FEBRUARY 1974 60C Shimpo Potters Speak the Same Language

FEBRUARY 1974 60c Shimpo potters speak the same language.

Potters from varied backgrounds variable speed drive system which allows them to and nationalities, artists who hold disparate make speed changes smoothly. They love its concepts of ceramics, all find the Shimpo-West quiet running, its free-wheeling wheel head. RK-2 Potter's Wheel gives them the responsive- They understand their common, ness and control they require for their work. but very particular requirements. So does They like its reliable performance Shimpo-West. It's the potter's wheel that and good service warranty. They appreciate its speaks their language.

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February 1974 3 ALABAMA HEART OF AMERICA CERAMICS OOLLMAN CERAMIC SUPPLIES, INC. 8ATEMAN CERAMICS 617 Centra$ Avenue, 663 W|Men Avenue, $618 East Lancaster. HAZELHURST CERAMICS Kings City BOFfelo Fort Worth P.O. Box 124, Hinl Grin PRAIRIE DO0 CERAMICS GLAD-WELL CERAMIC STUDIO & SUPPLY LAURINE BROCK STUDIO RFD 868 Scarsdale Avenue, 16S1 west Wo~lawn THE PIXIE POTTERY # 1. Norton S¢i~IIII Avenue. Sin Anton,o 9 No¢th SSth P~ale, tlirmlnghlm SHADOW.BOX CERAMIC STUDIO KEESEVILLE CERAMICS COMPANY. INC C C CERAMICS 308 WeSt Cloud South Sable Street. KHseville 4343 Kost~yr. Corpus Christ, PIXIE POTTERY OF MONTGOMERY strut. Sallnl 1224 Madl~n Avenue. Montgomery KENTUCKY LK CERAMIC SUPPLY CERAMIC ART & ANTIQUE SHOP 2555 Roehest~ Road. C4man¢ia'g~ 2004 Allen Dr,re. W,¢hit| F|lh VIKTORIA CERAMICS LOIS CERAMICS 5450 Cottage Hill Road, ~li i~0~ Washington Street. Henderson JEAN LEONARD CERAMICS THE CERAMIC PEEPLES 98 24 Corona Avenue, Corona I l/2 M,Les East H,ghway 1729. New Deal POLLY'S PLAY HOUSE ALASKA CERAMIC STUDIO LEZETTE GATEHOUSE THE HOBBY SHOP 9806 Taylor sville Road..}lift,iBsen ARTS ALASKA MUD PUDDLE Route 212. Saugerti~.Woodst~k Road Saug~rtil~ g 11 North M~k,n~.3nd Lane. Abdene 9034 Hartzelt Road. Anchorite TOM'S CE RAMIC STUDIO 15 West 341h Street. Covington LONG ISLAND CERAMIC CENTER HOUSTON ARTS & CRAFTS ARIZONA 119(} Route 109. Lmdinhurlt 2048 MarshalL. Houston WEST KENTUCKY CERAMICS RUNIDN CE RAMIC SUPPLY LDMA CE RAM LCS MARJON CERAMIC SHOP 1101 Jeff~on Strut. PIdo r.lh 341B North 241h Street, Phoenix 236 W~t CommercIal Strent, Eut Rochester 907 Lomaland Drive. El Paso LOUISIANA ARKANSAS SEELEY'S CERAMIC SERVICE. tNC UTAH BOEHM CERAMIC SUPPLY 9 R,ver Street. O~nta CERAMIC ART CAPITAL CERAMICS CENTER. iNC. 2239 East NapoleOn (Hey 90 El. Sulphur STAATE N CERAMICS 2174 South Mare 1217 Rebsamen P~k Road. Little Strut. Silt Lake City Rock MET-LA CERAMICS. 238 Main Street Staten Isle nd FORT SMITH (NC. VERMONT CERAMIC SUPPLY COMPANY, INC. 4411 Dunlin Street. Metal,in 7318 Rogers Argue, NORTH CAROLINA Fort Smith SHREVEPORT VERMONT CERAMIC SUPPLY CENTER CERAMIC SUPPLY CREATIVE CRAFTS CALIFORNIA 444 CERAM&CS. INC 451 Wes~ strut. Rutland Ohve Strut. Shr~eport 6316 Yadkln ROad, Fayettevil4e AVANTY WILMAR'S CE VIRGINIA CERAMICS RAMIC SUPPLY DURHAM CERAMIC SUPPLIES 087 STth street. Sa¢~lmento 1121 Bolton Avefl~, INC. AHxandria 1347 Avondale Drive. Durh~ DILL-HAWK CERAMICS, INC. B J. WILMAR'S CERAMIC Route 2, Box 438. Highway 117. CERAMICS SUPPLY GRAHAM CE RAMLCS. LTD Ro~oka 216g Broadway. Eutika 412 H,xl~n La~, Monf~ 1319 Central Avenue. CGMtotte M-C STUDIO. INC BAY 4118 SHORE CERAMIC SUPPLY MAINE MUSE CERAMICS HoDklns Road Richmond 590 AldO A~ue. ~ln~l CIMI ME-N-JO CERAMICS 406 SOackford Strut, WaYnesvdle POTTERY ART STUDIO. INC BETTY'S 44OI Kdlam A~nue. CERAMICS U.S. Route # 1 at Dunstan Cor~. Wilt SClrbOro~¢l NORTH Norfolk 13333 South Paramount Boukwmd, South OAKOTA Gate SMITH'S CERAMICS WASHINGTON CERAMIC SUPPLY OF SAN DIEGO CAROL'S CERAMIC CENTER 268 Main Street. Bangor CERAMIC 330 16th Street, SOn D~ H,ghwav 83 North. Mmot HUT MARYLAND 3996 Valley Hi~lway # 8. Olmln¢ S L. CLUnER DOROTHA'S CERAMIC SUPPLY CERAMICE BY 13112 Ingl~cod Avenue. HIw~hmne HIGHBR)DOE CERAMICS 410 East Ma~n. Mafldln SHIRLEY 404 South Second Street, yaki~ CREST St Star,hans Church Road & MD Route 3, G~b~lls NORTHWEET CERAMIC SUPPLY CERAMiCS DOBE DEPOT 1808 N~th C/~K'~tat" A~ ul, Bllklflfle~l MARYLAND CERAMIC HOUSE, LTD 221 223 Broadway. Fargo OF SEATTLE. INC. 818 W~tlaka A~nue North. SelttM DAHM.SEDANO CERAMICS 7~K)2 Hadord Road. Baltlm~e 0HI0 MILLER'S 924 El Camino RaM. South San F~n¢~l¢o MASSACHUSETTS G & H CERAMICS CERAMICS 4828 Pacific Avenue. Taco~ DUNCAN CERAMIC HOARY 0OX 287. Botklns Angle Road, N~ Knoxville SUPPLY FLO'S CERAMICS SPOKANE $649 East Shi41ds. KARSHNER'S CERAMICS CERAMIC SUPPLY F re4PA~ 2'~ Wes~on Strut. I ndi~n Orchlr8 west 673 Wdmn Road. Columbus 38 That0 A~ue, Spekane LEES CE RAM~C SUPPLY GINA'S CERAMIC SUPPLY HOUSE 105S WEST VIRGINIA Sono~ Boulevard. Vldlejo 588 Broad Street, East Weym~th OHIO CERAMIC SUPPLY, INC. BOx 630. 2861 PASO ROBLES CERAMIC SHOP NASHOBA CERAMICS state Route 59, Kent TOOO'S CERAMIC SUPPLY. INC 3 mit~ No¢th of PIIO Robl~ on Old 101. PaD Aobl~ M~u,e Lane. Stow RUTHE CERAMICS 2029 Poplw Street, Kl~va RHODY'S Rural ADore 1. N~ Washington CERAMICS WOOURN CERAMIC SUPPLY WISCONSIN 1640 Cootldge Avenue. NiGonal City TOM'S CERAMICS 20 Walnut Street. Wobum FIRESIDE CERAMICS STEWART'S OF CALIFORNIA. 3911 Read,ng Road, Ci~innltl INC. MICHIGAN 2805 North 0arker Road. Nr~kfi~d 1~C~8 South H~on. Li Miradl THE VILLAGE CERAMIC STUDIO SUPPLY. INC MARCELLA'S CERAMICS. WESTWOO0 CERAMIC SUPPLY JOKEN'S CERAMICS 278 East Main Street, Na~e Lebanon INC COMPANY, INC, 11 SO InmBn Park~y, bidet 14400 Lomit~s Avenue. City 227 w~t W~h,ngton StF~tr Marquette of Industry OKLAHOMA ROLENE JOY REID CERAMIC STUDIO CERAMIC STUDIO. INC. COLORADO 2016 North Telegraph ROad. Dearborn CERAMIC COTTAGE 1593 W~tern A venue, G~ Nay VAN HOWE CERAMIC 748 SOuth Wheeling. TuLu WAUGH'S SUPPLY COMPANY TARI TAN CERAMIC SUPPLY. INC CERAMIC STUDIO. INC 11975 E~t 4clh Avenue. Denver DOL LIE'S CERAMICS 8, PORCELAIN Route 8.2 redes 817 Che~ry Southeast. G;end RaP ~cls Elst of Tnmah on CONNECTICUT 3011 SOu~ Shw)ds Boulevard. Ok [Id1ofll, City Highway 12 & 10. To~h MINNESOTA GUYER'S CERAMIC HOBBY ADAMS' SUPPLY WYOMING CERAMICS. INC. CERAMICS BY DEE 1402 South~st 21st Street, L~ton S COl1 Street. MilfOrd Industrial SCULLY CERAMIC P~k, Milford 89S Er~t A~n~. St PlUl SUPPLY. INC. ELMWOOD OREGON 146 South Elk. Cetper CERAM[C STUDIO D & H CERAMICS 62 FMmington CLARKE'S A~nue. F~min4Ron 6309 Grand Argue. Duluth CERAMICS CANADA JEAN'S 1585 Juniper. Junction City CERAMIC STUDIO PARAMOUNT CERAMIC. ADANAC CERAMICS 1073 Buddmg~on Road. tNC DOBE DEPOT. Gmton 220 N~th State Streel. Fairm~t INC. 820 R~frlfw Street 1100 North Central. Medford FLORIDA T J's CERAMICS. INC y~couver B. Oritilh Columbia OOBE DEPOT. CALLAWAY 1311 East SGth Street. MlnfleaP oli$ INC. ALBERTA CERAMIC SUPPLIES, CRAFT CENTER 280~ Southeast S1a~k Street, Portland LTD. Route 2, Box ~46, Hi.way 22. Plelma City 526 42nd A~nue Southeast MISSISSIPPI Calelry DOLPHIN ART CERAMICS PERNSYLVANIA , Alberta BILL'S CERAMIC 309 S~xth street, Holly Hill & GIFT SHOP AMEIGH'S CERAMIC STUDIO ALBE RTA CERAMIC SUPPLIES. LTD Rt E. ROT 242-B. Colum~ll 12008 1111h Avenue F RANCOISE CERAMICS. INC. 1910 Roo~elt Avenue. Wdli~rt GOUBLE L CERAMIC Edmonton, 113 4sth Stre~ SOuth. st. Peterll~ll~ SUPPLY BECKER CERAMIC SUPPLY COMPANY Alberta Route 2. Box 47. Highway 80, Jaeks~ LA LENA CERAMICS 426 Lin¢ol~a¥ West. N~ Oxford CARPENTER CERAMICS 370e SOuth P~ks,de Drive 101 Ben[ Parkway SouthBst. Fort Wilton Bnch MI~OURI BELL'S CERAMIC GIFT SHOP Lethbrldge. Albert a MIAMI ART CRAFTS SUPPLIES DOUGLAS CERAMIC & CHRISTMAS 725 Route 1S, DLItlburg SHOP COBEQUID 238 Northeast 67th Street. M~eml Route 6. Box 6770. Melville RoKI. Spri~lfield CERAMIC GROVE GIFT SHOPPE CERAMICS 47 Forreste~ FOUR CORNERS 109 12th Avenue. Junlata-AIt~e Strut GEORGIA CERAMICS. INC. Truro, Nova S¢otla 10006 E~t S0 Highway, Riffian CERAMICS BY LAFORCE. INC ALLISON CERAMIC SUPPLIES JONASSON CERAMIC SUPPLY GENEVIEVE'S CERAMIC STUDIO. INC. 1 M~le West on Route 220. Aria 931 Mc8r,Oe Drive. Columbus 594 Notre Dame Avenue 6514 Weber Road, St. LOUIS CROSS CREEK CERAMICS. bNC. CSRA CE RAMtCS Winnipeg 2, Manitoba LOVE CERAMICS 3598 Brownsville Road. P~ttlburgh El0 Greene Street. Au~sta REGINA CERAMICS LTD. Route 8, Box 291. E LSIE'S CERAMICS Ne~ho OF WHITEHALL. INC 1733 McAra GEORGIA CERAMIC SUPPLY. iNC 381 Grape Strut, WhltehMI Street 528 ~th ~tr~l MONTANA (Allentown) Ra~4ne. Sasklt ehmwan Avenue, Ha~lvllle E LSIE'S CERAMICS. ALICE'S FLOYD SCHEIB, INC SYL AND SONS CERAMICS LEILA RENTZ CERAMICS CERAMICS 669 Ei~t Main Street. He~n~ 2426 South Patti,an Strut. ValdOlta 371 East Teton A~ul. ~elby 2602 Bth Street East KOCH'S CERAMICS TEE'S COUNTRY COTTAGE CERAMICS ~it~. ~kitcM~n CERAMIC SUPPLIES 624 Gro~ Avenue, Johng t~n 2114 Hahn,them Strut. Savenfle~l Route 4. K ililplll UNICE RAM. fNC LE BOEUF FINISHING & CERAMIC MONTANA CERAMIC SUPPLY 4070 St-Dims HAWAII SUPPLY Rural Delivery # 5. Wamr 2016 Alderlon Avehue, NRlingt f m'd MonwlM. Q~be¢ TERRA CERAMICS LIBERTY BELL CERAMICS. INC. SHIR LEY'S CERAMIC SUPPLIES VILLAGE CERAMICS LTD. 3088 C Koapake St~t. Ho~lulu 4Sl I North Broad S%r0et.philadltphla 902 181h A~nue SOuth, Gait Fads 2S.10 ConneH Court IDAHO THE POTTER'S MILL Toronto. Onu.o NEBRASKA Route 011 & Turk Road. Ooyt~t~n NU Af~T CERAMLC & GIFT PUERTO RICO SHOP BERNICE'S CERAMICS SHERMAN RECREATION 427 North Main. P~tello PRODUCTS 8808 Highway B Northeast. Lift.In CORPORATION CASA DEL BARRO. INC TREASURE VALLEY Final Calla Federlco A Costa ~ 1047 CERAMICS FRE~SZ CRRAMIC STUDIO 101 Terenc~ Oral. Pittthurl~ Highway 9S North WIMIf Urb Industrial Tres Monjltas. Hard Rey 09S5-89S7 "J" Street, DraWl SUNSHINE CERAMics. INC. ILLINOIS W & M CERAMIC STUDIO Route 307, Rural Delivery 3, Mo~ Al~ d,str,but or s in the CENTRAL CERAMIC ART SUPPLY COMPANY 2215 Avenue G. Ke~y RHODE ISLAND f oUowlng lorelgn Main Street, Alma count,.~ NEVADA CERAM-ART STUDIO CENTRAL CERAMIC ART AUSTRALIA PANAMA SUPPLY COMPANY CERAMIC 3101 East M~in Road. Port~th 2BWSE8 Batlwa Road. WMr~¥illa ARTS. iNC. ENGLAND PHILIPPINES 1906 West~n Street, L~ Vegas LOUIS' CERAMIC SUPPLY COMPANY CE RAMIC CREATIONS FRANCE VENEZUELA CERAMIC SUPPLY CENTER 114 Smithfield Averts. plwtucket 411S w~t Lawrence Av~uI, ~i¢~ ICELAND 125 North Edl~n Way, Re~ CERAMICS BY JOY SOUTH CAROLINA For further information write to NEW ANDERSON 3230- 23rd Argue, Moli~ HAMPSHIRE CERAMICS COMPANY. INC. Duncan Ceramic Produces Inc. 1950 South McOuRie SCHERTZ CERAMIC STUDIO DORA'S CERAMIC STUDIO strut. Anders~ P. O DO. 7827 87 Broadway Avenue. EAITH'S CERAMICS. 12Ol WeSt Bron$. Peoria Mmlc~ister INC Fresno Ca o n a93727 TOWN & COUNTRY CERAMIC SUPPLY SUPERIOR VIEW CERAMICS P.O Box 24. N~ay I North US Route 83 & Cente~ strut. Gr~fsieke Room 12, WIst~reland ROUR K'S CERAMIC STUDIO. INC. 247S Ashley Riv~ Road TOWN & COUNTRY CERAMIC SUPPLY NEW JERSEY at Pi~9ont. Cha¢leston SPRINGFIELD BRANCH BROWN'S CERAMIC SOUTH OAKOTA 2~Og South Sixth Street, SUPPLIES ~,~ i~ield 819 North SecOnd Street. MBleBll CERAMIC HOBBY SUPPLY INDIANA CERAMIC MAGIC 1117 w~t 1 lth Street. Si~x Fails CRAFSHOP, INC. Route 1 and Oakland Avenue, Edith CERAMIC SUPPLY CENTER 3381½ WeSt Mare Street. Rapid H~ghway 67 N~th, Vimnnes DOLLY'S CERAMIC ART STUDIO City EDITH'S CERAMIC NOOK 30 Montgom~ Street. Clifton 6511 Juhln Av~ue, Ind ilna~'oli$ SAVAGE CERAMIC SUPPLY COMPANY MEL'S CERAMIC CORNER Route 37 & Batchelor Strut. Total Ri~r TENNESSEE 206 East Main strut. G tlfflth NEW MEXICO THE CERAMIC KORNER. INC. THE MUD HUT VAN HOWE CERAMICS PO. Box 326. Knoxv~lle I618 South Harri~ Street. FOlt OF ALBUQUERQUE W0ynl 4810 P~ Amer i~n Freeway. Northeast HOUSE OF CERAMICS. INC NEE LY'S CERAMIC STUDIO East Frontage Road* Albu~u~qoe 1011 North HollywOOd. ~em~$$ 311 South A~ple Road. ol¢lola NEW YORK DOROTHY LAMAR CERAMICS IOWA 3302 Gallatin Road. N~hellle CEL.ART CERAMICS. END MOUNTAIN VIEW LYLE'S CERAMIC CENTER 6750 Fifth A~nue. CERAMIC CENTER OroeklV n 18CO Dayton Boul~ard. 161S South Fed~al, M~n City CENTRAL Chl~t anooga NEW YORK CERAMIC SUPPLY TWIN PARKER CERAMIC SUPPLY COMPANY 213-215 Second Street, k~vefpool CITY CERAMICS. INC 22O4 Welt 23rd Street. D~ Mo~s 2512 VOlunt~ r Parkway. Bnst°l THE CERAMIC TOUCH. INC KAHSAS 34E New Karner Road, Albany TEXAS EVANS CERAMIC SUPPLY DEAN'S CERAMIC & G~FT SHOPPE BATEMAN CE RAM~CS 1818 SOuth Wathl.~gtOn. Wlehlta 246 Chenango StreeL EknghlmSnn 716 Pierce Street Oal~|s

4 C~ramics Monthly POTTERY/POTTERY EQUIPMENT BOX 90, ASPEN, COLORADO 81611

M 0 N T H L Y

Volume 22, Number 2 February 1974

Mixer Wheels 7 Clay Electric Potter's Letters to the Editor ......

Answers to Questions ...... 9 13 Itinerary ...... 15 Suggestions from Our Readers ...... View of African Pottery Michael Cardew: A 17 by Michael Cardew ...... ___23 Producing Copper Red Salt Glazes by Tom Turner Momentum Kick Wheels 27 Ruth Duckworth ...... All equipment designed ...... 28 was People Pots by David L. Davis and built by 33 John Click Ceramics/Kent Ipsen Glass ...... Paul Soldner, by David Frank ...... 34 a professional Jeweled Porcelain potter. 35 One-Handed Throwing by Stanley H. Lee ...... We have been ii ...... 39 manufacturing San Francisco Outdoor Art Festival Kick Wheel Kit __40 pottery equip- Colemanite and Gerstley Borate by Richard Behrens ment since 1956. 43 CeramActivities ...... Write for free SOLDNER 58 brochure giving New Books ...... 58 specifications POTI'ERY EQUIPMENT Index to Advertisers ...... and prices.

On Our Cover in Ceremonial Pitcher, Kanakuru tradition, 13}'~ inches height, is an example of African pottery from Northeast A )O DI AFT... Traditional and contemporary pottery made in Africa COrSXI)I R Nigeria. be- ! is the subject of the feature article by Michael Cardew ginning on Page 17 of this issue. Photo: Jos Museum.

Publisher and Acting Editor: SPENCER L. DAVIS Assistant Editors: WII.LIAM C. HUNT FRANCES SAWYER Feature Editor: BETTY HOLLOWAY Art Director: ROBERT L. CREAGER Circulation Manager: MARy RUSHLEy Most potters would prefer to fire in a downdraft kiln. Advertising Manager: CONNIE BELCHER There are many reasons why this is so. Downdrafts use less fuel to reach stoneware temperatures and they F. Carlton Ball, Richard fire more evenly. Reduction atmospheres can be regu- Advisers and Special Contributors: Holst, John Kenny, Behrens, Kathe Berl, Edris Eckhardt, Zena lated easily and uniformly throughout the chamber. Karl Martz, Ken Smith, Helen Worrall, Don Wood. Before we introduced our 900 series downdrafts, this Asso- the back- West Coast Advertising Representative: Joseph Mervish type of kiln was priced out of the reach of Canyon, Suite 211, North Hollywood, or studio. ciates, 4721 Laurel 213. yard potter, small school California 91607. Telephone: TR 7-7556, Area Code Our model CK 910, pictured above, is a professional Copyright 1974 Pro/essional Publications, Inc. front loading kiln with a stacking space of 12 cubic feet and sells for $862.00. 2 Pubhsh Monthly February 1974 Vol 22 -- No ed monthly Ceramics August b-, D.~.~..'2-.-- ; ..... " ' " except July and .r ~*uxe-~lunal FUOllCatlons Inc -- S L. Davis, on all of our gas kilns which ~ ~ Blvd., Columbus, Ohio 43212. For detailed information rres F.S. Emery, See.; at 1609 Northwest subscriptions, renewals, and change of address 900 series, updraft models and kiln kits, Correspondence concerning Ceramics Monthly, includes the should be addressed to the Circulation Department. or write us direct. Ohio 43212. Second Class pOstage paid at Athens, see your local dealer Box 4548. Columbus, years $10: Three years Ohio, U.S.A. Subscriptions: one year $6: Two $14. Copyright 1974. All rights reserved. Art KILN COMPANY issue of Ceramics Monthly are indexed in the /~/~/~l CALIFORNIA The articles in each Microfilm copies the Readers' Guide to Periodical Literature. Street Index and Microfilms, 313 N. First 1222 South Lyon are available to subscribers from University Manuscripts and illustrations dealing with Ana, CA. 92705 St., Ann Arbor, Michigan. be considered for publi- Santa ceramic art activities are welcome and will typed double-spaced and range from 500 Phone: (714) 836-9009 cation. Manuscripts should be to the manuscripts and correspOndence about them to 2000 words. Send Ohio 43212. F_,diter, Ceramics Monthly, Box 4548, Columbus,

February 1974 5 MAKIH6 POTTERY is more productive with the help of good clay machinery. One person with a Blue- bird Pugmill can do the work of two people. Mechanized mixing, recycling and wedging of clay leaves more time for making pots. Bluebird heavy duty clay equipment is the only equ pment available designed, developed and manufactured by a real producTng pottery. {See photo on right.) Our two-man pottery produces over 6,000 pieces of hicjh quality stoneware a year. Our success is larcjely attributable to the equipment we have developed. Our pugmills and clay mixers save time, money and energy. These machines handle more clay per dollar invested, more clay per hour and more clay per horse power than any other machines on the market. For a detailed brochure write to Bluebird Manufacturing, c/o Judson Pottery, 100 Gregory Ed., Fort Collins, CO 8052I. I I.UI'I311: I) CLAYMIXERS, PUG MILLS, EXTRUDERS IL KILNS m~mm-_.~'V'--~.8 aim Portable DowndraR= m m IMACCO CLAYS • EVEN TEMPERATURE PRESENTS DISTRIBUTION 000000000,0000041'¢'41~000000000~0~0' • COMPLETE REDUCING OR OXIDIZING ATMOSPHERES STONEWARE CASTING CLAY • LOWER FIRING COST • FRONT LOADING Cone 6 to 10 • EASE IN FIRING A stoneware casting clay formulated wi÷h • SIZES FROM 6 TO 24 CU. FT. Imacco Western ball clays. Easy mixing and excellen÷ casting properties. Fires to a cream color in oxidation and grey in reduction. Sold in the economical dry powder form and shipped in 50@ multi-wall bags. Write for complete I have some very 1974 clay interesting information about the GEIL DOWNDRAFT data sheets ancl prices. think KILNS. I you will find this information to your ooe, advantage and most helpful if you are c,.o4~e,4Hl~oe,4,41~l,e"ql~oe~-c'o-o4Hl~¢'~o~ considering buying a gas kiln. For instance, did you know that it costs downdraft less to fire a kiln? Remember, a gas kiln is not just a gas kiln - there is a difference. Write to me and VII explain it all to you! INDUSTRIAL MINERALS CO 1057 Commercial St., Son Carlos, Co. 94070 PAUL GEIL A BASIC PRODUCER OF TALC, GERSTLEY 1522 Lama Dr. BORATE, Hermosa Beach, Calif. 90254 ~ KAOLIN, BALL AND FIRE CLAY

6 Ceramics Monthly LETTERS hand- INTERNATIONAL SYMPOSIUM IN MEMPHIS sculpture; also, any material about home Please give us more articles on [unk pot- Congratulations on your article, "Inter- studios. Bruce Cole building and sculpture, but less national Ceramic Symposium Memphis Portland, Ore. tery which is the garbage of tomorrow. '73." The combination of seeing creative CM, but I could ap- Mrs. W. Hofman that were I enjoy reading Ont. ceramic works, plus the methods more if you would publish the Kitchener, them, was truly in- preciate it used to accomplish creative works of potters who represent the and enjoyable. structive use of good design and technique. Func- Share your thoughts with other Cl~I read- to have a sequel to this Is it possible tional and non-functional pottery can be ers--be they quip, query, comment, or ad- of the participating art- article with more contemporary (do your own thing) and vice. All letters must be signed, but names Thank you very much. ists at work? look like junk. Would like more about will be withheld on request. Address: The Roeder not Sonja 10 glazes. ]ack L. Herron Editor, Ceramics Monthly, Box 4548, Co- Mass. Cone Concord, Hacienda Heights, Calif. lumbus, Ohio 43212. MORE ON JURORS AND EXHIBITIONS May I congratulate you for publishing the views of Nino Caruso and Walter F. Black about the "International Ceramics '73" exhibition (Letters column November 1973 issue). There are many who share their opinions, and this fact is reassuring. .... We are all led to believe that an exhibition always presents "the best of the best," which is a high degree of arrogance when we compare the number of artists with the number of jurors. Today people are, in general, intelligent enough to decide for themselves what they do and what they do not like. As far as the work of the younger artists is concerned, a highly undesirable influence is unavoidable: he is told by a few in which way he should express himself-- follow the trend or you are rejected. So. more often than not, his work is based on considerations which have absolutely noth- ing to do with purely artistic evaluation. Many life stories of the great masters in the arts reflect the destructive role jurors have played in the life of the artists. Al- though the work of many artists survived the jurors then involved have been forgot- ten; but they certainly helped to make the hard life of the artists as miserable as possible. Do not let us carry these unnecessary hardships of the artist further into the future. It is the last thing he needs and deserves. Frederick Englehardt Edmonton, Alberta

READER REQUESTS Would like more "how to" articles rather than some of the "terrible" show things that do not really reflect good craftsmanship. ]acqueline Gelo Moab, Utah If your magazine is to have the title of Ceramics then you should discuss all phases are other maga- ,vlth all the most advanced features of ceramics only. There MODEL C -- The standard of the industry ~ enameling and wheel today. Electronically controlled variable speed per- zines and books covering available in a poffer's pedal anywhere, a Lillian Kruse type DC motors, I/2 H.P. The smoothest foot glass. manent magnet Careful thought and detailing in Ind. new design just for Robert Brent Wheels. Terre Haute, brand comfortable and reliable wheel you every part of the design gives you the most CM--for me--would ideally be geared can buy. See one at maior ceramic suppliers nationwide. is exclusively to the serious potter who looking to enhance skills, increase information input, and wants to be kept abreast is of happenings in the ceramic world. It the only potters' magazine. Maggie McMahon Ramsey, N. J. I would like to see more emphasis put on classical works rather than modern

February 1974 7 for Perfect Color Bisk-Chrome The paints for all sessions

VERSATILITY...Bisk-Chrome water soluble acrylics ... Ready to use--can be mixed or blended...Apply with brush, sponge, spray or fingertips--On paper, wood, canvas, paper mache and leather--requires no firing_on bisque... Dries to a permanent, washable, non-flaking finish. MOTHER NATURE'S COMPETITION... Deep Tones, Pastels, Hot Psychedelics, Rich Metallics, • = : Cool Pearlescents. NO WONDER... From K to College JBisk-Chr@m= means happy painting. BEST OF ALL... Delivery and service are as perfect as the products...Color charts, prices and our complete Paint Program For Schools on request.

SCHOOL DIVISION Ceramichrome Inc. A Genie In School Divlslon: Box 427 Every Bottle !!ii Westminster. Calif. 92683

Simplicity at its best KICKWHEEL FRAME - 2 in. by 6 in. ~...... steel tubing. FLYWHEEL- Reinforced concrete, 125 Ibs. HEAD - Machined aluminum CERAMJUb tapered flf. SEAT - Four way adjustable ENAMELING & CRAFTS tractor seat. BEARINGS - Agricultural type You need the 23rd Edition of with waterproof seals BERGEN'S FOOT PEGS - Six way catalog adjustable •.. an Encyclopedia of Ceramic, GUARANTEE - 2 years on all parts. Enameling and Craft supplies COST - $165 Less splash pan.

I~ THIS YEAR WE ALSO HAVE AVAILABLE Allison's Cone 9 pepper speckled clay. In oxidation I~P~e Complete China Painting Supplies this stoneware body fires a clean white with tiny pep- • Foil Art and per-like black speckles. A smooth throwing clay that allows the potter to work Oriental Tole Decorating as thin as he likes without the clay twisting. So dependable is this clay • Raku body - Clay Glazes that it is used by the potters at the new CARBO- • More Kilns and Potters' Wheels RUNDUM MUSEUM OF CERAMICS in Niagara • More Jewelry Settings and Findings Fails, New York e New items for Fibre Lighting Rush $1.00 (refundable) for YOUR 200 page catalog and price list to CERAMIC SUPPLY INC. 369 BERGEN Arts & Crafts MILL ROAD, EAST AURORA N.Y. 14052 P.O. Box 381-CM 2 (716) 652- 8960 Marblehead, Mas~. 01945

8 Ceramics Monthly Potter's Kick Wheels to Answers this is the popular Quagmire wheel with 10,000 satisfied customers. It features: a machined QUESTIONS steel flywheel, an adiustable seat, Conducted by the CM Technical Sta// shelf end spiashpan. A welded tubuar steel frame and painted I have just set up a studio and am trying to/ormulate some finish. Flywheel weights are:-- opaque recipes. Several previously used formulas call for tin 76, 96 and 116 lb. Prices ere:-- oxide, but with my present budget I find the cost prohibitive. $149, $159, $169 power unit Zircopax or Opax be substituted for the tin? How much $50. Bat Pins $3, bats 13" el.00, Could crating $6. should be used? How do the compositions o/ these opadfiers compare?--C.H. You can make the substitutions mentioned, but there will probably be some differences, such as a loss of some of the of smoothness of the glaze surface and a decrease in brilliance Heavy Duty the white obtained. A suggested starting point for substitution would be to use twice as much Zircopax or Opax. Clay Mixers Zircopax contains tin oxide (.22%) and zirconium oxide, while these units will mix wet scrap or Opax contains no tin oxide and a much stronger concentration ~ powder to a throwing state of zirconium oxide (90.84% compared to 64.88% for Zircopax). in Zircopax. Opax also contains some sodium which is not present 2 HP 700 Ib./HR 9 Cu. Ft. $995 3 lip 800 Ib./liR 10 Cu Ft. $1100 Japanese style. As I throw my cylinders from a large hump, 5 liP 1000 Ib./liR 12 Cu. F. 1300 in a result, some of my ware su//ers from S-shaped cracks crating $20 freight collect this the bottom. I read Michael Cardew's suggestions/or curing please specify vo',tage and phase. problem in his text, PtONEER POTTERY, and have followed his instructions for compressing the clay while throwing, but I still find that from 25 to 50 per cent of my work is S-cracked. Some- times the crack doesn't go completely through the bottom of the Propane & Natural pot, and sometimes it does. I understand that many times the crack doesn't appear until after the bisque or glaze firing/ What Gas Downdraft else can I do to solve this problem?--N.L. Kilns in the text you Michael Cardew offers excellent suggestions reduction or oxydat[on to cone it may be that you mention, but if you are still having problems 10. 100% safety off. Low cost plastic bodies should try a clay body that is less plastic. Highly operation. All propane units com- the ware also shrink more and thus cause additional stress on plete except for tank. Standard while drying. If your clay contains such plastieizers as bentonite toploaders are priced: $595, $695, a or ball clay, you might try cutting down the amounts used. If $795, $895, $995, for 4, 6, 8, 10, change in clay body does not solve your problem with cracks, end 12 cu. ft. front load 20% there is one additional technique that you can try: Foot your extra, nat. gas 20% extra. S;ffers ware when it is still relatively plastic, but before footing a pot, pyros, timers electron;cs, shelves tap firmly on the bottom with your finger. This wilJ compress extra. Crating $20 per kiln. the center of the bottom day, and will relieve any stress that reWrite for ;nfo on large natural may have built up in that area. When footing is completed, tap gas un;ts. again on the bottom as you did before. This should cut down your rate of cracking. 9 ..... -- High Fire Cone ~} How can I convert some copper metal into a useful ceramic Electric Kilns pigment? I have some copper left over /tom a past interest in jewelry and I thought it would be educational to make my these are well insulated high fire own copper colorants.--C.L. kilns built to last. They feature a 22" height with 8 floor variations. book, TrlE WORLD OF JAPANESE CERAMICS, Herbert In his Standard units are 4, 6, 8, I0, 12 discusses a method used by Ota Kumao. "The end of a Sanders cu. ft. top loading. Front load 20% the kiln and, when hot, is dipped in salt copper bar is heated in Standard unit prices: $495, a residue to settle from the copper, extra. water. The salt water causes $695, $795, $895. Crating is thoroughly washed and dried $595, and the resulting powder residue per unit. Sifters, timers, pyros use in a glaze." $[5 before it is ready for electronic controls extra. Please specify voltage and phase. 1 have a fairly small electric kiln which used to fire to Cone 1. I rewired it with different elements and altered the elec- DEALERSHIPS AVAILABLE trical power to/ire to Cone I0. Now I have a very high breakage above products rate during these high temperature firings. The kiln was origi- for more information about the nally rated at 110 volts and had two on-and-off switches. It is and many others write to the address below now wired /or 220 volts and uses one switch. Is all the pottery or contact one of our many dealers . Orders so quickly? I/so, breaking because of the small area heating up can be placed on our automatic night line . the rate o/ tem- can you suggest some ways o/ slowing down all prices are fob our factory . AIIduties increase?--R.W. perature are included in the price of the goods . It is not advisab.le to rewire electric kilns except as intended or by the manufacturer. It is possible to do so with success, even to build an electric kiln, provided you have control over ESTRIN MANUFACTURING LIMITED element resistance, chamber size, compo- other variables, such as: 1767 WEST 3RD AVE., VANCOUVER 9, B.C., CANADA the refractory materials, insulation characteristics, and sition of PHONE: 73~-0312 -- AREA CODE 604 the electrical control equipment. In addition to control of these Continued on Page 11

February 1974 9 Pottery Theels

Alpine wheels have been designed by pottery craftsmen to meet the requirements of professional ceramists, schools, universities, and art institutions. A wide selection of models range from the centuries old "Kick Wheel," to the electronically controlled models with variable speed and constant torque.

Also availablefree of charge is our book- let "Planning a CeramicStudio or an In- stitutional CeramicArts Department."

WRITE TODAY for COMPLETE information Dept. B

e 353 CORAL CIRCLE EL SEGUNDO, CALIF. 90245 AREA CODE (213) 322-2430 / 772-2557 / 772-2558

10 Ceramics Monthly ANNOUNCING . . . QUESTIONS 3 NEW SPRAYS Continued [rom Page 9 and variables, you should have a strong knowledge of electricity In for Ceramics and Crafts its application to kilns before attempting any adjustments. for most cases, you will find that the kiln has been engineered its best performance as originally produced by the manufacturer. Although your clay body could be at fault (and there are rise many bodies which will take an extremely fast temperature the raku bodies), it is more likely that your problem is the =qte like pra /- restdt of increasing the electrical power input without adapting other variables in your kiln's construction. One possible solution would be to install an industrial rheostat to provide complete control over the temperature regulation of your kLln. The draw- new, back to this suggestion is that such equipment, if purchased SPRAY-ETTE DULL MATTE 13 oz. fill be- may cost hundreds of dollars (a local contractor estimated to tween $180 and $600 for a single rheostat to control from 30 A clear VERY DULL finish In 60 amps; a series of smaller rheostats would be cheaper). most cases it wotdd be less expensive to buy a new kiln unless you can find suitable electrical controls in a surplus or electrical SPRAY-ETTE GOLD PEARL 6 o,. n, component store. Another alternative is to increase the size of the firing chamber fire Golden cast reflecting with additional firebrick. If you are fortunate, the kiln may evenly, and you will find that a significantly .larger firing cham- the color over which sprayed will ber will reduce the speed of temperature climb. But, this kiln also lower the maximum firing temperature of the kiln. Your his manufacturer is best acquainted with the characteristics of SPRAY-ETTE GOLD WASH 6 o,. fill product. Consult with him before changing any part of your electric kiln. Gold finish for antiquing effects over stain finishes All subscriber inquiries are given individual attention at CM; and, out o[ the many received, those o[ general interest are selected [or answer in this column. Direct your inquiries to the Questions Editor, CM, Box 4548, Columbus, Ohio 43212. Please enclose a stamped, sel[-addressed envelope. Also

SIX DISTINCTIVE FINISHES

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for more information see your distributor or wrife to:

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February 1974 11 For the"do it yours elfef'

gHO~[supplies the working parts and you construct the stand. A complete set of instructions is provided to assist you in building this new and improved wooden framework. The new design is quite compact, sturdy and easily disassembled for storage or transport.

--"'mm'~a.u~.~=e~~ com.,e,e ".~ of po.e~s w.ee'~ in a wide variety of styles and prices. For more information about the Amaco Kick Wheel Unit No. 3--Model 3 * as pictured, and all Amaco potters' wheels and ceramic supplies, request Ceramic Catalog No. 58.

Order from your Amaco distributor or write

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NEW 1974 CATALOG adiustable Duncan Glazes and Products LID CALIPER -%%~ OS cs~,?z~ %~ee%S ~e~ Corks ~4 ~°o~e ~ ~'~e Glazes LoW ?ire S~ut t petalite Kflns spigots 80 Raw Materials S~eves Gleee Lead Free Glazes Sponges St~ ~l~ ~%~ dCcessor~es Bamboo Handles Kemper Tools Kingspin Wheels scales ~ ee%~ %e SCoops .5¢ %oOZe$~ CTe~e ~3~.~ Skut t [Vheel s Ce~'st~e~ ~4%~%~%~ complete 6051Page.00Catalog ~0~. ~ OEALER AND SCHOOL INQUIRIES INVITEO (Free to Schools & Institutions) PARAMOUNT CERAMIC, INC. ~po ~rOOLS 220 NO. STATE FAIRMONT, MINN. $6031 12 CeramicsMonthly ITINERARY

Send your show announcements early: Entry fee: $6.00; Jury; $2,000 in prizes; write: Mamaroneck Artists Guild, 424 "Where to Show," three months ahead Entry forms and work due April 19. For Mamaroneck Avenue, Mamaroneck 10543. of entry date; "Where to Go," at least information, write: Southern Tier Arts six weeks before opening. and Crafts Show, Box 470, Corning 14830. OREOON~ NORTH PORTLAND March 29-31 The 15th Annual Ceramic NEw YORK, MAMARONECK and Craft Show, sponsored by the Oregon WHERE TO SHOW May 3-12 The 21st Open Juried Show, Ceramic Association, Inc., will be held at sponsored by the IVlamaroneck Artists the Muhnomah County Exposition Center. ARKANSASI LITTLE ROCK Guild, is open to all artists. Media include For information, write: Thelma Walker, May 17-June 16 The Seventh Annual crafts and sculpture. Fee; Cash awards. Director, 918 N.E. Avenue, Portland 97230. is Prints, Drawings, and Crafts Exhibition Receiving date, April 27. For information, Continued on Page 55 open to all artists. Awards; Fee. Entry cards due April 26. For information, write: Townsend Wolfe, Director, Arkansas Art! Center, Little Rock 72203.

COLORADO, FORT COLLINS May 11-30, 1975 "Contemporary Crafts of the Americas: 1975," the first exhibition of crafts from all the Americas, is open to craftsmen or craftswomen born or residing in any country in North, South, and Central America, and the Caribbean Is- lands. Cash awards totaling $6,000 (U.S. dollars) and various purchase awards. En- try forms available until April I. Forms and slides due at Colorado State Univer- sity no later than August 1. For information and forms, write: Nilda Fernandez Getty, Department of Art, Colorado State University, Fort Collins 80521.

FLORIDA~ PENSACOLA June 8-9 Seville Square Settlers Arts and Crafts Festival, an event of the week- long "Fiesta of Five Flags," is open to all artists and craftsmen. Cash prizes; Fee. For information, write: Seville Square Set- tlers, P. O. Box 361, Pensacola 32592.

ILLINOIS, SKOKIE June 22-23 The Second Annual Old Orchard Midwest Craft Festival, sponsored by Old Orchard Associates and co- ordinated by the North Shore Art League of Winnetka, Illinois, is open to all artists using craft media for their work from Illinois, Indiana, Iowa, Kentucky, Michi- gan, Missouri, and Wisconsin. Jury; Fee; Five slides due March 30. For information, write: North Shore Art League, 620 Lincoln Avenue, Winnetka 60093.

MICHIGAN, MIDLAND 27-28 The Ninth Annual Ceramic No matter tch. And when~+vant April can Show, sponsored by the Michigan Profes- that just-right color for your piece, try MAYCO's dependabie underglazes--yotJ will be held at choose from 50 brilliant opaque hues. No matter the product--Glaze, sional Ceramic Association, finest A teaching seminar Underglaze, One Stroke--you can be sure they're America's the Midland Armory. MAYCO label. So easy to apply j Friday, April 26. For in- colors when they carry the will be held on and they fire at Cone 06. formation, write: Michigan Professional Ceramic Association, Box 125, Carrollton, Mayco =olors / Michigan 48724.

NEw YORK, CORNING 20800 Dearborn Street Eleventh Annual South- Chatsworth, May 8-14 The Calif. 91311 ern Tier Arts and Crafts Show and Sale, sponsored by the American Association of Dealerships University Women in cooperation with the Available Corning Museum of Glass, is open to all professional and amateur artists and craftsmen throughout the United States. Media include ceramics, enameling, and glass.

February 1974 13 Create 8, Ijrou= The creativity inherent in ceramics work is emotionally cleansing. It is with the belief that our wheels can be an excellent vehicle for realizing the creative experience that Creative Industries proudly offers its wheels for sale. The Ci Medium Power Wheel is powerful enough for centering up to 35 pounds of clay on its 12-inch diameter head. It is an excellent choice for 90% of all potters. Price: 8190.00 plus shipping If you're one of the 10% who needs more power, the Ci Hi~ Wheel is for you. Producing 11A horsepower, this wheel is s than you are! An industrial-quality reduction gear box tr~ power from the motor to the 14-inch diameter head. Price: $310.00 Flus shipping ~" Both Ci Wheels feature welded steel construction, and infinitely variable (stepless) speed control. All heads have removable pins for bats. A full guarantee and warranty accompanies each wheel. Options include formica covered bats which are drilled to lit the pins in the heads, and easily removable splash guards. This 100 pound pot was far from t] maximum capability of this whee

For dctailed information write: ~]D

Creative Industries, P.O. Box 343, La Mesa, Ca. 92041 THE KILN BOOK Frederick L.Olsen A BASIC GUIDE TO KILN CONSTRUCTION AND DESIGN

The Kiln Book provides the reader with all the illustrations, information, and technical data he needs to build a kiln. Mr. Olsen discusses basic construction methods, various kiln designs-even electric kilns, and includes a great deal of valuable estimating data. In an entertaining and semi-autobiographical O,r the fashion he relates his experiences with various kilns around the world. The reader comes to understand Ex-Cdname. . . the type of kiln and firing method which is proper for his own situation. U dbypotte se where... i Keramos Books P.O. Box 2315, La Puente, California 91746 Specify Ex-Cel clays at your local ceramic supply dealer. Please send me __ copies of The Kiln Book @ $8.95 each. Include $.20 postage for each book ordered. Write us for free samples and a copy California residents please add $.45 sales tax. of Supply & Equipment Catalog No. 74. Enclosed is a cheque/money order for $ Name EX-CEL, INC. Address. 1009 N. Hollywood St. • Memphis,Tenn. 38108 City State Zip

14 Ceramics Monthly SUGGESTIONS from our readers SMOOTH FOOT RIMS On rough foot rims I apply a thin layer of silicon sealer (found in a tube at most hardware stores) and then I set the pot on a piece of wax paper until the sealer dries. After twenty- four hours the sealer will serve well both as a cushion and an insulator. --]an Bonar, Woods Hole, Maine EASY PRESS MOLD RELEASE Press molds, used to obtain quick reproductions of forms for incorporation with thrown or handbuilt ware, become damp as the piaster absorbs water from the clay body. Soon the clay begins to stick to the piaster mold, resulting in distorted or damaged reproductions. Then the mold must often be set aside to air-dry until it can be used again. Sawdust obtained from a lumber company mill shop sanding machine will remedy this. Before each impression is made, scoop some of this very fine sawdust into the mold and dump it out again. A fine film of sawdust will remain, enabling the clay to release instantly every time. I have used one mold a hundred times consecutively with this method. --James G. Chaney, Kent, Ohio PREPARATION OF SLIPS I have discovered a tool in the kitchen for preparing engobes or slips -- the blender. The blender produces a slip that has a smooth, even consistency. When preparing your batch of engobes or slips, you can use moist clay, leather-hard clay or even clay that is dry. I have also found that for small test glaze recipes, the blender will work almost as well as the mortar and pestle. --Joseph Nai, West Springfield, Mass. GLOVES FOR THROWING REWARD CERAMIC COLOR MFRS. As a full-time studio potter I may spend many hours at the 314 Hammonds Ferry Road, Glen Burnie, Md. 21061 wheel throwing heavily-grogged sculpture clay. By the end of the day, several layers of skin are sometimes removed from my fingers, and my hands get quite tender. I have found that disposable vinyl gloves used by physicians are excellent protection. The only change in the throwing process is that a bit more water is needed for lubrication. These gloves may be the answer for extended THOMPSON Offers All Of periods of throwing rough clay, and may also help people with skin allergies that are affected by clay contact. The gloves come This For Only $59.95 in three sizes and are so thin that I have almost complete sensi- tivity of touch, and yet they will not break from friction with rough grog. I bought a package of fifty gloves for four dollars from a surgical supply company. --Carol Southward, Mill Bay, B.C. KEEP YOUR ELECTRIC KILN SHINY If you want to keep the exterior metal parts of your electric kiln shiny, use any standard brand of toothpaste as polish. --Sister Roberta Carson, Alhambra, Calif. A SIEVE FOR LARGE GLAZE BATCHES A large milk strainer of the type used in dairies will make an excellent sieve. It is big enough for large batches of glaze and Thompson's catalog introduces a new package consisting of an has a very fine mesh. You can find one at most hardware or electric kiln (inside dimensions -- 5" wide, 7" deep, 4" high} supplies farmers' co-op stores. --Mrs. Jenny Key, Livingston, Tenn. and including a CAREFULLY SELECTED group of that will get you started enameling immediately . . . for only TRIMMING LEATHER-HARD CLAY $59.95, plus shipping charge. Send your order foday with A swivel-bladed vegetable parer is a good tool for peeling or payment for prompt shipment. Color Guide, trimming slices off leather-hard pots. After some practice, you The new Thompson cafalog, along with its famous it will be on spots or bumps with speed and control. ;s waiting for you . . . just mail the coupon and can trim any rough absolutely FREE. Neb. its way . . . Susan Zimmer, Omaha, ...... FREE WOOD CALIPERS Another source for a free pair of calipers is an old wood Thomas C. Thompson Co. clothes hanger--not with the dowel across the bottom, but the Dept. CM-2 m 1539 Old Deerfield Read Pork, Illinois 60035 kind that forms a section of an arc. Cut the hanger in half where Highland the hook goes through the wood, and plane one face of the cut [] Enclosed is payment for new kiln package. end so that the uncut ends can touch but not pass by each other. (lllinois residents add 5~/o sales tax.) Drill a hole through the two cut ends and insert a bolt. A wing FREE Thompson Catalog. nut is best on the other end of the bolt for easy adjustment of [] Please rush your calipers. --ruin Foresman, Claremont, Calif. Name DOLLARS FOR YOUR IDEAS Address Ceramics Monthly pays up to $5 [or each item used in this CM, Box 4548, Columbus, Ohio column. Send your suggestions to City State Zip 43212. Sorry, but we can't acknowledge or return unused items.

February 1974 15 The fuel shortage isn't bothering the Johnsons

Their Skutt Wheel and Kiln provide home entertainment for all their varied ages and interests. Wheel work, slab, coil, or slip cast ware all are easily fired in their Model 181 Kiln--and a load usually costs less than a gallon of gas for the car. Ceramics has something for everyone, and a home studio is the ideal way to bring your family closer together. The Johnsons compared the cost to some of their other "traveling" hobbies and found they were actually saving money, while helping our nation conserve fuel. ,~k George is sure he has a winner in Christy. He ~. __ also knows the family Skutt equipment will last her through every advanced level-even as a 3"ka# professional. You see, dependability is our long • • suit. Join the Johnsons--and give the fuel shortage "the slip", Skutt Ceramic Products, Inc., 2618 S,E. Steele Street, Portland, Oregon 97202

16 Ceramics Monthly Michael Cardew: A View of African Pottery

The [ollowing article was prepared [tom an address by Michael Cardew scheduled [or presentation to the Inter- national Academy o/ Ceramics held last August in Ban[[, Alberta, Canada. Illness prevented the author [tom attending the con[erence; however, copies o/ the address were made available to the delegates. CM is grate[ul to Mr. Cardew [or providing the illustrations used in this [eature. The text o[ this article is copyrighted © 1973 by the Alberta Potters" Association, Canada. --Ed.

I SEND MY GREETINGS to the delegates at this Conference, and my regrets and apologies at not being able to meet you personally. I was especially looking forward to the opportunity of giving you a view of Pottery in d/rica as seen by one pair of European eyes, having lately returned from revisiting Nigeria and Ghana, where I was able to take note of what has happened in the eight years since I left Nigeria, and of what is happening there today. Pottery in Africa is of two kinds: traditional and contemporary. The second category is by far the larger, and is also more significant stylishly. That is to say, European Above: Water Flask, Hausa tradition; 8~ inches in height, white, painted with red ochre; from Wurno, Below: Nigerian kiln site at Sokoto alter a firing. Northwest Nigeria. Photo: Jos Museum. Photo: P. Stichbury.

o ", ~ ~ & ,lff '1~I , . 2

"" d ~ •

• 9 .... J

Above: Casserole with three handles, Gzcari traditi~m: ur~glazcd ,~ol.t earthenware. Probably made at Idon Kasa near Kwali, Nigeria. Above, right: An example o/Baoule pottery--Ivory Coast.

Aower, right: Wood roulette tools used by Ladi Kwali; Gu,ari tradition for decorating local pots.

influence on the traditional pottery has so far (with a [ feel, for us---is that the potters cover a wide field of few minor exceptions) been almost nonexistent. expression, ranging from works which are pure sculpture The extremely simple technical equipment might lead in clay, through those that are designed for religious or a modern ceramist to think that this is an unimportant ritual use, to objects that are for pure entertainment or byway in the modern ceramic scene; but as is often the recreation, to those by far the greatest in number-- case with an apparently simple and primeval tradition, which are made for the everyday needs and uses of village the methods used and the technical mastery involved life. They move easily from one kind to another, effort- turn out, if patiently studied, to be a great deal more lessly, without any feeling of incongruity and without sophisticated than might appear at first sight. It is also implying that one field of expression is intrinsically more of the greatest cultural interest, both for the work itself significant than another. Like Mr. Yanagi's Zen Bud- and for the potters' attitudes and ways of working. dhists, the)' are not tied down by our intellectual con- Africa is the only region in the world where these cepts of Duality and they seem to be immune to the archaic technical traditions still flourish. They are not doctrinaire theorizing about the function and scope of merely cultivated on a small scale or in small geographical pottery, on which modern potters waste so much breath. "pockets," but are practiced almost everywhere, on an The techniques they use have everywhere a strong enormous scale. Pottery here is still an authentic folk art. "family likeness." The potters (almost always women) Twenty or thirty years ago, outside observers often prepare an extremely coarse clay-mix. They do not use expressed fears that these traditions would be lost in the the potter's wheel, yet the finished pots are as symmetrical rapidly developing economies of African countries. But as any wheel-thrown ware. They never use a true ceramic experience on the spot confirms that these fears have up glaze. The firing is always very short, and the finishing to now been groundless. The potters seem to be producing temperature ahvays very low--just sufficient to dehy- just as abundantly as before, and (with a few reserva- droxylise the clay mineral. tions) the quality remains as high. These techniques appear to be utterly simple, even (if One feature of the tradition--particularly significant, we must use that misleading word) primitive: yet I

18 Ceramics Monthly Above, le[t: lbo bowl, 6~ inches in height; Southeast Nigeria. Photo: los Museum.

Aboz'e, center: Water Pot, 16~2 inches in height; Idoma tradition, Nigeria. Photo: .los Museum.

Aboue, right: Small painted pot; ; i ¸ ~ ~ ~ Bolewa tradition; 63//4 inches in height; iron brown on white slip. Photo: los Museum.

Right: Ladi I£wali handbuilds a symmetrical form. 4 = ' "4 "

:l •

Photo: H. K. Benson

gradually discovered that there are many pomts of techni- the same, how long will it be before the work produced cal interest, for a modern ceramics, in this unlimited field is no longer really authentic--since it has been made for of simple clay work. Examples are: the almost universal quite a different kind of customer? Our modern potter practice of preheating before firing; the exceptional re- stands at the good end of the spectrum: but at the other sistance of the pots to thermal shock--they can be used end of this same range, there is already visible the ulti- for cooking or for boiling water over an open wood fire; mate humiliation known as "airport art." the practice of extracting the pots when red-hot from the African nations today have embraced the life and style open fire in order to blacken them under wet leaves, or of the 20th and 21st centuries with both arms. Their cities to give them the treatment with Makuba liquor (an ex- display every manifestation of the most up-to-date tech- tract from locust-bean pods) which closes the pores and nology, and yet the people are securely anchored to the gives them a desirable surface finish; burnishing with red traditional culture, which still flourishes and still produces ochre, or in some places with decomposed mica-schist-- in great profusion its characteristic fruits and artifacts. this produces a kind of quasi-luster effect, copper or gold The pottery of the villages, however securely rooted it or silver according to the character of the local material; is in the old style of living, nevertheless faces a challenge. or with graphite in those few places where it is available It seems to many people to be of the past and is in danger (e.g. Uganda, Cameroun). of being thought--both by Africans and by the Western The chief danger which threatens the tradition is the World--to be irrelevant to the needs of the future. constantly increasing demand for "souvenir" pieces, in- Personally I am inclined to think it will still have some tended not for use but as specimens of what used to be relevance in the future. I don't mean stylistic or cultural called "Native Handcraft." This demand proceeds from relevance only, but ordinary practical usefulness. But a taste which is essentially nostalgic, sentimental, pater- there can be no doubt that Contemporary Pottery is nalistic and (if you examine it candidly in all its naked- needed as well, even though at present it is only in the ness) fundamentally disrespectful. Yet there is a wide earliest stages of its evolution. At present, it is taking three range here, extending from the best to the worst. Nobody quite distinct forms. wants to condemn a modern potter if he wishes to ac- First, there is the possibility of large-scale mechanized quire something authentically African as an inspiration pottery production. It has been attempted since the early for his own future work. But if many people start doing 1950's and is still being tried in a few places (e.g. the

20 Ceramics Monthly ii!i ¸ ii :l

Stoneware Oil Jar with screw stopper, 10~2 inches in .;'tolzeware llater Filter, 17 im he.~ in heigt~t; grey, grccn, height, made by Sidi Abubakar, traditional Hausa and red, made at I'ume, Ghana by C. Ko[i Athey. potter at Abuja. Photo: E. Heimann, London. sanitary-ware and wall-tile factory recently opened at Opposite page: Saltpond, Ghana). But all such enterprises face great i.e[t: Traditional Yoruba potters at Ilorin. difficulties, one of which is the fact that the raw materi- Continued on Page 22 Right, above: Audu Mugu o[ Sokoto, traditional Hausa potter, MICHAEL CARDEW is a studio potter o/international grinding a group o[ pots made lame, and author o[ PIONEER POTTERY. From 1923 at Abuja, Nigeria. to 1926, he studied in St. Ires, Cornwall, as Bernard Leach's first English apprentice. At the age o[ twenty-live Right, below: Stoneware Shea he le/t St. Ires to rent an abandoned pottery near Winch- Butter Pot made by Audu combe, and in 1939 he [ounded Wen/ord Bridge Pottery, :~,Iugu, traditional Hausa potter near Bodmin. By 1942 ~Iichael Cardew had accepted a o[ Sokoto; one o/Michael job as ceramist at Achimota College in Ghana--the begin- Cardew's[irsttraineesatthe .... ~ ning o[ his [irst-hand experience with the potters and Abuja Pottery Centre. pottery o[ A[rica. Later he established a pottery in Ghana ~ '::3 at Vume. In 1948 he returned to Wen[ord Bridge. Within two years he applied [or, and received, a government posi- tion as pottery o[[icer [or Nigeria, where he built and developed the Abuja Centre. Returning again to work at Wen/ord Bridge Pottery in 1965, Michael Cardew continues to teach, and lecture internationally. REFERENCES: 1. The Potter's Art in A]rlca published by The British Museum, Depart- mertt of Ethnology, 6 Burlington Gardens, London W I. Price about $I.00. '2. Nigerian Pottery by Sylvia Leith-Ross. with introduction bv Michael Michael Cardew Cardew. Obtainable from Africana Publishing Corporation, 101-5ih Avenue, New York, N.Y. Price about $20.00. demonstrating 3. Pioneer Potter),. by Michael Cardew, published by St. l~fartin's Press, 5th Avenue, New York. Price about $15.00. throwing and 4. Abuja Potter).: 25 minute color film (16mm) made by Alister Hallum handbuilding in 1972. Obtainable from Alister Hallum Productions, e/o Wenford Bridge Pottery, St. Tudy, Bodmin, Cornwall, Britain. techniques. als--especially industrially-useful clays--have not been As with the traditional pottery, so also these new work- thoroughly opened up and developed. A modern clay- shops are likely to be menaced by the temptation to make based ceramic industry needs processed, standardized "Souvenir Wares." How successful they will be in re- clays, specially "tailored" and treated to ensure uniformity. sisting this contamination depends on how quickly a But this is an ideal still very far from realization in Africa; healthy local demand for their ordinary work can de- the development of clay resources is still mostly at the velop. It also depends on the individual. There is no stage of "scratching the surface." defense anywhere against these invitations to debase the Also, I am not at all sure that the future prospects for currency of style except in the personal conviction of domestic tableware based on the large-scale mechanized individual artists, who (as was said of one of the last of treatment of clay-based ceramic bodies, is particularly the English peasant potters) "don't care what anybody secure anywhere in the world--above all in Africa where says, so long as they please themselves"--knowing in- it is not yet firmly established. In my opinion Africans stinctively that this in the long run is the only way to would probably do better to put their capital into plants please your neighbor--by giving him what he needs, not for making nucleated glass-ceramics, which lend them- necessarily what he asks for. selves to true mass-production in a way that clay-based In addition to these new and possibly precarious enter- bodie.~ do not. prises, there have now arrived on the scene the new The second possibility, small handcraft workshops universities, complete with their Western-style Depart- equipped to make modern glazed pottery, has better ments of Fine Arts, where pottery is taught side by side prospects. There are a few of these already in existence: with printing and sculpture; in which the technical equip- e.g. David Ziga's Stoneware at VeKoloenu in Ghana's ment and the materials--clays, glazes, wheels, kilns and Volta Region; the Government-sponsored Pottery Cen- all--come in the form of a package deal from abroad; tre at Abuja in Central Nigeria; and Kofi Athey's and in which the ambitious youth is invited to small stoneware pottery attached to tt-- r^_ ~ .... nro~;~,~ "Ar~ ;n a Vacuum." um, Nigeria. These all rely on local ra,~ will be taught to use his intellec- for the clays, glazes, refractories and f' to infuse the African Personality The significant problem faced by, makes. But Personality and the this is whether the primeval pottery t: m are not matters amenable to the villages have any relevance for ] [ation of this kind. Style cannot gaged in making glazed stoneware for J with a tap, and this is as true of mestic uses. Generally, the traditiona: ,ersonality and sense of form as of not easily persuaded to work in the but at the Abuja Centre a small grou: Fine Arts were invented in the (led by Ladi Kwali) are now happil ; Western art was sick. But Afri- lished there, making the great transi not sick. It is a pity they had to and crossing over to what is for them uced there without at least some new and foreign technique. But it is no it modifications. only the professional women-potters of nation's art is, fortunately, a very the village who are capable of doing Lardy plant which is not easily this. Men who a few years ago had killed or deformed; and though never made pottery are now prov- the results at present are de- ing that the undefinable but un- pressing, it is likely that Afri- mistakable African Sense of Form cans will be able to fight their appears inevitably and infallibly way out of this particular kind of in the new ware, provided it is ~'eo-colonialism, and emerge with given a proper chance to emerge truly contemporary and a truly in the new context. [can style.

Shea Butter Pot [rorn Parakou, Dahomey. ~: Institut Francais de l'A[rique Noire.

22 Ceramics Monthly Producing Copper Red Salt Glazes by ToM TURNER Photos: Bill Ellis

I DEVELOPED AN INTEREST in copper red glazes and an awareness of salt glazing while attending Illinois State University. The reds were intriguing because they were technically difficult to produce, and Don Reitz, who visited the university, had captured my interest with his salt glazing work and his personality. But it was several years before the salt and the red came together. In 1968, I started my thesis on Experimental Salt Glazing, but it was interrupted in February of 1969 when I was drafted into the U.S. Army. During my two years of active duty I was able to make a few pots at the Multi-Craft Shop at Ft. Jackson, South Carolina and at the Columbia Museum of Art in Columbia, South Carolina. But, it wasn't until my discharge in February 1971 that I was able to resume my work with salt glazing. I was interested in producing an overall color with salt glazing techniques, without applying slip or glaze to the ware. My first experiments involved adding colorants to the clay body; a blue salt-glazed surface was produced Above: Copper red by adding cobalt to a porcelain body. It was obvious that vapor-glazed the salt glaze was clear and dependent for color on the porcelain bottle, 7 metallic oxides in the clay as well as on the firing atmo- inches in diameter. sphere. These results strengthened my desire to test other colorants to discover what hues were available with salt Right: A series of glazing, and to disprove the theory that salt glazing is forms, vapor glazed very limited in color. I wondered if I could produce a with salt and copper red salt glaze. After all, copper reds favored a copper carbonate. sodium glaze, and salt glaze is fluxed with sodium. The author's copper After leaving the Army, I moved to the country outside red forms range of Columbia, South Carolina, so that I could build a salt from 6 to 10 inches kiln to produce ware on a full-time basis. The kiln was in diameter. lP

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built from underfired firebrick from a brickyard that would allow me to spend more time on research and had gone out of business. When that kiln was completed, less time on kiln building. The grant was approved in there was very little time for testing because I was making October 1972, and the materials were ordered from the pots for my income. refractories manufacturer. In the summer of 1971, I was employed by Clemson The outside walls of the kiln are firebrick rated at University, Clemson, South Carolina to develop a ce- 2300°F. I knew that high alumina materials would resist ramics program for the Department of History and salt better than standard firebrick, so I designed the kiln Visual Studies. The following January I decided to build with refractories made from at least 65% alumina. High a small rubble kiln, which lasted five months until the alumina bricks, castable refractory (for the arch and salt destroyed it. I was finally able to produce the copper fireboxes), and refractory cement were all used; and red salt glaze in that kiln. After some experimentation, I thermocouple protection tubes of 99.6% alumina were realized that the copper colorant could be added to the incorporated to insure the safety and accuracy of the salt instead of to the clay body. By vaporizing the colorant, heat-sensing probe of the pyrometer. All of these materials I was able to use smaller amounts and at the same time are expensive, and their purchase might not have been achieve unique surface effects. feasible without the grant. A less expensive, but also less With this success, I decided to apply for a grant from effective, alternative is to coat the interior of a regular the South Carolina Arts Commission to help pay for the hard brick kiln with alumina hydrate, aluminum paint, or construction of a 60-cubic foot salt kiln at my studio in a high alumina cement. Liberty, South Carolina. The new kiln would have long- I fire my kiln with propane, without blowers or air term resistance to the corrosive action of the salt, and adjustments. The kiln is equipped with two burners rated

24 Ceramics Monthly at 500,000 B.T.U.'s at twenty-five pounds pressure; I 1. Tom Turner working at the wheel in his studio in drilled out the burner orifices to 7/64-inch so that I Liberty, South Carolina, where he produces both could have the degree of heat I wanted with somewhat stoneware and salt-glazed porcelain. less pressure. I-{aving now been fired a number of times, the kiln is 2. The sixty-cubic-loot salt kiln, built by the author, is meeting all expectations relative to performance and salt made o[ high alumina re[ractories. The door bricks are resistance. It allows me to test all sorts of materials with seen stacked at the le[t [oreground. Note the ample little fear of carry-over from firing to firing. If I wished, chimney size, and relatively high ceiling o[ the kiln room. I could do regular stoneware firings, since there is little revaporization of leftover salt, and no glaze build-up on 3. A castable re[ractory lintel allows standing room [or the high alumina refractories. stacking the kiln. Stilts are kept in a cart near the kiln When I began my experiments with the copper red door where they are easily accessible. Stilts with metal vapor, I decided that the red salt demanded a porcelain points should not be used [or salt glazing. Instead, try the bod}~the red orange peel effect on the white back- solid porcelain ones used by hobby potters [or/iring ground. The porcelain was at first a hindrance, being a glazed loot rims. This leaves a well glazed loot. more difficult medium than stoneware for large forms. But, I soon realized that small red forms are visually stronger and that the porcelain is as challenging as the copper red vapor glaze. The following speckled porcelain body throws well.

February 1974 25 Porcelain bottle, copper rea vapor-glazed with blue shin The [orm is 8 by 7 inches. ] style o[ this bottle is characi o[ Tom Turner's emphasis simpIi/ied shape and minin decoration.

Porcelain Body (Cone 9) but I encountered problems with bubbling and excessive Edgar's Plastic Kaolin ...... 25 parts oxygen given off by the vaporization of these com- Ball Clay (Kentucky Old Mine #4) ...... 25 pounds it is also more difficult to obtain the copper red. Kona Silica ...... 25 Regardless of the salting compound used, the safety pre- Kona F-4 Feldspar ...... 25 caution of adequate ventilation should always be meticu- Missouri Fireclay ...... 5 lously adhered to. 105 parts Draw rings can be used to determine the degree of Add: Veegum T as plasticizer ...... 1 part glaze build-up during firing. They are, however, of little use in assessing color development since the copper red The Veegum T is a hydrous magnesium silicate that forms during the cooling cycle, and pulling the rings out is considered the most plastic clay material known. of the kiln interrupts the process. Currently I am throwing six- to ten-inch spheres, and There are infinite possibilities for vapor glazing with simplifying form as well as decoration. After the pots are other oxides. I offer my method of vapor glazing, realizing dry, I set them in the kiln on standard solid porcelain that we all work differently, fire differently, and seek stilts (the type used by hobby ceramists) to get the ware different end results. That is what makes contemporary nicely salted on the bottoms as well as the sides. ceramics so interesting. Perhaps self-salt glazing ware The kiln requires twenty-one to twenty-three hours to could be developed using the egyptian paste idea. Why complete a single firing. I fire slowly through a normal not self-salt glazing ware in a pollution-free solar kiln? bisque cycle and allow the temperature to reach Cone 7 before I begin salting. After the first salting, I depend on TOM TURNER is a studio pot- the pyrometer, since cones are unreliable once they are ter in Liberty, South Carolina, exposed to the salt. I continue salting until the pyrometer and teaches in the department of indicates a Cone 9 or 10 temperature, depending on what history and visual studies at Clem- pieces are in the kiln. son University, CIemson, South At present I am using about one-half pound of copper Carolina. He has exhibited widely carbonate mixed with thirty pounds of rock salt for each in the United States since 1967. firing. Copper sulfate will produce beautiful turquoise A graduate of Illinois State Uni- hues, but it is almost impossible to reduce. I plan to con- versity, the author has also served tinue to test other colorants and, if financially possible, as visiting artist at the Memphis try other metallic chlorides and sulfates. Some potters ~. ~ Academy of Art in Memphis use alternate salting compounds such as soda ash or Tennessee, and as artist-in-residence at the Columbia washing soda to eliminate objectionable chlorine gases, Museum of Art in Columbia, South Carolina.

26 Ceramics Monthly A collaborative decision, made by Ms. Duckworth and Ruth Duckworth the architect who designed the building, called for in- corporating lighting fixtures into the mural. Clay cylinders fashioned as an integral part of the ceiling hold the lights which illuminate the walls; and discs of clay simulating clouds "float" a few inches below the ceiling relief to con- ceal the fixtures which cast light on the ceiling. IN THE LATE 1960'S, ceramist Ruth Duckworth was asked Nine months were spent in making two scale models to design and construct a ceramic mural environment of the project, and another nine month period was re- covering four walls and the ceiling of the entrance to the quired to execute the full scale design using four thousand Harry Hinds Laboratory for the Geophysical Sciences at pounds of clay in ninety firings. The sections of the the University of Chicago. Inspired by the selected theme, mural are fitted together without grouting, and four "Earth, Water, and Sky," she began her formulative grindstones were expended in obtaining perfect align- impressions with a study of geomorphology, and ultimately ment of components. chose a topographical drawing of Mount Fujiyama as the A subdued earthy effect was achieved by applying color model for the center wall of the mural. The opposite wall ~-ith successive layers of slip, oxides, and glazes, putting was taken from a cross section photo of a marble quarry, on a layer with a large paintbrush and wiping much of it and interpreted freely with coils of colored clays. Says off before adding the next coat. Ms. Duckworth, "Basically, I tried to convey how closely Ms. Duckworth, an artist-teacher from England, came the rhythms and structures of earth, water, and sky relate to the United States in 1964 as artist-in-residence at the to each other." University of Chicago.

Right: The east wall of Ruth Duckworth's 1f-foot tall, ceramic mural environment.

Below: Detail of east wall.

Bottom: Fish-eye view looking toward the ceiling of the mural.

February 1974 27 economically feasible, and I developed a simplified con- People Pots struction with a more defined face. During the next year, I developed fifteen varieties of by DAVID L. DAVIS people pots and began to take some of them to craft fairs. Eight more retail outlets were soon added to my Photos: Lyle Gerber and Dennis Reynolds list of customers, and ! needed more work space than my home/studio provided. I found an abandoned bakery nearby in New Brunswick, New Jersey, and began to set AFTER COMPLETINO my graduate studies in art in 1966, I up a small studio there with the help of several high held several teaching and administrative positions and school students. As the demand for my pots increased, I maintained a small studio in my home, where I produced developed an apprentice relationship with some of these occasional pieces of pottery and ceramic sculpture. In students, one of whom has been with me for several years. 1968, I was working on a large, handbuilt ceramic foun- What began as a relaxing change from my teaching tain with forms including hands, faces, and other human day, became a small business. I made the decision to try parts. For a change of pace, I threw some pots and im- potting as a full-time occupation in the Spring of 1971", pulsively added a face to one of them, feet to another, shortly after my wife Pede and I were married. We and before I knew it, I had made people pots. had gradually accumulated a small savings account to My initial attempts at marketing these pots met with help us over the initial period of self-employment; this limited success, but I continued to experiment and refine was particularly important, since I had decided that one the idea. The first people pot mug was quite complex, of the necessities for increased production was a new 50- having a face, two handles, and three modeled feet. Re- cubic foot gas kiln. peated production soon made it apparent that the multi- I selected a sprung-arch design for the kiln; the firing ple component approach was too time-consuming to be chamber would be a 42-inch cube. Not wishing to make

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Opposite page: The space limitations o/ David Davis's Above: The 50 cubic loot kiln was constructed studio caused him to decide to buy clay already [~om lightweight insulating [ireb.rick, and is [ired by prepared rather than to mix it himsel[. [orced air burners equipped with sa[ety shut-oil equipment that was required by local regulations. Above: The glaze area is compact, and similar to many [ound in bus)', small studio potteries.

Below: Not all studios are located in the countryside. An abandoned bakery in an urban environment was the location selected by the author. Below: A stoneware piece by the author called "'Shhh!!'"

February 1974 29 Right: The people pot forms have evolved over a period o/years. The mugs shown illustrate (from left to right) the style of each year's production .from 196gl to 1972.

it a permanent installation in the bake~', I used insulating brick and tie-rods for support. My refractories dealer gave me some literature on the necessary materials, and ad- vised me about how much brick I would need. The selection of the bakery as the site for my studio has been fortunate for several reasons. In one corner of the 20 by 30 foot building was an old boiler with a stack rising through the roof-the perfect place for my chimney. There was also a two-inch gas line already installed. In order to utilize the gas fuel, I had to add safety equipment, including a solenoid valve on the main gas line (to shut off fuel in the event of an electrical failure), Baso pilots, and a larger gas meter. Initially I balked at the added expense and delay, but I now realize that it is good judgment to have these devices. Working with the utility company field engineers and the various inspectors was a post-graduate course in itself. Our next problem was the chimney. The bakery was closely grouped with other buildings and it was necessary to conform to local fire ordinances. I had the choice of

Series above: A production item develops from a thrown .4boa,e: The potter's stamp is mounted on a cork with a bottle. Slip is first brushed onto the pot, the basic forms hook attached to the other end, making it difficult to are built up and incised, and the handle is added. misplace.

30 Ceramics 3~lonthly -" :i either building a masonry chimney or buying factory- i~: ill made, refractory-lined, steel chimney sections to guard against the 700°C. flue temperatures. We opted for the [i;: 1 more durable steel sections even though the initial ex- : :i)! pense was greater. With the completion of the new kiln, people pot production has increased; I now employ two or three helpers to put on handles, trim ware, glaze, and stain pots. I still do all of the "creative" work myself, and Pede and I enjoy working together and pacing our time as we like. My main interests have been in the form and texture of clay, and I've limited myself to a simplified application of glazes. To complement the warm clay color, I developed a blue colemanite glaze which I prepare in 2600 gram batches and liquefy as needed. I have clay prepared by the ton and pick it up; although it's more economical to mix your own clay, the Above: Stoneware pipe bowls continue the same storage space is prohibitive in my case. decorative motif as the other forms produced. I've also achieved a basic proficiency in business procedures and have learned to keep accurate records and Below: A canister set, incised and partially glazed.

February 1974 31 ledgers. A tax-exempt resale certificate obtained from the state tax bureau exempts me from sales tax on anything I buy~tools, paper, clay, etc.--which goes into the production of salable items (pots). That saving of five or six per cent adds up. Now, two years after assuming full-time craftsman status, we are at least as well off financially as we were when I was teaching, and our new life has brought a great deal of satisfaction.

DAVID DAVIS and his wile, Pede, recently moved into a 120-year-old house in Flemington, New .[ersey and production o/ their "People Pots" continues in their new studio at the residence.

Ri,~ht: ,-t ceramic [ountain by the author.

Below, le/t and right: Mark Moore and Kathryn Harbour, two o[ David Davis's three apprentices develop their ceramic skills while learning production techniques. :Clark trims, while Kathryn "cleans up" a pot prior t, hi.:..,, "iriTt~.

32 Ceramics Monthly John Glick Ceramics/ i Kent Ipsen Glass

Blown Forms by Kent Ipsen. The tallest piece is 17 inches in height. JoI-IX GLICK'S CERA~ImS and Kent Ipsen's glass com- prised the two-man show at Exhibit A Gallery of American Ceramics, Evanston, Illinois October 14-No- vember 9, 1973. Glick's work showed the results of his years of intense involvement in functional forms and surface decoration. Working in his Farmington (Michigan) studio, he has developed a number of forms for a variety of functions, and featured in this exhibit is his new concept of open-work, contoured tray forms. Kent Ipsen, recently appointed chaiman of the craft department of Virginia Commonwealth University in Richmond, presented blown glass forms in a rich range of colors, some embellished with etching and luster pat- terns.

Right: Open-Work Tray, 17 inches in diameter, by .[ohn Glick.

Below, leit: Stoneware Plate, 20 inches in diameter, 2 inches deep, by ]ohn Glick.

Below, right: Teapots, 10 and 8 inches in height. by ]ohn Glick.

February 1974 33 Jeweled Porcelain by David Frank ~ ~: i ~i~i'il ~ ~ ii~i~i~I ~: i~I~ i ~ ~i~!i~i~!~!~ ~!~

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DAVID FRANK'S JEWELED PORCELAIN was featured in a November group exhibition at the Contemporary Crafts Gallery in Portland, Oregon. A native of Portland, Frank's interest in ceramics developed at Portland State University, and subsequently he has worked as an apprentice under master craftsmen. Now working independently in his Portland studio, David Frank's interests include architectural commissions in ceramics and work in jewelry.

Above: Porcelain ~ompotes and lidded p,,t. Le/t: Jeweled porcelain case. Below: Two-piece jeweled porcelain container.

34 Ceramics Monthly One-HandedThrowing by STANLEY H. LEE

IF WE ANALYZE the problems encountered by most begin- needed. Weigh the clay in order to learn what to expect ning potters, we find some evidence for generalization. from a given amount. Most beginners start to throw with more clay than the)' Centering with one hand emplo~ the same principles can control. This often leads to failure to center the as two-handed centering. Throw a ball of clay in the clay properly, difficulty in pulling up even walls and, middle of the wheel head and slap it into place to secure finally, an unsuccessful piece. One-handed throwing can it. As the wheel rotates at a fast speed, the left hand prove to be a useful technique for overcoming some of bears down on the clay, providing a twisting motion these problems and for developing basic throwing skills. which seals the clay to the wheel head. The hand should When only one hand is involved, the controlling move- be kept well lubricated with a creamy slip; and a fine ments become more isolated and therefore more readily sponge (elephant ear or silk) may be held to further observed. The following guidelines should assist the be- reduce friction. In the centering operation the hand and ginning potter who wishes to try the one-handed method. arm function like a lathe tool, and must be held rigidly First, the clay is prepared; the clay should be uniform, against the clay to bring it under control. The clay is relatively soft, (most beginners start to throw with clay drawn up into a cone, then pressed down into a cylinder; that is much too hard), and well wedged. Several balls repeat this step until the clay is well centered. of clay, about one and a half pounds each, are prepared Make the opening at medium-to-fast wheel speed; at at one time, and the extras covered with plastic until this point the sponge can be laid aside. Steady the hand

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t,i February 1974 35 1. ,,t small ball o/~lay is ( el~tered on the u'heel 2..1 lar~c* hall ,~1 ,lay may a[,,, h< , ~ *lt~ l, ~i head with the le[t hand. using the one-handed technique.

3. l.ay the sponge aside, and make the opening at /. The .~amc mcth.d ~,~ I~.~d .I.I a iargc~ ha// ~,/ mcdium-to-fa~t zcheeI speed usirL~ the index linger. clay, except that the hand must spread more.

5. Establish the inside diameter by in.~erting tit rcc ~. .l larger ball o/clay requires a .~mda~ mcti~oa lingers and expanding the wall as desired. [or establishing the inside diameter.

36 Ceramics Monthly 7. 7"he wall i~za3, bc ~h~)ked in ~c'ith a ~ law-like draw that ~1. Sire e larger/orms may be too wide to surround with surrounds the form when a small ball of clay is used. the fingers, apply the claw-like draw to the wall instead.

9. The cylinder i,~ pulled with t/le lingers and thumb, and 1(). Large forms can be pulled, but the lower wall must should be in center after the pull is completed. be thinned before you can no longer reach it.

11. lzvpancl the bell), o/the pot from the inside 12. fl'hile expanding the ~ontours, the wall may with the fingers. also be pulled at the same time.

February 1974 37 . °

13. The rim, or lip, is established with the th:,:nb 14. Rim decoration can be added to some shapes rather and fore[inger. than [orming the rim with thumb and fore[inger.

15. Tools may be use/ul /or one-handed throwing. A 16. A rubber heel makes a use[ul rib ]or smoothzng ttze sharp wood rib will remove excess clay [rom the [oot. inside o[ larger forms when finger marks are not desired.

on the clay cylinder and depress the index finger to possible to reach down to the base of the cylinder. within a half-inch of the wheel head. Repeat the process Now the contours can be established. With the fingers, with two fingers inside, then check the base depth with a expand the belly of the pot from the inside, and shape needle tool. With three fingers inside and the thumb the lip with the thumb and forefinger. To remove excess outside, expand the thick wall of clay to the desired clay at the base of the pot, rotate the wheel at a slow diameter. The outside wall can be choked in as necessary, speed and push the sharp point of a wood rib down using a claw-like draw. through the surplus clay until contact is made with the The thumb and forefinger are used to raise the cylinder wheel head. A horizontal knife cut under the waste ring wall---the thumb supporting the clay on the outside and will permit it to be split and easily removed. the index finger controlling the wall thickness. Make a The pot is now completed and ready to be removed groove on the outside of the cylinder at the base so that from the wheel head. Flood the wheel head with slip and the thumb can get under the clay that is to be raised. cut the pot free with a wire, then slide it onto a paper- On the first pull, raise the thumb and forefinger to pull covered bat. the clay to the top of the cylinder. The cylinder should Mugs, vases, casseroles, covered dishes, plates, and have a level lip and should still be centered. For the teapots can all be made with the one-handed technique; second and final pass, the clay is re-lubricated and the and the resulting craftsmanship can be comparable to procedure repeated, this time pulling the cylinder to its work produced with the traditional two-handed throwing maximum height. After this point it will no longer be process.

38 Ceramics Monthly FROM NINE BAY AREA counties, 39 artists and craftsmen San Francisco shared $15,000 in purchase awards at the 27th Annual San Francisco Outdoor Art Festival held at the Civic Center Plaza, September 19-23. Craft entries were judged Outdoor Art Festival by Hazel Bray, Andrew Bergloff, and S. Paul Gee. Merit awards for ceramics went to Robert Richards, Novato; Hugh Aanonsen, San Francisco; and Beverly Mayeri, Mill Valley. According to Festival Director Elio Ben- venuto, craft sales, conservatively estimated at $120,000 for the five-day event, were the largest in Festival history.

Top: Sculpture by Viola Frey. Center: Plate by Donald Knudsen. Bottom: Decorative platter by Beverly Mayeri.

Right: "Frog Fryer" by Robert Richards.

February 1974 39 Colemanite and Gerstley Borate by RICHARD BEHRENS

COLEMANITE AND GERSTLEY BORATE each other in equal amounts in the such particles (including clay) are have been widely used for decades as artist-potter's average glaze. Indeed, present in slip or glaze, they attract inexpensive, frit-like, glaze materials. Gerstley Borate is often sold as cole- each other and tend to group together Colemanite is a rather pure calcium- manite. But there will be slight dif- in afloc. In this case the glaze may borate, while Gerstley Borate contains ferences in appearance between cole- become less fluid. The thickening considerable ulexite (a sodium-calci- manite and Gerstley Borate glazes may often improve the ease of apply- um-borate), magnesium, and smaller because of their chemical dissimilarity ing glaze to ware, but additions of amounts of silica, alumina, and iron in boron, sodium, and magnesium water for thinning may result in an oxide. Carbonates in significant content. over saturated glaze which could crack amounts break down during the firing There are a few potentially trouble- or peel away from the ware due to of Gerstley Borate to produce carbon some characteristics associated with excessive shrinkage. dioxide gas. the use of Gerstley Borate and cole- Free, dissolved, electrically-charged Colemanite contains forty-eight per manite in glazes. particles of metals such as sodium, cent boron, while Gerstley Borate The large quantity of carbonates in potassium, or lithium can produce re- approximates twenty-eight per cent. Gerstley Borate breaks down during pulsing forces in the glaze or slip, However, the presence of the power- firing to produce carbon dioxide gas, which cause the particles to separate ful flux, sodium, increases the total which may cause markings in the and remain divided in the dispersion. flux content of Gerstley Borate. Some fired glaze, or blisters breaking the When this occurs, the glaze or slip of the less desirable characteristics im- fired glaze surface. The blisters will becomes more liquid or deflocculated. parted to sodium-containing glazes heal in most cases after sufficient Other factors enter into determin- may be somewhat neutralized by the additional temperature rise or soaking. ing the consistency of glaze or sllp, presence of magnesium in Gerstley Colemanite may be looked upon as such as the type and source of clay Borate. a more natural frit, free of evolved used. Florida and North Carolina An experimental comparison of cole- gases at higher temperatures. kaolin, for example, cause different manite and Gerstley Borate with addi- Pinholing may occur with some consistencies. Chemical changes taking tions of kaolin and flint (under the glaze compositions using either Gerst- place during storage may release alka- same firing conditions) showed that: ley Borate or colemanite, but that line agents capable of deflocculation; 1. When colemanite and Gerstley glaze defect is usually absent when or the opposite is also possible where Borate are used interchangeably in a sufficient boron is present. flocculation occurs during storage. glaze, their fluxing power is quite Both colemanite and Gerstley Bo- The mineral content of the water used close but slightly favoring colemanite. rate contain the active flocculating in preparing glaze or slip can influ- 2. Glaze color is somewhat lighter (coagulating) metal, calcium, and this ence the consistency. Heat and light when Gerstley Borate is used. 3. There may cause a glaze to flocculate on are also known to have an influence. is more evidence of precipitate-type standing. Flocculation can take place Sometimes the wet batch becomes in- markings in Gerstley Borate fluxed when slip or glaze contains substan- fected with microorganisms which glazes than with colemanite fluxed tial amounts of dissolved electrically- grow and affect consistency. glazes. Firing time and maturing tem- charged acids, calcium, barium, or In any case, coagulation or floccu- perature appear to have some influ- alumina particles (ions). These be- lation can be reduced by the addition ence on this effect. have somewhat like a magnet with of as little as one-tenth of a per cent Both colemanite and Gerstley Bor- positive and negative poles that at- soda ash, or (with somewhat less effi- ate may be successfully substituted for tract or reject one another. When ciency) three-tenths of a per cent gum 40 Ceramics Monthly arabic, based on dry glaze weight. A relatively simple Gerstley Borate base glaze, which is stable from Cone 06 to Cone 4, follows: BASE GLAZE Gerstley Borate ...... 50% Kaolin ...... 15 Flint ...... 35 100%

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42 Ceramics Monthly CERAMACTIVITIES people, places, and things

CERAMICS PROGRAM AT CONTEMPORARY CRAFTS FACULTY AND STUDENT EXHIBITION LOUISIANA STATE UNIVERSITY OF THE AMERICAS: 1975 AT PRAIRIE HOUSE Louisiana State University, located on Colorado State University at Fort Col- Work by the faculty and students of the the southern edge of Baton Rouge, Louisi- lins, in collaboration with the Smithsonian art department of Illinois State University, :~,~. ha, a ,ew and expanding ceramics Institution and the Organization o[ Ameri- Bloomington, was featured at Prairie program. Headed can States, announces an international ex- House, Springfield, Illinois during the by Joe Bova, who hibition of crafts by craftsmen and crafts- month of Novem- replaced John women born or residing in any country in ber. Showing work Goodheart when North, South, and Central America, and from the ceramics he moved to Indi- the Caribbean Islands. The exhibition, department were ana University in "Contemporary Crafts of the Americas: assistant professors 1973, the ceramics 1975," will open on May I0, 1975 at Tim Mather and program is part of Colorado State University Galleries and Tom Malone, and the department of will remain on view until May 30, at graduate students fine arts within which time the exhibition pieces will be Stephanie Sant- the school of en- sent to the Organization of American myers, Elizabeth vironmental design. States, Washington, D.C. for display dur- Lasley, CoUen Mc- Both undergraduate and graduate pro- ing the summer of 1975. A catalog of the ~: Nally ~llosko[[, grams have been developed. In addition exhibition, including a reproduction of the Mary Rose Pilcher, Phyllis Denny, Cathy to Bova, the regular faculty includes work of each of the exhibitors, will be Sher, Kirk Albaugh, Sister Ruella Bou- Howard-Yana Shapiro who joined the published in four languages with color and chonville, Timothy Brockman, Rene Cars- faculty in the fall of 1973 after returning black and white illustrations. This major well, Charles Dixon, Larry Rainbow, and from a stay in Italy as a Fulbright scholar. reference catalog will be made available Leonard Riely. From the glass department, The ceramic facilities include a studio for purchase. professor Joel Philip Myers and graduate of about 4,000 square feet divided into The exhibit closes on September 1 at students Linda Cleve, Dale Ho[[man, Al- three main sections of work space, glaze which time a selection of work will be lan Hough, and Michael Meilahn exhibited laboratory, and ware and storage room. included in a traveling exhibition which their work. Pictured above, left: "Red There are other smaller areas for faculty will tour the United States for two years and graduate studios, clay mixing, and under the auspices of the Smithsonian In- kilns. In addition to their main kiln facili- stitution. ties there is a remote site by the levee of Entry details [or this competition appear the Mississippi River for salt and raku on tmge 13 o[ this issue --Ed. kilns. These may be torn down and re- NCECA AT UNIVERSITY OF WISCONSIN built as the learning experience is needed. The annual meeting of the National A regular schedule of lectures and on Education for the Ceramic workshops by visiting potters is an impor- Council Arts (NCECA) will be held on the Uni- tant ])art of the program at Louisiana versity o[ Wisconsin campus at Madison, March 28-30. Registration and program activities will be held in the Humanities Building. Program details and housing Glass," 14 inches high, silver nitrate deco- information may be obtained by writing to ration, by Michael Meilahn; photos above: Don Reitz, Art Department, 6241 Hu- left, thrown and handbuilt pot by Tom manities Building, University of Wisconsin, Malone; right: "Stoneware Teapot," 10 Madison 53706. inches high, stamped surface by Stephannie Santmyers. JUDY CORNELL AT ROCHESTER, NEW YORK Ceramist Judy Cornel/, known for her EGYPTIAN EXHIBITION AT THE work in porcelain, recently visited and DETROIT INSTITUTE OF ARTS conducted a ceramics workshop at the A major exhibition, drawn from mu- private collections in Europe, State University. A recent A.C.C. S,,uth- School [or Ameri- seums and East, and the United States, east Regional workshop, conducted by Jack can Cra[tsmen o[ the Near Nefertiti: Art from the Earl, included 32 craftsmen from ten the College o[ Fine "Akhenaten and the Sun King," is being featured states. Photos: Above left: Joe Bova is dem- and Applied Arts Age of 28 at The Detroit Insti- onstrating handbuilding techniques while at Rochester (New through February From Egypt's 18th dynasty creating his "Walking Fish." Photo above: York) Institute o[ tute o[ Arts. at the right, Tom Technology. Ms. (1378-1362 B.C.) 170 sculptures, reliefs, lack Earl appears William Ladura, center, and Mike Filburn, left. Cornell, a graduate and rare antiquities are included. of Nazareth Col- H. Peck, curator of Ancient Art and co- SUMMER WORKSHOP LISTINGS lege and Al[red organizer of the exhibition, said: Thirty- The annual listing of Summer Work- University, has four centuries old, these tantalizing frag- shops will be published in the April issue been a craftsman ments capture the spirit of a unique period of CM. Those schools and organizations in residence at Pen- in the history of man's artistic production. not already contacted are invited to send land School o[ "/'hey chronicle the brief 16-year reign of information about ceramics, enameling, and Cra[ts in North Carolina, and subsequently Akhenaten and his Queen, Ne[ertiti." glass workshops including workshop name, was associate director and resident potter The exhibition is a result of cooperation location, dates of sessions, length of courses, at the Archie Bray Foundation in Helena, between The Detroit Institute of Arts and course description, names of instructors, Montana. She is pictured with her work. the Brooklyn Museum, with the show at- and address to contact for information. Some o[ the techniques used by Judy tracting more than I00,000 visitors during Send to Frances Sawyer, assistant editor, CorneU were described in the article, "'The its 9-week showing at the Brooklyn Mu- CERAMICS MONTHLy, Box 4548, Colum- Archie Bray Foundation," published in the seum in the fall of 1973. The Detroit bus, Ohio 43212, before March I. May 1972 issue o[ CM. --Ed. Continued on Page 45

February 1974 43 f TOOLS FOR THE P O T T E R s ~[zE~ gelt~e t' SCULPTOR CERAMIST potter's rib is made from smooth-finished imported leal for many shaping and smoothing operationson the .~1. Rib 4" Long ...... $ .90

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This is a heavyduty knife made especiallyfor trimming tion quantities of pottery and ceramic pieces. The heavy -hard" blade is capable of extended usage on highly products without sharpening. Productivity is increased between sharpenings is increased and less time is spent :e. Overall knife length is 71~". {nife ...... $1.50 :'e~e KE~'2PER CAT/,L©'-- <-:~:;'ng

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~lsen2411 Pinyon CrEst, Box 205 Isen2411 Mountain Center, California 2233 140th avenue northeast, bellevue, washington 98005 Isen 2411 92361 44 Ceramics Monthly CERAMACTIVITIES lecture, a project supported by a graz the National Endowment [or the Ar Continued from Page 43 from in Washington, D.C.

showing has been underwritten with funds PENNSYLVANIA CERAMIC ARTS CONFERENCE from the Edsel and Eleanor Ford Exhibi- The objective of the Seventh Annu~ tion Fund. Ceramic Arts Con[erence, held Novembv A comprehensive catalog, by Egyptolo- ~ and 3 at the Pennsylvania State Un g~st Cyril Aldred, Keeper of the Depart- versity, Universit ment of Art and Archaeology, Royal Scot- Park, was to brin tiJh Museum, Edinburgh, containing 230 together people c pages and 250 illustrations with a de- all ages with vari tailed entry on each object, is available at ous interests, phi the Detroit Museum Shop. losophies and idea concerning cla~ INDIANA CERAMICS EXHIBITION with guest artist The Indiana Ceramics Exhibition, fea- DePauw University Art Center, Marilyn Levine tured at Hui Greencastle, Indiana in November and Ka-Kwong and Howard Kott December, presented 76 pieces selected giving demon from 230 entries. The Best of Show pur- ler their work. chase award went strations and lectures about her technlqu. to Geri Snider, Co- Marilyn Levine presented into clay, thet hlmbus, Ohio for of wedging nylon fiber "Red Shirt--Oh?," rolling it to paper-thinness for constructio~ above, is 36 inches high, of her sculptures. Pictured, Levine. low temperature completed satchel by Ms. demonstratc~ _. ~: glazes, designed for Ka-Kwon~ Hui (pictured) hard ed~ • a wall hanging. h;, m,'~]~,ct, f,,r a,,mnMin~ . ~t Ms. Snider also re- ~i ceived a merit ~..~ award for "Mouth- scape," a low-fired wall sculpture. Top merit award went to Daniel Engelke, Evansville, Indiana for "The President's Award for Excellence in Pottery" (pictured), 19 inches high with low temperature glazes, lusters, and flocking. Other award winners were John Goodheart. Bloomington, Indiana; Susan Wilde, Ath- ens, Georgia; Robert McGowan, Memphis, Tennessee; in addition to Indiana res!dents lira Cook, Terre Haute; Melody Lewis, Mt. Vernon; Carol Sarisky, Bloomington; and Mauri Conner, Muncie. David .~4iddlebrook was the juror for they are derived the show. An excerpt from his statement objects, explaining that Chinese shapes. follows: ".... Potters, as they prefer to from classical slides of his be called, are unstimulated and unstimu- Howard Kottler showed students. lating because of adherence to 19th cen- work as well as that of interest tury values that have no environmental Added features of exceptional three conditioning in our society today. The to the nearly 800 in attendance were guest artists: show is a good one but offers very little ceramic exhibitions: work by that breaks the accepted ceramic norms. a Super Mud '73 There were exceptions to these norms, and Student Invitation- to those people my congratulations are in , "; i jl ":,i al Ceramics Exhib- order. I think a re-evaluation of ceramic :" ~ it; and "Ceramic education and a little .less awareness of "~,~ ~ Caterpillars, Moths, what others are doing would be a good N" * Beavers, and Other starting point." Winged Creatures," The exhibition director, David Herrold, i i'~ shown through No- also contributed a statement, a part of : vember 17 at the which follows: ".... At issue is what Kern Graduate traditional potters and sculptural potters Building, a one- think of each other and whether they can ~, man show of work co-exist with integrity in exhibitions, teach- ' by Phil Schuster. the objects ing, etc. This issue has, at least, a super- Pictured, left above, is one of the Schuster show. ficial resemblance to the now classic and in often repeated confrontation between aca- THE GREAT CALIFORNIA GLASS SYMPOSIUM demic tradition and the avant-garde in Glass designer Erik Hoglund partici- modern art .... Despite all of this, I am pated in "The Great California Glass Sym- convinced that sculptural and functional posium-Reissued 1973, #5" at the Cali- potters can and should exhibit together." [ornia College o[ Arts and Cra[ts glass In addition to judging the show, Middle- studio on November 7. More than 300 brook conducted a workshop and slide Continued on Page 47

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When you try our new lead-free enamels for copper, ; gold and silver, you probably won't notice any difference from "traditional" lead-based enamels. Same powdered form, same application procedures, same glazing tern- ! peratures, same colors, same price. Only the lead il content has been changed to protect the innocent. Safeguard the health of your students, your customers, and yourself by swRohing to LF TM. Enamels. Just start ~' using them- no special techniques are needed. ~, Fully guaranteed...... $169.90 : I 12 different 30-gm samples of LF Enamel ] i Introductory set .wders. ,,.. samples of threads and lumps, a $6.50 value. OA -0° Write for a free color brochure. ~i~:: I It's yours for only "lr postpaid 6artll troasuPes k the CERAMICCOATiNG CO. DEPT,C • BOX1267, OALEOOUHO, ILLINOIS L: Ilk p.0. Box 370C, Newport, Kentucky 41072 61401 LARGEST DOMESTIC MANUFACTUREROF ENAMELS FOR BOTH ART & INDUSTRY 46 Ceramics ,~,Ionthly • NOW CERAMACTIVITIES • National Distributor . Continued [rom Page 45 FOR West Coast glass enthusiasts--from Port- STBY land, Oregon to Fullerton, California-- attended the one-day demonstrations of ~ KILNS glass techniques. Hoglund demonstrated the use of graphite press molds in which he carved designs. The technique is the same as that used in the Swedish factory Formerly where he works three months of the year. This symposium reinstates a series begun POTTERY by DOT several years ago which brought other foremost glass artists to the campus: Dale THE LARGEST SELECTION Chihuly, Rhode Island; Sybren Valkema, OF CERAMIC DECALS AVAILABLE Amsterdam; Joel Philip Myers, Illinois; and Harvey Littleton, Wisconsin. • 10¥ REID CATALOG $1.00 A COMMENT ON CONTEMPORARY CRAFTS DUNCAN CATALOG $1.50 The art department of the University o/ • (plus 25c for mailing} • Wisconsin-Milwaukee School o/ Fine Arts brought the invitational show, "A Com- CERAMICORNERCATALOG $1.00 • ment on Contemporary Crafts," to its galleries during November as a major part of its celebration of the tenth anniversary of the school. The show featured 185 works from 70 outstanding American craftsmen. Some of the ceramists participating in the invitational were Clayton Bailey, Douglas Baldwin, Richard DeVote, Ruth Duck- i ~°~Ceram~ic~ • worth, Verne Funk, Sylvia Hyman, Steven Kemeny[[y, Jim Leedy, Jerry Rothman, P.O. Box 5367 " • John Stephenson, and William Wilhelmi. " • 2016 N. Telegraph (U5-24) In connection with the exhibition, artists • Phone LO 1-0119 • • Dearborn, Mich. 48128 and craftsmen in the Wisconsin area were NOW! A Good Kiln NOW...you can design your own glazes. Need Not Be DIAL-A-GLAZE Expensive privileged to take part 111 ~orkbh~,l)~ di- Save up to 37% using a few does the work for you. rected by Georgette Zirbes in clay, Budd pleasant hours to fit together Stalnacker in fiber, and Gene Pijanowski one of our easy-to-assemble in metal. kiln kits. Fun to do ~ efficient Dean Adolph A. Suppan of the Univer- to use. Step by step instruc- CUTS the calculation sity of Wisconsin-Milwaukee School of tions for assembly and easy exhibition as Fine Arts welcomed the beautiful firing. time fromhours to minutes "evidence of an art form deserving the same aesthetic evaluation given, for instance, to painting and sculpture." These Are Kilns Made By you always wanted Everything Shown from the exhibition is "Floor- People Who Do Ceramics and to know about glazes but were piece," an architecturally oriented stone- Know What a Kiln Has To Do. afraid to ask. ware slab sculpture by Ruth Duckworth. Kiln Kit BLAINE WILSON GALLERY Commercial 24"x24"x27" deep ...... $229.00 CALCULATOR AND INSTRUCTION BOOK The Blaine Wilson Gallery, in association with the Zachary Waller Gallery, Los Studio Kiln Kit Angeles; and the Hunter Gallery, San 18"x18"x18" deep ...... $119.95 Francisco; opened on October 1 in Fresno, Hobby Kiln Kit S4.95* California. A December group exhibition 12"xl 2%! 31/2', deep ..... $74.95 in the new gallery included Elena Karina tide pool bowls (pictured in Canavier's Send for free brochure. the CeramActivities section of the January Order From: 1974 CM); Gonzalo Duran's sculpture; Dial.A-Glaze and Beatrice Wood's internationally fam- Box 88, Davenport, Ca. 95017 ous ceramics, which are included in per- WESTBY manent collections of many museums, in- Ceramic Supply & Mfg. Co. *~Calif. residents add 5% sales tax. cluding the ~lIetropolitan Museum o[ Art. Canadian currency add S0c 408 N.E. 72nd St., Seattle, Wash. 98115 Continued on Page 49

February 1974 47 Recommended THE TECHNIQUES OF books on ceramics from the' PAINTED ATTIC POTTERY by Joseph Veach Noble. This lavish book unravels the methods used by the Athenian potters to produce the greatest pottery in BOOK DEPARTMENT ancient European art. Includes information on the famous Greek black glaze. $25.00 OBJECTS: USA ORDER ANY OF THESE SELECT TITLES by Lee Nordness. A superb publication fea- , ON OUR MONEYeBACK GUARANTEE. WE PAY POSTAGE turing over 250 artist/craftsmen working in ceramics and other media. Includes a photo of each craftsman, a NATURE HANDBOOK OF DESIGNS AND brief biography, and AS DESIGNER DEVICES an example of his work. $14.95 by Bertel Bager. ThTs unusual and stimulating by Clarence Hornung. Over 1800 sketches book presents a treasured collection of plant of basic des gns and variations including the CERAMICS FOR THE ARTIST POTTER circle, life. The forms will suggest an infinite line, scroll, fret, shield, snow crysta s by F. H. Norton. The most complete book number of shapes and textures for pottery. and many more useful symbols. $2.00 on the subject, from choosing the pr.oper An outstanding gift selection. $14.9S clay to putting the final touches on a p,ece, MAKING POTTERY WITHOUT A WHEEL CERAMIC DESIGN all clearly explained. $9.75 by F. by John B. Kenny. Complete instructions Carlton Bail and Janice Lovoos. This for CERAMIC richly illustrated book covers every methods of forming and decorating ware are GLAZES phase by Cullen of handbuilding and decorating clay pieces. given, with step-by-step photos to guide the W. Parmelee. A newly revised No book covers the subiect of texture designer along the way. $9.9S edition of one of the standard texts on and glazes. It is a form so effectively. It is a book every comprehensive study of every teacher should have. aspect of the subiect with clear, concise ex- $10.95 CERAMIC SCULPTURE planations. An essential reference by John with 612 EXPERIMENTAL TECHNIQUESIN ENAMELING B. Kenny. Contains over 1000 photos pages of technical information. $14.9~; by Fred Ball. Beginning with essential in- and sketches covering all phases of the formation on materials and basic techniques, sculptor's art. A valuable aid for all RAKU POTTERY teachers this exciting book progresses to new pro- and craftsmen. $9.95 by Robert Piepenburg. This outstanding new cesses with explicit instructions and abundant text covers all the basic information on raku. illustrations. A notable addition to the exist- THE COMPLETE BOOK OF A very practical guide containing instruc- ing literature. $9.95 POTTERY MAKING tion on clays, glazes, kilns, firing, and a chapter on safety precautions. FINDING ONE'S WAY WITH CLAY by John B. Kenny. The "best seller" in the $12.95 by Paulus Berensohn. This unique book offers ceramic field! Step-by-step photo lessons CLAY AND GLAZES a new approach to making cover all of the FOR THE POTTER pots. It is a pottery-making techniques: by Daniel clear, readable, and definitive clays, glazes, firing, piaster, etc. $7.50 Rhodes. New, revised, and en- book on larged edition f1973) making pots using the pinch method. $9.95 covering all the fundamentals of clays and glazes. $12.50 PIONEER POTTERY KERAMOS by Michael Cordew. The main purpose of by Franz Kriwanek. All of the basic areas of KILNS: DESIGN, CONSTRUCTION this book is to help craftsmen who want to ceramic work are covered in this book. & OPERATION make poffery The examples using natural materials with- of pottery are impressive. by Daniel Rhodes. Everything you need to out depending on customary sources of There is a refreshing treatment of subject know about kilns -- setting up, firing, supply. Covers matter that types clays, glazes, kilns. $15.00 makes the book unique. $4.00 m ~s described and demonstrated. $10.00 POTTERY WORKSHOP by Charles Counts. A complete studlo-work- A POTTER'S BOOK shop manual which guides the apprentice- by Bernard Leach. Now in its twelfth Amer- reader from clay to kiln in 250 step-by-step ican edition, this book should be in the photos. Written by a master craftsman, it library of every potter. $12.7S STONEWARE AND PORCELAIN will serve as an inspiration and guide for by Daniel Rhodes. Describes techniques and all students of pottery. $8.95 CERAMICS materials used in high-fire pottery. Includes DESIGN MOTIFS OF ANCIENT MEXICO by Glenn C. Nelson. A new, revised and en- sections on clay bodies, glazes, colors, tex- by Jorge Enciso. A compilation of 766 ex- larged edition (3rd) of a favorite title. An tures and decoration. $7.50 amples outstanding divided into geometric, natural and handbook for potters and RAKU: artificial forms. Includes designs teachers. 348 pages, hardcover. $10.95 ART & TECHNIQUE based on by Hal flowers, birds, fish, etc. 170 pages. $2.50 Riegger. The first complete book on Raku. Covers clay and glaze preparation, STEP-BY-STEP CERAMICS SELLING YOUR CRAFTS kiln building and firing techniques. Beauti- by Jolyon Hoisted. A complete introduction by Norbert N Nelson. This book leads you fully illustrated. $12.95 to ceramics! There are special sections on through the actual stages necessary to sell the Potter's Wheel, Glazing, Firing a Kiln, successfully what you produce. Covers such METAL ENAMELING Building Your Own Kiln, Decorating Tech- diverse channels of sales as wholesale, retail, by Polly Rothenberg. The emphasis in this niques and Raku. $2.50 mall order and specialty markets. $3.95 book is on new methods of enameling and new applications of the age-old techniques. Order Form We Pay Postage Many of these unusual experimental projects have never before been published. $7.95 BOOK DEPARTMENT Box 4548, Columbus. Ohio 43212 CREATIVE CLAY DESIGN by Ernst ~ Baqer~Nature $14.95 [] Enciso--Des;qn Kriwanek--Keramos $4.00 Rottger. A wonderful aid to those $2.50 [] who are learning and those Bali--Pottery $10.95 ~ Hoisted--Ceramics $2.50 leech--Potter's Book $12.75 who are teach- F~ ing others how to explore the creative [] BalI--EnamenncJ$9.95 [] Hornunq--Desiqns $2.00 [] Nelson.~Ceramic$ $10.95 possibilities of clay. $5.95 Berensohn--Find;ng $9.95 [] Kenny--Des|qn $9.95 [] Nelson--SelHncJ Crafts $3.95 [•Cardew--Pioneer $15.00 [] KennylSculpture $9.9S [] Noble--Attlc Pottery $25.00 THE WORLD [] Counts--Workshop Nattiness--Objects OF JAPANESE CERAMICS $8.95 [] Kenny~Pottery $7.50 $14.9S by Herbert Sanders. [] Norton--Artist Potter $9.75 This handsome book Parmelee--Glazes illustrates the forming and decorating pro, $14.95 cesses and the unique Piepenburq--Raku $12.95 tools used by thG potters of Japan. Includes glaze formulas NAME _ [] Rhodes--Clay & Glazes $12.50 color charts, and American equivalents ol Rhodes--Kilns $10.00 Japanese glaze compositions. $15.00 ADDRESS q Rhodes--Stoneware $7.50 Rieqqer--Raku $12.95 POTTERY: FORM AND EXPRESSION CiTY STATE ZIP Rothen be rcj--En mea lin cJ $7.95 by Marguerite Wildenhain. A truly Rottcjer~Creatlve Clay beautiful $5.95 book! Magnificent pictures of the author at I enclose [] Check ~ Money Order Sanders--Japanese $15.00 work and of ancient and contemporary Wildenhain~Pottery pot- (Ohio residents: add 4% Sales Tax) [] $9.95 tery. An outstanding gift selection. $9.95

48 Ceramics Monthly portable. CERAMACTIVITIES Continued from Page 47 PRIMITIVE POTTERY IN PROVO From Brigham Young University in Provo, Utah, Warren Wilson of the art and design department writes that Maria Martinez and her methods of producing the beautiful burnished black pottery of San Ildelonso was the initial inspiration for a primitive So where's the handle.,.?, you're asking. pottery class held in 1972 involving The JUEGE, unlike any other full.sized 15 potters. Wilson gas kiln, won't tie you down. With a few comments tt .... sunple tools, the JUDGE quickly disassem- bles into flat sections easily moved from We found the pot- where you are to where you're going. ters' problems are Of course, no one invests in a kiln just compounded when for the novelty of moving it around. That's working in a prim- why. we designed the JIJE~E as a down- itive setting .... dr,fit kiln with sixteen cubic feet of usable stacking space and engineered it for con- wbere the challenge sistent, economical, predictable and trou- is 'How do I find ble.free firing. the clay and pre- Now, isn't that ~,}~at a kiln is all about? pare it; then, what forms of pottery are appropriate to the clay I have found, the limited tools I can make, and the firing methods available'?" Assuming this challenge and using guidelines set in 1972, another group of Brigham JUDOE Young University pottery students--taking equipment, and a minimum abZe Ga~ ;'ood, camping the ultimate The ~:rrt, of tools--camped in the Wasatch Moun- SHIMPO pottery wheel 13m~,"aR XiIn tains, just east of Provo for ten days in of 1973. They dug clay from • Both clockwise and counter- Reduction Production lob B'way Cambridge. MA 02130 the summer the canyon walls, refined it by grinding clockwise operation free washing, dried it to a working con- • Completely maintenance and operation of (pictured), or by • Vibration-free sistency in the ground wheel head • Free-spinning wheel head NOW! All New • Operation is safe, simple Potter's Specialty Tools: • Variable speed, anti-corrosive wheel head Saggur Maker's Bottom Knocker, Banana ' 1%.a : Ribs, Clay Scoops, Throwing Gauge. For dealership inquiries, contact: Mr Kiyo Tsujii Also: OLYMPIC TORCHBEARER portable gas Me.eubeni kiln with special features AMERICA CORPORATION Write: 50-50 "39th Street, Long Island City, N. Y. 11104 Telephone: 212/973o8065 ROB[RT fi[F POTT[RY Importer for N Y, Vt, Me, Corm, Mass,R I, NH 15227 Cascadlan Way See the Shimpo at these dealers: Alderwood Manor, Wa 98036 Baldwin Pottery (206) 743-972S New York, N.Y.m212/475.7236 hanging it in burlap bags; formed their Cedco Dist. Corp. pottery by hand using handmade tools Hempstead, N.Y.~516/538-1804 (evening work was done by lantern light, Clay Art Center in Port Chester, N.Y.m914/939.9508 AEGEAN SPONGE CO. )i('lurod': and then fired the pieces Brighton, Mass. D 617-787-3612 Cole Ceramic Laboratories Silks, Elephant Ears, Wools Sharon, Connecticut -- 203-364-5025 Grand Street Potters Write for Price List New York, New York -- 212-431-9271 4459 W. S6 St.. Cleveland, O. 44144 Great Barrington Pottery Housatonic, Mass.--413/274-6259 Boston, Mass.--617/742.7876 HUco Ceramics Camillus, N. Y. D 315-487-1461 Please Mention CM Kilns Supply & Service Corp. Mamaroneck, N.Y.--914/698-7040 when writing our advertisers Rare Earth Mudworks Amesbury, Mass.---617/388-4190 Rusty Kiln open fires or primitive kilus, l hr('e types Westherfield, Conn.--203/529-1066 Gare is dressed to kiln of group kilns were built, including a Sculpture House Inc. stainless steel jackets and a 2-year trench kiln, an igloo kiln of clay, and a New York, N.Y.--212/679-7474 • . . in Seeley's Ceramic Service Inc. factory warranty on electrical components. structured open fire kiln, with firing Check Gare's net prices before you make your tepee Oneonta, N.Y.--607/432-3812 next kiln purchase and make a killing. permitted only in a large open field at Stewart Clay Co., Inc. the camp for minimal fire Inc. one end of New York, N.Y.--212/226-7452 Gare Ceramic Supply Co., hazard. Jack D. Wolfe Inc. P.O. Box 830, Haverhill, Mass. 01830 Continued on Page 50 Brooklyn, N.Y.--212/387-3607

February 1974 49 Walrus Woodworking Clays-- CERAMACTIVITIES STOHEWARE Continued #ore Page 49 Preceding the actual camping experi- EARTHEHWARE ence, the course began on campus, with a morning of orientation and included PORCELAIH films, lectures, and demonstrations by the White, Terra instructor and by knowledgeable people in Cotta, the areas of geology, ceramic engineering, Buff, Red and Brown ~ and survival methods. Vra;ling Wilson comments further " .... after a final critique and evaluation of the experience, those participating will be more understanding of the problems of all Sturdy design D 150 lb. concrete flywheel neighboring cultures who work and live $150.00 under primitive conditions." Photos: Eliza- beth Brow and Dennis KITS m easily shipped Zupan. RINGLING MUSEUM CRAFT SHOW • Camplete frame, metal parts and Coming from every corner of the form far casting your own con- state, crete flywheel m $132.00 48 of Florida's leading craftsmen displayed and sold their pottery, ceramic • Metal Kit $$2.S0 ppd. -- with and metal plans sculpture, jewelry, and textiles at the Second Annual Juried WHEELS AND KILNS IN • Hardwood models available Outdoor Craft Show on the grounds of the Ringling Museums STOCK AT ALL TIMES in Sarasota, November 30-December All prices FOB Boston I. WE GIVE SERVICE m TRY US! Custom and production woodworking Send for catalog ~ no charge. Dealer inquiries invited We carry all Ceramic Supplies. For more information D BYRNE Walrus Woodworking lS Tudor St., Cambridge, Mass. 02139 CERAMICSUPPLY CO. Inc. (617) 864-7112 95 Bartley Road, Flanders, N.J. 07836 (201) 584-7492

Juror for the show was Richard La/ean, Clay who selected the work of Roberta Marks (pictured, kneeling) of Coral Gables for the top ceramics award. Honorable men- Art tion in ceramics went to Barbara Culbert- ;fi: W H Stok-Box . 4x4x6x4x12 12 IDEAL FOR: CLAYS, GLAZES, MODELING TOOLS, Center SMALL GREENWARE, FINISHED PIECES, ETC. MOLDED IN WHITE, RED. BLUE AND GRAY Distributor of .',; ,T E ~,~F i AT*qL:,:: ":: brent

skutt Please Mention CM when writing our advertisers shimpo son, Sarasota, and to llclen Bennett, Or- lando. Ms. Bennett is shown standing with ohaus the display of her work. A total of 18 potters participated in the successful event. THE NOVA SCOTIA kemper r)ESIGNER CRAFTSMAN ASSOCIATION An association of 27 leading craftsmen pacifica of the Province of Nova Scotia was organized and named the Nova Scotia De- CLAYS signer Cra#sman Association in February GLAZES thermolite 1973 for the purpose of coordinating the TOOLS craft expression, products, and activities of its members. Association president, Tom KILNS 40 Beech St. Port Chester N.Y. Taylor writes that "the members are con- Schools and institutions write for (914) 937-2047 cerned with the fact that crafts should be FREE literature. 342 Western Ave. Brighton, Mass. taught in the school system to establish (617) 787-3612 a future source of competent professional Continued on Page 51

50 Ceramics Monthly HOW DOES JUST PUBLISHED CERAMACTIVITIES Continued [ram Page 50 CRUSADER crafts people; that existing craft instructors operate in a cultural climate; that the LOVE general public be made aware of the Province's craft resources; that the so- called mysteries of craft production be YOUR WARE ? fully explained and demonstrated for en- lightenment and possible participation: that markets should be deveJoped for members who are producing craftsmen and that exhibitions should be activated for those interested in producing one-of-a- kind crafts." One of the objectives of the group was realized with a juried show of crafts, "The Nova Scotia Designer Craftsman Exhibi- tion," at the Art Gallery and Museum Seton Academic Centre, 3Iount St. Vin- cent Unicersity from October 31 through November 21, 1973. Illustrated Dictionary ENDURING NATIVE AMERICAN POTTERS An exhibition of pottery from the South- of Practical Pottery west, on view at the M. H. de Young Memorial Museum, San Francisco through February 15, features the work of Daisy By Robert Fournier Nampeyo Hooee of the Zuni and Hopi (First Mesa) pueblos; and of Maria Chino, Rose Chino, and Ann Lewis Hansen of the ,Icorna lmeblo. This new and unique dictionary .\cc~)r(liT~ to assistant curator Richard was developed from tile vast IIB~ ~ Fang, who traveled amount of technical information ~ ~ to the pueblos and ~ selected 100 works now available to potters. Included ~.~D'J ~.a~, ~¢,At~.4,~V/I~}:~'. ~ for the exhibition, are analyses, charts, descriptions, pot • ~J~,;~,,~l~.~",~*)~[~'~,\'T.~ ~,~-~ ,t" " ,s heheved' - definitions, formulas, materials mak g ,va and equipment, recipes, step-by- lV',#'~"~)v~,4~v~rff~})!.~" introduced to the South- step instructions on processes, J]~i~/~J ~ American ~'~ff,~£~ west from Mexico terms used in ceramics--informa- 'l~~.~icg'W~ as early as 100 tion that is vital to all potters. "~i',-..- B C The Anasazi LET US COUNT THE NAYS... The work is exhaustive in scope thought to I~e the ancient ancestors of the peoples, appear to have begun the nearly 1200 Pueblo • 2361 degrees Fahrenheit, max- and detail. There are A.D. Today the craft about 300 or 400 imum operating temperature... entries which are listed alpha- potters still fashion ceramics with a spirit betically, and over 450 illustra- we mean it sincerely tions which are keyed into their • Cone 11 operation with Space relevant entries. This volume is Age insulation...treats your fin- not only a dictionary, but a valu- est work dearly able reference work as well. • Even firing and controlled cool- the finish on clearly This is the first book of its kind ing, bring and bottom re- to be published for the potter • UNI-BLOC top a blessing and will prove to be an important duce sifting...what that addition to the existing literature • Accurate automatic controls on ceramics. $12.50 never leave you guessing Dealer/Distributor m ~ ~ u m m ~ n ~i mm ~ m of harmony and beauty. Their work ex- emplifies the classic simplicity of form Inquiries Invited II CERAMICS MONTHLY Book Department | dictated by function. Two of the con- Box 4548, Columbus, Ohio 43212 temporary pieces from the exhibition are II Please send me .. copies of ILLUSTRATED jj pictured. Crusader II DICTIONARY @ $12.50 II FRIENDS II Name II LISTEN TO YOUR shows took place Industries, Inc. II An exchange of craft II Address in Macon, Georgia November 27-December 338 WEST 12TH ST. II City. State___ Zip _ II I0. The ceramic work of Ehner and 49423 Frances Taylor was exhibited at Wesleyan HOLLAND,MICHIGAN residents add S0c per copy sales tax. II II Ohlo College, and Anthony and Linda Rice ex- II PHONE (616) 392-1888 II I enclose [] Check [] Money Order hibited ceramics and sculpture at Mercer A Subsidiary of II We Pay Postage ~ Money-Back Guarantee II University. The exhibitions were titled Thermotron Corporation • B BE El 1Eli ell BE lid BB eE ea IN m ~d Continued on Page 52

February 1974 51 EARN A LIVING CERAMACTIVITIES Continued [rom Page 51 In Hobby Ceramics "Listen to Your Friends." These two books show you how. Elmer Taylor is a second year in- TEACHNG HOBBY CERAMICS by Kay structor at Mercer University, and Tony Healy is the complete guide to con- Rice is in his second year of teaching at ducting classes in ceramics, glass, Wesleyan College. Frances Taylor and porcelain and china painting. 35 Linda Rice are craftsmen working in clay. step-by-step lesson plans for the The Taylors' work displayed marked dif- beginning teacher or the old-timer • MOTOR--I/2 HP PERMANENT MAGNET who wants to bring something new ferences in thought and intent. Elmer to hobbyists ...... $7.00 • MAXIMUM TORQUE 1 2120 IN/LBS works with stoneware fired to Cone 10 • SPEED RANGE ~ 0 to 230 RPM while Frances Taylor's lustered porcelain i, (~f a I>ar(,

Order Today from The Library Comer, If you can throw it... your distributor or directly from: CERAMIC SCOPE BOOKS ...Star can turn it[ Box 48643, Los Angeles, Ca. 90048 WRITE FOR FREE BROCHURE work with different media, there is unity in thought. Sculptures by Anthony Rice STAR ENGINEERING were landscapes in concept and made of 256 E. 4300 So., Ogden, Utah 84403 sewn vinyl suspended on metal rods. Linda Rice displayed fanciful ceramic landscapes Ceramic - Potters - Sculpture and fairy-like ceramic figures. Pictured, SUPPLIES left to right: Frances Taylor, Elmer Tay- lor, Anthony Rice, and Linda Rice with Duncan's Complete Line their individual works. Glazes Stains Molds Modeling, Sculpture, & Wheel Clays SCHAUMBURG AT ARIZONA STATE UNIVERSITY Matthews Center Galleries at Arizona Paragon Kilns Shimpo Wheels Ceramics State University, Tempe, recently featured Glaze Chemicals Kemper Tools the work of Donald Schaumburg, Arizona Supply ca)alog $1.S0 by State University professor of art. The diverse exhibition of functional and decora- Free to: Dealers - Teachers . Institutions Glenn C. Nelson tive works included porcelain, stoneware, Houston Arts & Crafts, Inc. and raku, in addition to a ceramic wall. 2048 Marshall - Dept. A, Houston, Tex. 77006 Schaumburg is pictured with sections for the wall. Since joining the faculty at Arizona BIIlIIIIIIIIlIIIIlIIIIIIIIIII[IIIlIIIIIIIIlIIIIIIIIIIIlIIIIIlIIIIIIIIIlIlIILI ---- In this impressive, new edition (third), State twenty years ago, Schaumburg has the author has been particularly con- been instrumental in developing ceramics i Colin Pearson ". cerned for the role played by the pro- Glaze Calculator fessional potter in the studio, in educa- g tion, and in industry. Throughout the ~.A precision made durable, plastic disc calculator-. -.in the form of a circular slide rule. It has 37_-" book Mr. Nelson has introduced new • ~ ~ '-.'~ [ -.commonly used glaze materials and oxides on_-" ideas, materials and equipment, espe- •'the face for instant conversion from formula-'_ -.weight to molecular equivalent or back and-'_ cially in the chapter on kilns. $10.9S :. . • a+~ -.then to unity or percentage. There is complete'_- _-.flexibility for using any other materials however'_- : { , , _-'complex. Instructions are included. $15.00 = am am II J lib mm I am I~ lib lib • • m CERAMICS MONTHLY Book Department I iByron Temple Pottery Box 4548, Columbus, Ohio 43212 yl " -- Box 297, Lamber~ille, New Jersey 08530 _-. Please send me -- copies of CERAMICS, I # "Ill I I:1'1 I IHI I I I ;I I I 111 I I I!]l I IIIIrll SiLl new 3rd edition. @ $10.95 I and a ceramics teaching program at the Name l University, and has trained thousands of Address• students who now teach and practice the art of ceramics in educational institutions City. .State Zip B in this country and abroad; in addition Ohio residents add 44c per copy sales tax. B Schaumburg has an impressive record of 1 I enclose [] Check [] Money Order 1 one-man and group exhibitions throughout I We Pay Postage -- Money-Back Guarantee l the United States. Continued on Page 53 an 1 I I l I l I I 1 I 1 I d 52 Ceramics Monthly LESLIE CERAMICS CERAMACTIVITIES SUPPLY CO. Continued [rom Page 52 LYnlPIC KILNS BLACKWARE OF THE AMERICAS Since 1946 A special exhibit of blackware will be shown at the Museum o[ the American Complete Chemicals Indian in New York City through March. Raw Materials & Equipment The show surveys the production of black- 1212 San Pablo Ave. ware throughout the Western Hemisphere ...... from the sculptural BERKELEY, CA. 94706 achievements of the Chimu of Peru, prized early wares from Mexico, to the refinement found in the famous black° ware produced to- DECALS day in the villages " of San Ildefonso • . the very best ] ...... and Santa Clara in New Mexico. The exhibition pieces range I from cooking ware and ceremonial pieces, send $1.00 for your Please to craft exhibit prize winners, and include complete decal catalog in- ancient and new forms to demonstrate cluding application and both Indian potters for firing instructions. the techniques used by j over 4,000 years. Lewis Krevolin, associate professor of CeramiCorner, Inc. I ceramics at Dutchess Community College P. O. Box 516, Azusa, Calif. 91702 and co-organizer of the exhibition, comments that "blackware appeared at the very beginning of the development of ceramic technology in the Americas. Firing ILLINOIS DISTRIBUTOR at low temperatures, potters discovered that they could produce black instead of SHIMPO.WEST red coloring by limiting the flow of oxygen WHEELS in the fire." The same clays were used for reduced black ware as for red wares. Glazes and paint were never used to achieve the black result. A hard, high- gloss surface was created by polishing the vessel with stones before firing. KICK WHEELS Today potters from North, Central, and South America are still producing pottery The m~dwest's largest warehouse of which continues this ancient technique and ceramic and artist materials: tradition. Of the greatest public interest CERAMIC ART SUPPLY CO. in America is the blackware produced by CENTRAL Indians of New Mexico with 29W 555 Batavia Rd., Warrenville, IlL 60555 the Pueblo the revival of the craft in the 1930's. Maria and Julian Martinez of San Ilde- Here's what you've been waiting for, fonso pueblo in New Mexico developed a the Olympic portable gas kiln. We form of blackware with aesthetic qualities it the Torchbearer, and it fires Ii call which commanded the admiration of col- to cone 10 using natural, propane, or lectors and soon increased in market value SUPPLIES clays • wheels of the butane gas. glazes • kilns and museum interest. "Blackware Americas" emphasizes this development. sculpture • weav Pictured above, left, is a "Modeled The Torchbearer model 282YG is 281/4 CLASSES the form ing • pottery Stirrup Jar," 10xl0 inches, in inches wide and 27 inches deep. (10 of a puma, made in sections with a pol- cu. ft.). A 41/2 inch spacer ring may POTTERY wholesale or retail be added giving 11.67 cu. ft. I THE SALEM CRAFTSMEN'S GUILD Olympic kilns also offers a wide MONTCLAIR N.J. 3 ALVIN PL. UPPER variety of other models to choose 1042 SALEM RD. UNION N.J. from, both gas and electric. For further information send for our brochure, or give us a call today.

Division of HAUGEN MANUFACTURING,INC. ished finish, collected in 1850 by whalers, 2222 North Pacific St,, Seattle, WA. 98103 1250-1500 A.D., Chimu, Peru; Also pic- Phone (206) 632-0120 tured: "Polished Blackware Bowl," 5x8, Continued on Page 54

February 1974 53 CERAMACTIVITIES Continued [rom Page 53 carved relief geometric design, signed "Belen Tapio,'" 1965-1971, Santa Clara, Send for New Mexico. colorful ~ ( "~ The exhibition was planned by Frederick brochure [II I I Let the Walker Pug Mill mix J. Dockstader, director of the Museum, .'7.o, d~ll t l ,ourcia, E.mioate ~rud~er, for the purpose of encouraging the tradi- satisfied users~',~'l F'I ... save time for creative tion of native American crafts and to ~"- effort and inqrucfion. foster a greater appreciation for the wide range and sophistication of blackware pottery throughout the Americas. Photos: Courtesy of the Museum of the American Indian, Heye Foundation. hree cones, inc. CHIPPERFIELD WORK AT THE GALLERY A one-man show of work by Mike Chipper[ield, instructor of ceramics at The KILNS IN STOCK Ohio State University, opened on Novem- 4004 Univ. Dr., Fairfax, Va. ber 2 and continued through November 18 (;'03) at The Gallery in Bloomington, Indiana. 273-8887 The exhibition presented two groups of Chipperfield's work--primarily wheelthrown utilitarian pots, and sculptural 0NE-STOP CERAMIC SERVICE forms, both distinctly contemporary. The Central New York Ceramic Supply LIVERPOOL, NEW YORK 13088 213-215 Second St. Sorry, no cataloq available

POTTERS' WHEELS We stock and sell the leadincj potters' wheels --LOCKERBIE, ROBERT BRENT, OSCAR PAUL, SHIMPO-WEST, SPINNING TIGER--wheels to fit every need and budcjef. Send large stamped addressed envelope for brochures. CAPITAL CERAMICS, INC. Phone (801) 2174 South Main St. 466-6471 I10. 13 Salt Lake City, Utah 84115 466-6420 sculptural forms in the show were com- posed of two or three interlocking or ~ CATALOG relating forms using matt glazes applied in FRICTION DRIVER sharply defined areas. Shown from the For Randall Wheels wheelthrown group is a planter with $4.s0-. 3 for $12.°° $1.00 thrown and applied rim decoration. F.O.B. TROY, MICH. C.O.O. ONLY Catalog Sent Free Specify 1/2" or 5/8" Hole PALM BEACH, FLORIDA CERAMIC SHOW To Schools & METRO SUPPLY CO. Institutions The Fourth Annual Pottery Fair, spon- 1774 Maplelawn Troy, Mich. 48084 sored by the Ceramic League o[ the Palm VAN HOWE CERAMIC SUPPLY CO. Beaches, was held December 1 and 2 at 11975 E. 40th, Denver, Colorado 80239 the Norton Gallery School o[ Art, West FRANCOISE CERAMICS, INC. Palm Beach, Florida. Hortense DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes, Aronson UndercjIcrzes, Bisq-Stain and Molds. IN STOCK: writes that 20 members participated in the Large selection of Alberta • Areel • Atlantic • Fres-O-Lone • Holland • Jamar-Mallory • Kentucky • Kimple • Ludwig-Schmid • Weaver & White Horse Molds • Slip-O.Mafic representative. Complete ceramic supplies. WHOLESALE AND RETAIL L L KILNS 113 49th St. South St. Petersburg, Fla. 33707 ... the most complete liner The only kilns with patented DYNA-GLOW element holders. Write far information. L and L MANUFACTURING CO., Box 348 144 Conchester Rd., Twin Oaks, Pa. 19104

We're celebrating our 22nd year of publication! Fair with sa,les totaling $6,000 for the two- day event. In preparing for the sale, Doris Sold only Rockenbock and Doris Henriquez are by shown working in an outdoor sales area. Authorized Dealers Send news, and photos, i[ available, about 1147 E. Elm "People--Places--Things" you think will W. P. DAWSON, INC. Fullerton,Calif. 92631 be o] ceramic interest. We will be happy to consider them [or use in this column.

54 Ceramics Monthly Nearly a Quarter of a Century SOUND . . For Those Who of QuJ,.ty. ITINERARY Dema.d tke Very Best. Continued [rom Page 13 & PENNSYLVANIA, PITTSBURGH May 24-June 2 The 15th Annual Three Rivers Arts Festival, sponsored by Car- SAFE negie Institute, is open to artists residing within a l l0-mile radius of Pittsburgh. Media include all crafts, in addition to Sound performance. Safe firing. sculpt:~re, painting, prints, and photogra- Year after year, those are the prin- phy. Entry fee. Deadline entry: April 27. ciple reasons given by ceramists For information, write: Three Rivers Arts for choosing Unique Kilns. Festival, 4400 Forbes Avenue, Pittsburgh 15213. Appropriately named, Unique Kilns do stand above the rest. They are SOUTH DAKOTA, MADISON professional kilns for pros, built March 18-30 Fifth Anmlal Beadle Art- by craftsmen who blend modern ists' Guild Art Competition, sponsored by engineering knowhow with sound, the Beadle Artists' Guild of Dakota State of $210.00 F.O.B. Cresfllne, Ohio traditional skills. This type College, is open to all college and univer- attention to detail assures you FEATURES: in Iowa, Minnesota, Nebraska, sity students kiln • 30" x 30" x 5". 14 ga. rust-proofed North Dakota, and South Dakota. All safe, precise and trouble-free steel pan • 13" cast iron throwing head. media, including ceramics and glass. Cash operation. • 100 lb. 20" flywheel • Height -- 36" and purchase awards. Deadline for entry • Trim bar for foot rimming. • Con- blanks and slides: February 20. For in- of IV2" x 11/2 '' x 3/16" angle structed Art Competition, iron. • All seven po;nts of action are formation, write: BAG precision ball bearing. • Handsome ham- Room 7K, Dakota State College, Madison mer finlshed pan wlth black stand. • HTp 57042. rest Inon-adiustable}. VIRGINIA, PORTSMOUTH May 25-27 The Fourth Annual National Seawall Art Show and Sale, sponsored by H. B. KLOPRNSTEIN& SONS the Portsmouth Recreation Department, is RouteTwo:ffestline, Ohio44827 open to all artists and craftsmen. Jury; Cash prizes; Fee: $12.50; Closing date for ...... L.., registration: May 6. For information, write: Wendy Harder, Supervisor of Spe- Whether you need a major gas or cial Activities, 1 High Street, Portsmouth electric kiln installation or a new 23704. top-loading model for home work- COMPANY shop use, look into Unique. When WEBCOSUPPLY WASHINGTON, SPOKANE you specify our kilns, you get June 8-9 "Ceramics International" is reliability, in the rugged sense DISTRIBUTORS FOR sponsored by the Lilac City Ceramic Club. For information, write: Fern Newcombe, of the word, and durability, not A. D. Alpine, Inc. • Brenf Wheels 6227 North Elgin, Spokane 99208. planned obsolescence. An addi- Shimpo Wheels • Walker Pug Mills tional plus--Unique Kilns are en- Lockerbie Wheels • Randall Wheels WHERE TO GO gineered to lower firing costs and minimize wasted heat and energy. SILICON CARBIDE SHELVES FOR ALASKA, ANCHORAGE Be safe; make a sound invest- IMMEDIATE DELIVERY February S-March 3 The Ninth Annual ment. Remember, owning and for Artists All Alaskan Juried Exhibition that-- 9X20X5/8 -- 11 X28X3/4 and Craftsmen; at Grant H~ll, Alaska using a Unique will be just 10X20X3/4 -- 12X22X:3/4 Methodist University. unique. Check for yourself. Ask 11 X20XS/8 -- 12X24X3/4 for our free catalog. 14 X 28 X 3/4 CALIFORNIA, LOS ANGELES through March 3 "Islamic Art: The Webco Clay Mix Palevsky-Heeramaneck Collection" includes pottery. Will mix 200 lb. clay in 20 min- through May "Paracas and Nazca: An- utes and is self cient Peruvian Ceramics and Textiles"; unloading both at the Los Angeles County Museum SVa Cu. Ft. Ca. pacifY. of Art. Neoprene rubber paddle shaft CALIFORNIA, OAKLAND seals. (Lifetime guaran- February 3-March 3 Exhibition of ce- tee. ) ramics by Ruenell Temps; at the College Grid w/Sag Split- of Holy Names. ter or Solid Top. 3 HP motor through February 8 Mediterranean Pot- 220V Single Phase tery. $875.00 Delivered February 13-April 5 Tea and Other Conf. U.S. Pots; both at Antonio Prieto Gallery, Mills College. Webeo Supply Co. February lO-March 10 Faculty Exhibi- UniqueKilns Box 3054. Dept. CM tion; Art Gallery, Mills College. Tyler, Texos 75701 HED Industries, Inc. Phone: (214) 593-6951 March 2-April 28 "California Ceramics Box 176, Pennington, N.J. 08534 Continued on Page 56 (608) 466-3800 February 1974 55 ITINERARY FLORIDA, KEY WEST INDIANA~ EVANSVILLE March Continued [rom Page 55 1-3 "Key West Sidewa.lk Craft February lO-March 10 The 14th An- Show"; Key ~'est Craft Center. nual Mid-States Craft Exhibition; Evans- and Glass--1974"; at the Oakland Mu- ville Museum of Arts and Science. seum. GEORGIA, ATLANTA February 18-23 INDIANA, INDIANAPOLIS CAI.IFORNIA, PALO ALTO Winter Art Festival; at Lenox Square. through March 17 "Indian Art of the February 16-March 16 "1974 Arts Com- Americas," a traveling exhibition of 500 petition"; at the Palo Alto Cultural Center. ILLINOIS) CHICAGO objects from the Museum of the American Indian; CALIFORNIA, PASADENA February Exhibition of recent works by at the Indianapolis Museum of Art. Donald through February I0 Glass sculpture by Schnell of the Contemporary Art IOWA, AMES Marvin Lipofsky; Workshop; at the Chicago Public Baxter Art Gallery, Cali- Library, through February 20 Annual Clay, Pa- fornia Institute Michigan and Randolph. of Technology. per, Fibers, and Fabrics Show (formerly through March 3 Retrospective exhibi- Annual Clay and Paper Show); at The CALIFORNIA, SAN FRANCISCO tion of ceramics by Robert Arneson; at the Octagon. through February 15 "Contemporary Museum of Contemporary Art. Native American Ceramics" includes work KANSAS, LA'WRENCE from Hopi, Zuni, and Acoma Pueblos; ILLINOIS~ EVANSTON February 1-March 3 The 20th Annual M. H. deYoung Memorial Museum, Gold- February 4-23 "Featured at Calgary," Kansas Designer Craftsman Show; at the en Gate Park. group showing of Exhibit A's gallery artists University of Kansas. through March 3 "American Glass included in "Ceramic Art of the World" Now"; at the San Francisco Museum of in Calgary: Jayme Curley, Ruth Duck- KENTUCKY, HOPKINSVILLE Art. worth, Jack Earl, Bill Farrell, Don Pilcher, February "The Kentucky Artist-Crafts- man," traveling CALIFORNIA~ SANTA BARBARA and Kit Snyder; at Exhibit A, American exhibition circulated by the Kentucky Arts Commission; through February 6 Ceramics by Les Gallery of Ceramics. at Com- munity College. Lawrence and woven sculpture by Jaye February 17-March 17 Evanston Invi- Lawrence; at Galeria del Sol. tational includes work of Patti Warashina LOUISIANA, NEW ORLEANS Bauer, Jack Earl, David Gilhooly, Ken CONNECTICUT, AVON PARK NORTH February 23-March 8 Louisiana College Little, Jim Lorio, and Jim Melchert; at through March 7 The Society of Con- craftsmen's show; at the Louisiana Crafts the Evanston Center for the Arts. necticut Craftsmen New Members Show; Council. at the Farmington Valley Arts Center. INDIANA, BLOOMINGTON MICHIOAN~ DETROIT FLORIDA~ COCONUT GROVE February l$-March 1 Ceramics by Les- through February 28 "Akhenaten and February 14-16 Coconut Grove Arts lie Miley and Prints by John Whitesell; at Nefertiti: Art from the Age of Egypt's Festival; Coconut Grove Art Association. The Gallery. Sun King," includes decorated faience; at

Now NO. 1 in Canada Schools • Institutions • Potters Weoo il such famous I I I ~ r~q n ~ r-~r~ I II ...... II ..... ! Variable Speed POTTER'S WHEELS I CeramichromeInc. II 11 ~v _..~ I I c h The Artist's Choice • • - I I eram,c rome ~AZES on aCOLORS III J '~ t~r er I I 1 P,us° ...... ooLs J Jl full line of I -~ /I general ceramic iF"~--~ / supplies. JR

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IN STOCK Ready Model RK-2 (shown). for Immediate Shipment: All models C.S.A. approved. 14 different types of potter's wheels, a full line of [f.,'(.l~c~ir~ Importer and Distributor kilns, pug mills, and poffer's tools. Harris Linden Ceramics 1772 Genessee Avenue, Columbus, Ohio 43211 518 Bealty St. Vancouver° ILC. Phone: (614) 267-5385

56 Ceramics Monthly DOING SLABS? The Detroit Institute of Arts. Consider ~he MISSOURI, ST. Louis February 3-27 Sculptural Ceramics by MPP SLABROLLER ,m.,.gx Michael Chipperfield, Columbus, Ohio; at Craft Alliance Gallery. MIssouRi, SPRINGFIELD February 1-24 "II Annual Progressive Invitational Exhibit" . . . . Pottery by Lowell and Ruthann Baker; at the Park Central Gallery. NEW MEXZCO, ALBUQUERQUE February 22-24 Six-state exposition of pottery and sculpture; at the Albuquerque Convention Center. the NEW YORK, BROOKLYN maximum through February 15 Invitational Ce- of work by 30 New York ramics Exhibition More than half the work in our shop in precision City area craftsmen; at Pratt Institute. [s done with slabs. We needed a & quiet... NEw YORK, GARDEN CITY fast, inexpensive, reliable way to Designed to fulfill the needs through March 6 Annual Exhibition by make them. The MPP, a sturdy ma- of the most accomplished of the Long Island Craftsmen's the strenu- Members chine that sandwiches the clay be- potter as well as the Firehouse Gallery, Nassau ous requirements of class- Guild; at two strips af canvas, was the College. tween room use through maintenance Community result. free, heavy-duty construction. Entire power system is vibra- NEW YORK, NEW YORK tion isolated for exlremely February 1-16 Ceramics by Robert quiet operation. Piepenburg. For free illustrated brochure February 22-March 9 Exhibition of send your name and address to: work by LiLIi Miller, Greenwich House The Max Corporation, Box 34068, loan exhibition, "Towards a Wasfiington, D.C. 20034, or call potter; and (301) 365-1544. New Ceramic Aesthetic," organized and collected by the class of that title; all at Greenwich House Pottery. through March 3 "Chinese Paintings and Related Ceramics from the Cleveland Museum of Art"; at Asia House Gallery. Wheels Reasonably Priced From: through March 31 "Blackware of the Americas," a special exhibit of 100 ce- will quickly and easily make per- of the It The Potters' Mark ramic objects; at the Museum fect slabs from 1/16" to 21/2" thick, Rd., Gaflinburg, Tenn. 37738 Indian. Route 1, Buckhorn American to 30" wide and as long as 61 S-436.7789 Continuing "The Arts of Ancient Chi- up at The Met- your workspace will permit. Nearly na," include ceramic vessels; the Jropolitan Museum of Art. anything can be passed through raher wffh the clay: rape, burlap, O I~IIO~ CLEVELAND etc. through February 24 Student class work; in the Educational Exhibit Area, The The MPP IS NOT A TOY and con- Cleveland Museum of Art. tains no wood ar plastic. If is 65 m INSTRUCTION - CATALOGS With beautiful color charts pounds of solid machined steel, with m ~70A Ceramic Supplies & Equip. $1.00 OHIO, YOUNGSTOWN union of parts welded ar ~67B Enamel Supplies & Equip .... 50 through February 24 The 26th Annual every Costs refundable with coupon virtually maintenance. Ohio Ceramic and Sculpture Show; at the bolted. It is (FREE to Schools and Institutions) and impervious to abuse. TEPPING STUDIO SUPPLY CO.~ Butler Institute of Art. free professional staff are HALIBURTON All workmanship and materials ONTARIO, Also, February 23-24 Haliburton Winter Car- fully guaranteed for one year. nival; at Lakeview Center. any MPP may be returned within seven days for a full, no-questlons. PRINCE EDWARD ISLAND, CHARLOTTETOWN asked refund. February 17-March 17 "Entr'Acte," Ca- safety POTTERY nadian Crafts in a Theatrical Theme; at Basic MPP as shown, but with Confederation Art Gallery. guard and starter canvas ...... $180.00 EQUIPMENT (Bolts to any table) TENNESSEE, CHATTANOOGA MPP with dual-level through February 28 "Beaux Arts De- 36" x 72" custom table ...... $264.00 SPECIALISTS '72"; at George Thomas signer/Craftsman Brochure available College of Art. LEADING LINES OF KILNS (gas and Hunter F.O.B. Big Spring, Texas electric), WHEELS, TABLES, PUG TEXAS~ AUSTIN MILLS and TRUCKS. February 12-March 24 "Dogon Art Ex- Southern Sales Office covering southeastern University of Texas Art Tenn. and all states south! hibition"; at the U.S. -- N.C.. Museum. STAR POTTERS PAUL STROMGREN & ASSOCIATES Bax 2401 Sf., Tampa, FI. 33609 113 N. 11th TEXAS, EDINEURG BIG SPRING. TEXAS 79720 Calh (8131 831-8081, day or night "Inter-D III"; at Phone: (9151 263-6487 and Service February 4-March 4 Sales Pan American University.

February 1974 57 ]974 LIVE-IN WORKSHOPS Advertisers Index SPRING SUMMER- FALL February, 1974

DANIEL RHODES A-1 Kiln Mfrs ...... 51 PAULUS EERENSOHN Aegean Sponge Co ...... 49 NEW BOOKS Alpine Kilns ...... 10 BRUCE McDOUGAL American Art Clay Co ...... 12 Art Consultants ...... 53 THE HERITAGE OF JAPANESE CERAMICS by Fuiia Kayama Banff School of Fine Arts ...... 5S In the oversize format Beilman, W. J. Co ...... 42 of this vo.lume, dra- Bergen Arts & Crafts ...... 8 matic with handsome photographs, Fujio Big Creek Pottery ...... 55 Koyama presents a Bluebird Mfg. Co ...... 6 sophisticated view of Bray, Archie, Foundation ...... 58 Japanese art from its origins in antiquity Brent, Robert, Company ...... 7 Byrne Ceramics ...... I IG CREEK POTTERY to the present day. The author's concise 50 and irfformative text, along with commen- California Kiln Co ...... 5 DAVENPORT, CALIFORNIA 95017 California Pot-Tools ...... taries on all photographs, serve to present 12 Campbell. Gilmour ...... Cover ,i a clear understanding of much that con- Capital Ceramics ...... 54 tributes to the ceramic traditions of Japan. Central Ceramic Art Supply ...... 53 Central New York Ceramic Supply ...... 54 The first chapter of Part One--The Dawn Ceramic Coating Co ...... 46 of the Potter's Art--is devoted to a dis- Ceramic Scope ...... 52 Ceramic Supply, Inc ...... 8 cussion of prehistoric Jomon ware and Ceramichrmne ...... 8 subsequent periods in the history of the CeramiCorner, Inc ...... 53 Clay Art Center ...... 50 art. Following chapters present informa- Creative Industries ...... 14 CERAMICS t WEAVING tion on: The Rise of the Six Ancient Creek-Turn ...... 52 Crusader Industries ...... 51 JEWELRY * PHOTOGRAPHY Kilns (Seto, Tokoname, Echizen, Shiga- GLASS BLOWING * LEATHER raki, Tamba, and Bizen) ; The Glories of Dawson. W. P ...... 54 the Tea Ceremony; The Flowering Dial-A-Glaze ...... 47 FABRIC DECORATION of the Duncan Ceramic Products ...... 4 GRAPHICS • FOUNDRY Ceramic Tradition; The Riches of Porce- • WOOD E. O. M. Corporation ...... Our lain; and Some Master Potters and Their ,15 sixth year offering two summer sessions Earth Treasures ...... 46 of three-weeks each to high school students SUCCeSSOrS. Estrin Mfg. Co ...... ages 9 14-19 years old. Part Two of the book is a Photo Essay-- Ex-Cel, Inc ...... 14 For information write P. Schauder, Director The Enduring Tradition--a series of black Franeoise Ceramics ...... 5,1 THE HINCKLEYSCHOOL Of CRAFTS and white photographs of present day pot- BOX H, Hinckley, Maine 04944 ters at work, their kilns, and the scenic Gare Ceramic Supply ...... 49 surroundings. Gee, Robert, Pottery ...... 49 Geil Kilns ...... 6 Included is an introduction by John THE BANFF CENTRE Alexander Pope, an Appendix (chronologi- Harris Linden Ceramics ...... 56 School Haugen Mfg. Co ...... 53 of Fine Arfs cal listing of ceramic sites and kilns), and Hinckley School of Crafts ...... 58 Hiro Distributm's ...... Ceramic courses all levels April fhru Sept. a selected bibliography. 252 pages; 56 95 Houston Arts & Crafts, Inc ...... Excellent facilities and instruct on including: color photographs and 51 52 F Carlton Ba . Victor Brosz Luke Lindoe, monochrome Ruth Duckworth, Les Mann ng, ~.taurice Savole. gravure. $50.00. Weatherhill, New York Industrial Minerals ...... 6 Iron Star Potters ...... For calendar and full particulars write and Tokyo; and Tankosha, Kyoto. Dis- 57 School of Fine Arts. Banff. Alberta, Canada. tributed by John Weatherhill, Inc., 149 Jacqueline Ceramic Art ...... 11 Madison Avenue, New York, New York Joy Reid Ceramic Studio ...... 47 10016. -- toe L Kemper Mfg. CO ...... 44 Keramos Books ...... ARTS 14 ARCHIE BRAY OF JAPAN 2 Klopfenstein, H. B. & Sons ...... 55 KYOTO CERAMICS FOUNDATION by Masahiko Sato L & L Mfg. Co ...... 54 After tracing the origins and development Leslie Ceramics Supply Co ...... 53 of Kyoto ceramics MMER SESSION with detailed historical Marubeni America Corp ...... 49 information about the elegantly Max Corp ...... 57 Ceramics and Glassblowing decorated Mayco ware, the author offers Colors ...... 13 a study of the Menco Engineers ...... Cover 3 2915 Country Club Avenue - Helena. Montana 59601 careers and work of Nonomura Ninsei and Metro Supply Co ...... 54, 50 I =Or t Minnesota Ogata Kanzan, two master potters of Clay Co ...... 41 Kyoto. The volume is handsomely illus- Ohio Ceramic Supply ...... 50 trated with 110 black and white and Orton Ceramic Foundation ...... 41 color Oscar-Paul Carp ...... photographs. 133 pages; $4.95 soft bound. 54 1000 Pacifica Crafts ISLANDS MUSEUM John Weatherill, Inc. 149 Madison Ave- ...... 42 Paragon Industries ...... 46 nue, New Paramount Ceramic ...... CRAFT SCHOOLCLAYTON,13624 N.Y. York, New York 10016. 12 Pinyon Crest ...... 44 BATIK, EARLY AMERICAN DEC- ARTS OF JAPAN 3 Potters' Mark ...... 57 ORATION, CHINA PAINTING, June 24 TEA CEREMONY UTENSILS ENAMELING, LEATHER, PAINT- Reduction Production ...... 49 I N G, PORTRAITURE, REYERSE fhru by Ryoichi Fuiioka Reward ...... 15 PAINTING ON GLASS, Augusq 29, The adventure of the Japanese tea cere- Rovin Ceramics ...... 3 SKETCHING, SCULPTURE, mony in STAINED GLASS, WEAVING 1974 the 16th and 17th centuries Salem Craftsmen's Guild ...... 53 AND WOODCARVING. provides the Scott Creek Pottery ...... I I inspiration for this book. The Shimpo-West ...... For many Cover 2 further information write ¢o: ceramic utensils needed for the Skutt Ceramic Products ...... 16 EMILY POST, Director ceremony are discussed in Soldner Pottery Equipment ...... 5 10 Eoudlnot Street, Princeton, their historical Star Engineering ...... N.J. 08540 context. These 52 After May 1st to: include the tea bowl; tea Stromgren and Associates ...... 57 caddy and tea leaf jar; tea scoop; 1000 ISLANDS fresh Temple, Byron, Pottery ...... MUSEUM CRAFT SCHOOL water jar; and waste-water 52 CLAYTON, 1000 ISLANDS, N.Y. 13624 jar. Since the Tepping Studio Supply ...... 57 traditional tea ceremony includes accom- Thompson. Thomas C.. Co ...... 15 panying Thousand Islamls Museum ...... 58 flower arrangements, this volume Three Cones. Inc ...... 54 presents interesting historical information Unique Kilns ...... 55 SAN DIEGO Kickwheel Kit -- $6%00. about ceramic flower containers. The book Robert Bren¢, Lockerble, Oscar Paul, Shlmpo is generously illustrated with black and Van Howe Ceramic Supply ...... 54 wheels, Electric and Gas Kilns. Pug Mills, Ac- white, and colored photographs of the vari- Walker Jamar Co ...... 54 cessorles and Supplies. Phone: 424-3250 ous ceramic utensils used, as well as flower Walrus Woodworking ...... 50 Way-Craft ...... 5~ containers. 142 pages; $4.95 soft bound. Webco Supply Co ...... 5.-) WAY-CRAFT John Weatherill, Inc., 149 Madison Ave- Westby Ceramic Supply ...... 47 394 Delaware St., Imperial Beach, CA 92032 Western Ceramic Supply ...... 42 nue, New York, New York 10016. Wheelcraft, Ine ...... ,i !

58 Ceramics Monthly relnq

tiger" - ~/// ~- ~/~j~,J Y (The Number One Selling Wheel in the World)

~'~ OUR R EGU LAR OUR NEW / ~ ~~ I.~ SPINNINGTIGER SPINNING TIGER II • Has a 1/3 H.P. DC Motor • Has a 1/2 H.P. Permanent ' • Sells for $149.00 Magnet Motor ~~-',~i • Will throw 25 Ibs. of clay • Sells for $199.00 • Ideal for hobbyists and • Will throw over 60 Ibs. of clay the classroom • Is of special interest to • This is the beauty within the professionals and advanced budget of practically everyone students ~ i~~:: I~ Both models have: • A price half that of its nearest competitor • Complete portability - weighs 18 Ibs. - utterly rigid STUDIO, DEALER, ,~- ~ i • Solid state feedback speed control circuitry - 0-200 RPM's AND SCHOOL • Maintain any desired speed with the foot pedal control - INQUIRIES INVITED infinitely variable. 3 wire grounding for your protection 12 inch diameter aluminum wheel head Optional splash pans at $11.85 Optional stand - fits both models - at $17.85 6 months unconditional guarantee. 200 Volt Models Available for European Market

OUR BRAND NEW TIGER ROLLER Smoothly rolls 18 x 36 inch slabs with infinite thickness variation between 1/32 and 1 1/4 inches. Adjust for thickness ~in seconds. Other rollers stretch the clay. The Tiger Roller compresses it by a smooth running Nylon gear drive. Instant release of clay--will not stick. Weighs only 35 Ibs. Less than half the price of any other make and infinitely superior. Sells for $189.00

mmmlmm I Another Tiger coming next month/ mmmlmIImmnmIm m mIm mm mmmImm m Im mmm mmln our m . .co ,.c. m A Jigger Arm Assembly to fit i 6620 Crebs Avenue Number of wheels wanted wheels. With our Jigger Arm, Tarzana, California 91356 I I templates and molds you can make I Phone (213) 881-1167 (1/3 hp) your own set of identical china or I IName (112 hp) I patioware in one afternoon. I Address I Pieces just as accurately formed l Number of splash pans I as fine china. m c,.v _ .rand. I m state _ m New l)ger Roller I Shipped Freight Collect " | I Send cash, check, or money order. I l California residents add 5% sales tax I | Resellers send California resale certificate. Made Jn U.S.A.- Patent Pending I i ii ii i t il~iI ImI~ mR III i i ~ m ii iii i ~ iii n n i ii i i iiii m ilii for HOBBYISTS • SCHOOLS • ART & CRAFT CENTERS • INSTITUTIONS

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PORTABLE Carry it with you anywhere wi,~o~ si~. Po,,, • Bats fit our hand wheels shown) $172• 50 • Each student may have own bat and place on hand wheel PANS CAN BE PURCHASED without losing center SEPARATELY TO FIT YOUR $16.50 Each 110 Volt - AC. DC. ONE YEAR SERVICE WARRANTY PRESENT E-6 MODEL.

.... 142SII Malden, Detroit, Ml¢Idgan 48213 3 3 68