FEBRUARY
i|i V i| • m-u h m
i The latest addition to the CM Book Department : "~ :~ ~k~)~~(~ i:!:~i!!iiiil
[ 'I t FREE BRUSH (.I
DESIGNING by Lyn Egbert and Ruth Barnet
Presenting a method unique in developing the confi- for ceramics. And the principle involved is just as applicable dence of the new artist, this book grew out of the conviction to the Fine Arts, too. that every human being is capable of artistic achievement. The authors stress the importance of having fun while With this goal held steadily in mind, the authors describe, you work, and of learning to see the essential quality in step by step, their exciting approach to painting and de- the subject matter• They have written their book primarily signing. for beginners, but it will be equally stimulating to the Beginning with just one brush .stroke, making it over advanced student---especially those trained in the traditional and over, then a pair, then a group of harmoniously re- approach who want to loosen up and free their style to lated brush strokes, almost before he realizes it, the artist achieve the spontaneous effect now in almost universal will be creating designs of all sorts which may be adapted demand. Price S3.95
WE PAY POSTAGE CERAMICS MONTHLY BOOK DEPT. 4174 N. High St., Columbus, Ohio Order on CERAMICS MONTHLY'S Please send me: Money-Back Guarantee ____copies of FREE BRUSH DESIGNING @ $3.95 per copy. PLACE YOUR NAME ORDER NOW ADDRESS CITY ZN STATE • . . immedlafe delivery from stock. ~--~ Ohio Residents: Add 3c/~ Sales Tax. CM pays postage. THE FINEST OF ALL • • • OUR NEW' SUPPLY AND EQUIPMENT CATALOG NO. 59
PICTURES, 100 BIG ,,.o.s ILLUSTRATIONS, INSTRUCTIONS GALORE ~r -k MANY NEW ITEMS Never Before Catalogued
PRICE ONLY $1.00 Deductible from first $10.00 Order 81/2" x 11" IN SIZE THE MOST COMPLETE LINE OF HOBBY CERAMIC SUPPLIES EVER OFFERED...
D BY ANYONE, ANYWHERE! E C We also publish an 80-page M-58 MOLD CATALOG CATALOG illustrating 2,105 molds. Price $1.00 (not deductible). L Prepaid freight on mold orders of $50.00 or more within continental U.S.A. Z5c APPROXIMATELY 1.000 DECALS
2481Phone MATTH FA4.1806 EWS MEMPHIS TENN HOUSE OF CERAMICSINC. y • CERAMICS MONTHLY, February 1960. Vol. ~No. 2. Published monthly except July & Aug., by Professioaal Publicat'tons, Inc. --S. L. Davis, Pres., P. S. Emery. Sec.; 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. Copyright 1960. All Rights Reserved. TEACHERS! LISTED BELOW IS A COMPLETELY BIASED
POTTER'S WHEEL
• TRAY--THREE COATS OF VITRE- OUS PORCELAIN ENAMEL--WATER TIGHT -- EASY TO CLEAN -- SHELF AT REAR. • HEAD -- TWELVE INCH __ RE- REPORT INFORCED. CAST ALUMINUM THROWING HEAD -- REMOVABLE DRIVING KEY. • SEAT -- ROOMY -- CONTOURED FOR COMFORT--LEATHER COV- ERED -- ADJUSTABLE FOR HEIGHT. • SHAFT~NE PIECE--HYDRAU L- Weight 250 pounds--Price FOB ICALLY FORMED STEEL. ONE CARD INCH DIAMETER -- MACHINE River Rogue, Michigan $239.50-- TOLERANCE TO pLUS OR MINUS Crating charge $8.50. CONCERNING THE CAPABILITIES OF • 002. • FRAME -- ALL STEEL -- ELEC- PENSION -- OTHER BEARINGS DUNCAN'S E-Z FLOW PRODUCTS TRICALLY WELDED CONSTRUC- ALL OILITE. TION. • FINISH -- THE TRAY BRILLIANT • BEARINGS -- SHAFT IN SELF YELLOW -- THE FRAME IN AT- ALIGNING BALL BEARING SUS- TRACTIVE MAT BLACK.
!EXC! GD !SAt THE MOMENT you sit at the new Foster Potter's Wheel--you get the feeling that now, for the first time, you did not have to compromise-- , E-Z STROKE E you know you are working with the finest tool a pottery craftsman [Liquid Translucent Underglaze) can have---a complement to the best work of the serious artist-- * COVER COAT E expert aid for the novice, amateur and student. (Opaque Underglaze) Your unique sitting pouition at the Foster Wheel permits you to work * GLOSS GLAZES E in an equilibrant posture that is related, restful and allows the (Majolica Finish) utmost freedom of the hands and arms. * MATT GLAZES E (Matte Finish} The rugged massive construction of the Poster Wheel is far superior to the heaviest demands of constant wear and use. It alone meets all * SATINTONE E [Satin Finish Glaze) standards of both artist and engineer. "k SPECKLETONE E [ Multicolor Speckled Finish Glaze} ~¢ CRACKLETONE E ravin ceramics (Crackle Finish Glaze) "Jr E-Z FLOW BROCADE E 7456 Fenton • Dearborn, Mich. • Phone Logan 3-2906
"k STUDENT MOLDS E Ask Dealer for Illus. Brochure 11r SPECKZIT E BE SURE ... Buy Holland Molds "~r STAINZIT E That's what more and more ceramic dealers who sell "k B-LEEK LUSTER E molds will do again this year. "k GOLD OFF E WHY HOLLAND MOLDS? "A" GLAZE CRYSTALS E Ceramic Dealers like reliable products to sell. "A" E-Z PRESS MOLDS E Holland molds are reliable and they are backed 100%
EXCmEXCELLENT GD--GOOD SAT--SATISFACTO RY H 920 $5.60 Rabbit Plate 10~" Dis. REMARKS.
~,~f~v~,~... ~ ~JL~t ~ w~. I~I~R H 918 Egg Box $9.80 H 925 $5.60 Lamb Plate H 919 Rabbit $6.20 10~" Dis. ~\ I / // There'saDuncan 9¾ x6Vz x 8" ~ distributor or dealer (See our exhibit at the near you/ Eastern Ceramic Show) Minimum order $25.00 -- No Packing Charge. If your dealer cannot supply you, write us. Free illustrated Mold Catalogue on request.
4 CERAMICS MONTHLY Volume 8, Number 2 FEBRUARY • 1960 FREE 50 cents per copy in this issue CATAL06
Letters to the Editor ...... 6
Answers to Questions ...... 8 Enameler's Column by Kafhe Berl ...... 9
Pic of the Month ...... 10 Itinerary ...... 11 Suggestions from our Readers ...... 12
Sculpture with a Coping Saw by Marc Bellaire ...... 15 Plan your Accidents by Didier Journeaux ...... 16 The Matrafer Decorating Technique by John Mathews ...... 20 Lively Art of Earthenware by Karl Martz ...... 22 Making Animals Sit by Edris Eckhardf ...... 23 The Terra-Cotta Mold by Kay K;nney ...... 26
Crazy Pots by F. Carlton Ball ...... 28 Feather Trailing ...... 30 CeramActivities ...... 34 Index to Advertisers ...... 38
ON OUR COVER: Selections from the January Youngstown, Ohio, Show: Branch bottle, 25 inches high, by collaborators Denis Chasek and Jan Parshall, Akron; "Barn Owl" by Hugh NEW ... For Fnamelers Moore, Cleveland; "Trick Horse," 18 inches high, by Roy N. Mills, Youngstown. See page 34 for more about this show. Ceramisls Glass Decorators! Acting Edito: Thomas Sellers Associate Editor Maurine Welch Enamel Powder Hobbyists, Professionals . . . Firing Racks Art Director Joe Sehmidt Scales Teachers, Students: plan and Busines~ Manager Spencer L. Davis Sifters select your needs at Advertising Production Betty Owen Copper Wire Hole Punches leisure from our new, Circulation Manager Thana Clay Glaze Paints fully-illustrated catalog. Dremel Power Tools We offer a full line . . . a L & L Kilns Advisers and Special Contributors: F. Carlton Ball; Marc Bellaire; Atomizers single source . . . attractive Kathe Berl; Edris Eckhardt; John Kenny; Kay Kinney; Zena Holst; Brik-Rok low prices . . . Karl Martz: Ken Smith, Don Wood. Fire Bricks Firing Forks fast shipment. Mail coupon Paasche Spraylnq Equipment today for your Free Catalog! Copyright 1960 Professional Publications, Inc. Findings S Chain Enameled Steel Tiles Copper Shapes Silver-Plated Thomas C. Thompson Co. Steel Shapes Glass Ice Colors Dept. CM - 1539 Deerfield Road I CERAMICS MONTHLY I Hotpak Kilns Highland Park, Illinois 7 4175 North High Street I ... Columbus 14, Oh;o I Thomas C. Thompson Co. ~ Dept. CM I [3 1 year SS [] 2 years $9 ~ 3 years S12 1539 Deerfield Road, Highland Park, Ill. Please rush your FREE CATALOG of enamels and Name ...... enameling supplies.
Address NAME
I City ZO'I State I ADDRESS Remittance Enclosed [] Please Bill I)4o: I [] CITY. ZONE STATE
FEBRUARYI 1960 5 MISSED IN SUMMER I had made tip my mind to do without your magazine after all these years, but feel you should know why I am not too happy with it .... For the past two years i ...... iiii ii i iiiii!iiliii !ilil ii i/! ii/ii!!!i: we get only' 10 issues for the five dollars. This column is for CM readers who have something to say--be it quip, query, com. I like your little magazine and there is merit or advice. All items sent in must be signed; names will be withheld on request. always something good in it, but for that Send letters to: The Editor, Ceramics Monthly, 417S N. High St., Columbus 14, Ohio. money, according to other similar maga- zines, that is pretty expensive. Besides it THANKS FOR SELLERS ARTICLES ANOTHER "TO EACH HIS OWN" is not pleasing to have two months with- out it regardless of the price. # Your magazine has been invaluable tO :~ Through your "Letters" I would like I live in a country where both people me in so man)" ways--most recently for Mr. to say a hearty thank you to Niargaret and animals appear to be underfed, sick, Sellers' articles on throwing. I obtained a Dior (December) for her most interesting and have a heart-breaking appearance. Of wheel nearly a year ago and the only in- letter. She really hit the nail on the head course. I am only a mud dobber, but I struction I have had has been a 10-1esson when she wrote "to each his own." course offered as an adult education pro- enjoy looking at pretty things. Of late you I love stoneware -I think it's beautiful. have had, what I think more than the gram. All of nay old copies of CM are I love the feel of it but I also love earth- opened to Mr. Sellers' articles, including stoneware and sculpture people need and enware. I think it has more possibilities I am not alone in not enjoying these the first of the series in the September '54 (some won't agree ,aith me I betcha). The issue. Needless to say many are mud-spat- gruesome things, ceramic or otherwise. glazes are not so difficult and most of I know and believe in our all having a tered, especially those first ones! Thank them are just as pretty. you for such clear, comprehensive instruc- chance, but why not give the hobbyists I am one of those who like to make tion and please accept nay subscription for something they can make that would be their own originals. I like to make my two more years to your fine magazine. pleasing. Soinetimes you don't have a thing glazes, mix my own slip. I think wheel JANET B'~'RD that appeals, then again you will have a work and mold-making one of the most Marion, Ohio topper occasionally. interesting part of ceramics. If I could I am renewing again but let us hope BALL'S EXOTIC SERIAL not take a piece of clay and make it con- that things will change somewhat so I can . . . F. Carlton Ball has now placed form to nay liking I would not care to do make more use of the issues. CERAMICS ~IONTHLY in the category of ceramics. I seldom fire my kiln without VERA CROCKATT the mystery serial magazines with his latest some test pieces included. I try to find the Lvera's Ceramics article on smoked glazes. He keeps us in answers to many" things and am happy to Mercedes, Texas suspense awaiting the next issue to discover know it has paid off. the secret of producing these exotic smoked To others, things like this would bore PLEASE, MR. FROMHOLD glazes. them to death; so I add another "to each # . . . (Multiple Pots, January). The We really don't mind it just makes us his own." world's too full of things. I think, to give lnore anxious for the new copy to arrive. ~rENIGI50 ~,~"E N space to aesthetic-only pots. .~'[RS. ROBERT S. FASIG Ceramics by Venice X'IARY STRAHAN Ashland, Ohio Tifton, Ga. Boston, Mass. Molds 150 Brand New OI I61NAL$
The Free-form Lamp Base, Mold No. 148, is 135/s'' high and only $9.50... The Coffee-table Vase, Mold No. 238, is 47/s'' high and only $5.50... The P'M'I line has the highest potential demand, saleswise--because, to make P'M" I your standard for quality items, we select designs carefully and constantly add new trend- setting creations.
f~'ee COMPLETE LINE FOLDER SHOWING BRAND NEW P.M.I MOLDS... Write : DEPT. C... Main Offices: 340 N. Westwood ... TOLEDO, OHIO
Prices f O. ~. factory, No pQc~,ng Lhq
6 CERAMICS MONTHLY 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! m~[.]---q~.]r.1.]:l:~- 'N A COMPLETE NEW LINE -ONE UNIT 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNAo GLOW porcelain element holders... 4-way switches • ..2 peep holes.., pilot lights...and they are designed with your safety in mind. MODEL H.8800
HIGH TEMPERATURE .... i ! FURNACES A complete line of :i~eIo ~ TO 3000 ° F bench and floor models available, e'e, ... using silicon carbide heating elements. MODEL 818-G
a Price includes Pyrometer, TEMPERATURE HOLDING Input Control Switch, Gravity Door, ENAMELING KILN Pilot Light, and Patented Dyna-Glow Porcelain Element Holders. Can Also Do Ceramics ! Attractive... Plugs m anywhere! $7480 p|us $2.00 crating charge MODEL E4g Chamber size: 4" x 81/2'' x 8~"
• • • = .
All steel welded case.., gravity door... $~m~Liiii~ Patented Dyna-Glow element holders... Plugs in 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 $20.00 extra
WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER 11, PA. DEALER INQUIRIES INVITED
FEBRUARY, 1960 7 pou$/el m
Conducted by the CM Technical Staff The Only Ceramic Brush with a Complete Q Is it possible to use raw clay [ound here on our own Brush on Both Ends of the Handle . . . place? What would be the process o[ preparing it? There is so much here, I think it would be fun to try but I am not FOR FEATURE sure just where to begin--B. H., Hansville, Wash. Processing and using clay that you have dug yourself cer- PAINTING . . tainly does give a great sense of accomplishment with your LINING . . . finished work. Most clay taken directly from the ground needs some cleaning, however, to remove unwanted materials; and VEINING and not all clays will work properly. For a preliminary test, after digging the clay, dry it out OUTLINING and hammer it into small pieces or pulverize it. Then put the clay into a bucket and cover with water. Let this mixture stand for a day or two, stirring occasionally, until you have a clay slip. Force this slip through a screen (a window screen will do Buy your Beramic Brushes from these authorized distributors: Wind-O-Lite (C. L. Brady) Ar~-Crafl Supplies, inc. for a first test) to remove undesirable materials such as pebbles, 7685 W. 4th Ave., Denver 15, Colo. 180 N. W. 62nd St., Miami, Fla. roots, etc. Pour the screened slip onto plaster bats and allow Sue's Ceramics Thalia Ceramics it to stand until enough water has been drained off to make 164 Sunrise Dr., Syracuse 5, N. Y. P. O. Box 205, Norfolk, Va. Rainville Ceramics Studio Ann Liebau Ceramic Studio the clay of the right consistency for your use. 19 Vine St., Scotia, N. Y. 173 Belmont Ave., N. Arlington,H. J. Mandina's Ceramic Studio TarI-Tan Ceramic Supply 2314 N. and S. Rd., St. Louis 14, Mo. Q Someone said mothballs in the kiln during glaze firing 962 E. Fulton, GrandRap;ds, M;ch. Frances Art Products will produce irridescence. True or False?--L. K. P., Mayfair Art Supplies 1651 West Woodlawn 884 Willett, Riverside, R. I. San Anton;o, Texas Washington, D. C. Carrel-Ann Ceramics Waugh's Ceramic Studio A modified true. Introducing mothballs into a kiln during 236 N. Main, Freeport, L. h, N. Y. Route 3, Tomah, Wisconsin Beckers Ceramic Supply Co. Hazel Hurley Studio the cooling period produces a smoky, or reduction, atmosphere 426 Lincoln Way~ New Oxford, Pa. 830 Warren Ave., Downers Grove, IlL that will give an irridescent effect better known as lustre to Ceramics Un.Ltd Ceramic Work Shop 881 South King, Honolulu, Hawaii 8027 Frankfort Ave., Phila. 36, Pa. certain glazes. Because of technical problems involved in work- or write for special Catalog and Discount Information ing with reduction, it would be best to refer to some of the BERGEN BRUSH SUPPLIES books on glazes for a more complete discussion of this fascinat- 110 Stuyvesant Ave. Lyndhurst, N.J. ing subject. Phone: GEneva 8-7018 Cable address: BERAMIC Pioneers in the Manufacture of Ceramic Brushes I do a lot o[ work with children's groups. They always seem to have di[ficulty rolling out coils [or making coil- built pots and animals. Their coils seem to go flat and uneven. Can you make any suggestions to help on this?--B. L., Des Moines, Iowa. The clay you're using may be too stiff for rolling coils easily. Try wedging more water into it to make it more moist. Here are some other suggestions: Have the children roll out the coils using the palms of their hands as well as their fingers to get a longer rolling action. Too, your working surface might be a poor one for this technique. One of the best materials to work on is a sheet of masonite. It is smooth and yet porous enough to absorb and hold just the right amount of water to make rolling coils easy. Dampen the masonite with a sponge, ~iiiiii~!ili ! i !: then wait until all surface water has disappeared before rolling out the coils. "Jenny and Cedric" like Jelly Beans too! S" x 7" $8 3112 '' x 21/4" $5 wt. I1 Ibs. Q In using water-soluble waxes tor wax-resist decoration. I seem to have so much trouble seeing where I have ~ ..... put the wax. Could the wax be colored, and if so, what could ...... ~ I /~'~ ~ i!~i~k:~ ~ I use?--M. G., Milwaukee, Wis. Yes, the wax-resist solution may be colored with laundry bluing--just a few drops of the bluing to a small quantity of wax--vegetable dyes, or colored inks. They all work well for this purpose and burn out in the firing. Some o[ my pieces o[ cast ware seem to be very weak "Aunt Nellie's Egg Shell," For flowers, plants, on the line where the two parts o[ the mold join and we get a lot o[ breakage when the pieces are handled. Is there a 'new baby' cradle or just Jelly Beans! anything I can do about this, or will the molds have to be Small bird -- separate mold discarded?--F. C., Denver, Colo. 31/2 '' x 6" $12 wt. 7 Ibs. It sounds as if the two pieces of the mold are not being ALL DESIGNS ORIGINAL held together tightly enough during the casting process. This could result in the seam bulging out. When the seam is retried Please let us meet you in person if you plan to attend the Eastern Ceramic Show af Asbury Park, N.J. We have or trimmed, the area would naturally be much thinner than the Booths 38 and 43 ~ May S.8. rest of the casting. Sections of inner tubing make good elastic bands for holding the parts of the mold together tightly.
R & R STAPLETON All subscriber inquiries are given individual attention at CM; and out of the many received, those of general interest are selected for answer in this column. Direct your inquiries to the Questions 159 Paterson Road Fanwood, N. J. Editor; please enclose a stamped self-addressed envelope.
CERAMICS MONTHLY ALL KINDS OF TRIVETS :mm
ALL SORTS OF QUESTIONS on enameling come to me--you can very well imagine--but one that comes back over and over again: How do you support a coun- terenameled piece without marks of the trivet showing? mmlp, It's an important question and there is not one answer that would work for all cases, but there are quite am a few that have worked for me. For each type of enameled piece we have to think first and then find the right support. Good preparation is, believe me, a great The most famous brand of step toward a successful piece. colors and glazes is proud Ceramic stilts, in my opinion, are only to be used to introduce 7 needed on pieces not counterenameled, or where the backing products. Please write for does not show as par exempIe on plaques mounted in or a FREE school or dealer on something that hides it permanently. Why? Because Color Charf. the points of the stilts fuse with the enamel, break off the stilt and stay in your piece. To get them out is so much trouble that it is not worth it to use ceramic stilts for some pieces. There is the type of stilt, though, that has wire ,/ SPARKLE WHITE GLAZE points embedded in ceramic bases, and these can be used An outstanding Sparkling White Opaque Gloss if you play a trick on them. The trick is: When the piece finish, truly dramatic and beautiful. Use instead is finished and cooled and has come off the stilt, you fire of Clear Glaze when white finish is desired. the piece once more, but upside down, just long enough v' for the four pinholes to melt together--if they were really ALL PURPOSE WOOD STAIN only small pinholes. In case they are more than pinholes A superb no-fire wood stain that applies easily you have, like a dentist, to fill in the cavities with a few over bisque. Polishes to a realistic wood finish grains of enamel to do the trick. A good trick it is, but and can be waxed if desired. only on a piece that has been enameled perfectly, with a thin coat of enamel and you are sure not to overfire. V DRIFTWOOD STAIN If you overfire, the enamel will run down and form a Another no-fire stain which duplicates the rim on the edge and if the enamel has been too heavy beauty of real driftwood. Excellent for planters. a layer to begin with, the rim would be quite a sausage ¢' --too thick for words. That's all about ceramic stilts. NEW UNDERGLAZE COLORS Two excellent new colors have been added to We can make trivets ourselves from sheet metal and the Tru-Tone palette of color, ~:159 Cherry Red wire. I have written about wire cradles and metal pyra- and ~111 Autumn Brown. No increase in prices. mids, which can be looked up in back issues. I will talk about other useful contraptions now. A basic require- ¢' OVERDRIFT ment, to make life easy for you in the effort to support A specialty art medium that gives white frost counterenameled pieces for firing, is a perforated firing effect over glazes. This effect contrasts beauti- rack. It can be fashioned from perforated stainless steel fully with single color Gloss or Lustre Glazes. or monel which I consider the metals best suited because they do not shoot off fire scale bits at your pieces to sink ¢' VALENCIA ORANGE GLAZE in and fuse with the enamel to your great dismay. Strong A warm Spanish shade. Now available in 4 oz. wire mesh of the same material can be used just as well. sizes. Why is a firing rack with holes in it better than a solid one? Not only for the reason that the hot air can circulate better around the piece, but because we have to fasten the trivets to the rack to prevent them from sliding during transportation in and out of the kiln. Tie the supports to the rack, I pray, or you have to be sure to possess the steadiest hands on earth. Use binding wire for the job, a pliable iron wire without spring and heavy enough not to burn away. Continued on Page 33
FEBRUARY, 1960 9 i ii!ii
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IS CERAMICS MONTHLY of Washington. Open to craftsmen of Send show announcements early-- Washington, Oregon, Montana, Idaho, WHERE TO SHOW: three months ahead of and Alaska. Juried: four classes. Media entry date: WHERE TO GO: at least six includes earthenware, stoneware, porce- weeks betore opening. lain, enamels, mosaics. Entries due Feb- ruary 6. WHEEL No. | SPECIAL FOR HOBIIYIS~' TWO SPEED WHERE TO CALIFORNIA, ANAHEIM March 28---31 ~national competition ~*"The Magic of Ceramics" Show. spon- POTTERS' CALIFORNIA. SAN FRANCISCO sored by California Ceramic Hobby- April 3--May 1 crafts Associates, Inc., at Disneyland Hotel. For details on competition for *The Second Annual Church Art Today hobbyists, write managing director: Walt exhibition, sponsored by the Grace Ca'- Newell, 6707 West Bh'd.. Inglewood, thedral. Eligible: all North American Calif. craftsmen. Media includes stained glass and mosaics. Entries due March 12. Juried. For entry blanks, write: Church ILLINOIS, CHICAGO Art Today. Grace Cathedral. San Fran- August 20--23 cisco 8, Calif. #National Pageant of Ceramics. Sher- man Hotel. Classes, demonstrations, hob- ILLINOIS, CHAMPAIGN byists' exhibit. Juried; cash awards, rib- March 27--April 10 bons. For further information and entry blanks, write: E. Kane. P.O. Box 115, ~*Eleventh Annual Christocentric Arts Wihnette, I11. Festival. sponsored by the Newman Foundation at the University of Illinois. Open to all artists. Work must use re- NEW JERSEY, ASBURY PARK ligious theme. Media includes sculpture, May 5--8 crafts. Juried: prizes. Entry fee: $3. ~Eighth Annual Eastern Ceramic Show, Work due by March 2. Write: Rosemary at Beachfront Convention Hall. Cash Schuster, Newman Foundation, 604 East awards. Open to amateur hobbyists, stu- Armory Ave., Champaign, Ill. dents. Entry forms may be obtained by writing to: Ceramic Contest, P.O. Box WHEEL No. 2 KANSAS, WICHITA 652. Union, N.J. VARIABLE SPEED April 16--May 21 ~Fifteenth National Decorative Arts Ce- OHIO, DAYTON ramic Exhibition. Open to all American April 23--24 craftsmen. Entries due, March 19: fee, Second Annual Ceramic Show, sponsored $3. Juried: $2000 cash, purchase and by Midwest Ceramic Association, at Me- WHEELS special awards. Media: Ceramics. enam- morial Hall. Competitive hobbyists dis- els, glass, mosaics. For details, write: play. For details for entering, write: Mrs. Maude Schollenberger, Wichita John Garwood. Box 337, New Lebanon, Art Assn.. 401 N. Belmont Avenue. Ohio.
NEW YORK, NEW YORK PENNSYLVANIA, PHILADELPHIA May 27--September II May 19--22 ~*Designer-Craftsmen. U.S.A.. 1960, spon- ~Ceramie National Trade Show and sored by the American Craftsmen's Workshop, Sheraton Hotel. For details Council: accepted entries to be exhibited and entry blanks, write: Arthur E. at the Museum of Contemporary Crafts Higgs, 414 N. Jefferson, Bay City. Mich. and circulated by the American Federa- tion of Arts. Juried: prizes. Entry fee: TEXAS, DALLAS $3 for members of American Crafts- April 8--10 men's Council, $5, non-members. Work Southwest Ceramic due April 4 15. For prospectus, Show. Agriculture write: Building on the State Fair Grounds. For American Craftsmen's Council. 29 W. details, 53rd St.. New York 19, N.Y. write show chairman: Mrs. Edith Nelson, Rt. 2, Box 107, Seagoville. Texas. NEW YORK. SYRAC:USE March 12--April 10 Eighth Regional Art Exchange, Ever- son Museum of Art. Open to artists FLORIDA, /vIIAMI through February 28 within 100 miles of Syracuse. Media: No. 4 Arts and crafts. Jury: prizes. Entry fee: "Design Derby 1960," sponsored by De- $3. Entries due February 26. For details signers and Decorators Guild of South Free Catalog No. 44 and entry blanks, write: John H. Rutter, Florida. Buildorama, 300 Dupont Plaza. Lists 23 pottery and metal asst. dir., Everson Museum of Art. 407 enameling kilns, throwing James St., Syracuse 3. N.Y. GEORGIA. COLUMBUS and decorating wheels, through February 14 clays, glazes, metal enamels. WASHINGTON. SEATTLE Sixth Miami Annual National Ceramic March 6--April 6 Smithsonian traveling exhibition, Colum- Eighth Annual Northwest Craftsmen's bus Museum of Arts and Crafts. Exhibition, at Henry Gallery, University Continued on Pa~e 35
FEBRUARY 1960 I1 Easy-to-make Stilts and Shelf Supports If you have trouble fitting triangular stilts to the footrims of your glazed pots, you may be interested in what I use for those odd-size pieces that seem to evade the regulation sizes of stilts. I cut up porous insulating brick (the type used to line
Cold Water Breaks Glaze Weld Recently, a glazed ash tray and the kiln shelf refused to part company after firing. To pry it off would destroy the tray. I filled a tub with cold water and put shelf and ash tray in for a good soaking. After about 20 minutes, the tray could be pulled off with just a little effort. Then I ground off the rough places the inside of electric kilns) into thin pieces of various sizes. I at contact points. --Mrs. Win. C. Miller, Louisville, K 7. have an old saw I keep just for this purpose. It cuts very easily, and the pieces can be re-used many times. This brick also can Repair of Greenware be cut to size to make special height shelf supports for the kiln. I have read several suggestions in this column about re- I even save the siftings of the brick that come off in sawing pairing cracks and nicks in greenware, so I thought you might to use later as grog: so you see that nothing goes to waste in be interested in my method. I heat the dry greenware under a my studio. --Ruth Rumson, Birmingham, Ala. Handy Equipment for Studio We have made a movable table for transporting greenware and glazed ware from our shelves to the kiln by using an old discarded typewriter stand on wheels. This is just the right size for a small studio and saves much breakage and damage in handling. --Frank Eberling, Indianapolis, Ind. Bones and Shells for Textures Looking for a way to make new and unusual designs on clay? Here's a bright idea with unlimited possibilities: The lamp, then paint a thick layer of slip on the area to be repaired. seashore affords the alert beachcomber a multitudinous bounty Then I replace it under the heat again immediately. I repeal of design-makers in the guise of shells, sponges, coral, seed pods this process until the spot is built up higher than the surround- and weathered bits of wood. I have used the above idea with ing wall. When thoroughly dry, I sand down the repaired spot great success! to match the wall. This really works! --Mrs. Dorothy J. Jackson, ]acksonville, Fla. Lew Smith, Charleston, W. Va. Continued on Page 14
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12 CERAMICS MONTHLY ramtc artists and hobbyists.. A RAINBOW OF JN =
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Try TRU-FYRE--use the best. Buy the ceramic line of QUAI~rFY and DEPENDABILITY'"" Idea for Enamelers To keep lumps and threads of enamel in place on a curved • • B shape while decorating and placing in the kiln, try dipping them in the agar solution or gum you're using and then setting them Continued ~ram Page 12 in place. This will "glue" them and keep them from shifting while being moved. --Hug~ Da~,is, Pittsburgh, Pa.
How to Fire Bells No-Warp Kiln Shelves Bells are popular for weddings, school events, Christmas, Here's a tip to keep your kiln shelves from warping. Reverse New Year's, and as just ding dong bells. Many times the ques- them or turn them over for alternate firings of bisque and glaze tion arises: How to fire bells? They need not be dry footed if --that is, the kiln-washed side up for a glaze firing, and the kiln-washed side down for a bisque firing. If any of the kiln wash falls off and onto your ware during a bisque firing, it STILT won't hurt anything. --Betty White, Trenton. N.J. Use an Electric Drill for Mixing A portable electric power tool equipped with a drill attach- ment makes an excellent timesaver for stirring lumpy slips and glazes. Use it just as you would a portable kitchen mixer. --Mar), Butler, Miami, Fla. Window Test for Greenware you have a good post that is flat on both ends not the wobbly Here's another way to test whether or not a piece of green- kind. On top the post use a stilt with long nichrome wire and ware is dry enough to go into the kiln. I was taught to hold you have it. Mrs. Martin Harem. Chillicothe, Ohio the piece against my cheek: if it felt cool, it wasn't dry. I think my window test is more reliable. I hold the bottom of the piece Formula for Uniform Walls to a cool window (one in the shade), and leave it there for This is a method I have devised for obtaining uniform about a minute. If there is a ring of moisture on the window thickness of walls for flatware: pane when I take it away, then the clay isn't completely dry yet. Florence Doan, Bradenton, Fla. I measure the inside width of the bowl with an inside caliper, the outside width with an outside caliper. Then I sub- tract the inside measurement from the outside measurement and divide by two. This gives me the wall thickness. Knowing Dollars for your Thoughts the thickness of the wall desired, I subtract it from the wall • CM pays up to $5 for each item used in this • thickness I have and cut off the difference for a uniform wall. column. Send your bright ideas to CM, 4175 N. That's my simple formula. High St., Columbus 14, O. Sorry, but we can't acknowledge or return unused items. --Robert S. Gardali, Modesto, Call[.
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14 CERAMICS MONTHLY UNDERGLAZE demonstrated by MARC BELLAIRE PAINTING SCULPTURE WITH A COPING SAW
HINGS AREN'T always what shape you wish to carve out and with T they seem--at least they don't very gentle strokes saw it out with hat'e to be. For example, the "Moth- the coping-saw blade. For an inside er and Daughter" sculpture shown cut, first drill a hole with any pointed here started out as a tall, slender tool (sgraffito tool, paring knife, etc.'l wine bottle. making it large enough to insert the Cutting and carving greenware blade. shapes into sculpture can add a lot When the shape is completely cut of variety and extra fun to the under- out, sponge the edges, clean it up, glaze decorator's favorite hobby. The and then proceed with tile underglaze procedure is simple, yet it will really decorating as you would normally. challenge }'our creative abilities. A good way to work is to set the You can work with anv shape at piece on a banding wheel so that you all from flat plates and bowls to ver- can constantly turn it and view from tical vases, bottles, and lamp bases. all directions as you work. And con- And the results can be purely abstract sider leaving the piece in bisque shapes or recognizable figures such form. unglazed, as the piece above as these. was finished. A bisque surface--or at The "'trick" is to use a coping-saw least a matte or transparent-matte blade. These can be purchased from glaze--is usualh more suited to sculp- any hardware store for only a few ture than shiny glazes. • pennies each. The blade is not in- In this series of articles, no speci[ic brand serted in the coping-saw handle, but o[ underglaze is either suggested or im- it is held between 1he thumb and plied. The nationally adt'ertised brands are highly competiti~.e in quality and price. forefinger and used in that manner. Mr. Bellaire'~ advice is to use those brands Lightly sketch the outline of the you /eel #i~'e you the best results.
GUIDED by thumb and fingers, the coping UNDERGLAZE painting, as well as sawing, saw blade cuts along the pencil sketch on is done on a banding wheel for smooth, the greenware. even work.
FEBRUARY, 1960 IS ,,,. Accidenlg By DIDIER JOURNEAUX
EXTBOOKS on ceramics pains- tation. In fact, through the ages, The variety of sizes and the random T takingly coach us to prevent "ac- Oriental pottery has made use of plan- distribution of these accidental spots cidents" to glazes such as crazing, ned accidents, which were no doubt avoid clash with the shape of the pot crawling, running, spotting. This suggested by the happy results of prior and permit the use of other addition- naturally leads us to think that those unplanned accidents. al decoration. Fireclay spots are very accidents are always bad. And so they Some "accidents" are so sure-fire handy for giving an interesting tex- are if they occur in the wrong place, that one may quibble whether they ture to the outside of flat bowls. but they may prove good decoration are accidents at all. For example, which is infrequently seen and there- if they are allowed to take place in some fire clays contain impurities fore does not warrant an elaborate the right location. which, where they happen to lie decoration (Fig. 1). Now comes to mind: Why and how on the surface of the pot, combine Some glazes may, by themselves, can accidents make good decoration? with the glaze to form spots. This produce highly unpredictable color To answer that, one needs to go back would ruin the "sanitary" perfection patterns of decorative value. Among to fundamentals. Decorating a pot of commercial china. The potter's them are the flambe glazes, which may be defined as modifying in any goal is not to render the surface are fired in reduction to develop way the surface of the pot without sterile and as uninteresting as pos- reds and purples from their copper appreciably changing its shape. But sible; and an appropriate glaze may content. A thick coat of flambe glaze why do potters indulge in this species draw out these impurities to form a was applied without any design to a of ornamentation in the first place? handsome decoration. Please turn the Page As Ananda K. Coomaraswamy puts it: "We must not think of ornament as something added to an object which might have been ugly without it. The beauty of anything adorned is not increased by ornament but made more effective by it." Decoration is worthwhile only on a beautifully shaped pot, just as freckles look good on a pretty face. Decoration may enhance our enjoyment of the shape in a number of ways. Some styles of decoration subdivide the sur- face into smaller areas; this is a source of optical illusions which may give renewed interest to a shape which has become too familiar. Decoration also provides the sur- face of the pot with reference points on which the eye can focus. This enables the viewer to get a more accurate idea of the form. Decora- Fig. 2 tion also gives variety to the surface. so that the viewer need not feel that when he has looked at one spot on the object he has seen it all. Certainly surface effects obtained by accident give the greatest pos- sible variety besides serving the other purposes of decoration, and there- fore should be an effective ornamen- Fig. 3
16 CERAMICS MONTHLY + :i:++:" +
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FEBRUARY, 1960 17 Plan Your Accidents flat-bottomed dish to produce the ac- glazing the pot at least that far above are superinqmsed. The bowl, Fig. 9, cidental pattern of Fig. 2. Of course, the foot. The tea bowl of Fig. 5 has was given a moderate coat of plain there is no use trying to duplicate a most convenient shape for that kind ash glaze. On top of that a band that effect. of effect. It does not matter too much of black slip glaze was painted just how far the glaze runs down the below the rim. The color ran in The pitcher of Fi,d. ;~ would perhaps side of the bowl, because it ends in places all the way down the side of be a little too plain with a glaze of a graceful roll. Even if a moderate the bowl although the ash glaze seen> uniform color. Yet it would be diffi- excess of glaze is applied, the bottom ed to have moved very little. cult to imagine any decorative design eclge of the bowl stops the glaze be- Crackle is one of those accidents that could be applied to it without fore it reaches the foot. that is likely to prompt a beginner to clashing with the form. The solution With a spherical bowl glazed on the wonder: What have I done this time? was a graduated coat of a black slip upper part. a slight excess of glaze It consists of a network of fissures glaze covered with an opaque white may give runs forming interesting which occur in the glaze during cool- glaze. The slip glaze boiled through pillars around the foot How- ing and is often very lovely. Fig. 10 the white glaze to form a random (Fio,. 6). ever that is a pretty risky effect to shows a tiny bottle and a tile, both of pattern of spots that provide about try for---the foot may ea;ily be buried porcelain, on which the crackle of the all the decoration the pitcher needs. under a syrupy curtain of glaze that glaze is the only decoration. This combination of glazes can also welds it to the shelf. As crackle resuhs from the compo- be coaxed into producing large spots Glaze runs faster on a vertical sur- sition of the glaze and of the clav that may be used for breaking up a face than on a sloping one of course. body it is quite reliable, and the dense sbnple surface such as the inside of a If a spherical cup is given a thick coat bodies of stoneware and porcelain re- spherical bowl (Fig. 4). Recipes for of glaze over its entire outer surface, main water tight in spite of it. One this type of effect are to be found in the glaze may run only down the nice thing about glazes that crackle magazine articles. But very close con- upper part of the cup (Fig. 7). An is that they are alwavs beautiful. The trol of the firing cycle is needed to interesting pattern may be produced secret of this happy situation resides obtain satisfactory results. In fact, it where the roll of running glaze in the simple expedient of calling a is almost an accident to produce reaches glaze that does not run. glaze "crazed" instead of "crackled" closely matching pieces at different Slip glazes, when applied thickly, when it lacks beauty. Such is the times, but no trick at all to overfire may run even when imprisoned under power of words! enough to have the glazes mingle into a coat of stiff cover glaze. The mug Another common glaze accident is an undesirable gooey mess. of Fi.,,. 8 was dipped part way in crawling, in which the glaze leaves Glazes that run from the pots onto black slip glaze before being sprayed random bare areas on the surface of the shelves will probably always be with an opaque white cover glaze. the pot. Applied thickly on bisque, a the nightmare of beginners. For cen- The slip glaze ran, and also boiled very plastic clay that shrinks much turies however the Orientals have through the cover glaze, breaking up on drying gives a fairly reliable used glazes that ran. It is necessary to the sharp diagonal into a soft curtain. c,'awl pattern of decorative value. observe how far down a glaze of a Sometimes the extent of the run is (Fig. I1) A crawl pattern is also given thickness will run, then omit entirely unexpected when two glazes likely to appear when a slip of plastic
Fig. 9 Fig. 8 Fig. 10
Fig. 11
!L"
clay is applied first and a cover glaze immediately afterwards (Fig,. 12). Crawling may also be reliably pro- duced by some glazes when they are applied over a coat of foreign ma- terial such as library paste which in- sulates the glaze from tile clay :Fig. 1,7). All these accidents actually take place in the kiln, where the potter can no longer exercise much control. Even if thev have been carefully pre- fabricated they mav be upset by other tricks the glaze may play on its own. And when the still-loo-hot kiln is cautiously opened just a crack, and you peek at the new and unexpected effects, isn't it fun? •
Fig. 13
Fig. 12
FEBRUA:~Y 1960 19 The MATtl/ FEtl Ile .ralinq
Original transfers for you to design
and apply to your own greenware
EVELOPING a surface design, sired quality of spontaniety. Each of D nicely related to the shape of the these depends upon a sureness of de- ceramic piece, requires experience sign and application on the part of and at least a little talent. To be sure the craftsman. The pattern can easily that the design maintains a freedom look crude. If a change is made it of movement--so necessary to good will become messy. And as it is work- surface decoration--more experience ed and reworked, the design starts and perhaps a little more talent are looking stiff and labored rather than required. free aa~d spontaneous. . Decoration becomes a major diffi- The transfer technique I describe culty when working with elementary here is a decorating process I de- ceramic students. The traditional veloped as a solution to the "begin- techniques such as sgraffito, slip ning-decorators' " problem. It is not painting, mishima, etc., are easy to really a brand-new technique, but learn but they do not possess the de- more a variation on an old one--
I, 4. WET PAPER towel is ;aid down for the FACE DOWN on the clay surface, the de- transfer. A design is built by brushing, dab- sign is pressed firmly onto the greenware. bing, or dripping engobe colors. A wet sponge strokes out the wrinkles. 2. 5. TRANSFER designs are built in reverse--an PEEL OFF the paper right away--no waiting important point to remember! The top of is necessary--and there is your engobe de- the design is laid down first: the base last. sign just as you made if except in reverse.
3. 6. (3LAY surfaces should be quite moist to grip IF ANY of the decoration were lifted slightly and hold the engobes. Stroking with a wet by the removal of the paper, a damp sponge sponge as the bowl turns is the procedure. pats if down into tight contact again.
.
. . S. ~l'otos by E. L. ANDERSON
20 CERAMICS MONTHLY TEEHNIHUE
by JOHN MATHEWS
decals. What we do, essentially, is to make our own decals or transfers. Be- cause of the commercial connotation given the word "decal" I chose the term Matrafer to describe this tech- nique. (It is a name I coined bv combining euphoniously the word "'transfer" with my name.) We do not actually make a bona VERTICAL shapes and varying contours may also be given the Matrafer fide commercial decal; essentially, treatment as were the above pieces shown in the bisque state. however, that is the basic idea. The method came from a. happy accident. A paper towel, which was being make allowance for this in your plan- on top so keep tl~is ill mind wln'n used as a palette for cleaning brushes ning. Wet the paper. This will make designing. Colors of least contrast to during the slip-painting process, was it more receptive to the wet engobes the clay should go on first so that inadvertently laid on a slab of clay. which are to be applied and also will they will end up on top of the other Upon cleaning up, the paper was keep the paper flat. (Dr,,- paper was colors and not get lost in the clay pulled off the clay--uoila/ tried but it did not release the en- body. The materials necessary are slips gobes so efficiently.) Because of the Step 2. Continue to add engobes, and engobes, brushes of varying sizes, moistness of the paper, you have to building up the pattern. If you a sponge, paper towels (or any ab- allow a couple of minutes between haven't achieved the desired result sorbent paper), and a pan of clean colors so that each will set slightly. vou can always discard the paper and water. You can see that nothing new Otherwise, they will run together. begin again. Here the advantage is needed--each of the above is Now start laying on your color. starts to show--you haven't disturbed readily available in the ceramic area. Build up a design pattern by brush- the surface of the piece to be de- Here is the procedure. ing, dabbing, or dripping the colors corated. This gives the inexperienced Step 1. Cut the paper towel to the from the ends of your brushes. Your student self confidence in develop- required shape and size. Paper towels design will come off in reverse--that ing free design; he is not inhibited will stretch slightly when wet, so is, the colors put on first will end up Continued o~ Page ,37 .
THE FINISHED bowl received an additional touch--a rnishirna rim deslgn--then it was glazed and fired.
FEBRUARY, I%0 21 The LIVELYART of EARTHENWARE
by KARL MARTZ KARL MARTZ, a professor of ceramics af Indiana University, presents another of his favorite techniques. This is the sixth in his series on earthenware, which CRAZING PROBLEMS, ANYONE?" started in the September issue.
EVERYONE HAS a favorite solu- immerse it in ice water containing twet'n no crazing and solne treastlred tion for each ceramic problem, and plenty of ice until it is thoroughly visual or textural quality: oz else for crazing mine is to use a talc body. cold. Repeat this 25 times. If there is change the body to fit the glaze. Of course, an effortless solution is to no crazing after this treatment you In expe,imenting with glaze con> purchase a prepared body and glaze may assume the glaze fits the body position always use the line blend. ah'eady carefully matched by one of faMy well ahhough in some cases making substitutions oi" additions in the many reputable ceramic suppliers. crazing may appear with age. small steps so the composition need In case you have a couple of tons It is well known that all solid ma- not be changed more than necessary. of a non-talc body stashed away, how- terials expand and contract when One of the most universally recom- ever, and yo, like to mix your own heated and cooled, some more than mended remedies is to increase the glazes, then the attack on crazing others. Clay and glazes are no excep- silica in the glaze. This will make the must be through either (l) tempera- tion. The amount of expansion and glaze less fusible, silica being a re- ture or (2) glaze composition. contraction is called the "'coefficient fractorv material. One way to go (_:razing oecm's because of too great of thermal expansion." and scientists about this is to add increasing a difference in the thermal expansion have measured this coefficient for amounts of flint, in a line blend, to and contraction between body and most of the oxides used in glazes. discover how ranch the glaze will ac- glaze. The cu,e for crazing lies in Without getting into actual figures cept without becoming immature. eliminating this difference. the following classification finds gen- Anothe," way is to omit increasing Before changing the glaze compo- e,'al agreement as to high expansion, amounts of feldspar, also in a line sition yot, should be sure of one thing medium and low expansion oxides. blend, replacing the amount omitted about the body. Is it mature? Has it Low expansion oxides inhibit crazing. with flint. (Feldspar contains some been fired high enough? A soft, un- High expansion oxides cause crazing. potash and soda. I derfired bodv is practically impossible Low Expansion Medium Expansion Certain silicates can be substituted to fit with a glaze. An exainple would Oxides : Oxides : for non-silicates: wollastonite (calci- be a stoneware clay fired to cone 04. Silica (Alumim~) um silicate) for whiting (caleit,m a temperature too low to mature it. Boric Oxide Barium Oxide carbonate) : talc (magnesium silicate') In fact, this is one way to guarantee Zinc Oxide Calcium Oxide for magnesite (magnesium carbon- Mag/,esi;, Lead Oxide a crackled glaze. Lithi:, High Expansion ate'}: lead bisilicate for white h'ad How can you tell whether the body ( Alumina ) Oxides : (basic lead carbonate) using 13 parts is mature? Measure its absorption. Potassium Oxide of the bisilicate for evmy 10 parts of Matme earthenware bodies usually Sodium Oxide white lead. Different clays (alnmi- have an absorption of from 5~- to Alumina is variously listed as either num silicates) vary in silica from 10~/-.. If the absorption exceeds 10% low or medium. Potash and soda are about 43c~ to 65~/-, so a slight ad- by very much the odds are against the chief offenders in causing crazing. vantage might be gained by using a fitting a glaze to that bodv. In a nutshell, the compositional cure clay with a higher silica content or A simple trial-and-error maturity for crazing is to increase or add low even switching to l)yrophyllite, an check is to fire a few pieces a cone expansion oxides and decrease or aluminum silicate with about 68,(,c or two higher than usual. Then if no eliminate high expansion oxides. silica. crazing is visible (you must apply ink The trick is to eliminate the crazing Another remedy recommended by to opaque glazes to show up the craze before spoiling the glaze since other some is increasing the alumina in the marks) the pieces should be given characteristics often change along glaze. More refractory than silica, it this simple test for craze resistance. with the crazing behavior. Fusibility. tends to make clear glazes cloudy or Immerse the piece in rapidly boiling surface quality or color may be so opaque and, rather more quickly than water until it is thoroughly hot. Then altered you might have to choose be- Continued on Page 38
22 CERAMICS MONTHLY A sculpture project for the classroom Making Animals Sit
by EDRIS ECKHARDT
NOWING AND OBSERVING family characteristics K of animals makes sculpturing them in clay easy and great fun. Certain animals, such as the cat and dog, sit on their haunches, but certain other animals don't. The bear, for example, sits like a man because he walks on his hind feet and his knees bend forward. Grazing ani- mals such as cattle and the horse, don't normally sit down at all, so we cartoon or personify them as Walt Disney does to make his creatures believable. For animals that do sit on their haunches ~-and these also include the fox, wolf, squirrel, rabbit, and lion--there ' l is a special simple handling technique for sculpturing in a sitting position. If you examine their habits, you will note that every animal that sits on its haunches forms, roughly, a triangle shape. Some form equilateral triangles; some form long slender triangles (like the Egyptian cat): and some form fat little triangles. LITTLE FOX, created by a nine-year-old girl, is near, feminine, and a vain creature. It is So, to begin, let's take a rather long coil of plastic made from red-flring clay and decora~'ed clay and double it up to create two long, but uneven wlfh white and black clay slips t'oofhbrushed sides, and one short side for the base. It will form a on fhrough o screen. A clear transparen÷ rather long, narrow form somewhat like a dignified cat. glaze applied over the whole form and a Please turn the Page firing complefed this simple opera÷ion.
CLAY HANDLING AND TE ACHING TECHNIQUES 1. DEMONSTRATING. Encouraye the children to gather 4. ADDING CLAY. If more clay is needed to thicken the around you during ),our demonstrations. The closer basic shape, add thin sheets of clay b)' pressing them and more intimate you can make instruction for the [irml), to the big bulk. (In the accompan)'ing article, student the better. this is called padding.) Adding thinner sheets lessens 2. KEEPING CLAY PLASTIC. Use a oood grade of moist, the problem of creating air pockets and at the same plastic clay--red, white, or gray-firing--the color time helps a child evaluate his work as he goes along. doesn't matter• I[ you keep it moist during storage, 5. PERFORATING AND I)RVING. When the sculptured piece the clay will become more plastic and a, orkable--im- is finished and the clay is firm but not too hard, proving with age. To test the plasticity o[ clay, roll perforate the piece [tom the bottom up through the a coil in )'our hands, then bend it care[ully into a body, particularly where padding has been added. horseshoe. I[ there is no severe cracking or breaking, This admits air to dry the clay more et'enly, ventilates the clay is read)' [or use. Tiny cracks are o[ little air pockets and allows more uniform beating durin.g consequence as they may be [illed by sliding the firing4. Use a bat pin or ice pick for per[orating. For thumb over them. The clay should not be so moist quicker drying, hollou' out the form from underneath that the horseshoe sags. u'ith a modeling tool. Be sure the piece is thoroughly 3. WEDGING. Wedge clay thoroughly to remoz'e air dr)' before [lying. bubbles. Have the children wedge clay on newspapers 6. FXNISHING FORS.IS. Color should be used care[ully so or on little boards covered with old cotton sheeting that it doesn't overpower the form: teach this [tom or a piece of oilcloth (cloth side up). If the clay is the [irst grade on. Paint on underglaze or engobe too stir[, wedge it on a wet surface to add moisture to when clay is almost but not entirely dry; then sgra[[ito the clay. I[ the clay is too moist or sticky, wedge on a outlines desired. Use matte or subdued-textured glazes dry surface to remove the excess water. over colors or alone as decoration.
FEBRUARY, 1960 23 Continued . . . Making Animals Sit...
If we use a fatter coil, however, with a long base (the is sitting side-saddle, remember that the haunch on the same shape as before, but turned on its side), we will side where the leg turns under sticks out even more than have a creature that is short in the fore legs. in a normal sitting position. The shape is improved, you will find, if you add On some animals, I separate the legs instead of clay for padding it out. One place we usually add more placing them close together; it is less dignified and makes soft clay is around the rib basket of the animal. How the sculptured animal look more relaxed. With members much we pad depends upon how much of a rib basket of the cat and fox families, however, I put the legs to- the particular animal has. For instance, a cat requires gether. These observations and tips may give your sculp- less padding than a dog. You will also pad extra clay ture life and honesty and keep your pets from becoming on the haunches of all sitting animals, some more than stereotyped nothings. others, of course. And on most animals we pad a little Observing the textures of fur can give you ideas on the chest-bone area. for texture treatment for your animal sculpture. You You may find animal sculpturing easier to do if, might take your index finger and make wavy indenta- before padding, you put the head on so that you can get tions, or even comb the clay for a rough textured dog. the feeling of the total animal better. The head and Texture can add a great deal to the enjoyment of clay neck are made from one piece of clay. First, form a objects--visually and tactually. coil, with the end that is to attach to the body cut on For the demonstration pictures, I have chosen a a bias. Secure the coil to the body by thumbing the bias rabbit. We know that a rabbit is ve~ heavy in the rear end in, thus incorporating the two pieces of clay. Then because it has long, strong jumping legs. Its shoulders turn down the free end of the coil to form the head. are fragile and delicate, its front legs much shorter than If the head is for a dog, remember that some dogs back legs. Being aware of these facts about the rabbit, have small heads, some have pointed noses, some have we start with a very, heavy coil section for the haunches square noses like the Airedale, and some noses are sharp and use a much narrower part of the coil toward the like that of the fox terrier. You might be making a Scaly- shoulders. You will notice as we go along that the pad- ham that has a heavy muzzle and a short stubby body ding will be similar--we will pad the back more heavily with very short legs. He would have little stand-up ears than the front. In the sitting position the haunches stick and, perhaps, a little stump of a tail. out even more than does the chest. Now,, start evaluating the whole creature. We must Up until now our rabbit has looked quite similar know in which direction we are going before we start to a frog, but after we have added the long ears and the the padding process. It is better, therefore, to do next fluffy little round tail, we can tell immediately that it the ea.rs, head, tail, and perhaps even general action of is a rabbit. The long exaggerated ears are the most dis- the animal. Action might be shown by turning the head tinctive feature. We must remember to stress the most up or down or to the side, or even letting the animal sit significant features of each creature--this is the sort of somewhat "side-saddle" as you do find eats and dogs thing we refer to as a.rtistic exaggeration. For instance, when they are thoroughly relaxed. we are not looking for the similarity of the rabbit to Actually, you must think of movement all of the other animals, but rather for differences, so we make time you are working. Remember that a dog moves in more of the ears than nature did for the rabbit. For me, rather an angular fashion; a cat moves in a graceful the identifying features of the rabbit are the round feminine fashion which might be suggested by curved powderpuff tail, the long floppy ears, the long hind legs, lines. Pay special attention to what you do with the and the short delicate front legs. It is an animal that spine--it is the key to all movement! The line of the looks quite inoffensive--you know that it isn't going to spine might even be drawn in for emphasis. If your dog pounce on anything! Continued on Page 33
24 CERAMICS MONTHLY SITTING ANIMALS illustrating various basTc triangular shapes are shown in this group. You can easily pick out the tall Egyptian cat m wild, strong, and muscularmand the kitten shape ex- pressed by the large head and plump little body which lacks strong muscular structure. Note the Scotty dog, of the Sealyham family, w|th its short legs, square muzzle, and little pointed ears. You can recognize the Cocker Spaniel by his long, exaggerated ears. Indl- vidual characteristics of each figure are developed with attention to detail, such as eye structure and fur texture.
,,,~.~.~!J. ! ~!
1. START A sifting animal by forming a coll of well-wedged clay that is moist and plastic. ....
2. THE COIL is bent into a triangle for a rabbit form. 3. 4.
3. THE RABBIT triangle is modified by re- moving a section of the toll base and pad- ding wlfh very soft clay to form the haunches, belly and rib cage.
4. A ROLL of soft clay is added to the body at the neck angle, and then bent over to form the head.
5. MORE PADDING brings out the chest and the haunches which stick out in a sitting position.
So 6. 6. A REAR VIEW shows a puff of a tail and z ! I¸ , the spread of the haunches, but he's not i!i ; !i ¸ ii~ , •~,~ ~!~!~;~ ~..... i!~¸~¸~¸~I¸I~~ yet really a rabb~t.
7. NOW HE IS a rabblt--with long ex- aggerated ears, his greatest glory, to identify h~m.
8. NOTE OUTLINING of important lines to complete the rabbit. When the creature is leather hard it can be turned upside down and perforated or hollowed out for safer drying and firing.
7. 8.
FEBRUARY, 1960 25 KILN-FORMED GLASS--fifth of (: series
THE TERRA-COTTA MOLD by KAY KINNEY
AGGING A SHEET of glass into a mold to contour moving the plate or bowl from tile clay shape, later on. S its shape into a bowl or a tray is one of the most Spread the paper over the outside of the model and fascinating techniques in working with glass. The ceramist adhere it by using a damp sponge with a firm, gentle or enamelist who has a kiln can make his own terra-cotta pressure. Smooth the folds and creases by working from mold, which can be used innumerable times, to form the top to the bottom with the sponge. Next, use cello- these glass shapes. Such a clay mold is, at one and the phane tape to fasten the excess paper to the inside or same time, a fired pottery object and a form upon which under side of the model when inverted. The inverted blanks may be fired. model is now placed upon a plaster bat that is larger TOOLS AND MATERIALS in diameter than the model. The tools and materials you need for making this Next, a thick coil of the terra cotta is pressed around mold are essentially the same as those used in clay model- the model where it joins the bat, filling in the acute ing or sculpture. angle between the two. To prevent shifting, hold the Clay. Terra cotta, a heavily grogged clay of the type model in place with one hand while positioning the coil for sculpture or wheel throwing, is perhaps best. Since with the other. Score this coil of clay with a wood model- the mold should be able to withstand repeated firings, ing tool to ensure a perfect joining with the slab of clay the fine particles of fired clay (grog.) help to provide which is to be draped over the model. If the clay is of a a body porous enough to withstand the shock of alternate stiff consistency, water or slip may be added to the scored heating and cooling that occurs when used and re-used area as a binder. for sagging sheet glass into the mold. Red-firing clay is ROLLING THE SLAB desirable since a darker colored clay makes it easier to Any slightly absorbent surface, such as smooth un- distinguish the thickness of the separator used to prevent finished wood, plaster, canvas, or the underside of oil- the glass from adhering to the clay mold. Sewer-pipe clay cloth, may be used to roll out the slab of clay. (Moist may be used with success providing the mold is fired to a clay will not release from nonporous surfaces such as temperature higher than artware bodies. marble, glass, or enamel.) Place in parallel positions on Plaster Bat. The bat must be large enough to accom- the rolling surface the two wood sticks to be used to modate the model for the mold cavity plus an extension maintain a uniform thickness of the clay during rolling. of several inches all around the model for the desired Next, place between the sticks a lump of clay (enough shape and size of the rim. to make a slab that will drape the model and extend Two Wood Sticks. These should be ~ to 1 inch thick and of uniform length and shape to serve as guides in rolling the slab of clay to a uniform thickness. Rollin~ Pin. Wood Dowel. Approximately 6 inches long and 1 to I~2 inches in diameter. Tissue Paper, Cellophane Tape. Wood Clay-Modeling Tool. Kitchen Paring Kni[e or Potter's Fettling Kni[e. Texture Tools. A comb, a fork, a hack saw blade, and such. Bowl or Plate. It will serve as the basic model to form the mold cavity. Its base must be narrower than i )~'~ its widest top diameter. PREPARING THE MODEL There are several ways of making the mold. Perhaps " 1 the easiest is by draping a slab of clay over an inverted bowl or plate. When selecting an object over which to i work, remember that it must be chosen with care because its shape will form the cavity of the mold. There can be THIS SERIES o/ a,ticles on kiln-/o~med gia,, c(,nti,ue, this no undercuts; steep vertical sides should be avoided. The month with Kay Kinney's step-by-step instructions on making sides of the inverted model should slope gradually. Final- molds /or glass sagging. In earlier articles, the author discussed "Firing Techniques" (September), "What Kind o[ Glass; How ly, the selected form should have a flat bottom or the to Cut It'" (October), "Ornaments [rom Glass" (November and resulting glass pieces will "rock." December). The next article will be on decorating techniques. Tissue paper is used as a separator to facilitate re- --Ed.
26 CERAMICS MONTHLY several inches onto the plaster bat.) Using the rolling design should be simple and well defined, and it may be pin, roll out the clay to the thickness determined by made with modeling tools, coarse combs, or strong tex- the height of the sticks. turing tools. A light texture or design will not appear as DRAPING THE MODEL a final glass indentation, but high-relief design or intaglio The slab of clay is lifted from the rolling surface and must not be undercut. If the design is made by adding carefully centered on the inverted model and draped over moist clay, these additions should be welded to the mold the sides. The rolling pin is passed lightly over the top with slip. Any design or texture in the bottom of the to outline the exact center of the model, but pressure is mold must be kept level or the glass formed in it will never great enough to stretch the clay. (Uneven thickness not rest evenly upon a table. might weaken the mold and cause it to split under the If you desire to groove the rim of the mold for weight of the glass during subsequent firing.) To prevent cigarette rests or flute for decorative purposes, lipstick stretching of the clay, roll a piece of wood dowel from cases are excellent for making these indentations. In mak- the outside edges of the clay toward the center. If the ing cigarette grooves, remember to consider the thickness left hand holds the clay firmly on top of the model as of the glass sagged into the mold (1/8 to 3/16 inch). It the dowel is rolled up the walls toward it, the clay slab might be a wise precaution to roll a slab of clay and won't move or wrinkle against the model. Apply firm groove it with several different sizes of tubes, then fire pressure at the angle where the model rests on the bat, it and test it with different thicknesses of glass to select to ensure the slab adhering to the coil placed around the the proper grooving. model at the bat. The joining of these two parts of clay The rim added around the cavity provides a resting makes a sharp and definite shape for the cavity of the place for the glass during the firing and until the sagging mold created by the bowl model. begins. If there were no rim, the glass might tilt into the REMOVING THE MODEL mold. If the rim is perfectly flat, however, and no flut- Leave the model in the draped clay shell until the ings or indentations are made, air may be trapped in clay has stiffened enough to support its own weight the cavity when the sagging begins and blow a bubble without deforming. If the model is removed before the over the cavity. To allow air to escape, drill several holes. clay shell has dried sufficiently, fissures and surface cracks about 1/16 of an inch in diameter, through the sides of that appear as a result of shrinking may be smoothed with the mold at about one-half its depth. Such small open- fingertips or wood clay-modeling tools. ings will not be apparent on the surface of the bent glass.
When the clay can be handled safely, the mold is DRYING AND FIRING turned over and the outside edges are trimmed off. This The mold, placed upside down on a plaster bat, rim or edge may correspond to the cavity or may be cut should be dried slowly. A light weight placed on the top to a free-form shape, if desired. When the edge has been will prevent warping. The rim may be weighted also if trimmed, the cellophane tape is removed from the tissue the mold is square or triangular in shape. When dry, the paper and model: the model is removed from the clay outside bottom of the mold should be sanded level so shell. Then the tissue paper can be peeled easily from that sagging will take place evenly in the mold. the inside of the mold. To keep the rim even during the final shrinkage of DECORATING THE MOLD firing, the mold should be fired upside down. Molds will If incised lines, patterns, or textures are desired in last longer if they are fired two to four cones lower than the mold. thev are executed before the mold dries. Any Continued on Page 32 @@
|, A BOWL, selected to form the molcl cavity, is covered carefully and smoothly with tissue paper and inverted on a plaster bat larger 4. than the bowl. EXCESS CLAY is trimmed off with the 2. 2. paring knife or potter's fettling knife. The A SLAB OF CLAY, rolled to a uniform rim may be even in width or a free form thickness, is draped over the inverted bowl. shape, as desired. The slab is large enough to extend several S. inches onto the bat. AFTER THE BOWL has been removed from 3. the mold, cigarette rests are grooved in THE MOLD IS turned over when the clay the rim with a lipstick case used as the can be handled safely and will support its tool. own weight without deforming. The rim is 3. marked for trimming.
FEBRUARY, 1960 27 : : ~ ~ ~i~ ~;i!!i : ~¸ i ! Just for Fun... ::-.."'i:.! :.i.i;?"" ;::?": • :. '!t ..... ::":i!:: C , ," ,"",'~ ,-.. ....":" :-'.") ''":."."!~" "-:i" "." ~ ".:'-::-.,:"" • : , . : by F. CARLTON BALL HAT WOULD YOU make if you were given six fox" work. Each potter gets his six forms out of the damp W different pottery shapes to be combined into one cupboard and takes them to a table• imaginative object? It would be fun to find out. It would Each of the six potters now changes one of his clay be interesting to see what your friends would create. shapes for one from each of the others. Now each potter Why not have a party for your potter friends and has a cylinder, sphere, spout, handle, bowl, and a dough- find out? nut. A time limit of say two hours is set. Within the two This is the way the game can be played. The num- hours, each potter must make a work of art from tile six ber participating should be from five to seven for a good different forms. The forms may be cut, bent, twisted, or game. For example, let us say that six potters decide used in sections. Not all of each form must be used, but to play the game. Each is given his part to do. new forms cannot be added. The assembled form must Potter ~1 must throw six cylinders about four be constructed so that it can be fired. inches in diameter and six inches high. Ready, set, go! And that means, "let yourself go." Potter q~2 throws six spouts. Let your imagination run wild. Anything goes--abstracts, Potter ~3 throws six spheres. imaginative figures or animals, weird pots, whatever your Potter ~4 pulls six handles. fancy may dream up. Some may be nightmares! Potter q~5 throws six medium-sized bowls. When the time is up, there can be an exhibition Potter ~6 throws six hollow doughnut shapes. and prizes awarded for the most useless, the most weird, The pots must all be thrown of a given clay, placed the most clever use of materials, the funniest, the best in a damp cupboard overnight, ready for party-time the animal, the most insane pot, or as you wish. next day or evening. Then the six potters dressed in Crazy potters (and aren't we all?) will have barrels their pot-making clothes, come with their tools all ready of fun. Try it! • ROBERT RICHARDS and his "Cool Chick." SAMIA HOJAR with her "Creation." Miss Richards, an outstanding potter from Costa Hojar, an art potter from Egypt, is studying Rica, has exhibited widely in the U. S. ceramic engineering in this country. i THE SIX FORMS, each developed by a dif- ferent poffer, Jater were assembled into one creative idea. 28 CERAMICS MONTHLY 6000 DIFFERENT ITEMS JEWELRY • ENAMELING CERAMICS • MOSAICS Send 50c refundable for our new 136-page lOth Anniversary Catalog BERGEN ARTS & CRAFTS, INC. 300 S.W• 17th Ave., MIAMI. FLORIDA .... ~:...... ~ ~'~:~:~ ' ,~;.~! " * ~'~:~::~.'~i : :" • FOR YOUR LIBRARY "REAL GONE" pots on exhlbition--the end Order now from the of the poHery game as played by six well- known potters• CM Book Deportment ClAY AND GLAZES FOR byTHE Daniel POTTER DAVID ROSS, one of Canada's outstanding Rhodes Two complete books n one! poffers and pottery teachers, completes his In non-technical language creation. Ross' home base is the Fort Qu' ~~ this is a must for every hob- by-craftsman, student, teach- Appelle Craft Center, Saskatchewan Arts er and potter. Fundamental Board, in Saskatchewan, Canada• I '~ details on both CLAY and GLAZES is furnished ~ and much more. No ceramist can afford to be without it. II]us- ...... trated. $7.S0 ROBERT KENZIE shows his "Figure from a AND"ANDEOO DEVICES OES,GNS • " "s,,.i!ii :~,~ Bad Dream." Kenzie, Chicago, is o ceramics by Clarence Hornung ~~lJ '~'i teacher and exhibiting potter. Basic designs and variatons ;nc ude the circle fine, scro , curvilinear, fret, 'shield snow crystals, angular interlace- ment, and many other equally useful symbols. More than CARLTON BALL (bottom right) and his 1800 sketches packed into ~ 240 pages of informative text. ~'~'r~l~i~!~ "Crazy Pot." A professor of art, he also : Paper bound. $1.90 teaches ceramics at University of Southern California. DESIGNS AND HOW TO USE THEM by Joan B. Priolo Top-notch decorating can be achieved by following the HAL FROMHOLD (below) and his "Peculiar simple motifs which may be easily enlarged or transfer- Animal." Fromhold, formerly from Canada red. With emphasis on mod- ern design the author has and England, is a pottery teacher• He has assembled a complete sub- exhibited widely and won numerous prizes .._... ject list including birds fish flowers. Pennsylvania [)utch, with his work• etc. 134 pages. $5.95 Ceramics Monthly 4175 N. High St. We Pay Postage Columbus, Ohio Please send me the following books: Name ...... Address ...... City ...... Zn ...... State ..... I enclose $ ...... Send remittance with order• Ohio residents add 3% Sales Tax L ...... q FEBRUARY, 1960 29 an interesting technique for decorating with engobes, underglazes, or slip FEATHER TRAILING EATHER-TRAILING, also called slip combing, is clay with a wide brush. Make sure the covering is fairly F just what the name implies: a feather or comb pulled heavy; don't brush it off the clay, merely spread it. This through different colored slips or underglazes to produce is allowed to stand a few minutes so it will set up. Some the feathery, trailed patterns shown here. Whether you of the water will evaporate and some will soak into the use a feather, comb, or any other tool is, of course, im- clay, putting it in a better condition to receive the material. The principles of this old, English technique contrasting color. remain the sanle. This type of decoration was originally developed for 3. The second color is trailed on with an infant's use with slips and engobes. Experiments with prepared ear syringe. (A glass tube or a plastic squeeze bottle would liquid underglazes, however, have shown that these, too, work equally well for this procedure.) The success of the can be used to produce feather-trailed decorations. The operation depends heavily on the consistency of the color. technique works best on a flat, wet-clay surface; a rolled- If it is too thick it will come out of the syringe in spatters out slab of plastic clav is, therefore, used for the demon- and spurts: and (as mentioned above), if too thin, it will flow and blend with the first coating instead of hold- stration here. ing its sharp line. (Sometimes adding glycerine or one 1. The slab of clay to be decorated lies on a piece of the synthetic gums or even wave set to the clay slips of cloth so it can be picked up later, cloth and all, with- helps them flow Inore smoothly and retain crispness.) out disturbing the decoration. Here, a layer of underglaze If you haven't had too much experience with slip (it could have been slip) is being spooned onto the clay trailing, bv all means practice on a washable table top, surface. The consistency of the underglaze is extremely newspaper, or cloth. (The slip trailer is filled by removing important. If it is too thin, it will be difficult to build up the nozzle and letting the bulb suck up the underglaze a thick enough laye,': of even greater importance- the after which the nozzle is replaced.) As you practice you second color when laid on will run in with the first, giving will find that quick movements of the slip trailer give fine. a marbleized rather than a trailed decoration. If the straight lines; slow inoveinents give heavier and irregular underglaze is too thick, it will be too difficult to work lines. These can be used in combinations to produce a with. There is no specific rule or formula regarding the wide variety of combed effects. consistency--trial-and-error experiment is the best sug- 4. As soon as the contrasting color is trailed on, gestion that can be offered. the feathering process begins. Here, a piece of comb with 2. The coating is spread over the entire piece of only two teeth (widespread) is used for the feathering. ii i~':~ " • "4 1. Spooningunderglaze or 2. Spread the coating with 3. Trail on the second color. sllp on wet clay is the first a wide brush, then let stand Consistency of each color is step in feather trailing. for a few minutes to set up. one of the keys to success. 30 CERAMICSMONTHLY The Cole Potter's Wheel ,4 new concept of man's first machine, : Incorporates a heavy cast iron fly wheel, ma- chined to perfect balance, assuring vibrationless mo- mentum. A 1~ hp elec- tric motor, with friction drive puliy, powers the wheel. The drive auto- matically disengages, freeing the fly wheel to spin smoothly and forcefully. The tripod frame is of welded steel. Finest quality sealed ball bear- ings aline the shaft. .... The 12" throwing head is heavy machined alum- inum, designed for easy removal and positive po- sitioning for work. An outstanding inno- vation of the Cole Pot- ter's Wheel is the rug- The comb is run through both colors in a straight line, ged Fiberglass reinforc- with care being taken not to dig into the soft clay. ed plastic splash pan. It's modern functional Any pointed object can be used for the feathering: design allows worker proper body stance. The a bird feather, a hat pin. a row of needles stuck in a cork. splash pan is easily re- a sharp pointer, etc. moved for cleaning. 5. When feathering is completed, the wet surface or THE COLE POTTER'S WHEEL is precision engineered even the slab of clay should not be disturbed until the to incorporate the exacting requirements demanded by shine has disappeared from the wet underglaze or slip. the skilled craftsman. It is especially desirable for stu- dent use, as excellence in performance is a prerequisite Once the surface has set the clay can be given its final for fast learning and good workmanship. shape. It can be slung in a hammock; or laid over a Only $250.00 F.O.B. Sharon, Conn. plaster hump. Remember that both the piece and hump should be picked up and that, in a sense, the hump is COLE CERAMIC LABORATORIES laid on the freshly decorated surface the reverse of the GAY-WAY, SHARON, CONNECTICUT usual procedure of draping the clay over the hump. This is to insure placing the clay in the proper position and to avoid any unnecessary movements which would smudge the feather-trailed decoration. When the clay is trimmed and the piece is thoroughly dr,v, it is clear glazed and fired. As usual, many variations are possible. You can try this technique on shallow bowls, although you will find FREE that it is more difficult to control the decoration on a slanting surface. Several colors can be combined as shown Dealers in the test tiles (above left). And pieces need not be finished with a clear glaze ve W interesting results can be obtained by glazing over all with a semi-matte glaze. If you are working on a freshly cast plate or other 0nly shallow pieces, you can use some of the same casting slip for the trailing and feathering using prepared or dry underglazes for coloring. • Reprinted from the August 1955 issue of Ceramics Monthly ATTRACTIVE, heavy-wire magazine dis- play racks to aid dealers' sales of Ceramics Monthly in their studios. Send coupon below immediately, on your let- v ~<.,7 terhead, for single-copy sales program and FREE magazine rack. Circulation Manager CERAMICS MONTHLY 4175 N. High St., Columbus 14, Ohio Please send us information on your single copy soles programDfor dealers only. STUDIO ADDRESS 4. Sharp tool pulled through S. Pieces are finished by t the wet colors produces the shaping aver plaster hump, CITY/STATE feathered or combed pattern. then glazlng and firing...... a t FEBRUARY, 1960 31 SKUTT & SON Introduce The Terra Cotta Mold it to be uneven. Keep the bottom of Continued ]rom Page 27 the inside of the inold level. THE QUALITYWHEEL the recommended maturing tempera- The mold must not be noticeably You've Been Waiting for . . . ture of the particular clay being used. higher at one place than another. A Glass is never fired as high as is a glass blank fired in a slanting position matured clay body. Underfiring seems is likely to shift off center in the load- to secure greater elasticity for the clay ing or firing of the kiln. under the constant shock of repeated Failure to provide for the escape of glass firings. expanding air within the mold cavity OTHER WAYS TO MAKE MOLDS If an irregular or free-form cavity during the firing causes the glass shape is desired, the cavity model may blank to form a balloonlike bubble. be carved from plaster to give the Do provide vents or holes if the desired depth; then the mold made model's original design does not have in the same manner described above. air channels incorporated in it. Molds also may be thrown on the Forced drying often warps the potter's wheel to obtain round shapes. mold. Dry the mold slowly at room The walls of wheel-thrown shapes temperature until the clay starts to should be as thick as the slab used in turn a lighter color indicating dryness. the draping process. When the shape As a rule, cast ceramic bisque shapes cannot safely be utilized as • VARIABLE-SPEED ELECTRIC is dry, it is bisque fired and ready for • POWERFUL, VIBRATIONLESS glass sagging. molds. Such cast ceramic shapes sel- • MOST RUGGED & TROUBLE-FREE PITFALLS, DEFECTS, PRECAUTIONS dom provide enough strength and Two years of tield test- Always use clay from the same durability to serve as a mold, and clay ing insure you de[ightful $192 new freedom from me- batch. Combining two different clays bodies which are fired to maturity chanics. Perrnanenfly may lead to cracking, or warping due will not withstand the shock of re- lubricofed, mudproof, eft. to conflicting shrinkage. peated heating and cooling. The split- Write for Fact Sheet, Free Trial Offer Uneven rolling of the clay or ting of such a mold during the firing stretching over the model may weak- could cause considerable damage to en the mold. During the firing of a the kiln because the glass blank is likely to shatter into countless bits \ PORTLAND 2, OREGON glass blank, cracking or separation of (Manufacturers of Skull Elecfrlc Kilns) the mold often occurs at weak points. and fuse to shelves and elements. Always remove the rigid model Allow ample air circulation around from the mold before shrinkage be- the mold during the first glass firing, comes great enough to cause an open placing the mold and glass blank well split in the mold. away from the elements. Cool the In planning the finished size of a kiln slowly. glass piece, the shrinkage of the clay These precautions will help prevent of the mold must be considered. the clay mold from cracking or split- Measurements for the mold must be ting during the first glass firing, which increased to allow for shrinkage if an is the trickiest firing for the mold. A exact size is desired for the glass. curing process seems to take place Gouges or nicks in the inside of the during the first glass firing since mold may cause protuberances on the the mold does not seem to crack ultimate glass piece and thus cause readily during subsequent firings. • RO-100 CLEAR GLAZE NEW 1960 CATALOGS 'li[l: Does your clear cJlaze fade underglaze colors? Try Re-100 Clear Complete Line el School Suppfies EXTRA RING Available in powder or prepared "one fire." and Ceramic Equipment Has a v.ide firing range for Cone 06 bodies, FREE: to schools and ceramic teachers porcelain or stoneware. Send for prices. Send to: Dept. A. $3.50 VALUE RODER CERAMIC STUDIO SEELEY'S CERAMIC SERVICE FREE with purchase of amazing, easy-to- BOX 116 CLIFTON HEIGHTS, PA. 7-9 River St., Oneonta, New York use test kiln for only 819.95 . . . an extra test ring, worth $3.50. FREE test ring affords expanded size, permsts larger ob- jects in kiln. Approved kiln saves time & money . . . ideal for medium pieces, jewelry, etc. Mail ed with check or money KEMPER TOOLS Contact Trinity order for $19.95 . . . FREE test ring will be included in shipment. Offer Limited. for Ceramics SPECIFICATIONS: Kanthal A1 Element-- Kemper Lace Tool ...... @ 75c for Superior Babcock-Wilcox Fire Brick -- Interior: 75c 6 x 6 x 4~ in.--Z2 Amp--Cone 04 in ~6 Kemper Clean-Up Tool N.S. ..@ hour, Cone 9 in 1 hour. Kemper Clean-Up Tool O.S. ..@ 85c CERAMIC ona PORCELAIN Kemper Rose Cutter Set ...... @ $1.25 United Artist Materials Co. Kemper Texture Tool ...... @ $1.2s CLAYS ARTISTS, DRAFTING AND DISPLAY Kemper Zig-Zag Saw H.D ..... @ 65c PRODUCTS Ask your dealer for these and z Opposite Museum of Modern Art other quality KEMPER TOOLS or write and Museum of Contemporary Crafts to KEMPER MFG. CO., P.O. Box SIS, 32 West S3rd St., New York 19, N.Y. Chino, California 9'016 Diplomacy Row Oallm 35, Texas Telephone FL 7.4~151 37 CERAMICS MONTHLY Enameling: All Kinds of Trivets Continued [rorn Page 9 From stainless steel or monel sheeting, cut triangles --all sorts of different angles. Cut a slit in what you want as the base of the triangle and bend the two halves in opposite directions to form bases for them to stand on. Do this bending over the straight edge of a bench anvil. Strategically arranged on the firing rack, bind them to it with the wire--all this according to your plan and my sketch. 7_...,rZ_/-L_d'l--f- The secret of these triangles not leaving any marks on or about anything but a vertical thing like a pillar is that you have to choose and place your triangles so that they contact only the very edge of the piece (the t40 MORE metal) and never the enameled surface. Three triangles for a round object is sufficient support. SEARCHIt4G Another useful triw~t, flexible so that it can be used over and over for pieces of different sizes comes up now. Cut a cross from sheet metal and bend the four arms for those up to form something like a basket while the bottom is to be tied to the rack. This can be bent into a shallow Missing Copies basket or a deep one, according to size and depth of the object to be fired on it. USE A CM LIBRARY BINDER Heavy wire, bent to the shape of an M with feet to stand and be tied YOU will have no problem finding last month's on--used in pairs--also make fine copy of "Ceramics Monthly"--or earlier issues trivets. They can be spread wide apart you've received--if they are neatly tucked away in or squeezed together, according to the this handy binder. Like most CM subscribers, you angle needed, or two differently will be referring to back issues for ideas and other shaped ones can be used to support valuable information time and time again--so keep odd-shaped pieces. them handy in this handsome library binder. I hope these will be of help to you, since stilt marks This durable cloth-bound binder is green in color really are a pain in the back of an enamel piece. • and has "Ceramics Monthly" stamped in gold leaf on the front cover and backbone for immediate identification. Making Animals Sit A steel blade holds each copy in place. New issues Continued from Page 24 are quickly and easily inserted. Each issue will re- main neat and fresh protected by the high quality You will notice in one photograph of the rabbit rigid cover of long-wearing" material. Order Now! that I have marked out the important anatomical areas with rather strong drawing lines. This is done deliberateh' Price $3.50 to emphasize the important forms. ; ...... i When sculpturing is finished, the rabbit can be Order Form Ceramics Monthly turned upside down and the excess clay dug out to make 4175 N. High St., Columbus, Ohio the form dry more evenly and fire more safely in the kiln. Please send me .... binder (s). (CM Pays Postage) Since the rabbit has a very smooth fur, the best Name ...... surface texture is achieved by the use of certain glazes: Address ...... A rutile-type glaze or the type referred to by the Chinese City ...... Zn .... State ...... as hare's fur glaze. I prefer these to a shiny glaze. May these forms and suggestions help you with your I enclose $ ...... Send remittance with order. Ohio residents add 3% Sales Tax. sculpturing of animals. • FEBRUARY. 1960 33 YOUNGSTOWN SHOW AWARDS Tweh'e awards, at the 12th Annual Ohio Ceramic and Sculpture Show. open only to Ohio and former Ohio residents, at the Butler Institute of American Art, Youngstown. went to: Ralph IIospodar, Royal Oak, Mich.. and John Stephenson. Ann Arbor, Mich.. both formerly of Cleveland: Toshiko Takaezu and Marguerite Eisenberg. Cleveland: Earl Cunningham, Dave Hos- people, places & things tetler, and John Baldwin. Athens: Charles Lakofsky. Bowling Green: Miska Petersham. Kent: and Norman Schulman. Toledo. CERAMIC NATIONAL ANNOUNCED Daniel Rhodes, of Alfred. N. Y.. judge of the show, is seen The 21st edition of the Ceramic National, the ranking in the accompanying photo with some of the prize-winning biennial exhibition in the ceramics field, will be previewed at the Everson Museum of Art (formerly the Syracuse Museum of Fine Arts), Syracuse, N.Y., on November 12. 1960. The exhibition will be open to all American and Canadian potters, sculptors, and enamellists. Entries will be received at the following centers: The Cleveland Museum of Art; the Everson Museum of Art; the Georgia Mtiseum of Fine Arts. Athens; the Los Angeles County Art Institute; the School of the Museum of Fine Arts, Boston; the San Francisco Museum of Art; and the Walker Art Center, Minneapol;s. (Two additional centers may he included.) Entries will be screened by William Hull, director of the Everson Musetnn, or John Rutter, assistant director of the Everson Museum; dates to vary according to the itineraries of the selectors. Entries accepted at regional centers will be forwarded to Syracuse for final jurying. Members of the jury of awards and circuit selection for the 21st National will be: Mrs. Grace L. MeCann Morley. director-on-leave of the San Francisco Mu- , '< t . _ <:~ +'~% seum of Art: H. Harvard Arnason, director of the Walker Art Center: and Thomas S. Tibbs. director of the Museum of Con- temporary Crafts. New York. Prizes mnounting to approximately pieces. At the right, in tbe photo, are exhibited a ceramic pot $3,000 are to be awarded. by Stephenson and the spiney sctdpture vase by Lyle Perkins, The Ceramic National was founded in 1932 in memory of Providence, R.I., formerly of Columbus. Perkins' vase stands the internationally known Syracuse ceramist. Adelaide Alsop 38 ~nches high and is in tones of tan and light blue: it won a Robineau. The 20th anniversary of the exhibition, in 1958, was $100 prize. observed wlth an international invitation exhibition. Other pieces exhibited in the January Youngstown show are The 1960 Ceramic National will be on view in Syracuse pictured on the front cover and described on page 5. through January 8. 1961. A circuit exhibition will be available. Continued on Page 36 The CeramicSkew ? ,,dow oft/,e Natio,, Offe,'S you A Fabulous 5 point program: For the Studio Owner and advanced Ceramist -- Three 1 Ceramic Seminars during marn;ng hours of show period, conducted 8th Annual by a popular Moderator and panel, caver;ng the topics that interest you most . . . Free adm;ssion . . . Question and answer periods included. For the Hobbyist -- $1,000 in cash awards for the three "Best 2. in Show" in the National Amateur Exhibit... Hobbyists -- enter your best piece... To be judged by point system by CERAMIC public opinion. For the Hobbyist -- see the newest products and learn the SHOW latest technlques from continuous demonstrations in 130 exhlbff booths by the nation's leading Manufacturers. May 5- 8 1960 For the Exhibitor -- a Polaroid Camera awarded to the Exhibitor providing the most interesting and consistent demon- CONVENTION HALL, ASBURY PARK stration from the exhibit booth. NEW JERSEY Official 1960 meeting place for NCA. Show Hours: Daily 1-9 P.M. w Sunday 1-7 P.M. Sponsored by Ceramic Leagues, Inc. NOTE: WRITE FOR INFORMATION ON ANY OF ABOVE CERAMIC EXPOSITIONS, INC. JERRY GASQUE, Managing Director CONVENTION HALL. ASBURY PARK, N. J. TELEPHONES PROSPECT 5-8966:6-6260 34 CERAMICS MONTHLY itinerary 4 New RHYTHM GLAZES Continued ]rom Page li Crater Lake We're going to (High Glass Crackle) ILLINOIS. DEKALB Maroon Velvet (Satin) through February 7 "Midwest Designer- Craftsmen," Smith- Wild Cherry (Satin) sonian traveling exhibition, Northern release some new Fireball (and it really is) Illinois University. Wholesale & Retail original molds CATALOGUES AVAILABLE INDIANA, TERRE HAUTE February 6--29 EDYTHE MATHIS "Contemporary American Glass," Smith- #c ~r #c #c ~c ~r Californ~a Rhythm Products sonian traveling exhibition, Indiana State Teachers College. 10324. Atlantic Ave., South Gate, Calif. IOWA, DES MOINES by KLEINER February 1--29 "British Artist-Craftsmen," Smithsonian traveling exhibition, Des Moines Art Center. KANSAS, WICHITA Be the FIRST February 5--28 "The Story of American Glass," Smith- sonian traveling exhibition, Wichita Art with GREENWARE Museum. INDIANA, NOTRE DAME in your area February 20--March 15 "Midwest Designer- Craftsmen," Smith- ART-CRAFT SUPPLIES, INC. sonian traveling exhibition, Unlversity of GET ON OUR MAILING Notre Dame. Distributor for LIST NOW. Paragon -- Duncan -- Drakenfeld Craftool -- Bergen Brush --Hotpack Kilns MICHIGAN, GRAND RAPIDS Perma-staln and through February 7 Hobby Heaven Molds Ceramic International, sponsored by the General Ceramic Supplies Syracuse Museum of Art, at Grand CREEK-TURN 180 NW. 62nd St. Miami, Florida Rapids Art Gallery. RT. 38, HAINESPORT, NEW JERSEY NEW YORK, NEW YORK NEW YORK STATE .,w through February 19 DISTRIBUTORS Kincjspin The Artist-Craftsmen annual show, at for KINNEY GLASS Supplies Electric Banding Cooper Union Museum. Included in the Send 4c Stamp for Details exhibition will be examples of all crafts Wheel as well as some small sculpture. BUFFALO CERAMIC AND Model E 2 i ART SUPPLY CENTER 437 FRANKLIN ST. BUFFALO 2. N.Y. HEAVY KINALLOY 7 INCH TABLE PENNSYLVANIA, PHILADELPHIA SOLID CAST ALUMINUM CASE February 29--March 23 110 VOLT MOTOR 25 RPM. "Ceramic International," sponsored by CERAMICS ON & OFF SWITCH & 8 FEET OF CORD the Syracuse Museum of Art, at Phila- c,, Woodwork (Beginning ONE YEAR SERVICE WARRANTY delphia Art Alliance. ISTUDENTS and Advanced), Draw- See your dealer or distributor or write ing, Silk Screen, Tapes- Gilmour Campbell 14258 Maiden I LEAGUE Detroit 13, Mich. try, Weaving, other WASHINGTON, SEATTLE I Y.W.C.A. crafts. Experienced fac- March 2--April 3 l e40 8th Av. ulty. Men and women. DON'T BUY A KILN "Forms from Israel," sponsored by lat Slst, N.Y. Day, Evening classes. until you read "How to Choose a Hobby Kiln". American Federation of Arts. Seattle Art ICIrcle 6-3700 Request Catalo 9 C. It's free, 20 illustrated pages of facts to help Museum. you get the most for your money. Explains elements, insulation, heat loss, firing cost. II ALL FACTS--NO ADVERTISING, write today WISCONSIN, MADISON FRANCOISE CERAMICS for booklet M-S. February 1--29 distributor for AMERICAN BEAUTY GLAZES PARAGON INDUSTRIES, INC. Atlantic m Bee Bosch -- Holland Box 10133, Dallas 7, Texas "Fiber, Clay, and Metal," at the Uni- versity of Wisconsin; sponsored by The and Ludwig Schmid Molds Saint Paul Gallery and School of Art. Paragon Kilns m Duncan E-Z Flow The clay section includes 112 pieces. Glazes- Mack China paints- (See Pie of the Month, page 10.) Brushes -- Tools, etc. th. NEW HOME 113 49th $1. So. St. Petersburq 7, Florida Buy BUELL KILN KITS o/Be# Mo/ CERAMICS FINISHED AND GREENWARE and build your own, at low cost. Easily assem- WHITE ORCHIDPORCELAIN Distributor: "k Reward "k Dobe GIo bled at home. Safe, ef- Kay Kinney operating Buy BELL MOLDS, over 400 desiqns. Send "k Willoughby "k Symphony "k ficient, low Bergen & Marx brushes, also tools. cost. Plugs into any SI,00 for the BELL MOLD CATALOG. Re- 110v double outlet. funded on the first S10.00 order. In molds we distribute MARC BELLAIRE, Writ e for literature GARE, WILLOUGHBY, KAY KINNEY. ~ and "Questions & An- Our stocks of all are large and varied. swers on Kiln Build- Bell Ceramics, Inc. ~,,~ffl J ing." C. M. BUELL HAZEL HURLEY STUDIO ~.~ KILNS, Box 302, Royal Tabor Rd. (]ust off Rt. 10} ~.~ Oak, Mich., Tel. LI 830 Warren Avenue Downers Grove, III. ~ 2-4298. MORRIS PLAINS, NEW JERSEY Call WO 8-0719 FEBRUARY, 1960 35 CeramActivities NORDNESS GALLERY SHOWS CRAFTS The Nordness Gallery, 831 Madison MOLDS for over 430 original Continued /rom Page 34 Avenue. New York City, announced an Ludwig Schmid Models in stock, new AMONG OUR AUTHORS innovation in its exhibition schedule by items added continually. • Didier ]ourneaux, a former patent at- devoting January to "Fine Arts in Living," torney, entered the field of art in the late works by contemporary American crafts- Complete catalogue and price list with men. additional sheet for dealers studios and forties by substituting painting for other schoo s. $1.00, refunded w th f rst order. hobbies. In 1952, he broadened his inter- Among the exhibitors were CM's own ests by adding sculpture and ceramics. F. Carlton Ball and Edris Eckhardt. The 20th ANNIVERSARY 1940-1960 Since 1955, he has spent most of his craftsmen were selected by recommenda- tions of officials of the Museum of Con- Ask your Ceramic Dealer for Ludwicj Schmid waking hours on pottery. Molds. See our Exhibit in Booth No. 13 at temporary Crafts. covering the fields of the Eastern Ceramic Show enamels, glass, jewelry, pottery and other May 5-8, 1960 • Asbury Park, New Jersey crafts. The American craftsman in the past five years has so matured that leading museums throughout the country now de- vote part of their schedules for the artist- craftsman; but because galleries do not show this work, the artist-craftsman is not seen with any continuity, states the Nord- ness Gallery, so it has decided to devote every January to the "practical arts" by the practical artist. AT ARIZONA STATE FAIR The first award in ceramics at the Arizona State Fair. Phoenix, December MOSAICS 1959. went to Maurice K. Grossman of Mr. journcaux i~as taught ceramics at COPPER ENAMELING the Jewish Community Center of Milwau- kee, and is a member of the Midwest De- ~r Huge Stocks signer-Craftsmen and Wisconsin Designer- #r Fast Service Craftsmen. At present he is affiliated with the Clay Art Center, Port Chester, N.Y. ~c Quality Merchandise • ]ohn M. Mathews, who developed the Write now for FREE literature Matrafer decorative process, is an assistant [)r~ff¢.s~(,r of :~rt ~tt Kansas State Teachers College, Em- ILLINI CERAMIC SERVICE poria. He J "Quality Ceramic Supplies" [ has exhibited 439 N. Wells, Chicago 10, III. at dozens of Phone MI 2-3367 shows, some of which were: 2nd BIL-LIN CERAMIC STUDIO Internation- 243S So. Dixie Ave., (U.S. 25), Dayton, Ohio al Ceramics We are wholesale representatives for and Exhibi- carry a very larcje selection of new molds ;n stock for the followin9 mold manufacturers: tion, Ostend, Bell's ~ Hobby Heaven ~ Holland Belgium; Atlantic ~ Schmid ~ White Horse M i dwestern Mallory ~ Alberta ~ Willoughby Design- the University of Arizona at Tucson for California Ceramics ~ and others er - Crafts- his 16-inch covered jar shown here. The We also represent man, Mil- design was a wax resist and iron slip on Willoughby's and Reward's complete lines Marx I;rushe~Bell's White Orchid Porcelain waukee ; Mi- vitreous earthenware with a light tan and many other items. NO CATALOGUE. ami 6th National Ceramic Show with semi-matte glaze. piece selected for Smithsonian Traveling The second award was received by Don Exhibition; llth and 13th National Dec- Schaumburg, Tempe, Arizona, for a blue Please Mention CM ] orative Arts Show, Wichita; 6th Annual wax resist stoneware vase. Nick Graves Mid-America Show, Kansas City. This is received the third award for his stoneware when writing our advertisers his first appearance in CM. pot. CERAMIC SUPPLIESFOR SCHOOL World's finest AND INSTITUTIONSOUR SPECIALTY TILES GLAZES 0 STAINS We have a complete line of supplies For Decorating COLORS CLAYS and equipment: MOSAIC TILE; Superb English Tiles, bisque or glazed, 6" x 6". they're perfect for pleasure... CLAY, dry, moist or liquid; KILNS; ~r profit. POTTER'S WHEELS; GLAZES, dry ALSO AVAILABLE and prepared; UNDERGLAZES ; • TRIVETS, black • WOODEN KILNS iron, rubber foot- FRAMES CHINA PAINTS; Tools, and raw ed. for 1 and 2 n TILE BACKS and write for your FREE copy of materials. tiles HANGERS "CERAMIC SUPPLIES FREE catalog to schools and institutions. • WROUGHT IRON ~ ~ (Others send S0o, refundable on first order.I FRAMES and INSTRUCTIONS" Write tar FREE Descrlptwe MIDWEST CERAMIC CENTER Price List No. C,2 THE T. H. GREENWOOD CO. SORIANO DEPT. C, NORTH HILLS, PA. 722 Southwest Blvd. CERAMICS, INC. DEALERS IN(pUIRIES INVITED Kansas City, Missouri Long Island City 5, N.Y. 36 CERAMICS MONTHLY Matrafer Decorating Continued from Page 21 CONTOURED by the thought of messing up his new- ly formed masterpiece. from the most camp[ere ~ i GLASS "One Stop" Ceramic Do not work to the edges of the Supply House. Ordering made cut paper shape. This would create a GLASSTAIN(Liquid Glass) easy through our new -~5 Catalogue for ALL your Ceramic needs. hard line which does not correlate 14 Transparent Colors For your copy well with the spontaneity of the rest send SOc refunded on first order. Schools and Institutions Free of the design. CLAY COLLARMOLDS Step 3. The clay surface should be A Selection of 54 Van Howe CeramicSupply quite moist in order to grip and hold 1185 S. Cherokee, Denver 23, Colo. the engobes. If too dr),, the surface ACCESSORYMATERIALS will not hold the engobes (or worse-- For Glass Bending may appear to hold but during the drying the decoration will pop off in COMPLETECATALOGUE- 25c places). Since the clay shape will have to firm up for handling, it will KAY KINNEY be a little too dry for the transferring 725 Broadway Dept. G.2 Laguna Beach, Calif. process, so stroking with a wet sponge to dampen the surface will News for Ceramists! invariably be required. Our business has expanded--we now have 2 Step 4. Lay the transfer face down studios to serve you. • DISTRIBUTOR FOR: HFW 3-D Symphony n Virginia Lee Stencils n Green- on the clay surface. Press the paper ware n Slip and supplies • Kilns • Molds Dealer and teacher inquiries invited firmly onto the greenware so that DRAPE MOLDS CHRIS JOHNSON'S CERAMICS good contact is made by the engobe. • SO different Give your Ceramic pieces 3,D 165 East College Ave. styles realism in half the time! Use Westerville, Ohio -- TU 2-3558 Pat and stroke with a wet sponge to • FREE list only modeling clay! Molds 50c 144 East Allen Street furnished to $2.50. Easy instructions in- Lancaster. Oh;o -- OL 3-6774 remove all wrinkles and make sure of • Complete cluded. Studio discounts. Write perfect contact at all points. catalog 25c today! plastic arts studios GRA-ZLE CERAMICS Columbus, O. Step 5. No waiting is necessary. 3403 So. Madison St., Dept. 4, Muncie. Indiana 348 Yarmouth Lane Tel TR 8-3274 You may remove the transfer paper Sub Distrlbufor for: FuR Line of immediately by simply peeling it American Beauty Products Dealer inquiries Invited ~ Wholesale & Retail away from the ceramic piece. ILLUSTRATED CATALOG Classes for Creative Ceramists Step 6. If the engobes seem to be We have the Greenware, Designs, Supplies of Molds and Podeszwa Patterns. Included & know how. Dealers for: Full Line of Wfl- at no extra cost ~ 4 pages of how-to-do-it loughby; Tru-Fyre; Fiesta Glazes; Americana superfluously raised in some places or Tile by Hae~er. if they have been lifted slightly dur- ideas. Send $1.00 today to: ing the removal of the transfer paper, BEE BASCH DESIGNS, INC. 70 Pine & First Sts., Englewood, Fla. POSITION AVAILABLE I pat and stroke them with a damp Interesting summer position for skilled sponge. You must be sure they are in ceramics craftsman who enjoys working with tight contact with the clay under- Efhlyne Piotenhauer's Philip Bodine's young people. Unusually creative New Eng- land teen-age project. Address: neath. Use a clean sponge and wash BOOK SPECIALS No. I--Mold Maker's Manual ...... S2.7S SHAKER VILLAGE WORK GROUP it frequently during the process so No. 2--Blocks & Cases ...... 3.00 Box 1149, Pittsfield, Massachusetts No. 6~"Yunk Yewelry by Yimminy" .. 2.00 that you do not distort the decoration. No. 8~Glaz]ng Fun for Ceramists ...... 3.00 Any two S4.00 n All Four S7.0O This completes the decorating Perpetual Mold Picture Catalog SI.O0 technique as far as the engobe trans- Sorry, NO C.O.D.'s Bodlne's Pan-Kay Potteries low! ENAMEL.ON.COPPER ferring is concerned. Additional de- P. 0. Box 748 Ponce City~ Okla. ~4 Page IDEA BOOK and CA .E]_Ed[_~ffi Trial corations can be incorporated. In the NEW.PORCELAIN and GLASS FIRING Package including "CASTA.MOLD" the material finished bowl on page 91, the bord- for Casting Glass.FireMolds "rJiSlAilr iacbdis| er was added by the mishima tech- Please Mention CM 25¢ brings You 64 Page Catalog D~r|ctilss nique. The piece should be bisque IMMERMAN & SONS, Dept. G-4; When Writing Our Advertisers 1924 huchd - Cleveland 10, Ohic only$2.00 fired and then glazed and retired. Vertical shapes and those with varying contours can also be decorat- ed with this technique; it is not limit- ed to flat bowls and other shallow TOOLS. CLAYS pieces. The trick is to use more than a most complete selection or ceramic For the past 20 years, we have been one piece of paper, but they should sculpture--casting tools and materials Jar manufacturing Materials and Equipment beginners -- students -- pro[essionals -- for the field of: CERAMICS. all be laid side by side and decorated end ec ~ famous simultaneously. The individual papers Now, we are adding the following supplies )ELLA ROBBIA CLA ~ to our llne, for: will allow you to wrap around pieces --bakes ceramic-hard in your kitchen oven SCULPTURE COPPER ENAMELS with handles, bottles and jars, etc. in a few minutes: curs costs to pennies. Send ~tOSAICS It seems strange to me that this Jar complete klt CM600, only $6.b0, and free Wholesale & Retail Write for Information technique has not been previously ex- talo g u e CM-2 62 Horatio St. N.Y. 14, N.Y. plored to any great extent. It is so Tel: WA 4-6019 Continued on Page 38 FEBRUARY, 1960 37 Crazing Problems Continued #ore Page 22 silica, bring on immaturity. For alumina add clay instead of feldspar to avoid extra potash and soda. Or February 1960 use alumina hydrate which is pure alumina. Another aluminum silicate Alpine Kilns ...... Cover 4 not commonly used in glazes but con- American Art Clay Company ...... 11 Anderson Ceramics Co ...... 38 taining about twice as much alumina Art-Craft Supplies, Ine ...... 35 as clay is kyanite. Art Decal Company ...... 38 Boric oxide has a double effect B & I Mfg. Co ...... 12 against crazing. It is a low expansion Basch, Bee, Designs ...... 37 ingredient itself and unlike silica and Bell Ceramics, In¢ ...... 35 alumina, it is a flux. Its use increases Bergen Arts & Crafts ...... 29 Bergen Brush Supplies ...... 8 the fusibility of a glaze thereby per- BiI-Lin Ceramic Studio ...... 36 ANDERSON CERAMICSCOMPANY mitting higher amounts of silica and Bodine's Pan-Kay Potteries ...... 37 714 Greenville St., Anderson, S. C. Buell Kilns ...... 3S alumina. Most of its compounds are Buffalo Ceramic & Art Supply Center.3S Complete CeramicSupplies soluble in water so it is best utilized in fritted form. Check the composi- California Rhythm Products ...... 35 Free Catalogue Campbell, Gilmour ...... 35 tions of the frits you are using (ask Ceramic Exposiflons, Inc ...... 34 your supplier) for their B:O:~ content. C~ramlchrome ...... 38 The Famous The one insoluble raw material con- Ceramic National Show .... Cover 3 Cole Ceramic Laboratories ...... 31 KLOPFENSTEIN taining boric oxide is colemanite, Craft Students League YWCA ..... 3S POTTER'S WHEEL about 50c~ B=O~, 27c/- CaO and water. Creek-Turn ...... 35 Don't use too much boric oxide be- Write for FREE information Duncan's Ceramic Products ...... 4 cause its anti-crazing effect reverses H. B. KLOPFENSTEIN & SONS itself in large amonnts. Francoise Ceramics ...... 35 R.F.D. #2 Dept. A Crestline, Ohio Zinc oxide is sometimes used to in- Garland Ceramic Supply ...... 12 hibit crazing if its side effects are not Gra-Zle Ceramics ...... 37 JEAN LEONARD CERAMICS objectionable. In small amounts tip Greenwood, T. H., Co ...... 36 96-241 Corona Ave. Corona, L. I., N. Y. 15 E. Hartsdale Ave. Hartsdale, N. Y. to 5c~- it may cause the surface to Holland Mold, Inc ...... 4 Wholesale - Retail become brilliantl?, glass?-. In larger House of Ceramics ...... 3 Glossmatie--Tru-Fyre--Drakenfeld--Zirco Hurley, Hazel, Studio ...... 3S Duucan--L & L Kilns---Kemper Tools amounts tip to 15Q it may cause l'ry our Magic Glaze Binder, makes a gal. 50e Illinl Ceramic Service ...... 36 Mend-All. greenware & bisque mender 4 oz. mattness. It induces certain color Immerman & Sons ...... 37 fi0e. All items plus postage~Catalog 25c. changes such as deadening chrome- tin pinks or converting chromium Johnson, Chris, Ceramics ...... 37 greens to brown but it intensifies co- Kemper Mfg. Co ...... 32 TEACHERS... balt blues and is good for chrome- Kinney, Kay ...... 37 Write direct on school letter- Klopfensteln, H. B. & Sons ...... 38 head for FREE literature on alumina pinks. CERAMICHROME one-fire in- Co ...... 7 troductory colors. Magnesia is so refractory it is rare- L & / Mfg. Leonard, Jean, Ceramics ...... 38 ly used in earthenware glazes. CERAMICHROME Mayco Colors ...... 14 15215 So. Broadway, Gardena, Calif. The alkali, lithia, could be substitut- Midwest Ceramic Center ...... 36 ed for potash and soda by using the lithium feldspar, petalite, in place of Paragon Industries ...... 3S Pioneer Mold, Inc ...... 6 regular feldspar. Plastic Arts Studios ...... 37 Try the simplest and most conveni- Reward ...... 9 ent remedies first. A multiple con> Roder Ceramic Studio ...... 32 The following back issues of Ceramics bination of things may be necessary Ravin Ceramics ...... 4 Monthly are still available at sixty cents per copy (Ohio residents add 3% sales for success but when experimenting Schmid, Ludwig, Molds ...... 36 tax.t We pay postage. change only one thing at a time. Sculpture House ...... 37 1953 Seeley's Ceramic Service ...... 32 July, August, October, December Good luck! • Shaker Village Work Group ...... 37 1954 Skutf & Son Wheels ...... 32 March, July, August, November, De- cember Matrafer Decorating Sorlano Ceramics, Inc ...... 36 1955 Sfaplefon, R & R, Designs ...... g July, August, October, November. Continued /rom Page 37 December Tepplng Studio Supply Co ...... 35 1956 simple it challenges the paucity of the May, June, July, August, October, Thompson, Thomas C., Co ...... S December Chinese in the development of their Trinity Ceramic Supply ...... 32 1957 Tru-Fyre Labs ...... 13 April, May, June, July, August, Sep- glazes. tember, December I am sure you will be pleased with 1958 Unique Kilns ...... 37 April, May, June, September, October, the results. Obviously the photo- United Artist Materials Co ...... 32 November 1959 graphs cannot give you the total Van Howe Ceramic Supply ...... 37 March, May, November, December picture because of the absence of the 1960 Wolfe, Jack D., Co ...... 37 Jant;ary most important element -- color. Please send remittance (check or money order), with list of issues desired. Strong color from high-intensity slips CERAMICS MONTHLY is essential to successful Matrafer 1175 N. High St. Columbus 14, Ohio decoration. • :38 CERAMICS MONTHLY 1960 CERAMIC SHERATON HOTEL NATIONAL PHILADELPHIA, PA. TRADE SHOW MAY and 1 WORKSHOP EXHIBITORS ALBERTA'S CERAMIC STUDIO ..... So. Pasadena, CaJif. LORRAINE CERAMICS, UNLIMITED. Gardena, Calif. AMACO ...... Indianapolis, Ind. MALLORY CERAMIC STUDIO ...... Los Angeles, Calif. AMERICAN BEAUTY CERAMIC .... E. Cleveland, Ohio MARX BRUSH SUPPLY CO ...... New York, N.Y. AMERICANA AGENCY ...... Evansfon, III MAYCO COLORS, INC ...... No. Hollywood, Calif. ARTS & CRAFTS MONTHLY ...... Detroit, Mich. NATIONAL ARTCRAFT SUPPLY CO ..... Cleveland, Ohio CERAMIC STUDIO WORKSHOP ...... Philadelphia, Pa. NORMAN CERAMICS CO., INC ..... Mamaroneck, N.Y. CERAMICHROME ...... los Angeles, Calif. OHIO CERAMICS ...... Kent, Ohio CERAMICS by MADELINE ...... Detroit, Mich. PEMBERTON-NEAL ...... Bel]eflower, Calif. CERAMICS MONTHLY ...... Columbus, Ohio POPULAR CERAMICS ...... Hollywood, Calif. CHRISTINE ...... Long Beach, Calif. REWARD CERAMIC COLOR MFRS.. los Angeles Calif. CREEK-TURN POTTERY ...... Hainespart, N.J. JOY REID ...... Dearborn, Mich. DOBE DEPOT CERAMIC SUPPLY ...... Portland. Ore. DOROTHY B. RUSH ...... New ,Jersey DUNCAN CERAMIC PRODUCTS, INC. Fresno, Calif RUSKIN SPONGES ...... Philadelphia, Pa. EVENING STAR CERAMIC TOOLS ...... Warsaw, Ind. SHEESLEY'S BROCADE TOOLS ...... Boise, idaho GARE CERAMICS ...... Haverhill, Mass. STAROLA ...... Sioux Falls, N.D. GLOSS-MATIC CERAMIC COLORS.. Los Angeles, Calif. HOWARD TOSE ...... Sonoma, CaLif. JUL'ENE CERAMIC SUPPLY ...... Copley, Ohio TRU-FYRE ...... Los Angeles, Calif. KAY KINNEY ...... /aguna Beach, Calif. WHITE HORSE MOLD SHOP ...... Trenton, N.J. CHULA KOLB ...... San Antonio, Tex. BELVA WOOLSEY ...... Upper Dorby, Pa. DOROTHY LaFLEUR ...... Whitestone, N.Y. MANAGING DIRECTOR: ARTHUR E. HIGGS 414 N. JEFFERSON • BAY CITY • MICHIGAN • TW 3-9492. ~ ,~. ~,,:i:i i~ L i! @ I