FEBRUARY 1961 • 5Oc

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OHIO CERAMIC & SCULPTURE SHOW 0 VER 2 0 0 STEP.B Y-S TEP PHOTOGRAPHS FEATURED HANDBOOK ~ j i It¢... THROWING on the POTTER'S WHEEL

by Thomas Sellers This new handbook on the use of the potter's wheel is based on the series of outstanding articles which has been appearing in CERAMICS MONTHLY since 1954. The original series has been expanded to include many new chapters of basic instruction and information of special ira- portance to the beginner. Examples of wheel- PARTIAL LIST OF CONTENTS thrown pottery by contemporary American pot- PART I PART III Development of the Wheel .Jars and Vases ters have been included in a special section. Selection of a Wheel Pitchers This complete manual on the use of the potter's Accessory Tools Pulled Handles Choice of a Clay Bottles wheel includes basic steps, from wedging the Preparation of the Clay Making a Chuck Covered Jars clay to the making of specific shapes, all clearly PART II Teapots Centering Low Bowls and Plates described and illustrated with photographs and Opening Closed Forms sketches. Making a Cyllnder Cups and Saucers Making a Bowl Sectional Pots Lifting from the Wheel Lugged Bowls Foot Rimming Double-Wall Pots Throwing on Tiles and Bats Matched Sets "k 80 pages of instruction

An ideal book for both teacher and student. A must for ~" Full-size 81/2" x 11" format every hobbyist, school, art and craft group, library. Attractive three-color cover Price $4.00

CERAMICS MONTHLY BOOK DEPT. 4175 N. High St., Columbus, Ohio Please send me: A Brand New

____ copies of THROWING ON THE POTTER'S WHEEL @ $4.00 per copy.

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CERAMICS MONTHLY, February 1961, Vol 9--No. 2. Published monthJy except July & Aug., by Professional Publications Inc. --S. L. Davis, Pres., P. S. Emery, See.; at 4175 N. High Street, Columbus 14, Ohio. Entered as second-class matter at the post office at Athens, O. Subscriptions: One Year $5; Two Years $9; Three Years $12. Copyrlqht 1961. All Rights Reserved. Now Available over 270 AMACOGLAZES in both Liquid and Powder Form

The wide selection of gloss, matt and textured Amaco Dry formula Amaeo Glazes remain a favorite of many Glazes, formerly available only in dry powdered for- users. The strong, envelope-type, one pound paper mulas, are now prepared in time-saving liquid form. bags with tin ties are so easy to store, and the glazes are mixed with water as needed. Liquid or dry, Amaco Wet grinding insures extra fineness and super-smooth Glazes are best! Remember, too, Amaco clays and application. Ready-to-use Amaco Liquid Glazes are glazes are matched for perfect results. Send for the supplied in 4-oz. and 16-oz. glass jars and in gallons, 1961 catalog No. 46, "Amaco Pottery and Metal too. Airtight foil inner seals on the glass jars keep Enameling Supplies and Equipment," with glaze these liquid glazes "factory fresh." Try them! color chart.

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Buy your Beramic Brushes from these authorized distributors: Colorado Ceramic Supply Art-Craft Supplies, Inc. 1469 York St. 180 N.W. 62nd St., Miami, Fla. Denver 6, Colorado :\d','an('cs in vn~i.rt'tinu, +m(J Thalia Ceramics Rainville Ceramics Studio P. O. Box 205, Norfolk, Va. motor design have made this new ]9 Vine St., Scotia, N. Y. OUTSTANDING FEATURES Terry Johnston Ceramic Studio concept in a potter's wheel possible. TarA-Tan Ceramic Sul~ply you'll convince yourself and buy ! [106 W. Lake Shore Dr. By incorporating the light weight, 962 E. Fulton, Grand Rapids, Mich. Dalton, Georgia yet sturdy, pan of Royalite and a Anderson Ceramic Co. \' VARIABLE SPEED, IlS VOLTS, 608 H. McDuffie St., Anderson, S.G. Mandina's Ceramic Studio welded tubt]hlr steel frame, l'astcru 30 to 160 RPM AC or DC 2314 N. and S. Rd., St. Louis 14, Me. Art Craft has developed a compact, Carrel-Ann Ceramics \/ MOTOR INCLUDED IN PRICE 236 N. Main, Freeport, L. I., N. Y. Frances Art Produots rugged, potter's wheel. /2"throw- 1651 West Woodlawn ing head ix easily spun off for quick \~ PERMANENTLY LUBRICATED Reekers Ceramic Supply Co. MOTOR and GEARS 426 Lincoln Way, New Oxford, Pa. San Antonio, Texas and thorough cleaning of pan. California Ceramic Supply Waugh's Ceramic Studio \* ONE TEAR UNCONDITIONAL Route 3, Tomah, Wisconsin GUARANTEE 18711 St. Claire Ave. ~J/~'l~(~ C E NTERI NG DEVICE Cleveland 10, Ohio Empire State Ceramics \/ FOOT SWITCH MAINTAINS 5 Lucy St., Binghamton, N.Y. simplifies the most difficult step for CONSTANT SPEED, ADJUSTS AT Ceramic Hobbies the novice and speeds up production A TOUCH.YOUR FOOT DOES NOT 14V2 E. 14th St. Collins Ceramics for the professional. HAVE TO REMAIN ON CONTROL Anniston, Alabama 203 Page St., Gary, N.C. This optional accessory, CDI. Compact size: 22"x 18" x 9Y~" high or write for spec;al Catalog and Discount Information means greater enjoyment for the and light weight : 24 pounds... amateur by aiding him in precise complete, at this price.. $130. BERGEN BRUSH SUPPLIES centering of every "throw"... $15. Write for Brochure 110 Stuyvesont Ave. Lyndhurst, N.J. Phone: GEneva 8-70?0 Cable address: BERAMIC EASTERN ART CRAFT d~o. P.O. Box 732 Abington..Mass. iiizoTl[~ f,m.m n ||Z-.re'A§ i~oJ#l~Jlozql~iK~o]|q~lil* JI [~olu wJr,lm[~'n

4 CERAMICS MONTHLY Volume 9, Number 2 FEBRUARY • 1961 SO cents per copy

IN THIS ISSUE

Letters to the Editor ...... 6 Suggestions from Our Readers ...... 7

Itinerary ...... 8 Pic of the Month ...... 9 Earthenware: Cone 3 = Stronger Pots by Karl Martz ..... 11 Answers to Ouestions ...... 12 Sand Bag Molds by Louise Griffiths ...... 13 Stoneware: Making a Frit by F. Carlton Ball ...... 16 Making Gold Glass Chips by Kay Kinney ...... 17 Glycerin Spinning for Backgrounds by Marc Bellaire ...... 20 Cone 12 Porcelain by Leonard S. Rubenstein ...... 22 OF CRAFT SUPPLIES Enamelist's Headaches (Part III by Kathe Berl ...... 25 Stamped Decoration ...... 26 Enamel powders Show Time: Ohio Ceramic and Sculpture Show ...... 28 Hotpack Kilns Enamels ...... 30 Dremel power tools Jewelry findings CeramAcfivifies ...... 34 Steel and copper shapes Stainless Steel Stilts by Dora Reynolds ...... 37 Tools and accessories Ceramic Shopper ...... 38 Decorating materials Index to Advertisers ...... 38 Enameled tiles ON OUR COVER: Mariorie Evans Goslee's Eskimo sculpture, Paasche spraying equipmen! "Ootah," is on view in the 13th Annual Ohio Ceramic and Liquid enamels Sculpture Show at Youngstown. The 15-inch-hlgh figure is made L & L kilns from clark brown stoneware with incised design and areas of Firing tools black and white underglaze. The artist, a graduate of the Copper Cat iewelry kits Cleveland Institute of Art, also is currently exhibiting work at the Everson Museum and in the Designer-Craftsmen fraveling exh;blf. This big, new, fully-illustrated catalog includes a com- plete line of materials and equipment for enameling, ceramics, F-xUtoz Thomas Sellers and other crafts. Whether you're a hobbyist, professional, Art Director Joe Schmidt teacher or student, you'll find everything you need . . . select Business Manager Spencer L. Davis and order at your leisure from one complete source. Take Advertising Production Betty Owen advantage of convenience, fast shipment, and attractive low Circulatioa Mary Rushley prices. You'll find over 200 enamel colors listed, more than Western Advertising Representative: Joseph Mervish, 6716 Gentry Ave., 50 jewelry items, an outstanding selection of copper trays, Box 3115, North Honywood, Calif. TRiangle 7-7556. bowls, and free form pieces. Copyright 1961 Professional Publications. Inc. SEND FOR YOUR FREE COPY NOW!

...,,..o, 4175 North High S~reet j Thomas C. Thompson Co. Dept. CM Columbus 14, Ohio t 1539 Deerfield Road- Highland Park, III. I O I year SS 02 years $903 years S12 ] Please send your free catalog of enameling and craft supplies.

t "°m" i NAME Address J City Zn._ State I ADDRESS ...... ~ 0 Remittance Enclosed O Please Ill, Me~- I CITY .... ZONE STATE __

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FEBRUARY, :961 5 Shore your thoughts with other CM readersmbe it quip, query, comment, or advice. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly. 417S North High St., Columbus 14, Ohio

YOU NAMETHEM in the magazine. We have made many of December issue. To have the Picture of # We have a list of the Ten Top tunes, the things that have appeared in CM. the Month devoted to something from the the Ten Best sellers, and even the FBI MRS. TRELMA HYET show is an exciting bonus! Your choice lists the Ten Most Wanted men. Please Baguio City, Philippines of the Wyman terrace bottle for this publish a list of the Ten Top potters. spot was an inspiration. Many thanks for DON P. GRAFFLIN such a really fine job. Dublin, Ohio GLASS AND CLAY NANCY VARS #I have been trying to find out how CM will be happy to receive nomina- Everson Museum of Art to make ceramics with broken glass fused tions [or this list and publish them in Syracuse, N.Y. in it . . . not mosaic tile, but broken bot- the Letters column. Ideas, anyone?--Ed. tles, etc. I would appreciate the know-how. FROM We certainly enjoy your magazine. Even RENEWAL RIO FROM CM my husband reads it--he is my kiln man. # With the renewal of my subscription LEARNING I want to express my acknowledgment # 1 have been receiving CM since Sep- MRS. H. D. McKLEROY and appreciation for the high standing of tember and have learned more about Mattoon, Ill. the contents of CERAMICS MONTHLY. Your ceramics from your magazine than any magazine continues to be of great help other periodical or book on ceramics. In the June 1960 issue o[ CM, Kay Kinney's article ("Clay and Crushed Glass with my work as a studio potter and MRS. PATSY LEBLANC Grilles") told how to/use glass to clay. In teacher. Baton Rouge, La. a /orthcoming issue the subject "pud- Every now and then I follow your ad- dle" or pool glazes will be covered.--Ed.of vice with mostly good results. Sometimes REPORT FROM THE PHILIPPINES even with wonderful results, as in the # I am a grade and high school teacher case of the Karl Martz article about and would appreciate subjects we can RE: CERAMICNATIONAL "Good Glazing Makes a Difference" in the teach. I am using the native clay, which is # We couldn't be more pleased than we September issue. terra cotta, some ball clay and kaolin. I are with the wonderful spread you have REGINA ESHUYS would like to see more hand construction given the 21st Ceramic National in your Rio de Janiero

TEACHERS... "

NO DOUBT ABOUT IT~ Ij~.~(,~

GLAZES can help make ,~\. ~, /~.)l~/~. your ceramic classes \~1 /~ ~)./~ °,u,.. ,,,/( :I

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6 CERAMICSMONTHLY z 9th Annual EASTERN Handy Tool for Inlay Decoration An ordinary bulb ear syringe is a handy tool to use for filling in ceramic inlay decorations. For best bonding action, trail the engobe onto the piece when the clay is at a rather leathery-hard stage, and be sure that the engobe or slip is made from the same clay as is the ware. If you don't have an ear CERAMIC SHOW syringe at hand, a plastic squeeze bottle dispenser also works very well for this purpose. --Pearl Fitzpatrick, Gary, Ind. Convention Hall

New Forms from Molds Asbury Park, New Jersey Molds can be used to produce more shapes than you might imagine! The sketch shows a method of making a covered jar SPONSORED BY: CERAMIC LEAGUES, INC. from castings made in a bowl mold. Two castings were made mold, and these were joined together at their from the same OHers You A FabulousProgram

-:,k May 18-2.1, 1961 THE HOBBYIST "THE PAGEANT OF TECHNIQUES." Free morning demonstrations by Top Name Artists. 9 A.M. to Noon except Friday. FREEI Educa. fional! Don't miss it! rims with slip. A hole was cut in the top of the new shape and STUDIO 0 WHERS a perfect-fitting cover. A sup- the circle was removed to make for Dealers only. porting ledge was built into the top of the pot, and a knob was Morning Sales Period added to the lid to complete the new form. 10-12 noon except Friday. Castings from different molds may be combined to form new and interesting shapes if their rim diameters are the same size. There are almost limitless possibilities from the use of this technique. All CERAMISTS --Marjorie Shattuck, Syracuse, N. Y Plan to attend the "Early Bird" Ce- ramic Breakfast, Friday, May 19th at Protect Your Kiln the Berkeley Carteret Hotel. Time: The top edges of the kiln and the edges of the kiln lid are 10:30 to 12 noon. subjected to especially hard wear, and these are the first areas that show a tendency to deteriorate and crumble. You can avoid this by applying a thin smear of good kiln cement (not kiln wash!) to these and any other exposed areas. First dampen a small area of the kiln top thoroughly with a sopping sponge, THE HOBBYIST then smear on the cement and smooth it with the wet sponge. Show your piece in the National the job is Continue this procedure with the other areas until Amateur Exhibit! Prizes galore! done. Allow the cement to dry, with the lid open, for 24 hours. Brush the worked-on areas to remove loose particles and then vacuum cleaner to remove the crumbs from use the household SHOW HOURS within the kiln. --Wini Wilder Gladden, Detroit, Mich. GENERAL PUBLIC - - - ! P.M. TO 10 P.M. DALLY DEALERS ONLY - - - 10 A.M. TO 12 EXCEPT FRIDAY Dollars for your Thoughts Note: Write for information on any of above. CM pays up to $5 for each item used in th~s A column. Send your bright ideas to CM, 4175 N. $ High St., Columbus 14, O. Sorry, but we can't acknowledge or return unused items.

FEBRUARY, 196! 7 I THIS KEY... NEW Send show announcemen+s early-- Our No. 6 WHERE TO SHOW: three months ahead of entry date: WHERE TO GO: af least six weeks before openin.q. opens the door to New Horizons in Ceramic Catalog dramatic textures, exotic colors and superb finishes in glazes COVERING

ANNOUNCING *national competition * CERAMIC SUPPLIES REWARD'S SECOND GROUP CALIFORNIA, SACRAMENTO AND EQUIPMENT March 18--April 23 OF NEW SIGNATURE GLAZES Second Biennial California Craft Ex- By: Eric Vnnderlund hibition, sponsored by the Creative Arts * COPPER ENAMELING League of Sacramento, is open to Cali- (Available February 15, 1961, forina artists. at REWARD Media: pottery, mosaics, * dlstributors. ) enamels, glass and jewelry. Specific in- MOSAIC TILE formation concerning entry dates, media, jury and prizes may be had from: Cre- GOLDEN MIST SERIES ative Arts League, The E. B. Crocker FOR YOUR COPY Art Gallery, 216 O St., Sacramento. send S0c refunded on first order EV 10 Nile Green INDIANA, MUNCIE EV 11 Starlite March 1--31 Schools and Institutions Free EV IZ Mocha Gold *Seventh Annual Drawing and Small EV 13 Russet Green Sculpture Show, at the Ball State Teach- ers College Art EV 14 Jewel Brown Gallery. Purchase Awards; fee for entry. Entry cards and A fabulous finish in glaze with a work due by February 10. Write: Wil- Van Howe filigree of gold or silver making un- liam Story, B.S.T.C. Art Gallery, Muncie. usual patterns, depending on the con- Ceramic Supply tour of piece on which KANSAS, WICHITA it is applied. April 15--May 1185 S. Cherokee, Denver 23, Colo. Can be used in combination with our 22 lOSs Antiques *The 16th National Decorative Arts- or Cameo Matte glaze Ceramics r breathtaking effects. Exhibition, open to all Ameri- can craftsmen, includes ceramics, mosa- ics, hand-wrought and stained glass, jew- SKUTT & SON Introduce elry and enamels. Fee: $4; Awards: LUSTRE SERIES $2000. Work due between March 1 and 14. Write: Maude G. Schollenberger, THE QUALITYWHEEL 401 EV SO Midnight Blue N. Belmont Ave., Wichita. You've Been Waiting for . . . EV 51 Deep Purple KENTUCKY, LOUISVILLE EV 52 Sparkling Burgundy April 1--30 EV $3 Tidal Green 1961 Art Center Annual, at the J. B. Speed Museum, sponsored by the Art Exotic decorator colors, refl*ecfing the Center Association. grandeur Open to artists of of Old World Splendor, Kentucky, Southern Indiana deep, rich lustre finish. and others within 100 miles. Media includes crafts. Entry cards due March 10. Write: Mrs. Nelle Peterson, 2111 S. First St., Louis- ANTIQUE SERIES ville 8. EV 70 Maple Leaf MASSACHUSETTS, BROCKTON EV 71 Moss Green February 18--March 10 *Fourth Annual Winter Show, sponsor- The REWARD Signature Antique ed by the Brockton Art Association, is Glazes are superb in color, beautiful open to all artists in all media. Fee: $3. alone or in combination with other Jury. Work due Feb. 10. For entry cards, glazes. write Robert Collins, Box 97, Bryant- ville, Mass. Save coupons found on glaze bottles MASSACHUSETTS, WORCESTER • VARIABLE-SPEED ELECTRIC April 22--May 20 • POWERFUL, "Massachusetts Crafts Today--1961" VIBRATIONLESS is • MOST RUGGED & TROUBLE-FREE REMEMBER m For the Key to suc- the title of the exhibition to be held at Two years o[ field cessful glazing, always specify the Craft Center. Competition is open test- to members of the Massachusetts As- ing insure you delightful $192 REWARD. Guaranteed to be the most sociation of Craftsmen, and deadline for new freedom from me- cha nics. Permanently complete line of quality controlled entries is March 18. For details, write the Association, 25 Sagamore Road, lubricated, mudproof, etc. colors available. Worcester 5. Write for Fact Sheet, Free Trial Offer NEW YORK, SYRACUSE March 17--April 9 Ninth Regional Art Exhibition, open to artists residing within 100 miles. Media 2618 S. E. STEELE ST. include sculpture and crafts. Fee: $3; PORTLAND 2, OREGON (Manufacturers of Skutt E~ectric Klins) Continued on Page 35

8 CERAMICS MONTHLY : , .... ~,~,~

CM's Ilic of the Month: Tall Vase by Edwin A. Cadogen of Kentfield, California, won the Heath Ceramics Purchase Award at the 11th Exhibition of the Association of San Francisco Potters. Mr. Cadogen's vase is of stoneware clay, with a dipped glaze of dark blue and black. The piece is 191/2 inches high. The artist teaches both regular and adult classes in ceramics at the College of Marin, where he also is the head of the Art Department. He has done much experimenting with local clays and many of his clay bodies and glazes are made from materials dug close at hand.

FEBRUARY. 1961 9 Now is the time to learn just how wonderful a ceramic color can be. Ceramichrome has the "built- in" difference that means finer results ..... time after time! Ceramichrome products are formulated to fit most clay bodies and will fire successfully from cone 06 to as high as cone 6. They will respond to any method of application .... brushing, spraying, or dipping ..... they cover smoothly, and will not chip or flake. There are over 200 colors and textures available, including underglazes, glazes, antiques and specialty products.

Write today for complete information. Please indi- cate your interest in ceramics ..... whether follow- ed as a hobby or whether you are teaching in a school ceramic program.

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rO CERAMICS MONTHLY This is a buffish color, translucent enough to enhance finger rings and other texture. It also makes a striking The LIVELY ART of contrast with the red of the unglazed body. Pour it over parts of a piece leaving some unglazed clay showing. The clay develops an especially rich EARTHENWARE color adjacent to the glazed areas due to the vaporizing of the lead. Slip painting done with Barnard or by KARL MARTZ Blackbird Clay or simply with red iron oxide mixed with water gives a pleasing earthy effect under this glaze. "CONE 3 = STRONGER POTS" The following are my versions of two well known multi-temperature glaze compositions both of which give good results at cone 3. OR many years cone 04 was the Also, it has been used successfu@ SPECKLED TRANSLUCENT GLAZE F top practical temperature for elec- single fire with all of the following NO. 3X30 tric kilns with niehrome elements. To- glazes: Feldspar 10 % CONE 3 GLOSS GLAZE NO. 3X8 Pemco Frit P-54 17 day, improved elements permit a con- Lead Silicate 47 siderable choice of temperatures high- Pemco Frit P-54 20% Feldspar 35 Kaolin 13 er than cone 04. So much of my own Ball Clay 10 Flint 8 earthenware experience has been at Lead Bisilicate 30 Tin Oxide 5 this temperature that even now I tend Zinc Oxide 5 Granular Ilmenite 3 to think of cone 04 as home base, a 103% mental reference point from which 100% This is primarily a lead borosil- This contains enough lead and tin f work up or down the temperature to develop lively orange speckles from scale. icate with enough alumina and zinc oxide to be a good base for chrome- the iron in the ilmenite. I prefer not The well ordered sequence of cone alumina glaze stains. For example, to grind or mill the ilmenite with the numbers suggests uniform tempera- 4% of Glaze Stain 514 produces a other ingredients but just stir it into ture intervals between cones, but such warm pumpkin color, semi opaque, the glaze slip. If you prefer it with- is not the case. In the Orton Foun- on the above body. A dash of gran- out speckles omit the ilmenite. dation's table of Temperature Equiv- ular manganese, say about 0.2%, TRANSLUCENT GLAZE NO. 3X42 alents for Standard Cones most of speckles and streaks this in a pleas- Frit P-25 25% the intervals (rapid firing schedule) Ground Glass 25 antly-irregular fashion. are some multiple of 9* Fahrenheit. Kaolin 10 For example, there is an interval of An aloof gray and white effect can Tin Oxide 5 Lead Bisilicate 35 only 9 ° between cones 1 and 2 and be obtained with the following simi- lar composition. It is somewhat less cones 2 and 3. Between 04 and 03 shiny, less flowing and has a slight 100% the interval is 99 ° and between 019 Dark slips look good under both eggshell texture. and 018, 108 ° . This in no way im- CONE 3 GLAZE NO. 3X29 of these compositions. pairs the usefulness of pyrometric Pemco Frit P-54 20% Another well-known glaze composi- cones but one should be aware of Feldspar 35 tion which gives very good results on these varying intervals. Ball Clay I 0 red clay at cone 3 is the No. TN To avoid too great a similarity in Zinc Oxide 5 given for cone 04 in the May, 1960 Lead Bisilieate 25 results I skip certain cones and for Flint 5 issue of CM. Use it with 2 or 3% most of my work fire to either 04 or Zircopax 3 Copper Oxide to produce an enviable 03 or 3, because these cones are opalescent turquoise. spaced about 100°F. apart. 103% For a beautifully rich dark-umber At cone 3 I use a body that is On the above body this is a me- colored sculpture or hand building reasonably plastic on the wheel, has dium gray color. Coat the piece with body this is one of my favorites. a total drying and firing shrinkage it and then decorate on the unfired CONE 3 GROGGED SCULPTURE of about 14% and fires to a medium- coating--by painting, wax resist or BODY NO. 502 dark-red color. I think you will like glaze trailing--with the same glaze Redart Clay 60% containing 15% Zircopax. Result: Goldart Clay 40 its hardness, its density, the way it Bentonite 2 rings when struck and the fact that white on gray. Red Grog 15 it is practically watertight without a CONE 3 WOOD ASH MATT GLAZE Granular Manganese 2 NO. TA Powdered Manganese Dioxide 1 glaze This is the recipe: White Lead 42% CONE 3 RED FIRING BODY NO. Feldspar 28 104 120% Wood Ash 15 If the powdered manganese dioxide Redart Clay 60% Ball Clay 12 Goldart Clay 40 Calcined Kaolin 3 is omitted the result is a handsome- ly textured red body. Either way, I 100% 100% like it best without a glaze. • FEBRUARY, 1961 11 Conducted by the CM Technical Staff

1 want to try making some ash glazes but am in doubt about how to prepare the wood ash I have collected for this purpose. Can you tell me the process for this? M. P., Cleve- land, Ohio

Add water to the ashes to make a very thin mixture, and put this through an 80- or 100-mesh screen. Discard what doesn't pass through the screen. Let the mixture settle, then gently pour off the water. This whole process should be repeated several times to remove as much soluble alkali as possible. After one allowing the residue to dry after the last decanting, the ash is ready for use. BLUE-~¢

Q Is pottery that is given two firings, a bisque and a glaze, stronger than pottery that is single fired? Mrs. B. M., Dallas, Texas wonderfu Single-fired pottery should be just as strong and durable as .i. :. . • pottery that has been given two firings. The strength of a piece depends on how much heat the clay has been exposed to, not how many times it has been fired. The use of a piece of pottery depends also on the success of the glaze cover. A glaze without defects gives additional strength and usefulness to a fired piece.

Q Can you tell me how to prepare CMC to use as a binder ¢¢f/o# in a elaze? I am sure that I didn't prepare it properly for I found that it was almost impossible to put through an 80-mesh screen. In another batch, using more water than sugl~ested, 1 had trouble making the glaze adhere to the bisque.----S. ]. B., ON E COAT Grand Manan, N.B.

Mr. Martz writes that he uses the dry measure of CMC to BL U S add to the other glaze ingredients when he ball mills his batch. In case you aren't using the ball mill, you might be interested CLEAR BRUSHING GLAZE 618 in this method of preparation for a liquid measure: Put one ounce of the dry powder into a quart jar and add a cup of hot Now... just one coat does water. Stir this and let it stand for a few hours. Then add an- other cup of hot water, stir very thoroughly, and let this stand the job of the usual 3 overnight. Fill the jar with water, shake the mixture well, and it is ready for use. Sometimes it is necessary to dilute this mix- • WHITER THAN WHITE ture even more with water. • TWICE AS FAR WITH THE SAME JAR! Q Can you tell me if there is a substance that I can add to • TINTED BLUE FOR ordinary white or gray casting slip to give it a brick-red color? I want to use it for sgraffito work in making wedding plates. EASE- OF- APPLICATION --S. W. S., Erie, Penna. Slip may be colored by one of several materials. You may in Gals.. Qts.- Pts. have on hand some colored underglazes, and these could be , NON-BREAKABLE Re-usable Plastic Container added to your slip for the desired color. Another material that could be used is a ceramic body stain, which you woukt be able to purchase from one of the ceramic color companies. Still another method for coloring white slip a brlek color would be SAME LOW PRICE! the addition of red iron oxide. With any of these materials you would have to experiment on the amount of addition neces- sary for the exact color you have in mind. Duncan Dealer or Distributor

OERAMIC PRODUCTS, Inc. All subscriber inquiries are ;yen individual attention at CM; and 4030 N. Blackstone Fresno 3, California out of the many received, ~ose of general interest are selected for answer in this column. Direct your inquiries to the Questions Editor; please enclose a stamped self-addressed envelope.

12 CERAMICS MONTHLY SAND BAG MOLDS for Hand Building by LOUISE GRIFFITHS

AND bag molds offer the beginner and the ad- be textured while the shape still is being sustained by S vanced student almost unlimited possibilities in the the mold inside; the smooth cloth of the sack leaves building of pottery. The use of conventional plaster clean, smooth surfaces on the inner walls of the pots; and molds, either for pressing or slip casting, is quite satis- finally, the sand bags can be used over and over again factory until one wishes to make a particular shape for and, when empty, can be easily stored away. which no mold is available. A plaster mold for such a Among the many shapes it is possible to make over shape could be made, but this involves much time and these unconventional molds are bowls, ash trays, vases, effort and perhaps the mold might never be used again. pitchers, and even small-necked bottles. The sand-filled The sand bag mold is an easy thing to make and sacks can be used as hump molds: in the group picture to use in hand building clay pieces. Quite simply, it is of finished pieces, the large ash tray was formed over a a cloth bag filled with sand to give it shape, and around sand bag mold made in free-form shape. The most daring which slabs of clay are pressed and formed. The removal of our attempts using the sand bag technique, however, of the mold is not at all difficult after the shape is was a 12-inch vase with a narrow neck, and a step-by- leather hard. The sand is just released from the cloth step description of its construction illustrates how this container and the collapsed sack is drawn through the form can be built over a sack of sand. opening of the newly-formed pot! |. The first step in making a sand bag mold is to select There are many extra "bonus" advantages in the a shape. When this is decided, the shape is sketched on use of the sand bag mold in addition to the ease of mak- paper. Working from this, paper patterns are made of ing and using the mold. The outer walls of pieces can Please Turn the Page FEBRUARY, 1961 13 the base and the side wall. These patterns are traced CONSTRUCTING THE MOLD onto cloth and the pieces are cut out. The cloth we use is a thin, closely-woven percale that is firm enough to retain the sand, yet light enough so that the bag later can be pulled out through the narrow neck of the clay form. The sections of the cloth pattern next are sewed to- gether to form a sack that is open at the top. We used, and recommend, the sewing machine for this step. 2. The cloth sack is turned right-side out, then filled with dry sand. By using a funnel to insert the sand through the narrow neck of the cloth form, the task is made easier and eliminates the possibility of having to clean up spilled sand! It is important to fill the bag tight- ly with sand so that the sack retains its shape. The last step is to tie the bag shut with a piece of string. This completes the construction of the sand bag mold. 3. Three slabs of clay are rolled out to provide the base and two side walls for the vase. The clay is rolled out on a cloth between a pair of sticks to insure uniform wall thickness. The thickness used here is three-eights inch. The paper patterns are placed over the slabs and the shapes are cut from the clay with a potter's knife. Since the shape of this vase is irregular, and since the shape is somewhat flat, the two walls are necessary. (For a cookie jar or pitcher, one slab of clay--as wide as the desired height and long enough to go around the base-- can be used and joined to itself where the two edges meet.) 4. As soon as the cut-out clay pieces have stiffened enough to be handled safely, the construction of the pot is begun. The sand-filled bag is placed on the base slab, and the two side sections of clay are placed against the mold, one on each side. These side pieces are carefully 1. A SHAPE is selected and patterns are cut from paper for the joined to the base slab and to each other. base and walls. The patterns are traced onto cloth and cut out. 5. The seams of the clay are welded together very thor- oughly. If the clay sides don't quite meet at the seams, the clay can be "stretched" by pressing it toward the edges; if there seems to be an excess of clay wall, it can be trimmed away with the knife. The slabs are pressed against the sack mold and smoothed to create a finished surface. The top rim is trimmed to the desired shape to complete the construction of the vase. 6. Since the sand bag mold is left inside until the vase be- comes leather hard, the sack is untied at the top so that the sand can rise and sift inside and thus avoid cracking the clay as it shrinks in drying. When the clay is leather hard, the mold is emptied of the sand preparatory to re- moving the sack. 7. The empty cloth sack is gently pulled through the narrow neck of the vase to complete the removal of the mold. 8. The finished piece was decorated by painting a por- tion of it with white slip. When the slip was dry it was coated with vinegar and this produced a foamy texture. After bisque-firing, the entire piece was sprayed with a chromium oxide matt glaze, and the foamy portion wiped so that the color remained only in the depressions of the texture. Finally, this portion was sponged with a trans- parent matt glaze before glaze firing. : e Throughout the past year, my students and I have found this extremely simple method of constructing pieces of pottery to be most productive of excellent re- sults. The use of the sand bag mold frees the craftsman 2. A CLOTH sock is made by sewing the bottom and sides to- from many problems involved in the use of plaster molds gether. The sack is turned inside out and then filled with sand. and offers the prospect of many exciting variations. •

14 CERAMICS MONTHLY USING THE MOLD TO MAKE A VASE

3. THE paper patterns are used again to trace around rolled-out 4. WHEN the clay sections have stiffened slightly, the construction slabs of clay to form the base and sides of the s~ab-built vase. is started by placing the sack mold on top of the base slab.

5. THE side walls are pressed against the mold and their seams 6. THE sack is untied to allow the sand to shift and avoid cracking are welded together at the sides and to the bottom slab section. the clay as it shrinks. Sand is emptied when clay ~s leather hard.

7. THE empty sack is carefully pulled through the narrow neck to 8. FINISHED piece was decorated with white slip treated with complete removal of the mold. The sack can be reused. v~negar to produce o foamy texture; glazes completed the effect.

FEBRUARY, 1961 15 "Once is enough!" says this stoneware potter in his amusing account of the trials and tribulations of

MAKING A FRIT

by F. CARLTON BALL

F YOU have ever studied old books on pottery you Now I prepared for what I thought should be the I may have noted some very interesting material on the most exciting part of this experiment--removing the cru- making of glazes. In looking over the glaze sections of cible from the kiln! Since this would involve the use of these old books, I have been fascinated by the wonder- a pair of iron tongs, I made a trip to an old junk shop ful effects possible with the various glazes, as glowingly down the street (while the kiln was firing) and found described by the authors. Many of the most appealing three pairs of old iron blacksmith's tongs. However, the recipes described in these books are written in two parts, handles weren't long enough, so I added two pieces of consisting of the frit recipe, and the glaze recipe using curtain rod to extend the length of the handles. that frit. Of all the intriguing glazes listed, the most in- Even with extension handles on the tongs, I knew teresting always seemed to me to be those with frit that the kiln would be so very hot that I would need as- recipes[ bestos gloves to protect my hands. So another journey Obviously, the old-time potters made their own was indicated, this time to a war surplus store where I frits for special glaze effects. And, I thought, if those found a pair of elbow-length asbestos mittens. These potters found it worth while to make a frit in order to looked like they would be excellent protection, but I develop a most unusual glaze, then that is what should suspected they might be clumsy in trying to open and be done. I was determined to make a frit so I could test close the iron tongs. one of these fabulous glazes! By this time the kiln was getting hot, and upon look- First of all, I read everything I could find con- ing inside I saw that the crucible (my bisque pot) ap- cerning the making of a frit in the old manner. Roughly, peared only half full. The heat apparently was melting here is what it required: first, the batch of raw materials the frit materials, so I produced a large bucket of cold is weighed out according to the frit recipe, and the water in anticipation of the last step in this process. How- materials are mixed in the dry state. This raw batch is ever, the kiln was so warm by now that it was evident put in a crucible, and the crucible is put into the hot that I would need more than asbestos gloves for pro- kiln and left there until the raw material is in a molten tection when the kiln was finally opened. Two old sweat state. Then the kiln is opened and the crucible removed, shirts provided insulation for my chest and upper arms, and the molten mass is poured into a bucket of water. The and an old stocking cap protected my head. I thought frit solidifies and shatters, and it next must be crushed that things finally were ready for the opening. with a mortar and pestle, or in a ball mill, until it is Upon looking through the spy hole in the door of the fine enough to pass through a 200-mesh screen. The kiln, I noticed that the crucible was full of red hot, process seemed not too complicated, and worth the ef- bubbling liquid, and I was fascinated to see bubbles form, fort for a good result. Or so I thought! swell and burst over and over again. A very short time I started by choosing a glaze recipe requiring a frit, later the frit was bubbling over the rim of the crucible and weighed out a good-slzed batch of raw materials for and running down its sides! Happily, I thought, there the frit recipe. I screened the ingredients for a thorough was a heavy layer of kiln wash on the floor of the kiln. blending. For the next step I needed a crucible, and the The raw borax in the batch was causing the furious boil- only ones I had were too small for the batch I was mak- ing, and I knew that the crucible should have been lar- ing. The only solution seemed to be the use of a bisque ger or the batch smaller. As a test, I put a long piece of pot for the crucible, so I chose a bisque bowl made of heavy iron wire through the spy hole of the kiln and fire clay with grog in it. This pot had thick walls and was dipped the end into the boiling glass. It seemed about the large enough to hold my batch of frit. consistency of pancake syrup, so I decided it must be I used the smallest kiln I had in order to save on ready. Besides, the poor old kiln appeared that it couldn't the cost of firing, since the crucible was the only thing stand to get much hotter! In reality, it was only about being fired at this time. The smallest kiln I had was an cone 04. old china decorating kiln that would just barely fire to The exciting moment had arrived! I donned my cone 04. I put the crucible into the kiln, closed the kiln costume of sweat shirts, stocking cap and elbow-length door, and started the firing. I could find no instructions asbestos gloves, picked up the tongs, and adjusted the concerning the temperature necessary to melt the flit, so pail of water. It was then that I realized that there was I decided that I would just have to watch closely and no place to rest the red hot crucible once I had taken see what would happen. Continued on Page 32

16 CERAMICS MONTHLY ~, i ~ . i! ~ :i i ~!~i i~,iii!i:;i~i~i?!i'~'~ ,~

~~: ~:~!~i~'!~i ~,~i~iiiii ~ ....

MAKING GOLD GLASS CHIPS

by KAY KINNEY

T IS quite amazing how much glass is discarded be- I cause the craftsman is not aware of the possibilities for its use. In many cases, ordinary glass containers can become the basic ingredient for projects, such as the slumped bottles I discussed in the June 1960 issue of CERnMZOS MONTHLY. Other glass forms are often over- looked simply because an obvious use of the shape is not readily apparent. Occasionally a need or desire for a special effect presents a challenge that only can be met by evaluating certain characteristics that are governed by basic principles pertaining to the application of heat or by the actions or reactions resulting from the combination of materials. Considerable interest has been aroused by imported heavy glass objects that appear to have flecks of metallic gold imbedded in them, and I have received many re- quests for information concerning the materials and technique for duplicating this attractive effect. This im- ported merchandise has, in most cases, been made by in- corporating metallic flecking in the molten glass prior to 1. EITHER transparent or "silvered" Christmas free ornaments may Please Turn the Page be used to make gold glass chips for use in lamination.

/:EBRUARY, 196l 17 forming it by blowing or casting. This technique is out ornaments that melting points differ rather widely, and of the question for most craftsmen, of course, and we some of the softer glass diffuses the gold instead of be- have to discover other ways in which to work if we are to coming the metallic "pinpoints" of reflection that are produce these metallic-flecked pieces in our own studios so desirable. or home workshops. Two steps or processes are necessary to produce a First of all, we know that any material we use must finished piece incorporating the salvaged Christmas tree be laminated if we are to achieve the illusion of depth. ornaments. The glass ornaments first must be selected, But we also know that lamination can cause some weird cleaned and broken (if shattered discards are not avail- and often undesirable results: colors may change, de- able this long after the holidays), after which the liquid signs sometimes are distorted, and certain metals that gold is applied to the pieces of glass. These must be fired. are stable when fired alone are apt to disintegrate or The second step is, of course, the lamination of the liquify when encased in glass. Experimentation has taught us that pure gold may appear dull or discolored when laminated. Even the calcined form of mica, which pro- duces a metallic gleam of gold when laminated between single or double strength glass, is indistinct when thicker sheet glass is used. Glass gold, however, seems to retain its dark color in subsequent firings, and is the most prom- ising of the metallic compounds i[ it first is [ired on glass. Experimentation with glass gold has resulted in some other problems, however. Even the thinnest of picture glass resulted in some flowing of the glass base for the gold, and the final solution did not emerge until other types of glass were tested. Light bulbs and flash bulbs either melted too soon or acquired a translucent quality, and the small glass containers used to hold drugs and medicine resulted in a crystalline surface that nullified the metallic gleam. The almost perfect glass vehicle for the gold proved to be Christmas tree ornaments, since they gave a mini- mum amount of glass that would carry a maximum amount of gold plating. You will note the "almost per- feet" rating; it was found within this limited area of

3. PIECES of glass are removed from the solution when clean of the plating. They are rinsed in water and carefully dried.

2. SILVER or mirror plating must be removed by soaking the 4. LIQUID glass gold is brushed on both sides of the ornament broken glass ornaments in a solution of sodium sulphate. pieces. No dust should be allowed to settle on the gold.

18 CERAMICS MONTHLY crushed gold chips between sheets of glass. from garden stores or suppliers. This encaustic emanates i. If transparent glass ornaments are used--like the no fumes, but contact with bare skin should be avoided. ones from West Germany- in the picture--they need no The dry granules are mixed with water to form the preliminary treatment. The "silvered" ornaments can solution; a weak solution (five parts of water to one be used, but they must be cleaned of the plating on them. part of sodium bisulphate) may require overnight soak- 2. The silvered or mirror plating must be removed ing, while a half-and-half solution should remove the since it conflicts chemically with the gold and causes silvering within an hour. discoloration. Unbroken ornaments can be broken into 3. When the ornament pieces are clean of the plat- convenient sizes by snipping the open ends with scissors. ing, they are removed from the solution with tongs or The sections are cleaned of the plating by putting them tweezers, placed immediately in water, then are care- into a bath of sodium bisulphate, which is obtainable fully dried. 4. The liquid glass gold is applied as rapidly as possible in a room where there is little or no airborne dust. Both inner and outer surfaces of the glass may be coated in quick succession since it is easy to hold on to the edges of these pieces without disturbing the freshly applied gold. ft. When the gold is dry, the coated ornament pieces are fired to 1200 ° F. (or cone 022). The finished shells are removed from the kiln when cool and then are crushed with pliers into small bits. They are ready now to be used or stored away for future use. 6. Two glass blanks are cut to shape from sheets of 3/16ths-inch glass. The bottom sheet is sifted with turquoise, sapphire and garnet enamels to furnish a deep-toned background, then the gold crushings are deposited on top of the enamels from a narrow ice-tea spoon. (See earlier articles in this series for details of cutting the glass and enameling. Ed.) 7. The second blank of glass is very carefully posi- tioned on top of the decorated blank, and both are placed on the mold for firing. The unit is then fired to the full bending temperature of the glass. •

S. THE coated glass is fired to cone 022 and the finished shells are crushed into small bits by the use of a pair of pliers.

6. ENAMELS are sifted onto a glass blank, and pieces of the 7. THE top glass blank is carefully placed over the decorated one. crushed gold glass are deposited an +ap of the enamel. These are put an a mold and into the IcTln for fir|ng.

19 FEBRUARY, 196' Marc Bellaire Demonstrates

GLYCERIN SPINNING FOR BACKGROUND EFFECTS

AST month Marc Bellaire demonstrated the use of 5. If another color is desired, apply bands Gf an- L glycerin as a base for spinning underglaze colors for other underglaze color in the same manner. If the glyc- a most unusual decorative effect. This technique was erin dries before this background effect is complete, ap- used by itself to create a design somewhat similar to the ply more glycerin all over the outside and then continue. use of a spill base in glazing, and resulted in a water', Marc Bellaire selects a tall tumbler shape in green- fluid appearance. ware for decorating. This rather simple shape is used This month, Mr. Bellaire selects a different shape because the decorative effect of background and fore- on which to work and uses the glycerin technique to pro- ground designs would tend to "overdo" a shape that is vide a background over which he decorates. ornate in itself. As a variation of the technique illustrated First of all, let us review the basic steps for working last month, he applies the glycerin and underglaze dec- with the glycerin medium: oration from two directions--upside-down and right-side- 1. Center the greenware piece on a banding or dec- up. orating wheel. Mr. Bellaire begins by centering the tumbler upside 2. Using a large brush loaded with clean water, down on a banding wheel. Note that he places the green- dampen the entire outer surface of the pot as it spins ware piece on a square of absorbent paper toweling. The on the wheel. The use of slightly damp greenware saves purpose of this is to absorb any excess glycerin that flows on the amount of glycerin necessary for this technique. off the pot and thus prevent the rim of the piece from 3. Applya very generous coating of glycerin all over being distorted. After brushing clean water all over the the outside of the dampened pot. Work very rapidly, outside of the piece, he brushes a very generous amount using a large brush fully loaded with glycerin. of glycerin over the clay surface. It is essential to use 4. While the glycerin still is very wet, immediately plenty of glycerin! Immediately after this, Mr. Bellaire brush bands of very thin underglaze color over the glyc- brushes two bands of blue underglaze over the glycerin erin medium. The color should run down and break up at the top of the inverted form. The underglaze is the spaces between bands. thinned with water ve~" generously to make it flow over

20 CERAMECS MONTHLY the glycerin medium. Black underglaze, similarly thinned some relief. Since the decoration so far suggests the with water, is also brushed on and allowed to flow down. idea of trees or a forest, he decides to use this as a As soon as the glycerin and underglaze are dry, the background over which to paint some animals. He chooses pot is turned upright and again centered on the wheel. a figure with a strong horizontal body feeling in order The background effect is completed by repeating the to counteract the vertical background. The little forest first steps, first bv applying glycerin on the outer surface animal he constructs is basically made from two bold preparatory- to the application of more underglaze. strokes of the liner brush with black underglaze. One Marc Bellaire brushes bands of very diluted blue stroke is used for the body and another for the neck. and black underglaze onto the top of the spinning pot Four additional strokes furnish the creature with a tail, while the glycerin still is very wet. The flowing color head and ears. runs down to meet the lines of the first application and There is no hurry about doing this part of the dec- forms a strong vertical pattern on the tumbler. oration, since the foreground painting is done after the While the tumbler could be considered as finished vlycerin is dry. After all the hurrying necessary to com- at this stage (like the shape demonstrated last month), plete the background successfully, the artist will appre- Mr. Bellaire feels that the strong vertical lines need ciate doing this detail with all the leisure he wants! •

1. THE background effect is begun by brushing glycerin over the 3. WHILE the glycerin still is very wet, more bands of diluted outside of the greenware fumbler. Bands of diluted blue and black blue and black underglaze are brushed onto the fop of the tumbler. underglaze are brushed over this, resulting in a watery, fluid effect The runny underglaze lines combine with those made in the first similar to the use of a spill base in glaze work. application to produce an interesting background.

I 4:

2. WHEN the glycerin is dry, the tumbler is turned upright and 4. THE glycerin-underglaze design suggests a forest background •the outer surface is given another generous coating of glycerin. The over which Mr. Bellaire paints a foreground design of leaping underglaze decoration underneath will nat smear or blur if if is animals. These are done in black underglaze with a liner brush, thoroughly dry before more glycerin is applied. and emphasize a horizontal contrast to the background.

FEBRUARY, 1961 21 A CONE 12 TRANSLUCENT PORCELAIN CLAY BODY designed for casting and throwing

by LEONARD S. RUBENSTEIN

NCE A POTTER has been exposed to the beauty logic, the raw materials have been grouped according O and delicacy of high-temperature porcelain ware. to their function. This will also enable you to make an infatuation begins that will endure at least a life- substitutions when materials listed are unavailable. time. At this temperature range of nearly 2500 degrees For whiteness o[ body: F., the body and glaze achieve a physical and aesthetic English China clay ...... 12 harmony. Colors muted by this high fire create a subtle Kaolin (Avery Clay/ ...... 10 beauty that is timeless. Little wonder that Marco Polo Dolomite ...... 2 Talc enthusiastically described the elegance ...... 1 of this type of For plasticity: ware after witnessing its manufacture in the Oriental Bentonite ...... '2 community of Tingui in the year 1295 A.D. For many English Ball (Bedminster) ...... 10 centuries European alchemists were frustrated in their C/C Ball Clay ...... 15 tenacious attempts to duplicate this precious translucent For [lux: Oxford Spar ...... material from the East. 18 It wasn't until 1709 that Nepheline Syenite ...... 5 Johann Friedrich Bottger succeeded in producing a true For [iller: white porcelain paste after having accidentally discovered Flint ...... 25 kaolin. Today, with the new high-temperature kilns avail- 100% able, you too can pursue this elusive vision. Currently, it is interesting to note, this ancient material is playing If greater vitrification is desired, nepheline syenite an increasingly important role in providing a protective may be substituted for the spar. To yield greater plastic- coating for nose cones of rockets used in the explorations ity, the ball clay content could be increased. However, of outer space. this would begin to alter the pure white body to an The Body The following body recipe has been ivoz3, color as well as increase the percentage of shrink- carefully engineered for the dual role of casting and age. The plastic characteristics could also be altered by throwing. It burns white and is translucent when the increasing the content of Bentonite, a fine-grained wall is kept reasonably thin. Shrinkage is approximately volcanic ash. one-eighth inch to each inch, and warpage is modest Throwing A porcelain body is quite "short" in its when the clay is handled gently. In order to allow you feel when compared to earthenware and stoneware bodies. to manipulate the body composition with some degree of Nevertheless, one adapts rapidly to the discipline of this

22 CERAMICS MONTHLY With today's high temperature kilns, both the professional and the hobbyist can explore high temperature porcelain.

material and learns to throw a form quite directly. De- cisiveness is imperative since the body will stand but little modification before losing its strength. By substituting a thin slip instead of clear water as a hand lubricant dur- ing the process, you can avoid over-saturating the clay wall. It is important to wedge the clay with exceptional thoroughness to elminiate any air-pockets in the finished piece. The "architecture" of the form must be studied diligently since the high temperatures require spans that will withstand the (nearly) 2500-degree fire. The pre- ceding has an omnious sound but a few basic suggestions can help speed you towards success. When turning is necessary, it is a good practice to do as much as possible toward the base of the wall of the pot before it is cut from the wheelhead. This enables the potter to study the sweep of the form as it grows from the wheel. Wire modeling tools are used as well as the conventional spring steel. Once the piece has been cut from the wheel head it is left to dr)" to the leather- hard stage. At this point the foot is turned. Particular care is given to the proportion of the base in contrast to the sweep of the pot in order to better express the grace and lightness of the material. Casting For the hobbyist, one of the advantages of casting with porcelain is the opportunity of achieving a paper-thin translucent cross-section. This will emphasize the delicacy of the body. To convert the aforementioned porcelain body recipe for casting purposes just add a conventional defloccuent, such as sodium silicate, to the slip. This will help reduce the water content. Care must be exercised while casting to avoid any air bubbles since each pocket of air will emerge in the high fire. This causes an "unhealthy-looking" surface texture. Trimming of the molds must be done promptly and with dexterity since the shortness of the body increases the possibility of cracking. With paper-thin castings the finishing tech- nique must also be executed with skill or the percentage of spoiled pieces will increase. Once the first few castings have been trimmed you should encounter little difficulty. Glozing and Firing The ware is bisqued at cone 014 (approx. 1526 degrees F.). This low bisque enables you to handle the pieces efficiently for glazing. The porous bisque absorbs the glaze in a thirsty manner as it is sprayed. All the glazed ware is dry-footed since it is obvious that setter pins would push through the base when subjected to the 2500-degree temperatures. Since the glaze and body are brought to maturity at one time the ware may be classified as "once-fire" porcelain. Al- though many ceramists bisque their ware at porcelain heat and apply bright-colored low temperature glazes, it is my firm belief that the potter who employs this technique is overlooking the inherent beauties that are characteristic of porcelain. Both the physical and tactile qualities are enhanced when the body paste and glaze are fused in the same fire. The artist in his search for Please Turn the Page

FEBRUARY, 1961 Colors muted by the high fire create a subtle beauty that is timeless.

dark glaze on it in raw form will chemically combine to form exciting contrasts and textures. From an aesthetic viewpoint (and this is true at all temperatures) it is advisable to show some of the body, preferably near the base. In the case of porcelain with its white body this adds to the lightness and also quite practically minimizes the ever-present danger of a glaze over-maturing and running off the pot and fusing the ware to the shelf. The range of oxides that will not volatilize at this temperature is limited; however, this is not a handicap but an asset. Some of the oxides that will survive are iron, ruffle, chromium, colbalt, nickel, copper. The following cone 12 glazes are derived from basic formulas and can be modified at will. CONE 19 PRA #2 Transparent (Apply medium thick) Potash spar (Buckingham) 25 Whiting (English Cliffstone/ 25 Kaolin (Georgia) 20 beauty is always striving for a unity. By once-firing the Flint 30 porcelain ware, the fire becomes an ally of the potter to achieve this oneness. 100% To make opaque, add tin oxide The electric kiln I use is a conventional top-loading or a commercial model opacifier. that is lined with 2600 brick rather than the CONE 12 JP Transparent (Apply thinly) standard 2400. The interior of the kiln measures 17" x Plastic vitrox 79 17" x 17". It is easy to stack and is ample in size for Colemanite 5 most projects. Care must be taken to see that all ware Dolomite 13 Georgia clay is stacked level because the pots are almost fluid at the 2 Lithium Carbonate 1 2500-degree temperature and will emerge from the kiln elliptical instead of circular if stacked carelessly. In 100% order to see the senior cone pat at white heat without To make opaque, add tin oxide or a commercial resorting to the use of special glasses or "puffing" into opacifier. the peep hole, one can paint diagonal stripes on the All these glazes are hand ground with mortar and cone to be fired down. Colbalt underglaze can be used. pestle. This results in a random distribution of the color- Since I use no pyrometer, I set two four-cone pats (top ing oxides throughout the base glaze. Aesthetically this and bottom): C/12, C/ll, C/10, C/9. This gives ex- underlines the craft quality of the ware. The final cellent visual control and enables equalization of top and texture has an informal, friendly quality in contrast to bottom temperatures by manipulating the dual set of the slick surfaces of commercially milled glazes. electrical switches between low, medium and high. The The following will reduce all the complex chemistry firing schedule is accomplished in a twelve-hour period to a working level for the studio potter. Simply stated, starting from room temperature. However, there are a porcelain body is essentially composed of an equal many variables, since the low burners are sometimes left part of each of these ingredients: Kaolin, Ball Clay, on overnight or the final phase of the firing cycle may Feldspar and Flint. Therefore, to convert this basic be slowed for a "soaking" period. Too, as in any firing, body to a glaze that is compatible to the body, elements the amount of ware, kiln furniture, or tightness of packing are added that will reduce its maturing point. This should will all combine to alter the maturation curve. The ef- enable you to improvise from the above data and modify ficiently insulated electric radiation kiln makes the firing the recipe with successful results. quite reasonable in cost. An interesting technical effect can be obtained by Glazes Aesthetically, one of the greatest lures for painting glaze on glaze. Once again the fire will assist by the pursuit of porcelain is the glaze quality. The fire physically blending the pattern into the over-all color closely blends the body and glaze into an exquisite unity. and form. To quote the revered potter Charles Fergus Colors are subtle and muted. The surfaces have a most Binns, "The colors become part of a purely ceramic pleasant feel. Unusual textural effects can be obtained by unit; the spirit of the artist is fixed by the fire." the use of ruffle (5% and up). An overcharge of iron If you are dedicated to the search for beauty, and oxide (12%) yields some interesting results. Opaque if pottery is the avenue you have chosen, then the white glaze sprayed over the collar of a pot that has a challenge of cone 12 porcelain awaits your exploration. •

24 CERAMICS MONTNLY Enamelist's Headaches o 4J

Preventive and Therapeutic Remedies for Them

(Part II)

by KATHE BERL

HIS month's column really is a Question: Why do convex shapes of- phuric acid before enameling, it won't T continuation of the Questions, ten have a heavy rim of enamel on tarnish no matter how many times Answers and Cures listed in the Jan- the edges? the piece is fired. Here is the pro- uary issue of CERAMICS MONTHLY. I Answer: The piece was left in the cedure: In a glass or enameled re- hope that this information will help kiln too long, even for a heavy coat- ceptacle, prepare a solution of three make your enamel work easier. ing of enamel. There may be no other (or more) parts of water to one part Question: Why are my finished pieces signs of overfiring. Always take your of Sulphuric acid. Submerge the so often bare of enamel on the edges? enamel work out of the kiln when piece in this and bring the solution Answer: There can be several reasons it turns glossy. to a slow boil over a low flame. When for this defect. Perhaps you haven't Cure: Grind off the rim of excess the silver has turned a dull white acid and applied the enamel in the right way. enamel with a Carborundum stone; color, remove it from the enamel. When you sift on the powdered en- then rinse the piece thoroughly, to get rinse well. It is now ready to to be es- amel, hold the copper shape in your rid of the stone dust, and retire. If the enamel colors are be- left hand between two fingers and pecially brilliant, polish the areas the enamels. Silver, touching the piece only by the edges. Question: Why does flux suddenly fore applying treated in this way, stays "sil- If the shape is too large to hold in turn brown over silver foil after a when a long time. this manner, brace it on the table second or third firing? ver" for Cure: There is none but the hard and lift the side that you're sifting. Silver flux should be used, Answer: labor of burnishing. Moisten the shape properly before instead of ordinary flux, for use on you start the sifting; then cover the silver foil or on silver. Order it by do some of the layers edges first with the enamel, and dir- Question: Why name. from silver ect the sifting toward the center. If of the enamel dislodge Cure: Etch the brown flux off with layers remain on you sift the enamel onto a shaped pieces? Some of the Hydrofluoric acid, then apply silver This happens piece while it is flat on the table, the pieces, however. flux. This advice is only for perfec- pieces have there is a good chance that the edges after seemingly-perfect tionists, however! I think I would won't be completely covered. Another cooled. start over again on a new piece. reason for this defect might be that Answer: Silver wants only a thin layer the enamel was applied too heavily, of enamel. If the enamel is too heavy, Why do my pinks and reds with the result that it pulled away Question: the excess comes off in a very explos- brownish over silver or silver from the edges. And still another appear ive way! So, only a thin coat of en- foil? cause might be that the piece was amel will work on silver. overtired, with the result that the Answer: All warm colors must have Cure: Apply about half a layer of force of gravity pulled the enamel an undercoating of silver flux. enamel on the exposed spots and re- away from the edges. fire the piece. If this doesn't work, Cure: After cleaning a copper shape Question: How can I avoid the trou- apply more enamel. But be sting'y of the fire scale, moisten only the ble of silver turning dark when it is with it, and don't put it on any place edges, then sift on a thin coat of fired? but the affected areas; otherwise the enamel and fire. Answer: If silver is boiled in Sul- enamel is likely to come off again. •

25 F~BRUARY. 1961 CARVE YOUR OWN

STAMPED

TAMPING a design in clay is S as tempting as making a mark in freshly poured cement. From earliest times man has decorated pottery by GLAZE treatment is all important. Above are two plates of simply pressing in a design while the identical shape and imprinting, but the choice of color and glaze clay is still soft enough to receive it. changes the effect in each case. Called imprinting, impressing or simply stamping, it is a quick and easy way to decorate. The technique is so simple that even children can handle it successfully. All types of Interest in this form of decorating has prompted objects can be used for the stamping the reprinting of this article ~rom the July 1956 --strong-veined leaves, seed pods, issue o~ Cq~. reeds, nuts and other natural forms; buttons, spools, drapery hooks, keys, kitchen gadgets and a multitude of other man-made items. Actually, anything which will make a strong indentation in the soft.clay surface can, literally, be pressed into the service of stamping designs on clay. And a stamp need not be a

¢ ready-made object; you can make your own stamps by carving a design of your own in wood, plaster or clay. The design might be a geometric or abstract shape or it might be a specific motif. In the latter ease, it may be a personalized design for gifts or sale- able items utilizing motifs based on hobbies, sports or professions. How To Make A Stamp Stamps are easy to make; any ma- terial that can be carved is suitable. Since most of us have clay at hand, we will show how to make clay stamps. Using well-wedged clay, make a rectangular block large enough at the butt end to hold the design you have in mind, and long enough to be comfortable to hold in the fingers. For added comfort in handling and to lighten the weight, part of the Stamping can be done on already.formed handle in the middle of the length pottery or on rolled-out slabs of clay before shapingm may be carved away. as long as the clay is soft enough to take the imprint. Allow the clay to stiffen to the leather-hard stage, then prepare it for carving by making the ends smooth and flat. The ends can be rounded to make a rocker-type stamp useful on curved surfaces. Now, 26 CERAMICS MONTHLY DESIGNS FOR--

i DECORATION

carve the designs, digging out the through the kind of glaze treatment background to a depth of at least one- used. eighth inch. Be sure to cut straight One effective method is to use a down, at a right angle, so there will be glaze that changes color as it builds no undercuts. If a design is carved up in a thick layer. Such a glaze will at each end of a stamp and if those appear one color or texture on the designs are related, the decorations surface of the piece and appear de- can be combined in decorating a cidedly different where it fills the de- piece and much time will be saved pressions. in the process. A simple modification is to use a When you have finished carving, semlopaque glaze. The body beneath clean the design carefully because any will show through on the raised por- the imperfection will show up when tions, and in the deeper areas the stamp is used. Additional finishing glaze will be opaque and different work can be done as the stamp dries. from the rest. When the stamp is bone dry, it is Combinations of glazes with under- bisque fired. glazes or engobes also can be used SIMPLEST method is to stamp decorate a Stamping Methods effectively. For example, an under- slab of clay, then give it its shape over a hump mold. Add feet if you lit.e. Clay may be imprinted with the glaze can be brushed heavily over the stamp either before it is shaped or entire surface, filling the depressed after it is made into a piece of pot- portions. When dry, the surface is tery; the only requirement is that the scraped clean leaving underglaze in clay be soft enough to receive the the design areas only. The piece can impression. A slab of rolled-out clay be glazed over-all with a transparent can be stamped while it is resting on or semiopaque glaze. the table, then draped over a plaster Beautiful effects can result from or bisque hump (stamped side down) these techniques, but don't overlook and patted to shape--gently, so the the simplest glazing procedure of all: design beneath is not disturbed. A use a clear glaze over a red clay or slab also can be draped over the a colored body for a rich, subtle ef- hump first and then stamped on the fect. outside as it rests on the mold. Either You can be quite ingenious and sim- of these ways is comparatively original when using stamping devices on a ple because the work is done to decorate your work, but you must with the flat or almost-flat surface remember to be practical. The design, clay well supported. whether it is a ready-made object or be An already-formed pot must an original carving, should be simple. treated much more carefully so that A stamp with a simple design will the its shape is not distorted from make a clearer, stronger impression Do pressure of the stamping process. on the clay--and on the viewer. In- is firm the imprinting when the clay tricate design, even if successfully hard: to the touch but not yet leather carved and stamped, will tend to be side if possible, support the opposite lost in the glazing process. In this or some of the wall with your hand technique of impressing decorations, steady object. simplicity is the best policy. • Coloring and Glazing of Stamped surfaces offer all sorts BISQUE-fired plates are shown above. Glaze possibilities for interesting glaze ef- effects (below) were achieved this way: top fects. Even pieces of identical shape ---slip overall, wiped off the surface, clear and stamped design can be made to glazed; right--transparent glaze: bottom-- look quite different from one another opaque glaze.

FEBRUARY, 1961 THOMAS S. TIBBS, judge of the exhibit, is shown with prize-winning pieces by Richard DeVote, Dennis Dorogi, Robert Smith, Suzanne Groves and Paul Volckening.

SHOW TIME

13th Annual OHIO CERAMIC AND SCULPTURE SHOW

THE 13TH ANNUAL Ohio Ceramic and Sculp- ture Show is now on view at the Butler Institute of American Art at Youngstown. This competition is limited to work in ceramics, enamels and sculpture by present and former residents of Ohio. Judge for the event this year was Thomas S. Tibbs, who is Director of the Des Moines Art Center. From 418 entries he selected 162 for display, making this the most selective annual to date. Top awards in ceramics went to Henry Lin, Athens, Ohio, for a stoneware plate, and to Paul Volckening, Montezuma, N.M., for a stoneware bottle. Other prize- winning entries in ceramics were the work of Richard DeVore, Carl Krabill, Toshiko Takaezu, Johnnie Gould and Suzanne Groves. An award for enameling went to Charles March of Bloomfield Hills, Mich. Nearly all of the prizes are purchase awards and objects thus acquired are added to the permanent col- lection of the Butler Institute. The exhibition, which opened on January 1, continues through February 26. •

MADONNA by Dennis Chasek of Akron. The stoneware sculpture is nine inches high.

28 CERAMICS MONTHLY P

H

STONEWARE BOTTLE with Ash Glaze is nine inches high, the work of Toshiko Takaezu, Cleveland. $50 Award.

CROWN'S GUARD, sculptured stoneware vase by Lyle Perkins, Providence, R.I., is 30 inches high, The design is in turquoise blue and brown.

GREEN-BI.~CK BOTTLE (right), reduction- fired stoneware, is 24. inches high. It won far Paul Volckening, Montezuma, N.M., a $100 Award.

right) by Carl Krabill BRANCH VASE (far .... ~ ~i!!ii i!~i ¸iiiii!i!ii of Shaker Heights, won a $S0 Purchase Award. If is 17 inches high.

FEBRUARY, 196i 29 E NAME LS ifY ,: i

Contemporary American Work on Exhibit at Louisiana Polytechnic Institute ENAMELED SCREEN by Doris Halt was done in 1959. It is approx- imately one and one-half feet square.

A MAJOR SURVEY of contemporary American enameling. The most apparent distinction between the art enamelwork organized by the Museum of Contem- of enameling today and that of the past is in the size of porary Crafts is being circulated on a nation-wide tour by the pieces. While the jewel-like and precious qualities of the Smithsonian Institution Traveling Exhibition Service. early work have been carried on in many of the small This exhibit, "Enamels," is currently on view at the enamels of today, the twentieth-century application of Louisiana Polytechnic Institute at Ruston. enamel to architectural decoration has resulted in pieces The exhibition includes approximately 75 individual of mural size. pieces, the work of craftsmen from all parts of the Among the large pieces included in the exhibit are nation. Paul Hultberg's four-fold screen which measures over While some of the objects are traditional in tech- six by eight feet; a five-foot panel by Ellamarie and nique, many illustrate new directions in the concept of Jackson Wooley; Virgil Cantini's model for a wall sculp- ture; and Vivian Sauber Koos' six-foot panel of enamel on iron. The smaller pieces in the collection include bowls, jewelry, vases, trays, plaques and boxes. Noteworthy among the smaller objects is the jewelry by John Paul Miller, whose skill in creating delicate gold filigree and enamelware has won the artist wide recognition and praise. Represented in the exhibition are works by younger artists who have won local attention but who are not yet known nationally. The list of well-known established artists represented includes Kenneth Bates, Doris Hall, Karl Drerup, Edward Winter, Frederick Miller and Paul Miller. •

SNAIL PENDANT by John Paul Miller is enamel on gold com- FISH is painted enamel on iron. Enamel work is by Doris Hall, bined with gold filagree. metaP work by Kalman Kubinyi.

30 CERAMICS MONTHLY SELECT 2nu TITLES I CH B00kDepartmentfr°m the 1 ":, I

ENAMELING PRINCIPLES DESIGNS AND HOW A WORLD OF PATTERN AND PRACTICE CERAMICS TO USE THEM by Gwen White by Glenn C. Nelson by Kenneth F. Bates by Joan B. Prielo This volume offers the beginner A practical guide for the be- An important addition to the Top-notch decorating can be a wealth of ideas and infor- list of books for both student ginning student and an author- achieved by following the mation on design and color. itative reference for the crafts- and teacher. Many step-by- simple motifs which may be A sound approach to the art step photographs of clay-form- man. Illustrated. Color plates. enlarged or transferred. A of decoration. Color and line 208 pages of vital information. ing and decorating techniques. complete list of subjects: birds, illustrations. $3.75 Review of studio equipment. $3.95 fish, etc. $5.95 $5.9s A POTTERY SKETCHBOOK ENAMEL ART ON by Aaron Bohrod CLAY AND GLAZES FOR M ETA LS DESIGN MOTIFS OF Bohrod, one of America's dis- THE POTTER by Edward Winter ANCIENT MEXICO tinguished painters, is well by Daniel Rhodes A beautifully illustrated deluxe by Jercje Enciso known ;n the pottery field for Two complete books in one! edition, this book by a master A compilation of 766 examples his decoration of pottery Fundamental details on both enameler is a welcome addi- divided into geometric, natural thrown by Carlton Ball. Thou- CLAY and GLAZES make this tion to every enameler's and artificial forms. Includes sands of sketches, photos. $7.50 book a "must" for every library. 160 pages, fully illus- designs based on flowers, hobby- craftsman, student, trated with 7 color plates. birds, fish, human figures and HANDBOOK OF DESIGNS teacher and potter. Illustrated. $9.75 many others. 170 pages. $1.85 AND DEVICES $7.so by Clarence Hornuncj DESIGN FOR ARTISTS CERAMICS AND HOW Over 1800 sketches of basic CERAMICS BOOK AND CRAFTSMEN TO DECORATE THEM designs and variations includ- by Herbert Sanders by Louis Welchonok by Joan B. Priolo ing the circle, line, scroll, fret, This excellent introductory book One of the best books on de- Mrs. Priolo gives detailed de- shield, snow crystals and many describes methods and ma- sign, it will prove to be in- scriptions and illustrations of more useful symbols. 240 terlals for hand forming, wheel- valuable to pottery and sculp- dozens of decorating tech- pages. $1.90 throwing and casting. Covers ture enthusiasts as well as niques and shows exactly how ceramic iewelry, decoration DECORATIVE DESIGNS decorators. Geometric, flower, to go about using them. Starts and firing. 96 pages. $1.95 bird and animal forms Tn where other books leave off. FOR CRAFT AND HOBBY detail. $4.98 by Frances Johnson ENAMELING ON METAL $5.95 The author, a designer and by Oppi Unfracht THE ART OF MAKING FREE BRUSH DESIGNING potter, presents 380 designs, Step-by-step photos are used MOSAICS by Ecjbert and Earner many in full size, with sug- to describe fundamentals on by Jenkins and Mills The authors' exciting approach gestions for proper colors. through to newly developed This fascinating book shows the to painting and designing de- Many Pennsylvania Dutch de- experimental styles. This com- beginner how to make unusual velops confidence in the new signs included. 72 pages, plete guide is a major con- and beautiful mosaic pieces artist. Extremely well adapted paper-bound. $3.00 tribution to Enameling. $7.50 ;n home or workshop. $5.95 to ceramic decoration. $3.95 CERAMIC SCULPTURE by John B. Kenny Contains over 1000 photos and Order any of these select rifles sketches covering all phases on CERAMICS MONTHLY'S Money-Back Guarantee of the sculptor's art. A valu- able aid for all craftsmen. ~lm -- mu -- -- mu -- --mm ------im~ Large format (7" x 10"), 302 pages. $7.50 THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny The "best seller" in the 4175 N. High St., Columbus 14, Ohio ceramic field! Step-by-step photo lessons cover all of the Please send me the following book(s): poffery - making techniques. Clays, glazes, firing, plaster, etc. 242 pages. $7.50 [] gohrad~-Sketchbook $7.S0 [] Priol~Deslgns SS.9S ~ Jenkins & Mill~Mosaics $5.95 CERAMICS FOR THE [] Hornung~Designs $1.90 [] Rhodes---Clay & Glazes S7.50 [] Nelson~eramics $5.95 ARTIST POTTER [] Johnso~Designs $3.00 [] Sanders--Ceramics Book $1.9S [] Encis~Design $1.85 by F. H. Norton [] KennyDScuipfure S7.50 [] Uetrach~Enameling $7.50 [] Priolo--Ceramics $S.9S The most complete book on I [] Kenny~PotfarY $7.50 [] White--World of Pattern $3.7S l--1 Egbert&Barne~Brush $3.95 1 the subiecf` from choosing the [] NortonDArflst Potter $7.S0' [] Wlnte~Eeamel Art $9.75 roper clay to putting the ~inal touches on a piece, all I enclose [] check [] money order clearly explained. Ceramics at its best! 320 pages. $7.50 Name CERAMIC GLAZES by Cullen W. Parmelee Address ...... This invaluable reference book completely covers glaze mak- ing. Includes formulas and City ...... Zn .... State ...... batch recipes for glazes. 314 I ...... I pages of technical informa- n Ohio residents add 3% Sales Tax. WE PAY POSTAGE m tion, handsomely bound. $8.00 mmmmmmmmummmmm FEBRUARY, I%i 3i Making a Frit Continued ~rom Page 16 guarantees stability it from the kiln! So I had to remove my mittens and uniformity, brushab|lity, stack some bricks to the height of the bucket. reliability. When I opened the door, the blast of heat was ter- rific; however, I found that I could use the door as a shield. The glaze that had bubbled over the sides of the GLAZES crucible made it stick to the kiln floor, and I had diffi- Specsey Art Speckled art glazes of multicolored beauty. culty lifting the pot with the tongs. Finally, when I thought that I no longer could stand the heat, the cruci- Vellum Lovely satin-llke glazes with "Touch Maqnet;sm." ble came loose, pulling long threads of glass from the floor of the kiln. I elbowed the door shut and set the red Meringue Foaming textured glazes. hot pot down on the bricks until I could get a new grip Wonflre s0 beautiful colors both cjIoss and matt. on the tongs. The heat of the kiln had caused another problem by this time. The frames of my glasses were so Crackle With perfect crackle pattern. hot that I had to remove my gloves and cap and take off the hot glasses, then pull on the gloves again and snatch Spill Enhances our cjlaze combinations as listed in our "Tricks and Treats." up the hot pot with the tongs. As I slowly poured the hot liquid glass into the cold Also, SGRAF-WAX--theonly new decorating aid in the ceramic hobby field. water, it caused the water to boil and steam. But now I had a new problem: some of tthe liquid glass missed the Write for our complete color catalog including bucket and fell on the floor and started the wood burn- underglazes end WONSTROKE concentrated colors. ing, and the smoke made my eyes smart and sting. Of Perhaps your studio qualifies for a Com- course the mittens were very hot, now that the heat had mercial Discount on SPECIALIZED products. penetrated the asbestos, and to make matters even worse, Manufacturedby: the glass was cooling in the crucible and would no longer pour. In desperation, I dropped the crucible into the water, and at last was free to remove the mittens and put out the fire on the floor! BOX 453, WELLSVILLE, NEW YORK When the crucible and frit finally were cooled, I found that it was impossible to free the frit from the crucible without taking along large pieces of pottery'. Actually, I only succeeded in getting about one cup of clean, shattered frit from all this undertaking. FREE Now I had to grind the frit for use. I put my hoard of hard-won frit into a ball mill with some water and ground and ground it. After 4~8 hours of this, most of the frit went through a 100-mesh screen, but not a single Dealers bit could be coaxed through the 200-mesh screen. The l next step was to dry the frit and then mix the special glaze I was attempting to make. The most glaze it was Only possible to make with the frit I had was about three pints. This seemed very little after my labors. l It took a lot of patience just waiting for the kiln to cool after a piece of pottery was glazed with this wonder- ATTRACTIVE, heavy-wire magazine dis- ful new glaze, but finally the great moment arrived. Re- play racks to aid dealers sales of sults? The pot looked good, but it certainly was nothing Ceramics Monthly in their studios. Send special. This Super Glaze that had been so much trouble coupon below immediately, on your let- to produce could have been duplicated by standard glaze terhead, for single-copy sales program recipes in general use for years, and--mind you!--with and FREE magazine rack. ordinary glaze materials. While I consider the whole experience very worth Circulation Manager while, I don't believe I can recommend it. The process CERAMICS MONTHLY did make me fully appreciate the commercial frits that 4175 N. High St., Columbus 14, Ohio are available to potters. One company that manufactures Please send us information on your single copy sales frits has tested over 3000 different glaze frits, and the programmfor dealers only. very thought of mixing and firing that many tests should make a present-day potter thankful for the existence of STUDIO ...... the frit companies. ADDRESS...... In next month's column I shall discuss different frits. explain how to test them, and give the stoneware potter CITY/STATE...... o°---- ...... , several recipes for their use. • 32 CERAMICS MONTHLY • ...... : : [ -...... , • SEND FOR ...... ,......

the latest ::i:i:~:~:;:!:i-...... ,.

:.:.:.:.:.;.:...... ,.,...... ,., ...... ,.- ~,people, places & things CRAFTOOLS .,...... ,...... '.'.'.'.'.w .-...,.... -. CATALOG i:i:i:i:i:!:i:::::::::::::::

of :-:,:-:.:.:.:..:.:.:.:.:-:-: tools and equ ip ment ...-.,.,...... ""...... MUD HEN WINNERS enhain of Pittsford, N.Y., the potter First prize winners in the Fifth Annual whose great variety ranges from some of ,or,,e CREATIVE CRAFTS !iij!ii!i!!!...... West Shore Mud Hen Exhibit have been the simplest functional forms to large dec- ...... -.....- ..-.,...... -. announced and are pictured. Standing in orative murals; and enamelist Carl Drerup CERAMICS i:i:i:i:i:i:i:! ...... -.-... front of the railing are (left to right): of Thornton, N.H., a conservative whose JEWELRY - METAL CRAFT ...... -.-...,'-'-'-'.'.". work has great charm and exceptional GEM CUTTING ":':':':':':+".;.'.'.'.'.'v illuminosity. The show opens at the Mu- GRAPHIC ARTS iiiiiiiiiiiiJi seum on February 13 and continues until BOO K B I N D I N G :':':':':':':~:.:.:,:.:,;,:.~. SCULPTURE "'"''"";':::::::::::::!; ..-.-.-...... ,. April 23. •.-.-.-...... SEND FOR IT NOW- ::::::::::::::.....-.-.-.... ::::::::::::~ ACCESSORY CRAFTS EXHIBIT IT'S FREE! ::::::::::::::.-....,- -.... :::::::::::::: Members of the Midwest Designer- .-.-...... -.. Craftsmen group are being invited to :::::::::::::: participate in an exhibit, Accessory Crafts, at the Third Annual Chicago World Garden and Flower Show. The dates of this show are March 11-19. The purpose of the crafts exhibit is to expose a vast audience (estimated to be 350,000 persons) to good crafts for home and garden, and to sell the pieces of craftwork being shown. The site of the show is the new Exposition Douglas Hooper, Junior Division Best of Center of Chicago; the Accessory Crafts booth is to be near the end of the Fea- CRAFTOOLS, INCa Show; LiUian Lorentzen, Glaze Figures; 396 Broadway. New York City 13. Dept.CM Edna Ursem Best of Show in Enameling; ture Garden Aisle, which is the core of the and Elsie Erdelac, Best of Show for Fabric show. The arrangements are being handled Draping. On the steps, from left to right, by David Laughlin and Earl Hooks. are: Theresa McGann, Glass; Mary Mil- ler, Miscellaneous; Eleanor Ullrich, Lace NCA BOARD OF DIRECTORS Draping; Mary Ann Repeta, Mosaic; Olive The Board of Directors of the National FRANCOISE CERAMICS Bannerman, Hand Modeling and Sgraf- Ceramic Association recently attended a d~stributor for AMERICAN BEAUTY GLAZES fito; ]o Shaner, Decorated Greenware: meetln~ in Chica~o. Pictured standing in Atlantic ~ Bee Bosch -- Holland Lyla Osborn, Fired Stain; lane Null, Un- and Ludwig Schmid Molds fired Stain; Mary Shields, Sculpture; Ann Paragon Kilns -- Duncan E-Z Flow Seiwert, Glaze; Helen Litkovitz, Glaze Fig- Glozes -- Mack China paints B Brushes -- Tools, efc. ures; and Pearl Faus, China Painting and 113 49th St. So. St. Petersburq 7, Florida Jewelry. President of the group is ]an Thibo.

WINIFRED HOLT EXHIBITS FOR THE FIRST TIME The Albany Institute of History and Art is currently showing pottery and sculp- Molds From tured fountains by Winifred Holt, Delmar, New York. Mrs. Holt, a native of Texas, 30 Leading the photograph (left to right) are: ]ohn Companies studied sculpture under William Zoraeh Kappeler, Lyndhurst, N.J. ; Gertrude and at the art school of the Boston Mu- Oakes, Melrose, Mass.; William Martin, 6,060 seum of Fine Arts. She also has studied Chicago, Ill. ; Mart, G. Stone, Battle Creek, IN ONE CATALOG...... $1.00 ceramics at Alfred University. Her work Mich.; and Ed Greenstreet, Los Angeles, has been exhibited in the 1956 Ceramic Calif. Seated (left to right) are Agnes H. National, at the Munson-Williams-Proctor Rainville, Scotia, N.Y.; Bee Basch, Engle- MIDWEST c,,,AM,C Institute, at the Schenectady Museum and wood, Fla.; Benjamin C. Vaughn, Presi- (ENTER in the Albany Artists Group Annuals. The dent, Springfield, Mo.; Ed King, Milwau- 722 Southwest Blvd. KansasCity. Missouri exhibit is on display through February 5. kee, Wis.; and Laurine Brock, San An- tonio, Texas. BROOKLYN CRAFT EXHIBIT A retrospective showing of the work of BROCKTON PRESTIGE SHOW nine masters of modern crafts, illustrating The Annual Winter Show of the Brock- their influence on the decorative arts of ton Art Association opens February 18 today, is the subject of a special exhibition and continues through March 10. This is at the Brooklyn Museum. Among the the Fourth Annual of the Brockton, Mass., craftsmen included are Edwin Scheier of group. The show is open to American and Durham, N.H., a pioneer in the field of foreign artists and craftsmen. Some of last American pottery whose range of decora- year's exhibitors received one-man shows tive motifs has been a tremendous influ- in Boston as well as showings in Paris. ence; enamelist Kenneth Bates of Euclid, The jury for this year's event consists of Ohio, who is particularly noted for intri- cate representational design; Franz Wild- Continued on Page 34

FEBRUARY 1961 33 CeramActivities Contoured Glass Continued from Page 33 ]an Cox, MacIvor Reddie, Murray Went- A New Glass Technique... worth, Otis Philbrick and Peter Abate. Robert Collins is handling publicity for CHUNK FLINT BOWLS Che,.ub Molds this show. Simply line a "Mold-Coated" piece of bisque with these sparkling /or wall p/aques AMONG OUR AUTHORS chunks, apply GLASSTAIN® AND • Leonard Rubenstein, a 1939 graduate FIRE TO 1350o1:. When cold, the of Alfred University, worked under the glass bowl releases from the bisque. late Charles M. Harder in the pursuit of porcelain. He now is the vice-president Special selection includes chunk flint, and executive art director of a Chicago Mold-Coat (our new separator for advertising agency and is responsible for all types of glass), Turquoise and the visual appearance for both print and Chartreuse G/ASSTAIN,® glue and television advertising for such major full instructions. corporations as Reynolds Metal and Borg- $4.75 Postpaid (U.S.A. only) Warner. KAY KINNEY 725 Broadway Dept G-2 Laguna Beach. Calif.

AT A PRICE yOU i ) TJ I ~20~6 TIMMIE ~,: : . 12" , :~, $12.50

In addition to his ceramxcs, which he JACK D. WOLFE CO., INC. has exhibited in several Syracuse National Shows and in regional shows, this versatile 724 Meeker Ave. artist has exhibited paintings, graphics and Brooklyn 22, N.Y. photography. He also is a guest lecturer at Tel: Evergreen 7-3604 the University of Rochester's Memorial A Complete Line of: Art Gallery (on ceramics) and at the CERAMIC MATERIALS and EQUIPMENT. University of Chicago (on graphics). Sculpture, Mosaics and Mr. Bernstein reports: "Currently I'm Copper Enameling Supplies . . . a week-end potter. Eventually, when my We manufacture our own line of Clay three children have received their school- Bodies, Glazes, Wheels, Tools, Etc. #2087 TAMMIE 2!~ t)~.. 12" i i;: $12.50 ing, I'll devote a greater share of my time Our Aim is: QUALITY & SERVICE Five percent packincj charcje to ceramics. My basic equipment includes Write for our 64--page catalog 35c FOB, Jncjiewood, Calif. a high-fire gas kiln as well as an electric Dealers and Distributors Invited WRITE FOR NEW CATALOG with special 2600 brick lining. My wheel is a standard kick wheel that I modified so that one stands over the wheel to Willoughby throw." ANDERSON f.ERAMICS COMPANY • Louise Griffiths writes that her hobby Studio Inc. 608 N. McDuffie St., Anderson, S. C. 407 E. FLORENCE AVE. rtow involves her so completely that she INGLEWOOD, CALIFORNIA finds herself dning more and more in Complete Ceramic Supplies ceramics and less in her studied profession (religious education). She is now the CATALOGUE--25c H°nd,eg C~,.je Please Mention CM ceramics instructor in the Industrial Arts when writing our advertisers Department at Wilmington (Ohio) Col- lege, where she developed the sand bag mold for use with her classes. Last year ELECTRIC STILT GR she took a number of pieces made by Contact Trinity A Dremel Moto-Tool herself and her students to the Midwest for Superior a must for both cerar Ceramic Show in Dayton, and the interest and enameling hobbyi: in the sand bag mold technique was so CERAMIC and It's the fastest and m great that she has written it up to share efficient way to re- PORCELAIN CLAYS move stilt marks, ex- with others. cess glaze, polish copper, etc. Weighs only 6 ounces. Prices SEND NEWS, and photos if avail- from $14.85 to $27.- able, about "People -- Places -- 50. Write [or cata- Things" you think will be of ceramic log. interest. Our CeramActivities edi- tor will be glad to consider them for Dealer Inquiries Invlf._ Dremel Mfcj. Co. Dept. 611-B Racine, W;s. this column.

34 CERAMICS MONTHLY Itinerary NEVER BEFORE Continued from Page 8 Has a QUALITY, MOSAICS MOTORIZED. Jury: Cash Awards. Entry cards due Floor Madel February 26. Contact: John Rutter, Ev- Potter's COPPER ENAMELING erson Museum of Art, 407 James St., Wheel Syracuse 3. Been ~r Huge Stocks OHIO, AKRON Offered * Fast Service March 10--April 16 at 38th Annual Spring Show of Ar- * Quality Merchandise The this tists and Craftsmen of the Akron Area, LOW Write now for FREE literature at the Akron Art Institute. Craftsmen living in Summit, Portage, Medina, PRICE! Stark and Wayne counties are eligible. ILLINI CERAMIC SERVICE Craft categories include decorative ob- Ceramic Supplies" I jects, jewelry, useful objects. For entries, i "Quality write: Akron Art Institute, 69 East 439 N. Wells, Chicago 10, III. Main St. L Aster P Er': w,eet Phone MI 2-3367 SAFE, FULLY ENCLOSED TENNESSEE, MEMPHIS MECHANISM '(~:~!i~)~i:~'i May 5--28 • PRE-LUBRICATED BRONZE ,:.:.,:,:,:+.... "...... The Second Biennial Mississippi River Crafts Show, sponsored by the Memphis • MASSIVE STEEL Branch of the American Association of CONSTRUCTION 4KILN ..AR. D ¢ University Women, is open to craftsmen • 18" THROWING TABLE residing in states bordering the Missis- • 10" THROWING HEAD sippi River. Categories include ceramics, # VIBRATION FREE enamel, glass and mosaic. Prizes; entry # SMOOTH, INSTANT, FOOT fee. Deadline for entries: April 3. Entry PEDAL OPERATED SPEED blanks and information available from: CHANGE: 30 TO 150 RPM P.O. Box I055 Jacksonville Beach, Fla. Mrs. Robert A. Crenshaw, 5312 S. Ange- Standard Y,~ H.P. motor $16.9~ when la, Memphis. purchated with Mamter Potter'* Wheel. Floor Model. Item 47b, Wt. 90 lbs. WEST VIRGINIA, HUNTINGTON Reg. $175. Factory price .... $94.50 April 23--May 28 Bench Model. Item 47a, Please Mention CM Ninth Annual Exhibit at the Huntington Wt. 45 lbs. Reg. $125. Galleries. Open to artists of West Vir- Factory pric~ ...... $69.95 When Writing Our Advertisers ginia and to artists of Ohio and Kentuc- 10 DAY MONEY BACK GUARANTEE ky living within 180 miles. Media in- MASTER MECHANIC Mfg. Co clude crafts. Entry forms due March 29. Dept. X-261, Burlington, Wis. CERAMICS FINISHED AND GREENWARE Distributor: ~k Reward ~ Dobe GIo OHIO, DAYTON CATALOG Willoughby "k Symphony ~ Kay Kinney April 22--23 ILLUSTRATED & Marx brushes, eke fools of Molds and Patterns. Included at no OXthra Bergen Third Annual Ceramic Show presented COSt ~ many page, of How-to-do-it Ideas. In molds we distribute MARC BELLAIRE, by the Midwest Ceramic Association Send $1.00 today! GARE, WILLOUGHBY, KAY KINNEY. (Ohio and Indiana) at Memorial Hall. Our stocks of all are large and ~aried. Competitive hobby display and demon- BEE BASCH DESIGNS, INC. SUBURBAN CERAMICS strations by nationally-known artists. For 70 Pine & First Sis., Englewood, Fla. STUDIO entry information write: George Glisson, 830 Warren Avenue Downers Grove, III. 1816 Maplegrove Ave., Dayton 14. Call we 8-0719 BUY BUELL KILN KITS CALIFORNIA, SAN FRANCISCO and build your own at low cost February 15--March 15 Easily assembled at home. Safe, efficient, low operating cost. Plug into any 110-v double Norwest Novelty Co. "Gandhara Sculpture," Smithsonian wall outlet. For porcelain, pottery, china 32480 Northwestern Highway Traveling Exhibition, at the M. H. painting. 3 new kilns added this fall. Write Farmington, Michigan Museum. for literature and "Questions and Answers DeYoung Memorial on Kiln Building." Hours: 9 to S OPEN SUNDAY ILLINOIS, CHAMPAIGN C. M. BUELL KILNS Closed Monday February 26--April 2 the Box 302. Royul Oak, Mich .... LI 2-4298 Phone MAyfair 6-6003 "American Crafts--New Talent," at Potter's Dream His Own Kiln" University of Illinois Krannert Art Mu- "Every seum. ILLINOIS, CHICAGO I copper February 17--April 2 enameling "The Arts of Denmark," International SUPPLIES ceramics Loan Exhibition, includes ceramics, glass mosaics and metalwork. At the Art Institute. 24. page Mosaic • Catalog--full color KENTUCKY, LOUISVILLE • . . only 25c February 15--March 15 CATALOGS 136 page General "Okinawa -- Continuing Traditions," • Catalog, plus new Smithsonian Institution Traveling Exhi- bition, at the J. B. Speed Art Museum. I enameling,supplement. jewelry. . supplies, porcelain LOUISIANA, RUSTON blanks, etc. through February 28 • . . 50c "Enamels," Smithsonian Institution Traveling Exhibition, at the Louisiana BERGEN ARTS & CRAFTS INC. Polytechnic Institute. 300 S.W. 17th Ave., Miami, Fla. Continued on Page 36 FEBRUARY, 1961 3S Itinerary KEMPER TOOLS Continued /rom Page 35 NEW, larger, springer-return plunger-equip- ped cutters in HEART, ROUND, TEAR-DROP for over 450 original Ludwig and FORGET-ME-NOT patterns. MICHIGAN, DETROIT XL-A Cutter is s/a" in diameter. Schmid Models in stock, new February 7--March 5 XL.B Cutter is ~/4" in diameter. Michigan Artist-Craftsman Exhibition, items added continually. at the Detroit Institute of Art. RETAIL PRICE S0c Please ask your dealer for these Complete catalogue and price NEBRASKA, OMAHA and other Kemper Tools. Write for March 17--April 9 FREE illustrated catalogue to: fist, with additional sheet for Fifth Midwest Biennial Designer-Crafts- dealers, studios, and schools. men Exhibition, at the Joslyn Art Mu- $1.00, refunded with first order. seum. KEHPER NFG. CO. P.O. Box $4S, Chino, California NEW HAMPSHIRE, /vIANCHESTER through February 12 "Design in Germany Today," Smithson- Jan Institution Traveling Exhibit. at the Currier Gallery of Art.

NEW YORK, ALBANY Rustproof • ONLY $2.95 ( MODEL S ) J~ J] through February 5 Also available with cast ~ AI I An exhibition of pottery and sculptured aluminum head (ModelSA) $3.95 ~ ~:~!1 fountains by Winifred Holt, at the Al- SEEYOUR DEALER 0S DISTEIBUTOR--0RWRITE ~1~1 bany Institute of History and Art. GILMOUR CAMPBELL D~ Nr 14258 MAIDEN. DETROIT 13, MICHIGAN DISCOUNTS lJ CRAFT CERAMICS NEW YORK, BROOKLYN Special Teen-Age Class February 13--Aprii 23 STUDENTS Sat. A.M. Sculpture, "Masters of Contemporary Crafts" ex- "ACTIVITIES IN CERAMICS" LEAGUE Lapidary and other hibition includes work of potters Ed- A text which includes crafts. Experienced fac- win Scheier and Franz Wildenhain, and basic instructions Y.W.C.A. ulty. Men and women. enamelists Kenneth Bates and Carl Dre- 840 8fh Av. $1.6o at 51st, N.Y. Day, Evening Classes. rup. At the Brooklyn Museum. Circle 6-3700 Request Catalog C SEELEY'S CERAMIC SERVICE NEW YORK, NEW YORK 7-9 R~ver St., Oneonta, N. Y. through February 19 "Art Treasures of Thailand" includes ceramics, jewelry and sculpture. At the Metropolitan Museum of Art. Library Binder. CREEK-TURN NEW YORK, NEW YORK Rt. 38 HAINESPORT, N. J. Holds a year's through February 15 "Japanese Design Today," Smithsonian supply of CM. Institution Traveling Exhibition, at the ORIGINAL PRODUCTS Museum of Contemporary Crafts. Order yours to- UNUSUAL GLAZES OHIO, AKRON SPECIAL CLAYS day. Postpaid. through February 26 Ceramic work by advanced students of CASTING SLIPS $3.50 Toshiko Takaezu at the Cleveland In- stitute of Art. In the Sales and Rental GROG CLAYS Gallery of the Akron Art Institute. RAW MATERIALS Ceramics Monthly OHIO, DAYTON Complete line of ORIGINAL MOLDS 4175 North High St. Columbus 14, Ohio February 18--March 19 Artists of Ohio Exhibition includes ce- ramics and sculpture, at the Dayton Art Catalog $1.00 Institute. The Famous DEALERSHIPS AVAILABLE KLOPFENSTEIN OHIO, YOUNGSTOWN through February 26 [] POTTER'S WHEEL "The 13th Ohio Ceramic: and Sculpture _•]n.||Sll*.lell,n.nl.....,,,..|||lel..Ql.lI.,|...|,ll.,Q|, Write far FREE information Show," at the Butler Institute of Ameri- Copper Enameling Catalog i can Art. H. B. KLOPFENSTEIN & SONS i Enamels -- Shapes -- Tools -- Kilns i .-: Send 40c in stamps ": R.F.D. ~2 Dept. A Crestline, Ohio ONTARIO, TORONTO April SPORTS & CRAFTS, INC. "Fourth Annual Canadian Ceramics Ex- hibition," sponsored by the Canadian i 2086 S. Taylor Rd. Cleveland 18, Ohio Guild of Potters, the Potter's Club of ~.11 i111111lit ill lilt ii i iiiiiii i iltllll i iiiiiii i iii i iii i illllllllllllllllln ~ Montreal, the Canadian Handicraft POTTERY Guild and the British Columbia Potter's Club. At the Royal Ontario Museum. Please Mention CM When Writing Our Advertisers TOOLS OREGON, EUGENE February "Arts of Southern California VI: Ce- ramics," sponsored by the Long Beach CLAYS-PLASTERS Museum of Art. At the Museum of Art, Write for information and catalogue CM University of Oregon. Manufacturers, World's Most Complete Sculptor's Supplies PENNSYLVANIA, PHILADELPHIA ORegon 9-7474 February 16--March 10 Wind Bells by Estelle L. Halper and Charlee Neubauer. at the Philadelphia Art Alliance.

36 CERAMICS MONTHLY EASY-TO-MAKE

STAINLESS STEEL STILTS

by DORA REYNOLDS

HERE IS nothing more aggravating than to have T an enameled piece ready for firing and then find that you don't have a stilt of the correct size on which to place it. Very often in the process of trying first one stilt and then another, or in trying to force a piece to fit onto a stilt, the enamel is disturbed around the edge of the form and the work must be done over again. I I I This is not only an aggravation; it is wasteful of materials ! I i as well. I ! ! j Much of this problem can be eliminated by select- ing a stilt for the piece before starting to apply the enamel. If this stilt is set aside, it will be ready to receive the piece as soon as it is enameled. And once on the stilt, the danger of damaging the coating of enamel is very small! However, enamelists often find that none of the stilts they have on hand quite fit a specific shape or size they are making. In this case, I would like to suggest that they keep some light-weight stainless steel on hand for making stilts for these specific projects. These stilts are quite easy to cut and construct, and one can be made in just a few minutes. The design I use is a very simple one. It consists of a long strip of metal with three raised points or prongs. By folding the strip in a special manner, a tri- angular stilt is formed. The way in which the strip is bent to form the stilt is very important, for it eliminates the need for an), soldering. The sketch shows the pat- tern of the stilt and the dotted lines indicate where the strip is bent to form the three-pronged stilt. This stilt is an excellent one for firing pieces with counter-enameled backs, since the pieces are supported on their edges against the prongs of the stilt. Made in small sizes, they are fine for holding earrings and cuff llnk blanks; this same pattern can be enlarged to make stilts for holding larger pieces. For those cases in which deep bowls are to be fired and the kiln height clearance is possible. Stainless steel is sharper and harder than cop- in doubt, the stilt can be designed with lowers prongs. per, and you will have much more difficuhy filing away The metal I use and recommend is scrap stainless slivers and burs. steel in a light gauge--either 24 or 22 gauge. This can After cutting, the stilt is bent at three places to be purchased from a scrap iron dealer (junk dealers form angles according to the sketch. This can be done by seldom can supply scrap stainless steel). For just a few inserting the stainless in a vise and hammering it into cents you should be able to buy enough of this metal to angles, or the hammering can be done over a block of make several small stilts. wood. Try to create sharp angles, as this makes the fold- After the pattern of the stilt has been made on ing of the shape easier. After the stilt is formed, its size paper, it can be drawn onto the metal with a nail point can be changed slightly by stretching or closing the angled or scriber. sections. The prongs also can be bent either in or out The light gauge of stainless is not difficult to cut to accommodate larger or smaller diameter shapes. with either aviation snips or tin snips. In the cutting, I This is my favorite stilt, and I hope that other would suggest that you try to create as few slivers as enamelists find it easy to make and a pleasure to use. •

FEBRUARY, 1961 37 I CERAMIC ¸¸ POSITION AVAILABLE Interesting summer position for skilled ceramics craftsman who enjoys working with ...... ! young people. Unusually creative New Eng- land teen-age project. Address: SHAKER VILLAGE WORK GROUP Box 1149, P|¢¢sfield, Massachuseffs FEBRUARY 1961

American Art Clay Company ...... 4 Pottery Figures Book Anderson Ceramics Co ...... 34 JEAN LEONARD CERAMICS "Making Pottery Figures" is a book in- Art-Craft Supplies, Inc ...... 38 96-24 Corona Ave. Corona. L. I., N. Y. I$ E. Hartsdale Ave. Hartsdale, N. tended for those who wish to reproduce Art Decal Company ...... 3S Wholesale - Retail their modeled figures: for those who Gloumatle--Tru-lFyre---Drakenfeld--Zir©o B & I Mfg. Co ...... 10 Dunean--L & L Kilns---Kemper Tools either wish to specialize in this branch of Try our Magie Glaze Binder, makes a gal. 50e. the craft or to occasionally reproduce their Basch, Bee, Designs ...... 3S Distributor for Pee-Wee Sprayers, $3.95. All items plus postage -- Catalog 25c. more suitable models. The book provides Bergen Arts & Crafts ...... 35 practical guidance at every stage of model- Bergen Brush Supplies ...... 4 ing, mold-making, casting, drying, firing, Buell Kilns ...... 35 decorating and glazing. The author, Mar- "PHILADELPHIA jorie Drawbell, has supplemented her text Campbell, Gilmaur ...... 34, 36 with clear step-by-step photographs. Ceramichrame ...... 10 MUSEUM Charles T. Branford Co., Newton 59, Ceramic Expositions, Inc ...... 7 Mass. Ceramic National Show ...... Cover 3 COLLEGE Craftaols, Inc ...... 33 OF ART Craft Students League YWCA ...... 36 Modern career college for Studio Tools Creek-Turn ...... 36 today's artists, designers and art teachers. Coed. Three indispensable tools for studios Doub/e "B" Wood Novelties ...... l0 Accredited. 4-year B.F.A. and shops are being offered by Double B Dremel Mfg. Ca ...... 34 or B,q. degrees. Also Eve- Wood Novelties. Pictured are the heavy ning Division and Summer Duncan's Ceramic Products ...... 12 Workshops for students and teachers. Catalogs. Eastern Art Craft Co ...... 4 E. M. Benson, Dean. PHILADELPHIA MUSEUM COLLEGE OF ART Francolse Ceramics ...... 33 DEPT. F, BROAD & PINE, PHILADELPHIA 2, PA. House of Ceramics ...... 3

Illini Ceramic Service ...... 35 ART CRAFT SUPPLIES, INC. Distributor for Kemper Mfg. Co ...... 36 Paragon -- Duncan -- Drakenfeld Kiln-Gard ...... 35 Bergen Brush -- Hotpack Kilns -- Kinney, Kay ...... 34 Willoughby -- Jacquelyn's Stains -- Klopfenstein, H. B. & Sons ...... 36 Perma-staln and Hobby Heaven Molds duty Trimmer Knife (top), a sturdy, ver- General Ceramic Supplies satile tool that will trim, cut-through and L & L Mfg. Co ...... Cover 4 180 NW. 62nd St. Miami, Florida smooth. Its handle gives a firm grip when Leonard, Jean, Ceramics ...... 38 used on large pieces. The new Clean-Up and Sgraffito Tool (center), has an Master Mechanic Mfg. Co ...... 35 elongated wire end for trimming, clean-up Mayco Colors ...... 6 and sculpture; the reverse end is a Midwest Ceramic Center ...... 33 sgraffito knife for cleaning lace and plates and trimming delicate molds. The Sgraf- Norris Labs ...... 36 fito and Incising Tool (bottom) has a Norwest Novelty Co ...... 35 The following back issues of Ceramics Monthly are still available at sixty cents standard sgraffito knife at one end; the per copy (Ohio residents pay 3% sales other end is a sharpened-edge, heavy- Philadelphia Museum College of Art..38 tax.) We pay postage. duty wire for scraping and cleaning. Dou- 1953 Reward ...... 8 July, August, October, December ble B Wood Novelties, 5526 Alhambra 1954 Ave., Los Angeles 32, Cali[. Schmid, Ludwig, Molds ...... 36 March, July, August, November, De- Sculpture House ...... 36 cember 1955 Seeley's Ceramic Service ...... 36 July, August, October, November, De- cember New Design Book Shaker Village Work Group ...... 38 1956 SkuLL & Sons Wheels ...... 8 February, March, May, June, July, A new book, "Basic Design," is concern- August, September, October, November, Specialized Ceramics ...... 32 ed with the basic principles of design and December Sports & Crafts ...... 36 1957 their practical applications in all phases of January. February, April. May. June, Suburban Ceramics Studio ...... 35 July, August, September, October, No- art from the initial design of a sketch to vember. December the making of such items as mosaics or Tepping Studio Supply Ca ...... 33 1958 modern jewelry. The "why to do it" as January. February, March. April. May. Thompson, Thomas C., Co ...... fi June, September, October, November, well as the "how to do it" is discussed December by the author, and his book develops a Trinity Ceramic Supply ...... 34 1959 February, March, April, June, Septem- philosophy to enable the reader to apply Van Howe Ceramic Supply ...... 8 ber, November, December his own design principles in original and 1960 January, May, June. September, October. individual ways. Design is discussed in re- Willoughby Studio, Inc ...... 34 November. December lation to drawing, sculpture, ceramics, 1961 Wolfe, Jack D., Co ...... 34'~ January mosaics, enamel and jewelry. The author Please send remittance (check or is Kenneth F. Bates, well-known enamelist money order}, with list of issues desired. and teacher. The book is published by CERAMICS MONTHLY The World Publishing Co., 2231 West 4175 No High St. Columbus 14. Ohio 110 St. Cleveland, Ohio.

38 CERAMICS MONTHLY CERAMIC NATIONAL

Trade Show and Workshop A FEATURE-PACKEDSHOW OF CERAMIC PRODUCTSAND IDEAS ~- National firms exhibiting Demonstrations by leading supplies and equipment for all areas authorities in the field. of ceramic work. # Amateur competitive exhibit in all major categories.

EDUCATIONAL • INSPIRATIONAL • ENJOYABLE DETROIT MAY MICHIGAN 4-5-6-7

~i~!~!~!i~!~i!!~i~ Managing Director FREE brochure available March ! listing schedule of events and hotel reservation information. Mail your Arthur E. Higgs request for a copy now! 414 N. Jefferson Bay City, Michigan i r UL APPROVED FOR YOUR PROTECTION 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 I.

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Price includes Pyrometer, e Input Control Switch, Gravity Door, TEMPERATURE HOLDING Pilot Light, and Patented Dyna-Glow ENAMELING KILN Porcelain Element Holders. Can Also Do Ceramics ! Attractive... Plugs m anywheref oi •ii ,748o pu,2OOc,on..ho,ge MODEL E49 Chamber size: 4" x 8~2 '' x 81/2"

All steel welded case.., gravity door... $I~ ~ Patented Dyna-GIow element holders... Plugs in ALII IIIF O0 anywhere.., attains enameling temperatures quickly regardless of voltage conditions no crating charge. • " " Chamber size: elements can not be burned out due to over-firing. 4" x 8" x 8" *Pyrometer available at $20.00 extra

WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER 11, PA. DEALER INQUIRIES INVITED