the sitting cat. Front legs and back- shaped as the clay hardened. Two The bowl in the upper left corner bone were developed where the slabs pugs of clay for eyes were added to the was a slab of clay draped over a form. were joined together. Three triangular frog's head, and a coil of clay formed The form in this case was a solid slabs for the head were joined and his mouth. Clay was added to the mass of clay. Cheese cloth was placed positioned so that the nose and ears lion's mane and head to build them between the form and the slab of clay were in the right place. The head then up. The chicken was formed from a to keep the two pieces from sticking was joined to the body. To avoid circle of clay which was folded over together. The three dishes on the trapping air in the head, which might and pinched, pulled and modeled into right also were slab pieces draped over cause the piece to crack, a hole was its final shape. Only the head and tail a form. The design was applied by cut at the point where the head joined were dipped into glaze. spraying colored slip through stencils. the body. The modeling was done I hope some of these projects and After the bisque firing, a mottled glaze after the basic triangular structure was techniques used by other hobbyists will was used. made. Last of all, a long slab tail was stimulate your imagination and help A solid brick of heavily grogged clay added. vou in working out new ideas of your was used for the carved giraffe. For The crouching cat was made in a own. Q

AUGUST 195 v 2i HOBBY SHOW

THOUSANDS OF VISITORS--teachers, hobbyists, students, suppliers, and interested onlookers--attended the various hobby shows held throughout the count~, this spring. They listened to lectures and watched demonstrations and attended the hobby competitions which are always of special interest at these shows. Shown on these pages are some of the prize-winning pieces from the 5th Eastern Ceramic Hobby Show at Asbury Park, N.J. (May 4-9), and the 4th Great Lakes Ceramic Hobby Exposition at Chicago, Ill. (May 26-30). Both shows featured lectures and demonstrations in various phases of ceramics. A new idea was introduced at the Chicago show this year in response to the many re- quests for an opportunity to work closer with the experts. Twenty-five well-known teachers from throughout the country conducted small classes in making and decorating ceramics. • Wheel Alicia DeCamp N. Caldwell, N.J. Eastern Ceramic Hobby Show

:iili I'I,~W ,n,,, ...... i~ ....

Sculpture Richard A. Hartman Madison, N.J.

Teen Age Decorating Florence Mayer H;llside, N.J.

Children's Hand Modeling Best in Show--China Painting Colleen Seeley Gay Cain Oneonta, N.Y. Dallas, Texas Sgraffito Laura Clinton Fair Lawn, N.J.

22 CERAMICS MONTHLY HIGHLIGHTS

,.~i,

Slab Building Wheel Mrs. Alma Clendenln Donald A. Johns Elgin, Ill.

Great Lakes Ceramic Hobby Exposition

Underglaze Ruth Plew B;rm~naham M~cn."'

Best ot Show--Sculpture Oscar Graves DefroTf, Mich.

Coil Building Betty Pepowsk: Chicago, III. Mosaic Tile Jeaneffe Baruzz~n: Oak Park, III.

AUGUST, 1957 23 EGINNERS in ceramics who result would be a stereotyped pot, amined. But larger ones are better B have failed to get satisfactory re- showing little creativity. It is better, left to set. suits with the coil method of hand perhaps, to think of any mold as The drying process is important. building may wish to start their pots a form which aids in supporting the Clay allowed to become too dry may on molds. A mold itself does not guar- clay until it stiffens sufficiently to contract and split as a result. One antee a beautiful structure. It merely hold its shape. From then on the can slow up the drying process by is a device for starting a pot and creativity takes over. Even the trim- placing his work under a pan or pail, holding it up while it stiffens. This ming of surplus clay after the slab or confining it within any small area. prevents slumping which dampens the has been pressed on the stone calls However, the space needs to be big spirits of many would-be potters. for careful discrimination in weights enough to allow for some evaporation Several unique methods of creating and balances. I like to think of a while retarding the process. At a mold pottery have been published by hand-built pot as a structural form, "butter-hard" stage, the pot can be CERAMICS MONTHLY. I have discover- (a sculptural form if you will) as removed from the mold. If it still is ed that stones also can be used to good opposed to the poured slip mold pot, too soft to scrape or otherwise ma- advantage. We find ours by the sea which is more or less restricted to nipulate, let it set a little longer. side or in beds of sluggish streams an even wall thickness. A hand built where nature has washed them into piece can, and should be, built up If you want to delay the drying smooth free forms, many of which with varied wall structure when de- process further, wrap your work in are in themselves objects of beauty. sired. Then the mold can serve as plastic cloth or put it in a plastic Collecting them had been a hobby a stable base while feet are being bag. In such ba.gs, pieces have been long before I read that Indians some- added. Stability of the stone enables known to remain damp for many times made their pots over stones. one to add clay wherever desired weeks. If no evaporation is desired, Since some of these I had collected without fear of pressing the pot out the wrapper must fit the clay tightly; were so attractive in themselves, I of shape. Adding to the width of a for the larger the air space, the great- felt that they might well furnish the wall, shaping an edge, modeling clay er loss of moisture content. basic structure for asymmetrical pot- feet--all these creative processes add The use of single stone molds, is tery. to the distinctive quality of the in- adaptable to the needs of ceramists The trained artist will know which dividual designs. Trimming the clay of all ages and levels of experience. of the stones he selects will make the slab after it has been applied to a A little child may press clay over basic structure for the desired clay mold calls for a certain amount of a small stone and create an ash tray piece. For the hobbyist, proper selec- artistry and imagination. One has to for mom or dad. A high~chool student tion will come with experience. Here's learn to imagine the pot in reverse, may produce a pot considerably more a tip which may aid the beginner. since it must be constructed upside refined, commensurate with his near- With your eyes closed, feel the stone. down. However, one's mental visuali- adult abilities. Adults may enjoy ex- If the stone feels good to the hands, zation of how it is going to look erimenting with a new type of mold. it"also will be good to look at and when right side up increases with ry working with stone molds. It's will no doubt make an excellent mold. practice. Small pots can be easily worth the effort and the results are If any mold were used per se, the turned out into the hand to be ex- apt to be pleasing. •

USE A STONE FOUNDATION

by LUCIA B. COMINS

Smooth stones provide molds for unusual tree-form pieces like these. Select stones which "feel" good for best results. Think of the stone only as a form to aid in supporting the clay. When the clay is stiff enough to hold its shape, creativity takes over.

24 CERAMICS MONTHLY GENTLY CURVING FREE-FORMS like this are made by the method described in the text and pictures below.

1. Clay is pounded and turned often. Bubble holes are filled w;÷h 2. A rolling pin is used to flatten the slab to the desired thickness. fresh clay and smoothed out. Cloth prevents clay from sticking.

Regardless of age or experience everyone can use this technique

3. The slab is gently lald on the cheesecloth-covered stone.

4. Excess clay is trimmed: feet added if desired. Surface is smoothed and piece is allowed to set. 5. Further trimming is done when pot is "buffer-hard," and the form is allowed to dry slowly to prevent cracking.

AUGUST, 19S7 2S NELLY ALLAN ENAMELS

PORTRAITS IN MINIATURE

Although not the easiest to do, enameling a portrait is a fascinating experience

Water Color Sketch I AM ALWAYS AMAZED when make a detailed watercolor sketch in I think of the number of possi- full color. bilities that enameling has to offer. If you want to work from a colored Once you have mastered the basic picture or a color photograph, be sure techniques of dry-dusting and wet- to simplify the motif as much as pos- inlaying the enamel, it seems that there sible. Even here it would be wise first is no limit to what you can do with to develop a watercolor sketch before this medium. trying the enamels. Portraits are no exception. Although a portrait is not the easiest motif to Preparing the Enamels do well with pencil or brush, if you It is wise to prepare in advance all can make a reasonable facsimile with the colors you will need so that the} the "ordinary" tools, you certainly can are at your fingertips and ready for do as well or better with enamels. use at the very instant you need them. If you have never tried an enamel Here are the colors I us,:d in the portrait, I am sure you will find it "Portrait of a Young Girl" which I to be a fascinating experience. demonstrate here. Flux (clear enamel~ fox the back- Makincj the Sketch ground. A complete picture in full color Transparent light and medium pink should be prepared first. This is the for the face and hands. "sketch" which will be the guide for Transparent and opaque browns fox the finished enamel. I always begin the hair. with a pencil sketch in which I try to Opaque white for the blouse and Develop the general design and placement develop the general design and place- opaque light gray and light blue for of the various elements. Then make a de- ment of the various elements. Then I shading. tailed watercolor sketch in full color.

26 CERAMICS MONTHLY Opaque yellow, orange and red for couple of minutes---only until the Now the hands are set in with trans- the embroidery on the blouse. piece attains its initial gloss. Leave parent pink. Dark transparent blue Transparent blue and several dark the piece near the kiln so it will cool with areas of opaque dark blue make opaque blues for shading the skirt. slowly. the skirt. The background is laid in Bright opaque red for the back- With the colored sketch and mois- last in a vivid opaque red, applied in ground (placed over the initial back- tened enamels set out in front of you, a very thin coat. A nice effect can be ground of flux). and your tools (a small spatula, several achieved by using a very fine line A small amount of each of these fine-pointed sable or camel hair around the hairline and skirt. This colors is placed in individual bottle- brushes and a small jar of water/ will show up after firing. caps and moistened to a thick paste selected, you are readv to get to work. Shading with an eye-dropper filled with water. The basic shapes of'the portrait will All of tile detailed shadings are to Preparing ~he Me~al be laid in with wet enamels, and all be brushed in with the dry enamels shading will be done by brushing dry This portrait was done on 18 gauge (the portrait has not yet been fired). enamels over the wet enamel with fine copper. This is cut or sawed to the strokes. Pick up as much dly enamel as the desired size. carefully cleaned and Remember the basic wet inlaying wet brush will hold and, following counter-enameled. techniques. Lay the colors down next your sketch, brush over the parts that After cleaning, I generally use a to each other--almost touching--and require shading. The face and hands, good copper cleaner like Sparex solu- then push the second color up against for example, are shaded with darker tion. Then rub down with very fine the first very gently. Be careful not pink. The hair is shaded with black. sandpaper, and wash carefully in a to overlap one color with another. Be All fine lines of the features--such as mild detergent solution. Finally rinse sure all of the colors are of the same the eyes, eyebrows, nose and mouth with clear water, and dry. degree of wetness. This can be con- are drawn in very lightly. Counter-enameling is, of course, trolled by applying a fine spray of The shading of the blouse also is \er,v important, especially if the water with vour atomizer. When the done with fine strokes, using light gray amount of enamel on the face tends colors are "in the proper position, and blue tones. The skirt is shaded to be rather thick. Enameling the back gently pat them down with a spatula with gray and blue enamels, and the will help prevent a strain which could or spreader until they are all level. outlines are put in with black. easily result in the enamel chipping I start with the face and neckline. The completed miniature now is off the face of the piece. After all your laying in the wet transparent pink placed in a warm place in order to hard work. this really would be a with a spatula and working it into become completely dry. It is fired for tragedy. the exact shape with a wet brush. Next only a few minutes--until it becomes Enameling the transparent and opaque brown glossy. The firescale (formed during the goes in for the hair. Your results should be a very soft- counter-enamel firing) is cleaned off White enamel goes in for the blouse textured portrait. Of course, you the face of the piece, and a clear flux and the sleeves. Spaces are left open should not attempt to make an exact is dusted on over all. I like to dust this for the embroidery and the belt. These reproduction of a picture or an exact directly on the clean dry copper with- spaces are filled with orange, yellow, likeness of a person, although you out using gum solution, as I believe and red; brown is used for the belt. certainly can capture the character of this helps to avoid pinholing and Each color is carefully laid in with the an individual in enamels. If everything other defects. When a smooth, even spatula and flattened with a wet, fine- has gone well, the piece should be coat has been applied, fire for just a pointed brush. IPlease turn to page 32}

Wet Inlay Shading and Details Finished and Framed

Lay in the basic shapes of the portrait with wet enamels, using the The portrait has not been fired yet. Draw in fine lines of features colored sketch as a guide. Remember the basic wet inlaying tech- very lightly. The resulting miniature is a very soft-textured portrait. niques. Shading and details are brushed in wlfh dry enamels. When it is finished, it is signed in wet averglaze color and framed.

AUGUST, 1957 . " 27 CERAMASTONE JEWELRY MIX A Self-Glazing Clay Mix With Water--Fire At Cone 06 Turquoise, Dark Blue, Chartreuse, Gun- metal, White, Beige Pink, Purple, Spring Yellow & Brown. people, places & things I/2-1b. portion--S1.00; instructions included NEW--Handbook of Jewelry Making & Design featuring CERAMASTONE--$1.00 AMONG OUR AUTHORS: Annual York State Craft Fair wiil be heid SPECIAL~HandbooE Free With $5.00 August 22-24 at Ithaca College. A iury will • "1 enioy inventing rather than producing Order. Please Specify Colors. judge aFI entries for sale at the fair. In for the sake of the product itself," says (Postpaid Cont. U.S.--Colo. Res. add 2% addition to the sale and exhibition of pottery. Soles Tax) Lucia Comlns. I~ her art;des ~ke stresses enamels and other crafts, demonstrations by The Pottery Workshop oufsfandlng craftsmen will be held. CHIPITA PARK, COLORADO Preceding the fair fhls year, a three-day workshop ;n ceramics will be held. The instructor will be George Stark of the Nov, York State Unlvers~fy College for Teachers deramlc at Buffalo. Materials and Equipment SPECIAL PREPARED BODIES SPANISH LUSTERWARE: More than S0 Our business has been expanded to in- pieces of Spanish lusterware of the ISfh and clude all types of clay bodles~varied col- 16th centuries wiFI be exhibited at The Cloist- ors for slip-casting, throwing and sculpture. ers in New York City throughout the summer. Cones 06 to 8 (art ware and stoneware). Write for special clay sheet. The Cloisters is a branch of the Metropolitan OUR AIM IS QUALITY Museum of Art devoted to medievaF art and JACK D. WOLFE CO., INC. architecture. 62 Horatio St. N.Y.C., N.Y. The collection oi more than 100 pieces (WA 4-6019) recently wa: purchased from ÷he William Wholesale and Retail

her one theme song--"experimenf and ex- DRAKENFELD GLAZES plore." powder or liquid Before her retirement in 19S5, Miss Comlns Liquid form in 4 oz. bottles, pints & gallons, (ROGLAZE) for application on taught high school art in Greenwich, Conn. greenware, one fire. Good range ol She also taught adult education classes in colors including reds. ceramics and painting. Though she is re- Dealers wanted. tired, Miss Comins still pursues her interest RODER CERAMIC STUDIO in art. She operates a shop and sales room 1331 RACE ST., PHILADELPHIA 7, PA. in Wassaic, N.Y., as an outlet for her paintings, wood carvings and ceramics. Cur- CERAMICS renfly she is writing for "School Arts" and InstrucfionmSu pplies--Firing "The Instructor" as well as for CM. Finished and Greenware 4 She ,yes on Bog Hollow Road "~n a back Distributor RE-WARD • DOBE GLO 4. country Colonial Salt Box on a 2S0-acre tract & WILLOUGHBY PRODUCTS HAZEL HURLEY STUDIO of land." Her constant "roaming" companion is her dog, a Weimaraner. )I' 4803 Prince,Call woD°wners8-0719Gr°ve'III.

• Verdelle Gray has made everything in The rarest piece in the collection, an im- We are distributors for- Mayco Products, the way of crockery ~,~ Holland Molds, Ceramichrome Products, mense 71/2 qt. pitcher over 18 inches high, Modern Trend Glazes, Model Slip, Kernper -- from dinnerware ~'~ dates back to 1440. The simulated arabic Tools, Grumbacher Brushes, Atlas Sprayers, Dobe-Glo Glazes, Mallory Molds. Norman to electric mixer inscription on the neck shows pure delight Kilns, Cress Kilns; and more: Dealerships bowls--ln her home. available. in the design far its decorative value--it's Although throwing written upside down. (Photo: Metropolitan BUFFALO CERAMIC SUPPLY CENTER on the wheel is her 437 M Franklin St., Buffalo 2, N.Y. Museum of Art, The Cloisters.) favorite technique, in this issue she Randolph Hearst Foundation with funds sup writes on the var- plied by John D. Rockefeller, Jr. The maior- ious methods of hand building which she ify of the pieces on display are 1Sfh century teaches her students at the Craft Center in Contact Trinity Valencian and provide a thorough picture Worcester, Mass. A graduate of Alfred Uni- of the stylistic development of earl,/ phase" versify, Mrs. Gray formerly was a professional for Superior of majolica in that center. potter at Old Sturbridge Village in Massa- Before 1430, Valencian wore was so im- chusetts. Her husband is the director of the portant that it was commissioned by the rul- CERAMICand PORCELAIN Craft Center where she teaches ceramics. No ing houses of distant countries. The reason stranger to competitive shows, her work fre- for its popularity was the shimmering quali- CLAYS quently is seen in national and local exhibits. fy of the luster glazes with their continual variations. YORK STATE CRAFT FAIR: Sponsored by Secrets of these glazes still are not fuJly The York State Craftsmen, a state-wide or- understood, though formulas for mixing the ganization for New York residents, the 4th (Please tun~ to page 30~

28 CERAMICS MONTHL'r -k Acclaimed Everywhere by Teachers uestlon$ and

conducted by K E N S M 1 1" It Professionals for ~. Can you tell me how to precent crazing of the copper Performance! enameled design u'heu gold lines are applied as the last process in the motif? This Nationally A. When you put any piece of enamel (meaning metal with Recognized a coating of enamel already fired on it) in the enameling kiln Power-Driven the coating will crack open as the copper expands with the heat. Precision Wheel This happens at any of the enameling temperatures whether or only $57.50 (Shipped complete. not gold or other overglaze metals or lusters are involved. It Less Motor) accounts for the familiar cracking noise you hear after a piece is placed in a kiln. The solution is that the piece must be left in the kiln until Ideal tor school, studio, home use . . . The famous B & I the enamel melts completely and heals the cracks. Pottery Maker, first in the field, is still first in value and in ~. I have been trying to get a bubbled glaze effect for price! Simple operation, rugged construction, with all the jewelry work but without success. I ha~'e tried various /tits and versatility required by professional workers! Many built-in other materials. I invariably get a pooled effect but ne~'er features . . . ADJUSTABLE arm rests; BUILT-IN water con- bubbles. Can you offer some suggestions? tainer; VARIABLE speed drive; QUIET bronze and babbit A. Bubbles in a glaze are caused by one of two things. bearings: ADJUSTABLE foot-pedal control; UNUSUAL size Either gasses are being given off when the glaze begins to melt range. or the glaze boils. A bubbled effect, therefore, means that you Before you buy, Write B & I . . . get full, free details; Point- have to capture the bubbles while they are at their peak. This is by-polnt, we challenge comparison on QUALITY features . . . quite tricky because the bubbles will disappear as the glaze re- Our price is still the best in the field! mains in the kiln and settles down and smooths out. B & I Pottery Maker shipped complete, less motor, f.o.b. Additions can be made to a glaze to make it bubble or boil. factory, Burlington, Wisconsin, far only $57.50. In a very viscous glaze the bubbles will not settle down B & I Mfg. Co. Dept. C. Burlington, Wisc. and disappear and a resulting bubbled effect can be obtained. "Originators and Makers of famous B & I GEM MAKERS" A small amount of soda ash can cause bubbling and some frits will also. Why not try making these additions to one of your z'iscous glazes and see if you get better results. Q. How can I get a marbelized effect by casting in a mold? UR A. By using two or more different-colored casting slips (all of the same composition.) poured simultaneously into the mold. ~TURED The method you use for filling the mold will of course, deter- rSH mine the marble pattern. For example, if one color is poured more rapidly than another it will predominate in the finished pattern. ISY to Once the casting has set and the excess slip is pcured out )rate of the mold the procedure for the resulting greenware is the same, except that you should avoid sponging the surface as MOLD ~:70--$6.50--?" x 91/4" this pulls one color into another and can diffuse the pattern. The e remaining slip, incidently, cannot be used for marbelizing--all PODESZWA PATTERN ~70P-1-- you can do is stir it carefully and hope that the resulting color 25c each is a pleasing one. Or it can be used for casting pieces that are to e be covered with an opaque glaze. INSTRUCTION SHEET FOR PAT- ~. Can you tell me how to pre~,ent the metal findings TERN TECHNIQUE--10c each [ronz breaking away from my ceramic jewelry. When the finding comes off it always takes a part of the ceramic piece with it. This is particularly true with cuffIinks. I am using a jeweler's This divided dish is lovely any way you decorate glue and I follow the directions exactly. it. But we especially recommend "Bullfrog in the Pool" as shown. Podeszwa Patterns and Instruction A. It sounds to me as though the glue is doing its job Sheets may be obtained from the studio where quite well. The fault seems to lie in the ceramic bod~. If the greenware is purchased. One instruction sheet ex- body is so soft that a piece can be torn out by the force of a plains the glaze technique for ALL Podeszwa Pat- terns and is only necessary with the first pattern cufflink finding, then it is badly underfired. purchased. I would suggest that you try firing the body to full maturing temperature. In other words if this is a cone 04 jewelry clay it All molds (c) Bee FOB Rumson, N.J. should be fired to cone 04. If you want to use a low firing glaze Add 10% [or packing. No COD's, please. on this body then you must bisque fire the body to cone 04 and follow up with a glaze fire at the maturing temperature. Send For Our Free All subscriber inquiries are given individual affenflon at CM; and, ] Catalog! out of the many received, those of general interest are selected for answer in this column. Direct your inquiries to the Questions 70 Oak Tree Lane Editor; please enclose a stamped self-addressed envelope. / Rumson, N.J.

AUGUST 1957 2 q Ceram-Activities approximately 70 works {ram the Biennial A (Continued from page 28) merlcan Craftsmen exhibition of the Universit~, of Illinois. If brings together outstanding metallic oxides of the glozes are known work of U.S. craftsmen in textiles, ceramics from documents. The actual method of firing, glass, leather, jewelry, silver and wood. however, remains a mystery. If is known that the pieces first were dipped in vats Brought to this country under the auspices of white tln glaze: then fired. Designs were of the Netherlands Embassy, this 375-p~eee "Dutch Arts and Crafts" exhibit contains ob- iecfs of dairy use--ceramlcs, glass, silver fabrics, walrpaper and toys. 37 COLOR SAMPLES GLASS OR 7ILL--S100 "Midwest Deslgner-Craftsmen" exhibit se IMPORTED ITALIAN CERAMIC TILE: sheets $1.45 to $5.00. I/2 sheets 87c Io $3.00. each 2c to 4c lected from the large show at the Art Inst write for particulars on glass and supplies. lute of Chicago, contains I00 crafts in met al, glass, leather, ceramics, wood, and fay files. Further information about these exhibits NEW! and their rental fees, may be obtained from 200 Prepared the Traveling Exhibition Service, Smifhsoniar "Hello Darling Institution, Washington 25, D.C. Brush On Glazes" 4 oz. jars SSc CRAFT FAIR: The state-sponsored League of New Hampshire Arts and Crafts, a non Special Introductory Offer profit organization which furnishes outlets for Write for folder today. • F; il :iii¸¸ the products of New Hampshire craftsmen NORWEST NOVELTY Dish, decorated in blue and luster, has a will hold its 24th Annual Craftsman's Fair 32480 NORTHWESTERN HWY. monster and Gabriel's salutation to the Vir- August 6-10 at the Belknap Recreation area FARMINGTON, MICH. gin: AVE/MA/RIA/GRA(C A)/PLE/NA. Tin- at Gilford. MA. 6-6003 enameled earthenware, it measures 14s/8" in Potters and enamelists comprise about 10 Open Sunday -- Closed on Monday diameter and originated around 1450. per cent of the League's membership of ap- (Photo: Metropolitan Museum of Art, The proximately 2,000 craftsmen. Demonstrators AIRBRUSH IN CERAMICS CIolsters.) will show their skills at looms, forges, and An outstanding book by America's foremost potter's wheels. Fabrics. jewelry, rugs and airbrush teacher, J. Zellers Allen. Full of other crafts--all of which have been iur;ed step-by-step projects, dozens of patterns, full painted in color on this basic glaze with beforehand--will be for sale. instructions for cutting stencils. Written for brushes, and drawn with quills. Color range serf instruction. Finest quality paper, profuse- was confined to cobalt blue and the lustre ly illustrated, hard bound lay-flat covers. At NEW OFFICERS: Launching its second year, colors from gold through the browns to your dealer, or send check for $4.95 to: the Badger Ceramic Association elected new Paragon Industries, Inc. purplish red. The iridenscence of the luster officers at its recent annual meeting held in P.O. Box 10133 Dallas 7, Texas probably was a result of timing and smoking Milwaukee, Wis. Those elected were Ed King in the second kiln firing. of Castle Ceramic Studio, Milwaukee, presi- CERAMIC AND CHINA SUPPLIES dent; Dave Waugh of Waugh's Ceramic Since 1900 NEW TRAVELING EXHIBITS: Three new trav- Studio, Tomah, vice president; Bernice Nar- Finest imported china. eling exhibitions have been announced by Send for FREE catalog C aus of Artistic Ceramic Shoppe, West A/- Mrs. John A. Pope of the Smlthsonian Insfi- lis, secretory; and Cliff Flagge of Rosewood D. M. CAMPANA ART CO. tuflon!s Traveling Exhibition Service. Ceramic Studio, Milwaukee, treasurer. 442 N. Wells St., Dept. C, Chicago I0, IlL "American Craftsmen--1957" consists of (Please turn to page 34 )

should arise for serious consideration. In FLORIDA it's Letters As a member of the American Crafts- SUNNY'S CUSTOM CERAMICS (Continued from page 4 I men's Council, I sincerely hope that that organization will consider many such ques- 4403-5 N.W. 7th Ave., Miami, Fla. Back from the Chicago Hobby Sh, w ,vith knowledge he has of the timeless values tions which strongly affect the exhibiting CERAMICHROME'S new lava glak'es and in art. craftsman and that it will have the lustres. Studio now completely air-condi- strength to accomplish reforms wherever tioned for your comfort. Mr. Ball says that it is "human nature" to select those pieces which are most necessary. FREE INSTRUCTIONS sympathetic to the artist's way of working. RAYMOND M. GRIMM This may be so, but I feel that for the Portland State College few hours that jurying takes, an individual Portland, Ore. should be more than an artist. He must THROWING BOOK? Ceramic And Copper try to become an evaluator of each individual piece in terms of its relationship Dear Editor: Enameling Supplies to the great examples of art of all ages As a rank beginner in ceramics, I find Wholesale-Retail and in terms of its ability to be repre- your magazine a wonderful source of ideas; sentational of works being produced at and most interesting to read. I am setting the present time, whether the show is on up a small pottery workshop in the base- RE-WARD PERMA-STAIN a local, regional or national level. ment and wish to build a wheel. How about an article on good wheel design and Distributor Distributor Too often in national shows, the picture some ideas for building same? Dealer Inquiries Dealer Inquiries presented by the jury is a local one; local Also, is it possible for you to put all Invlfed Invited to the jury's own personal taste; when it the Tom Sellers articles into a book for should be in terms of the best possible permanent reference on wheel-throwing t.,he representation of what is going on all over the country in the field of pottery--be it techniques? It would be a valuable addi- earthenware, stoneware or porcelain. I tion to a potter's library. MRS. GEORGE E. POSNER don't honestly think that this is too much W I--I ~"l~-"r- San Francisco, Calif Boston Post Rd.- Westport, Conn. to ask of a jury, and if it is, then the old question of "should an artist jury a show" • It's in the works/--Ed.

30 CERAMICS MONTHLY The Plaster Series by DOROTHY PERKINS 100 PAGE CATALOG CASTING CUES No. 7 p COPPER Mrs. Perkins, who teaches ceramics at the ers" (pulverized, fired porcelain) to ENAMELING Rhode Island School of Design in Providence, the body. Since this is not practicable eCERAMIC answers some of the questions most frequently for studio potters, our best solution DECORATING ~sked about casting.--Ed. is very tight mold seams. [Vha! is wrong i/ a drain-cast piece • JEWELRY Is any special equipment needed is thinner in wall thickness on one SUPPLIES [or slip casting? side than on the other? A minimum of equipment may a. Poorly deflocculated slip: it JEW! include: scales for weighing clay, a does not set up as a firm wall; then )ver 600 different container in which to mix slip, 60- the wall on the side from which the copper shapes. or 80-mesh screen, a not-too-high slip is drained may be partially .~w bowls & trays. "washed away" during the draining, New low prices. table (if high, it's harder to lift molds New boutique to and from it), rubber bands cut making this side thinner. corating supplies. from an inner-tube to hold multiple- b. Mold has been dried unevenly. r jewelry settings. piece molds together, rope and If dried next to a wall, either wall or JLL STUDIO wedges for holding larger molds to- room side may dry more rapidly. The ISCO UNT gether-the rubber bands won't resist dry side of the mold then absorbs VAILABLE the outward pressure of slip's weight. more water from the casting slip, .~nd only 25c making that side of the cast thicker. A blunger turning 60 to 90 RPM is )r new fully Rotate molds in drying if consistent of course helpful, but not essential. Jstrated catalog! drying atmosphere is not available. What causes thinness in a cast at A mold will dry unevenly if tilted BERGEN ARTS the seam-line? above a radiator, stove or kiln. & CRAFTS This difficulty is sometimes notice- c. Patches on the working surface 300 S.W. 17th Ave. able, for example, in the top rim of of the mold may cause very dense Miami, Fla. a vase, drain cast in a vertically areas which will not absorb water (Dep't. CM 8/ divided mold. It may be due to one from the slip as rapidly as will other of two fauhs: portions of the mold. Use "killed" a. The seam in the mold is not plaster for patching a wetted mold. tight, so that the seam line on the d. Mold's working surface has cast is both wide and thick, with a some soap or other separator on it. corresponding depression on the in- Clean with vinegar solution (50 pet" side of the cast. When the thick seam- cent vinegar, 50 per cent water). line is trimmed away, the wall of the e. Variation in plaster mix or cast is, at that point, thinner than mixes used to make mold. Poorly elsewhere. mixed plaster poured over a model b. There is a bit of soap or other may result in a soft section in the separator along the seam line. This mold which will not absorb water from will retard absorption at the seam, slip at the same rate as other sections. making that part thin. Remove soap Mixes made for multiple-piece mold with vinegar solution or very light were not consistent in plaster-to-water wet-sanding. ratio, resulting in denser and softer mold sections. Why would seam-lines, which f. Mold thicknesses unequal, so seemed to have been completely re- that the thin portions of the mold moved/rom dry ware, show up again become saturated quickly and will alter the glaze fire? not then continue absorption prop- This is usually more noticeable in erly. GOOSE BOY $IZ.50 white bodies covered with transparent In solid casting, what is wrong i[ glazes. It appears to be due to the a cast piece sticks to the mold in #H 74] 83~" Tall position assumed by the body grains spots or over the hump? during the absorption of water from Possible troublemakers are: Another fine mold from HOLLAND. the slip in casting. As the piece is a. Mold is too wet. Also in the completion state is a fired up to temperature, the position- b. There are undercuts in the companion piece -- a Goose Girl. ing of these particles re-asserts itself, mold which are holding the cast in Both have base offset for 9" pipe causing the raised line. Industry has place. tiffing for lamp. met this problem bv adding "pitch- (Please turn to page 32) Write For FREE catalog.

coming up next month! HOLLAND MOLD SHOP BACK TO SCHOOL . . . BACK TO THE STUDIO Export 2-7032 Watch for the September CM 1040 Penna. Ave., Trenton, N.J.

AUGUST, 1957 31 Portraits in Miniature (Cominued from page 27) World's finest complete and should not need any fur- TILES For Decorating ther attention. If some of the areas Superb English Tiles, bisque or glazed, are weak or show defects, you can 6" x 6", they're perfect for pleasure . . . or profit. touch them up with additional ALSO AVAILABLE • TRIVETS, black • WOODEN enamels, and retiring. Be careful on h'on, rubber-foot- FRAMES retiring that you don't burn out the ed, for 1 and '2 • TILE BACKS and tiles HANGERS other enamels. • WROUGHT IRON FRAMES When it is complete, sign the piece Write f07 FREE Descriptive in a wet overglaze color, using a fine Price List No. C4 pen or brush and retire very gently. SORIANO This gives the finishing touch of the CERAMICS, INC. Long Island City 5, N. Y. artist to the portait. Of course, no portrait is complete without a frame, and here you can use a wide variety of ideas. A regular wooden frame will work fine. Or the piece may be mounted on a larger sheet of copper or other metal. What- ever the technique, don't cover your For Mosaics and Tile ILLINI CERAMIC SERVICE portrait with glass. The glare from the 439 N . Wells, Chicago 10, III. glass coupled with the glossy surface of the enamel will make your picture almost impossible to see. • Treat yourself to a change, try

Casting Cues G~A L]IA X y 4~¢oz. iars (Continued from page 31 ) c,o.. :o. lill c,,.o,.,o, c. There is soap on the working surface of the mold. 1 ~ add 10c sales fax d. The mold is very new: the per- , llllllllllllllPJJl , in Washington, forlnance of solid-cast molds improves with use. sparkling "aventurine" glazes Try patting the hump-half of the COPPER GALAXY--AMBER GALAXY mold with a flint bag (some flint tied GREEN ORCHID--LIME GOLD up in a piece of not-too-tightly-woven 75 Madison St. Seattle 4, Wash. cotton cloth) or dusting it with talc. Blow off excess to prevent a poor surface on the cast. When should seam-lines be re- Ruth Lauer Inc. MOLDS moved from cast shapes? (including all Swedish Modern) This depends on the individual. to be manufactured and sold Nationally by Some like to remove them quickly, GARDEN STATE CERAMICS, INC. while the cast is still fairly damp. 201 Rochelle Ave. Rochelle Park, N.J. Others prefer the leather-hard stage, and still others the bone-dry stage. i Stoneware Grog FREE copy of the latest Is there any way to encourage a CRAFTOOLS CATALOG of solid-cast piece to release from the Stoneware Materials hump if it does seem to cling there? Stoneware Glaze Materials ceramic equipment and tools. a. Invert the hump-half of the CRAFTOOLS, Inc. mold, with the cast clinging to it. ROUSE ENGINEERING CO. I)eot. CM, 401 Broadway. New York 1.q, N. Y. Tap the edge of the mold sharply 300 Third St., Trenton, N.J. against a table edge, supporting the cast as the piece releases. b. If air pressure is available, try blowing air around the parting line, keeping one hand on the cast to pre- Model Ceramics vent it from being suddenly dislodged. MANUFACTURERS OF: c. If the cast has been too newly- made to release, place the hump- Kilns half of the mold over the concave half, with small balls of clay between Clay the two. When the cast has dried sufficiently, it will drop off the hump Slip and into the back of the mold, where Write for Catalog--Wholesale & Retail When writing to advertisers it can dry further without harm. If 764 N. MAIN ST. AKRON, OHIO Please mention CM left over the hump, of course, the Re-Ward Distributor cast would split.

32 CERAMICS MONTHLY GLAZES

GLAZES

Some Distributorships For Velva-Ply One-Fire METAL SETTINGS the strip and hard solder them to- Glazes Still Open. Has it bothered you, sometimes, gether (make an interlocking joint to see large enamel trays or bowls like the one I described for a ring We're adding new selections to our with rims which appear to be too base in my March column). With the already large assortment of VELVA-PLY, thin in proportion to the size of the band sokJered, filed and burnished the sure-fire one-fire glaze. object? Or have you ever cried over you can have a cigarette again in CERAMICS a chipped edge on a large piece? preparation for step number three. There is a way to prevent such Slip the wire ring into the band, COPPER troubles and that is to place a metal letting it sit about one-eighth of an MOSAICS rim around the edge of the piece. inch down from the top. Now the Write for price and color I;sfs. However, only people well acquainted ring has to be soldered to the band. with metalwork should attempt the Tie the unit together with binding adventure. Others had better forget wire, all around, so nothing can slip. about it or take up working in metal Cover the already soldered places with --which would be worth while doing clay or rouge paste and allow it to (the house of glazes because the setting idea I am going dr}-. Then place hard solder around the usual and unusual) to talk about is a good thing! the seam where the ring and band 8744 W. McNichols, Detroit 21, Mich. This setting is composed of two meet. and solder. When you have a parts--a wire ring and a narrow band perfect joining, without a pinhole Phone UNiversity 2-9222 of metal. Use heavy wire for the ring; showing, take off the binding wire (our shipping service the actual gauge depends on your and wash off" the rouge. If I weren't covers ~he world) taste and the size of the tray. The afraid you'd get nicotine poisoning, I wire can be brass or silver or gold, would advise another cigarette before depending on )'our taste and pocket- we go to step number four. book; it can be either round or square. Using a pair of sharp jeweler's Although copper may be used, to my shears, cut off the top of the band, taste it looks too much like children's cutting down as close as you can to work at camp. Measure the circum- the wire ring. Then file, t~le, file the STOCK MOLDS ference of the rim of your tray and sharp edge until not even the eve of cut a length of wire to fit around it. Argus can tell where wire and band Here you can find more than 400 Bend the wire so both ends meet and meet. With that. you have your setting and if the j01~ is well done, you molds of our own individual design can be proud of your achievement! and creation. To these, new molds are Most of your troubles are over. constantly being added. Place the setting over the bowl. It will sit on the rim like a crown-- Ludwig Schmid molds are known for if it fits correctly. It cannot slide originality and detailed craftsmanship. down but it can very well be lifted If your ceramic supply dealer does off the piece. Here we come to the nat have our molds, please write us last step and it is a delicate one! It direct. Or send $1 for our catalog must be done with as much care as join them with hard solder. Now file you would use to put a metal setting complete with price list. Your $1 will off excess solder so the seam will not around a raw e~ be refunded with your first mold order. show, and polish the spot niceh. Leaving the setting in place, turn We have been designing molds for That done, bring the wire hoop into the bowl upside down on a semi-hard the shape of the tray rim and relax more than 17 years. by smoking a cigarette or some such tl~ing, because you must gather up new strength for the next step. For the band, use a thin sheet of whatever metal you used for the wire. LUDWIG SCHMID Cut a strip about one-half inch wide and a little longer than the circum- surface like a telephone book or a saw- model and mold shop ference of the wire ring so you will dust-filled leather pillow. Using a mal- 838 Genesee St. Cor. Dayton have some extra for overlapping at the let, ever so softly hammer the metal Trenton 10, New Jersey joint. Now bend the strip into a band down over the enamel. Start to Phone EXport 3-4363 circle which will fit tightly around hammer at four opposite spots--north, the wire ring; overlap the ends of (Please turn to page 36)

AUGUST 195v 33 Strictly Stoneware ( Contint~ed [7ore page 17) and a beautiful, clear pattern will re- well. Large areas may be scraped free FLORENCE COX sult from this treatment. If some drop- of wax or a tool with multiple points lets of engobe stick to the wax, ignore such as a saw blade can be used to CERAMIC STUDIO them temporarily. give textured areas. 543 Boulevard, Kenilworth, N.J. Step 4. Next dry and then bisque Step 3. Center the pot on a wheel fire the pot. All pieces of engobe stick- and with a sponge apply successive ing to the areas where the wax was thin layers of engobe in contrasting N. J. Distributor for will brush off these areas of the bis- color as the wheel revolves. The en- Designs by qued pot. The wax will burn up leav- gobe sticks to the lines and areas mg no surface for the engobe to ad- scraped free of wax, and it slides off here to. the waxed areas. The engobe often builds up a raised area where it fills Step 5. Glaze the pot with a glaze ISOBEL PODESZWA in the lines which is excellent. What is that works well over engobes--one 195b Sweepstakes Winner in the happening is that colored clay slips you would use over a sgraffito pattern. EASTERN CERAMIC SHOW are laid into the clay body in a simple, Wax Resist--Inlaid Slip direct way. This is really a method of This is an excellent variation of the doing the mishima technique. Dealer's Inquiries Invited wax resist technique. Step 4. Dry and bisque fire the Step I. Take a dry pot and cover pot. In many cases, the pot would it completely with wax and let it dry have a beautiful appearance if just for 10 to 15 minutes. the inside of it was glazed and the out- Florence Cox I Step 2. With your sgraffito tools. side left with the inlaid clay pattern I a medium sized nail for example, on a bisque surface. Greenware & Firing I scratch through the wax into the clay Step 5. Glaze the pot as you would to make a design. Fine or broad lines a pot with a sgraffito design. Price List and ones varying in thickness work ('To be continued) Ceram-Activities to duplicating its peculiar tones of lavender 1957 Edition... $2.00 t (Continued from page 30) purple and opalescent blues. Mr. Grimm, who teaches three art classes RAYMOND GRIMM EXHIBITS at Portland State, recently organized a new I AT OREGON CERAMIC STUDIO ceramics class there. Raymond Grimm, instructor of art at Port- "1 don't try to make a shape just to be land State College, recently was the star o~ different," he says. "In fact, I think some a one-man pottery exhibit at the Oregon of my cy]inders which approached another Jean Leonard Ceramics Ceramic Studio. medium are less successful than those which Distributors Featured in the show were pots whlch he reveal their clay origin more clearly. I have Gloss-Matie, Tru-Fyre, Drakenfeld's, Zireo, made v, hile earning his master's degree at never tried to be modern or just make o L & L Kilns, Kemper Tools Try our Magic Glaze binder. Makes one Southern Itlinols University, where he worked different shape." gallon -- 50e. (Mend-all, green ware & under F. Carlton Ball. In his thesis, Mr. The Oregon exhibit was Mr. Grimm's first bisque mender) 4 oz. -- 50e. All items plus postage catalog 25c. Grimm sought the secret formula of the glaze one-man show in the area, but he is no 96-24 Corona Ave. Corona, L.I., New York used by ancient potters of the Chung stranger to exhibiting. Since 1953. he has dynasty. And he feels he has come close won ten maior awards.

ENAMELING KILN

No. 7033 LARGE WORKING AREA Porcelain baffles and stoneware bowls by Raymond Grimm from his one-man exhibit. 12" x 11" x B" FAST COME-UP TIME BY POPULAR DEMAND CM Readers Want . . . OTHER SIZES for AMATEUR, PROFESSIONAL and • PROJECTS for HOBBYISTS • PROJECTS for TEACHERS INSTITUTIONS • PROJECTS for STUDENTS Send for Details Don't Miss the SPECIAL SEPTEMBER "Reader Request" issue of THE ELECTRIC HOTPACK CO.. INC. 5079 Cotfman St. Philadelphia 35, Po. CERAMICS MONTHLY

34 CERAMICS MONTHLY THE OVERGLAZE PAGE BEAUTIFUL GREY FIRING STONEWARE SLIP 06-04 IRON COLORS STONEWAREGLAZES 06-04 Information and fired sample • on request • by ZENA HOLST

The yellow and red mineral pig- tiring. The llesuli will be even more ments are called "iron colors" be- uncertain if the colors are intermixed cause the basic ingredient is iron on the palette. One iron color added oxide. These colors are very sensitive to another may appear, in the vial, in the annealment process of maturity to be the most intense in value but in firing, and are difficult to control it may be the weakest in strength and in retaining a purity of color value. endurance in the firing. For example The blending together of two or more -- a palette mixture of pure yellow of these colors, or of one over another. and some red will produce a muted for the purpose of shading in natural- tone of orange, coral or salmon. Very istic painting, should be a serious pretty and exact in color value before study for the china painting novice. firing; after firing, it is discovered that A finished overglaze decoration com- the yellow "ate up" the red. posed of a combination of any of the iron colors will be surprising and Special Rules disappointing unless the colors are Composing an overglaze decoration used properly. Until the use of urani- with ~[elIows and reds involves an um was curtailed, it produced the exceptzon to the rules for shadow very best and purest yellow. Now painting as previously given in my CREEK-TURN yellows are composed mostly of iron articles. The rule that "the darkest Rf. 38, Hainesporf, N.J. oxide. If you are fortunate enough to shadow tones should be applied first," have some of the old uranium yellows, cannot be followed when using com- apply the following rules onlv to reds. binations of iron colors. Since the HART SUPERFIRE COLORS darkest red is weakest in iron oxide "Amerlca's Besf Ceramlc Colors" Strength of Pigments content, although it appears to be Colors to 'Fit YOUR every Need the strongest in color value, it can- Flows on with ease. Comparative strengths of iron colors not be applied first as a shadow tone. UNDERGLAZE, GLAZES (Gloss, Matt, has been explained in several previous Satin) SHADETONE U.G., CLEAR GLAZE, This may be difficult to understand, articles. Namely, the higher the iron SLIP MARBLIZER, CHINESE PASTE, CRY- but the only way to control a com- STALS, NUGGETS, SEAFOAM, and content, the more intense the yellow bination of iron colors is to apply the HART'S BRUSHES. value. Presence of iron oxide, in an) color that is the strongest in iron oxide See your nearest Superfire Dealer today, quantity, acts as a flux. When manu- or write for Free Literature. Studio's content for the very first firing, re- factured, all mineral colors are prop- please give License number. gardless of its color value. Use a pure "Experience Makes Color--We Have it" erly fluxed with a form of lead oxide wash of color, then fire. This will necessary for vitrification. Because of Hart Ceramic Supply become an intricate part of the glaze the added fluxing action of the iron P.O. Box 920, 371 E. Beach Avenue and will not have the power to effect Inglewood, Cdif.mia oxide, the addition of a strong iron the colors that are applied in sequence color to another weaker iron color will of strength (from strongest to weakest cause a battle of survival in the firing. in aron oxide content) for shading The degree of endurance will depend purposes in subsequent firings. Each upon the proportion of iron oxide to color will be applied an separate other oxides used in the man,,factur(" firings, and the weakest iron color of each color. will be the last one applied. This Color Values method will retain a purity of blended colors no matter how many firings are It is best if all the iron colors can needed for finishing of the various be used in pure form and kept sepa- combined tones of yellows and reds. rated from each other in the paint- The scale of fundamental iron colors, ing. But this is not always possible. A from the strongest to the weakest in change of values in a tint, hue or endurance qualities is lemon yellow, shade often is needed for naturalistic Albert yellow, orange, yellow red, painting. For instance, the petals of Pompadour, and blood red. There are many flowers show a range of blended many other iron colors--such as flesh, tones from yellow to deep red. But primrose, coral, salmon, carnation, When writing to advertisers the flushing together of tints and poppy, poinsetta---to which these rules shades, needed for stimulating certain apply. Please mention CM effects, can be very deceptive before

AUGUST 1957 35 Enameler's Column SEELEY'S CERAMIC SERVICE (Continued from page 33) 'Let us help you with your ceramic needs. We have a comple:e line of school supplies :rod equipment : slips, clays, colors, kilns, south, east, west; then tap four more wheels, tools, brushes, sprayers, pens, and spots in between. Hammer softly, books. Free catalogues to schools and ce- August, 1957 ramic teachers: Ceramic-Molds Enameling. softly, all around until the metal band B & I Mfg. Co ...... 29 7 ELM STREET, ONEONTA, NEW YORK conforms to or hugs the enamel shape. Then take a burnisher" and polish the Basch, Bee, Designs ...... 29 Bergen Arts & Crafts ...... 8, 31 Buffalo Ceramic Supply Center .... 28

Campana Art Co., D. M ...... 30 Ceramlchrome ...... 4 Copper Shop, the ...... 32 Cox, Florence, Studio ...... 34 ~o,: 71~;d~iiii!: e,'ie n t/s~:itl ~)t:[s:;':tt;ng " Craffools, Inc ...... 32 Creek-Turn Pottery ...... 35 If you want to give the rim tex- Detroit Fabricating Carp ...... 7 b "~ Circulatlo~ Dept.~ ture, you can file designs in the wire Duncan Ceramic Products ...... 2 I CeramicsMonthly_.. ring. But with or without such added interest, this kind of metal setting for Electric Hofpack Co., Inc ...... 34

...... an enameled piece looks really pro- Galaxy Glazes ...... 32 fessional and precious; the piece alqo JAYDARH Grohs, Mary, Decals ...... 35 A ceromi© turquoise sfone at cone 09 is nmch more durable than one finish- A self-glazing, one fire, vitreous body in pow- ed in the usual way. Harrison, the Kay, Studios ...... 33 (let' focm. Excellent for jewelry or inlay. Will ~ake gold and enamel. Works like clay. Avail- And I would give an eye tooth to Hart Ceramic Supply ...... 35 able also in avocado, chartreuse, blue-green and white to be colored to suit. Write for find out whether one just one - of Holland Mold Shop ...... 31 descrlprive folder. 4 oz. $1.00, Jfi_, lb. $1.50, 1 lb. my dear readers will take the trouble $2.50: check or money order. Add 15e postage. O. Hommel ...... 9 to make such a setting. Good luck Wl LTON POTTERY, Sier Hill Rd.. Wilton, Conn. House of Ceramics ...... 7 with this enameling adventure! • NEW 81/2" x 11" Monthly Magazine Hurley, Hazel, Studio ...... 28 The CHINA DECORATOR "Keramic Studio" style, designs, articles Illinl Ceramic Service ...... 9, 32 for China Decorating. Beginners ; Advanced: Overglaze Page Studios. Designs by best artists all deco- (Continued ~rom page 35) L & L Mfg. Co ...... S rating methods. Studio discounts. Adver- tising bringing wonderful results. $3.75 yr. Lauer, Ruth Denice ...... 32 $7.00 two yr. Also CHINA PAINTING h'on Colors With Other Colors BOOK $4.25. Leonard, Jean ...... 34 NETTIE E. PILLET Do not confuse the iron reds with 841 Barrows Crt. Pasadena, Cnlifornia the rose, ruby and purple colors com- Mason Instrument Co ...... 34 posed mainly of gold oxide pigment. The gold oxide colors are durable Master Mechanic Mfg. Co ...... 9 ADHESIOLYTE Mayco Colors ...... 7 new apoxy adhesive in their own right and are not send- Ceramic to metal Ceramic to wood tire. Blues composed of cobalt and Model Ceramics ...... 32 $1.25 for 30 grams (25c fro' small sample) other durable oxides, which do not Jewelry Molds--Better Findings N.C.A ...... 6 contain iron, also are not sensitive. Norwesf Novelty ...... 30 PATTYPRINT POTTERY All mineral pigments that are com- 14826 Charlevolx Detroit 1S, Mich. posed of pure oxides such as chro- Paragon Industries, Inc ...... 2, 30 New MARY GROHS DECALS mium, copper, manganese, platinum Patfyprinf Pottery ...... 36 Has added a new llne for decal users... and iridium, and contain no iron Pillet, Nellie E...... 36 Porcelain Blanks for Jewelry . . . Bracelets, oxide, ttsuallv are not affected by Potters Wheel ...... 30 Necklaces, Ear rings, Brooch pins, Cuff contact with the iron colors. A few links, Tie clips, etc. Also findings to fit. Potter's Wheel, the ...... 30 Illustrated Jewery Catalog 25c of the greens and browns may con- Illustrated Decal Catalog S0c tain a small amount of iron, if on the Pottery Workshop, the ...... 28 Refund on first $5.00 order. yellowish side of the tone scale, but Re-Ward ...... 1 P.O. Box 34 West Oran.cle, N.J. the amount is not sufficient to cause Roder Ceramic Studio ...... 28 an)' trouble in the blending of these colors with the iron oxide colors. In Rouse Engineering Co ...... 32 fact the greens and browns, if com- Schmid, Ludwig, Molds ...... 33 posed of the best and purest oxides, Seeley's Ceramic Service ...... 36 The following back issues of Ceramics are durable enough to withstand a Monthly are still available at sixty cents Sorlano Ceramics, Inc ...... 32 per copy (Ohio residents add 3~ sales light wash of yellow or red, to high- tax). We pay postage. light foliage, in the last firing. In Sunny's Custom Ceramics ...... 30 19";3 July, August, Octoher, l)ecember stunming up the use of mineral colors Tepplng Studio Supply Co ...... 34 1954 February, March, July, August. Sel,- for naturalistic painting we find that Thompson, Thomas C., Co ...... 3 tember, November, l)ecember we need only to be careful in painting r955 Trinity Ceramic Supply ...... 28 May, July, August, Oetot)er, Novemher, with the iron colors if we wish to l)eeember Wilton Pottery ...... 36 1956 control them. A study of my previous May, June, July, August, October, articles on Mineral Pigments (May Wolfe, Jack D., Co. Inc ...... 28 l)ecemt)er 1957 1954), Know Your Colors (Aug.- X-ac+o ...... 32 Vebruary, Al)ril, May, June, July Sept. 1955), and Color and Color Please send remittance Icheck or money order) with list of back issues desired I'alues (Oct.-Nov. 1956) should be CERAMICS MONTHLY used as a guide for intermixing 4175 N. High St. Columbus, Ohio colors. •

35 CERAMICS MONTHLY BOOKS.. ;BOOKS... BOOKS

FROM BOOK DEPARTMENT teryMAKINGmake,H°wbypay.t°C°lehowPOTTERYmakeandWhattomakeStarrp°t-t°FORPROFIT it, how to price, how These books on ceramics may be ordered from the CM Book Department on to merchandise. This a money back guarantee basis. Each title has been carefully reviewed to assure volume has ideas for new and origin- you the best reading in the field of ceramics. al products. Contains floor-plan of model CERAMIC SCULPTURE A POTTER'S BOOK by Bernard Leach potter's workshop. by John B. Kenny The famed Mr. Cloth bound, 184 pages. $2.95 This latest book by Leach's book is the Mr. Kenny promises ~- ~,~,= outcome of 25 years to be as valuable as i ~ ~: work in the Far CERAMICS FOR THE POTTER his "Pottery Mak-i I~~~. :":: East and England. by Ruth M. Home ing." Mr. Kenny t ~; It deals with the The chemistry, geology, history of ce- uses the same step- i ii[!~i:~i: four types of pot- ramics presented in non-technical lan- by-step pictorial :~ ~ :~ tery: Japanese guage. Since the author began her technique and an i~) raku, English slip- study of ceramics "at the beginning," identical format. ware, stoneware, and she is able to say in the preface, "Only C°ntaining over a i ~ Oriental porcelain. an amateur can appreciate the prob- thousand photos and Considerable b a s i c iems of an amateur." $4.50 sketches it covers all information is be- phases of the sculp- tween these covers HANDBOOK OF DESIGNS AND DEVICES tor's art from be- as wall. Illustrated, some in color, 94 by Clarence Hornung pages. $6.00 ginning essentials to Basic designs and advanced projects, including animals, ENAMELING: PRINCIPLES & PRACTICE variations i n c 1u d e chessmen, figures, and many others. by Kenneth F. Bates the circle, line, Large format (7" x 10"), 302 pages $7.50 The author, who has s c r o 11, curvilinear, won many prizes for fret, shield, snow his enamels, has crystals, angular in- penned a practical terlacement, and A POTTER'S PORTFOLIO guide for the begin- many other equally by Bernard Leach ning student and an useful symbols. More An elaborate (11~/~'' x 14" cloth-bound) authoritative refer- than 1800 sketches edition in which Mr. Leach discusses ence for the crafts- are packed into 240 approximately 60 examples of great nmn. Covers all p ages of informa- pottery from the primitive to the con- phases of the art of tive text. 5" x 8" temporary. Full page illustrations, some enameling. Profuse- format, paper bound. of which are m color, are suitable ly illustrated, includ- $1.90 for framing. $17.50 ing plates in color. 208 pages. $3.95 DESIGN MOTIFS OF ANCIENT MEXICO CERAMICS BOOK by Jorcje Enciso THE COMPLETE by Herbert Sanders A compilation of 766 examples divided ~ ...... BOOK OF Complete step-by-step instructions on into geometric, natural and artificial ' POTTERY MAKING making specific pieces. Examples of forms. Includes designs based on flow- by John B. Kenny pottery by well-known ceramists. Over- ers, birds, fish, human figures and A size format (8" x 111/-"); 96 pages. many others. Cloth cover, 8" x ]]" ular pottery making Paper bound $1.75; Hard bound $3.00 format, 170 pages. 83.95 t techniques. Step-by- !f~.~ step photo lessons. Clays, glazes, bodies, FILL OUT... MAIL TODAY firing, plaster, etc. l,arge (7" x 10") format, 242 pages, more than 500 photos and drawings. Order Form Ceramics Monthly BOOK DEPARTMENT I $7.50 4175 N. High St. Columbus, Ohio Please send me ~'he following books: We Pay Postage POTTERY MAKING by Wren and Wren The authors, potters of Oxshott, Eng- land, cover all the basic phases of pottery making. In addition, they present information on gas kilns and building a small coke kiln. Illustrated, 140 pages. $3.50

Name THE POTTER'S CRAFT by Charles F. Binns Written by the man who, since his Address death, has been called the "Father of Ceramics." The book discusses the various origins of pottery, the nature of City Zn State clay-working materials and tools, and careful instructions for a variety of I enclos.~ $ .... Send rerr,iftonce with order. Ohio residents odd 3% Sacs Tax. projects. For tbe amateur as well as the student. $3.50 EVERYONE HAS BEEN ASKING FOR-- UNDERGLAZE DECORATION Marc Bellaire' s Step.by-Step Instructions

It's available now from Ceramics Monthly Book Department

Here's the sure-fire CERAMIC MONTItLY photo technique You'll join Marc Bellaire's class through the pages of teaching the ultimate in quality underglaze decorating. this CM handbook. Your personal copy is immediately Marc Bellaire creates a startling variety of new designs available from CERAMICS MONTHLY'S book department. 64 Pages/Full-size Format (81/2" x 11") before your eyes. Handsome cover in three colors 37 step-by-step design projects PRICE only $3 86 original motifs DEALER INQUIRIES INVITED 101 finished--glazed and fired--pieces 286 lively illustrations in all i Marc Bellaire guides you personally from basic skills of underglazing to the final how-to instruction for specific CERAMICS MONTHLY BOOK DEPT. 4175 N. High St., Columbus, Ohio designs. You'll achieve professional results with confidence. The complete table of contents includes: Please send me .... copies of the NEW CM HANDBOOK ON UNDERGLAZE DECORATION @ $3 per copy. (CM pays the The Marc Bellaire Method of Designing • postage). Brushes and Tools • Definitions • Finishing and Painting • Glazing, Firing and Defects • Brush Name Stroke Vocabulary • Backgrounds • Fruit Vocab- ulary • Birds • Animals • Figures • Special Address Techniques • Abstracts • Spot Decorations • Holidays and Commemoratives • Hobbies and Oc- cupations • One-stroke Technique • Jewelry • City Zn. State These are exclusive designs--created especially for you by Marc Bellaire. Ohio Residents: add 9e Sales Tax per copy. I enclose [] Check ~ Money order