BACK-TO-WORK ISSUE SEPTEMBER 1971 60c
• ~ ~ ~ ~- y •~ ~i•: ¸••¸¸~ ~ , •• ......
%.•
f ~J Quality Handbooks on Ceramics for Hobbyists • Schools • Libraries • Craft Centers
THROWING ON THE Potter's Decorating POTTER'S Throwing Wheel Pottery on the Projects with Clay, WHEEL Potter's Slip & Glaze ~*.v THOMA~ SELLerS Wheel edited by Thomas Sellers by F. Carlton Ball • m ...... by Thomas Sellers
The projects in this handbook pro- This beautifully illustrated book ex- A complete manual on how to use vide step-by-step instlxlction on a plores many easy methods of deco- the potter's wheel. Covers all basic wide variety of special throwing rating pottery with clay, slip and steps from wedging clay to making techniques, with each project demon- glaze. Those who lack skill and specific shapes. Clearly describes strated by an accomplished crafts- confidence in drawing and painting every detail using step-by-step photo man. Bells, bird houses and feeders, will find special pleasure in discov- technioue. Includes section on selec- musical instruments, teapots, and ering the easily executed decorating tion of the proper wheel and acces- animals are just a few items you'll techniques devised by this master sory tools. Used as a text in many find presented. 64 pages $2.00 craftsman. 64 pages $3.00 colleges and schools. 80 pages $4.00
Ceramic Copper Projects Underglaze Enameling edited by Decoration I)y Jo Rebert Thorn.- s Sellers by Marc Bellaire a..d Jean O'Hara % An outstanding selection of projects This complete handbook has all the Recognized as the best in basic in- for the classroom, home and studio. answers on m~terials, tools and tech- stl~action, this elaborate handbook Each project introduces a different niques. You'll like the startling vari- has over 200 photographs. Includes method of working in clay. Foun- ety of new designs Marc Bell~ire fundamentals and helpful, illustrated tains, planters, jewelry, bottles, creates before your eyes. Step-by- how-to-do-its on jewelry. Twenty- bowls and many other unique items step projects are profusely illus- one different projects are complete- are presented complete with photos trated. 37 projects in all -- 286 lively ly described. Highly recommended and step-by-step instruction that is illustrations. A practical guide for by leading enamelists and teachers easy to follow. 64 pages $2.00 the beginner. 64 pages $3.00 everywhere. 64 pages $2.00
BOOK DEPARTMENT Box 4548, Columbus, Ohio 43212
Please send me the following: [] Ceramic Projects @ $2.00 ,'Z Potter's Wheel Projects @ $2.00 E Underglaze Decoration @ $3.00 Brush Decorating Pottery with Decoration Clay, Slip & Glaze @ $3.00 Z Copper Enameling @ $2.00 for Ceramics _~ Throwing on the ~ Brush Decoration for by Marc Be:laire Potter's Wheel @ $4.00 Ceramics @ $3.00 A fascinating book on the use and I enclose _-- Check ::~ Money Order (Ohloresidents add 4°~ sales tax) care of blx]shes. Shows how to make many designs for decorating ceram- Name ...... ics using just three basic b~shes -- the watercolor, liner and square shader. Designs and sketches shown Address ...... in this exciting book will offer many decorating ideas. Excellent choice for City State_ __ Zip beginners. 64 pages $3.00 U~
+ | i +" o- ~ +l '"+ +++i + i <_~++ < . ~ | z~ - ~ ~ , . 0 _ o+- !+~. +<++++++m ++i i ++++=+ _i_+ <>~. I.! , ++ 1_= i =l o I -° + ,+ + o:_ +o+_ t+.+ ++:,- _z. l++ml+>"- ~ k- ++ - -" -; + ~ ~ u-o . ,,,,o : i ,; =a'~.~ .=| ~ ==+rag- ~ +. + i <'- =<" <
o ew • o i of 0:o u ~ +- 1 u~i " .,n +i =.~='],v, ~ ~: - < < ,< < > U tl <- >4u"~iu~e~_t=#glJ<_. ~ :-uJ
l+ xm~.J.muwu~ ~-m=~
u ~ • ~ z ~z
i ++.+,++++°+..... o,+ + !! ~,;. o.; ~ ~<>~ o: o. ><- . - +- 0-.; 0~5 w~ 0.: I- .~-- Z - .a "7" ~ o~ w | i i i i =• z _o ! a +0 +,~, ~! > > 1: 1: m 0 ~ ~ ~ o -~ ~, i °r *°" "° ] !h ~Z2 - i~ i"-.++~ (i!<- < ,.u w =c c=, .., z < 4 w 8 F >L h | I o+1 (n l .jt_ o ,+ .~o+oo0 ~o c}_+n" I- :E "~ :E o= .... ~=- ,~ - ,.~ =-~ o _, - o :~ :E = v) o .... ,o. .... < ..... +..o.. _z~e .~ ~ z~ ~ :~ z,.~ ~z- mw~< o3:Z_x~ ...... <~ i~ u.. September 1971 3 Putting Ceramic Technology To Work Pug Mills Muller-Mixers Ball Mills, Jiggering Outfits Contact Your Distributor 4717 AMERICAN ART CLAY CO., INC. • WEST SIXTEENTH STREET • INDIANAPOLIS, INDIANA 46222 For safety's sake ~loS.Z~9s~!~u~o ~u~o v. • LEAD-FREE COPPER ENAMELS For years a prime reason for ap- prehension among craft instructors has been the lead which is con- centrated in copper enamels. ,.9 The CERAMIC COATING COMPANY has now eliminafed *his hazard. E. You owe it to your own health and #-- ' x~ that of your students to use the safest product available. Choose fhe safe enamels, wrife: CERAMIC COATING COMPANY (~ --"0 P.O. Box 370, Newport, Ky. 41072 Largest domestic manufacturer el enamels for both art & industry I 4 Ceramics Monthly WILLIAMSBURG MONTHLY POTTERY Volume 19, Number 7 September 1971 Special BACK-TO-WORK Issue LIGHTFOOT, VA. 23090 Letters to the Editor ...... 7 Itinerary ...... 9 Suggestions from Our Readers ...... 13 Marianne de Trey by Eileen Lewenstein ...... 14 Now available from our pottery factory, Throwing the Large Plate by Stanley H. Lee ...... 18 our own plastic clays. We use these clays Three Slip Trailing Techniques by Robert Fournier ..... 21 every day on our potter's wheel. Moist Tz'u-chou Stoneware ...... 24 in poly bags: Handbuilt Puzzle Jugs by Robert F. Eilenberger ...... 26 Room Design and Curriculum Planning by Charles Rash ...... 30 White-Cone 04 to 12 -- 6¢ Lb. F.O.B. A Potter's Trip by Keith Morton ...... 32 Fluoride Glazes by Richard Behrens ...... 33 Red-Cone 04 to 8 -- 4¢ Lb. F.O.B. CeramActivities ...... 34 New Books ...... 41 Index to Advertisers ...... 42 40 YEARS C)N THE POTTER'S WHEEL On Our Cover Ovoid stoneware jar of the Tz'u-chou type probably dates from the Sung Dynasty (960-1278) in China. The piece, which is approximately 14 inches high, was decorated by coating the leather-hard clay with a dark chocolate-brown slip that was scraped away to leave the shoulder bare. The wide band which extends from shoulder to waist was incised through the slip to the body in a design of triangles framing foliate scrolls and a LOOK WHAT THOMPSON hatched background. The jar, probably designed to hold a blooming spray or two or three flowers, nobly fulfills the objec- OFFERS YOUi tives of the Sung potter--sound potting, heavy and robust shapes, and skillful decoration. Other examples of Tz'u-chou pottery are pictured in the feature article on page 24 of this issue. Photo: Courtesy, Cleveland Museum of Art. Editor: THOMAS SF..LLERS Assistant Editor: FRANCES SAWYER Art Director: ROBERT L. CREAGER Circulation Manager: MARY RUSHLEY Advertising Manager: CONNIE BELCHER Would you believe that all of the items pictured above can be Publisher: SPENCER L. DAVIS yours . . . and get you started enameling . . . for only ~pI.9.50? Thompson's catalog introduces a new F. Carlton Ball; Richard Yes, that's correct, Advisers and Special Contributors: package consisting of an electric kiln (inside dimensions m Behrens; Kathe Berle; Edris Eckhardt; Zena Hoist; John Kenny; 5" wide, 7" deep, 4" high.) and including a CAREFULLY Karl Martz; Ken Smith; Helen Worrall; Don Wood. SELECTED group of enamels, metal shapes and supplies . .. everything you need to start enameling immediately . . . Western Advertising Representative: Joseph Mervish Associates, for only $49.50, plus shlpp~ng charges. Send your order to- 4721 Laurel Canyon, Suite 211, North Hollywood, California day with payment for prompt shipment. 91607. Telephone: TR 7-7556, Area Code 213. The new Thompson catalog, along with its famous Color Guide, is waiting for you . . . just mall the coupon and it will be on its Copyright 1971 Pro[essional Publications, Inc. way . . . absolutely FREE...... Ceramics Monthly September 1971, Vol. 19 -- No. 7, Published monthly except July and August by Professional Publications. Inc. -- S. L. Davis, Thomas C. Thompson Co. Pres., P. S. Emery, Sec.; at 1609 Northwest Blvd., Columbus, Ohio 43212. Dept. CM 9 m 1539 Old Deerfield Road Correspondence concerning subscriptions, renewals, and change of address Illinois 60035 should be addressed to the Circulation Department, Ceramics Monthly, Highland Park, Box 4548. Columbus, Ohio 43212. Second Class postage paid at Athens, [] Enclosed is payment for new k;ln package. Ohio, U.S.A. Subscriptions: One year $6: Two years $10; Three years $14. tax.) COpyright 1971. All rights reserved. (lllinols residents add 5% sales The articles in each issue of Ceramics Monthly are indexed in the Art [] Please rush FREE Thompson Catalog. Index and The Readers' Guide to Periodical Literature. Microfilm copies are available to subscribers from University Microfilms. 313 Name N. First St., Ann Arbor, Michigan. Manuscripts and illustrations dealing with ceramic art activities are welcome and will be considered for publi- Addres~ cation. Manuscripts should be typed double-spaced and range from 500 to 2000 words. Send manuscripts and COrrespondence about them to the City State Tip FJditor, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. September 1971 5 CONSIDER.... 6 Ill and its advantages ARE YOU A TEACHER WHO WANTS TO USE STONEWARE BUT FEEL YOU ARE LIMITED BY AN ELECTRIC KILN? Then Moroccan Sand Cone 5 products are the perfect answer to your dilemma. They are made to fire in an electric kiln and will pro- duce the same results that are achieved by firing to Cone 10 with gas. DO YOU RUN A PARKS AND RECREATION PROGRAM BUT HAVE A LIMITED BUDGET AND LACK ADEQUATE SPACE? Then use Moroccan Sand Cone 5 Stoneware Rising from the east like a throbbing beacon of products. You need not stock expensive basic ingredients or use up valuable space to store crystal light, Shimpo West RK 2 and RK 3 them. Moroccan Sand Glazes, Oxide Stains, Potter's Wheels have been performing and Engobes come prepared, ready to use right great feats out of the jar. There is also less waste because of dash and dare, astounding all by their undim- the students need not mix things themselves and you need not find yourself spending time inishable achievements. Be amazed! Write for in the corner of the room mixing glaze when you could be with the students. a free brochure. AVAILABLE THROUGH MANY CERAMIC SUPPLIERS ALL OVER THE COUNTRY. I CRAFT DIVISION WlCIITWOOD C]~RJkI~IIC BUPPLY CO. SHIMPO-WEST P.O. BOX 2315, LA PUENTE, CALIFORNIA 91746 IkVA'; $4400 LOM/TAI~ AVE.. CiTY OF INDUSTRY. CALIF. 1117as& 6 Ceramics Monthly LETTERS Share your thoughts with other CM read- TO MARKET, TO MARKET CERAMICS AND MACRAME ers-be they quip, query, comment or ad- "To Market, To Market," by the Wol- The article on "Canteen Forms" by vice. All letters must be signed, but names vertons (May, June 1971 CM) were two Don Johnson and Dale Peterson (in the will be withheld on request. Address: The super articles. I have been in local art April 1971 CM) came up with an excel- Editor, Ceramics Monthly, Box 4548, Co- fairs in the last few years and the article lent idea, and it is something I would lumbus, Ohio 43212. is exactly as I would have written it. I like to try. In the text there was a mention didn't even think about other potters hav- of using maeram~ for straps and handles COVER VERSUS ENVELOPE ing the same problems, but the Wolvertons on the clay forms, but the finished pots Really, can't we be done with this cover wrote every detail just as it happened to were not pictured. I wonder if you could versus envdl-~pe thing! As with other me. Paula Sharp persuade the authors to provide a picture things, appe~ance-wise -- short hair, long Southfield, Mich. or two of some finished canteens with the hair -- whe¢'s without has very little to macram~ work on them? I am particularly do with whkt's within. And even as our interested in this because I work in both young souls of today look a little tattered In your May issue, I am very concerned ceramics and weaving, and have been ex- at times (don't we all) and sometimes about a statement in the Wolverton ar- perimenting with macram~ recently. within also -- a prescribed amount of ticle: "While no potter will ever be Fran Worth T.L.C. does wonders for smoothing out adequately compensated for his time, Buffalo, N.Y. souls and even a few rumpled pages at labour and love lavished on his work . . ." times. This may be an acceptable situation for The authors answered promptly and If the quality within CM remains as the hobbyist, but the professional potters ,,~zt al, m~, ~h;~ ph,t,,~raph of two can- high and stimulating and continues to of both the United States and Canada grow, as I have observed over just the prove this wrong daily. last year, I should be content with life. If the wholesale price, including the Dawn V. Coleman labour, material and overhead, cannot be Dayton, Ohio doubled and still produce a salable re- tail price, too much of something is being It occurred to me that we had not com- "lavished" on the work. plimented you on the new mailing covers. All CM's have arrived in beautiful con- There is obviously room for both ways of life, but when the hobbyist enters the dition. No muss, no fuss, and all that market place he comes in competition with beautiful paper to write on! And Francis Merritt's tastefully-present- the professional, ]ike it or not. ed "Haystack" in the June issue is a Gordon Barnes teens, one with a .~tz,ulder .~trap and an- knockout. Lee McCarty Ontario Craft Foundation other with clay handles wrapped with Merigold, Miss. Toronto, Ont. fibers. --Ed. for Perfect Color Bisk-Chrome The paints for all sessions VERSATILITY...Bisk-Chrome water soluble acrylics ...Ready to usemcan be mixed or blended...Apply with brush, sponge, spray or fingertips--On paper, wood, canvas, paper mache and leatherwrequires 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 Bisk-Chrome 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 P.O. Box 2086 Gardena, Calif. 90247 Ever)/ Bottle September 1971 7 CERAMI CRAFT Gas Kilns New "The Pint Size Brute" Lid Bisque through Stoneware . .. Cone 10 (2350 °) • . . Fires on home gas pressure, Y' water column and •.. Kiln walls are 41/2" of I.F.B., and I/4" asbestos • . . Lid and bottom are 3" of I.F.B .... All steel Loading frame and bottom . . . Rolls on 3 steel casters • . . High and law peep sights . . . Calibrated Shelf damper. For more information write: Model TL-D 18" x 18" x 20" [setHng area) Office 1051 N. Edgemont Other Sizes "~AY" ~EILMAN La Habra, Cal. 90631 (213) 697-6441 15" x 15" x 20" Plant x 15" x 15" ~ASONRY 1S" 11769 E. Slauson x 12" x 1S" 12" <~ONTRACTOR Santa Fe Springs, Cal. 90670 (213) 693-5690 W EEL! REWARD PRODUCTS I 01-TEi E: I-1/2" Drain Spout for easy cl¢antng ^t .... 12" DtI. Head - *,~.alb w~lu~.u lu, muA..um qao~.&L. La:ge Knobs fore:as), • Partsor Servicesare Available adjuscment-H~lzontaHy Catalog .~68 available showing our complete line of Jewelry Making, Silversrnithing, Casting and Ename.ling supplies. Price $1.00 deductible from first order of $5.00 or more. Catalogs will be sent without charge to requests submitted on School or organization letterhead. -~ ALLCRAFT TOOL, ~u.,Y c0~.,,. ,,c. Ceramic Color M[rs., Inc. Mail Orders and Correspondence [ New York Salesroom Reward 215 Park Avenue • Hicksville, N.Y. 11801 I 22 West 48 Street • N. Y., N.Y. 10036 314 Hammonds Ferry Rd., Glen Burnie, Maryland 21061 Phone(516)433-1660 & (212) 895-0686 Phone: (212) 895-0686 8 Ceramics Monthly ITINERARY Send your show announcements early: 22; work due October 29. For entry blanks League, 3333-6 W. Washington, Las "'Where to Show," three months ahead or information, write: Carol Mecagni, 112 Vegas. Appleton St., Boston, Massachusetts 02116. o[ entry date; "Where to Go," at least OHIO, CANTON weeks be[ore the opening. six NEVADA, LAS VEGAS October lO-November 7 The Second WHERE TO SHOW October 31-November 23 The 15th An- Annual All Ohio Show for present and nual National Art Round-Up, sponsored former residents of Ohio will be held at ARIZONA; TUCSON by the Las Vegas Art League, is open to the Canton Art Institute. Fee; Awards; November 26-28 "Craft Market," spon- all artists. Media include ceramics. Jury; Jurors. Entries due September 11-18. For sored by the Arizona Designer/Craftsmen, Cash prizes and purchase awards; Entry entry blanks, write: The Canton Art In- is open to members and is a juried show. cards, fees, slides due September 13. stitute, 1001 Market Ave., Canton 44702. Entry fee. For information, write: Jackie For information, write: Las Vegas Art Continued on Page 11 Gruener, 6025 E. Edison, Tucson 85712. CALIFORNIA, SAN LUIS OBISFO November 2l - December 20 The Fourth Annual Invitational Show for California craftsmen will be held at the Art Center, Mission Plaza. Media include ceramics and glass. For information, write: Mrs. Esther Davis, Art Center, Box 813, San Luis Obispo 93401. COLORADO, PUEBLO November 6-13 "Own Your Own Art Exhibition," sponsored by the Southern Colorado State College Art Department and the Pueblo Service League, is open to artists from Colorado, Montana, New Mexico, and Wyoming. Media include ceramics. Jury; Prizes; Fee; Entry cards due October 30. For information, write: Bob Wands, c/o Own Your Own, Art Dep% SCSC, Pueblo 81004. CONNECTICUT, MANCHESTER November 6-7 The l lth Annual Arts and Crafts Festival, sponsored by the Man- chester Fine Arts Association and the Manchester Lions Club, is open to pro- fessionals and amateurs working in all media. Fee; Jury. For entry forms, write: Manchester Fine Arts Association, P. O. Box 614, Manchester 06040. GEORGIAa AUOUSTA October 9-10 The Lakeside Arts and Crafts Show is open to all artists and craftsmen. Entry fee. For information, write: Program Chairman, Lakeside Arts and Crafts Show, 506 Telfair Street, Augusta 30901. IOWA, MASON CITY October 23-November 28 "Iowa Crafts: 4," a statewide crafts competition endorsed by Iowa Designer Craftsmen, is open to 3. un-repeatable Iowa residents. Deadline, October Juror: Joan Michaels Paque. For informa- Art glazes from MAYCO~ COLORS offer an endless tion, write: Richard Leer, Charles H. Mac- variety of hues and shades. In individual glazes or in Nidcr Museum, 303 Second St., S.E., combinations, you can be sure Of producing non- Mason City 50401. repeatab e color variations -- your own exclusives! KANSAS, LAWRENCE Yet MAYCO colors -- Glazes, One Stroke or Under- October 31-November 21 The Kansas glazes -- are so easy to apply. They're homogenized Designer Craftsmen Show is open to cur- and fire at Cone 06. Write for free color chart. rent residents of the State of Kansas. or those craftsmen who have previously re- sided in Kansas for a period of one year. For entry forms and information, write: cotors James K. Rowland, Department of Design, mlaCO or to the Museum of Art, Spooncr Hall, University of Kansas, Lawrence 66044. 20800 Dearborn St., Chatsworth, Calif. 91311 America's finest colors Dealerships available MASSACHUSETTS, CONCORD November 7-28 "Massachusetts Artist Craftsmen" is open to all Massachusetts craftsmen. Jury; Fee; Cards due October September 1971 9 or The Discriminating Ceramist MODEL A-99B Fire immense loads daily This enormous 10 s|ded kiln is 27" deep and 23~A" in diameter for a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily, The three movable sections have their own 4-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6 ~ 2300 n, everything from china paints to porcelain. Add a 41/~" blank collar for full 31½" depth. EXCLUSIVE! INCH OF BLOCK INSULATION IN UD AND BOTTOM IN STAINLESS STEEL O • Model A-99B ...... $399.50 41/2,, blank collar, $32.00 / FREE.. crating., instruction manual All size Kilns available / ~steel stand. to fill every Firing need \ Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to ~)~ ~~, ~JIW~ Dept. CM Box 10133, Dallas, Texas 75207 B&I Can you use this POTTERY in your Studio or Classroom? MAKER Power Driven Variable Speed $59so F.O.B. less motor Professional features, versatile enough for advanced crafts- men, yet simple enough for beginners' use. Precision built, compact, portable. Mounts anywhere. New variable speed Do you wish you could (~UICKLY AND EASILY create a glaze or reducer with adjustable foot controls provides speed range modify an existing formula to achieve a new effect? This nine-inch circular calculator allows the craftsman to convert back and from 38 to 130 r.p.m. Built-in water container, attached forth between molecular and batch formulas without becoming involved in complicated ar[thmatioal calculations. Accompanied by wedging wire, reversible 9-inch throwing head with recess a 26-page "Guide to Designing Glazes." for molding plaster bats. Ideal for school or home studios. TOO GOOD TO BE TRUE? MONEY REFUNDED IF NOT SATISFIED Also available for pottery maker is a new workbench with a convenient seat to allow operator to control position at DIAL.A.GLAZE. Box 88. Davenport, Calif. 95017 all times. $22.50 each, F.O.B. Burlington, Wis. Order by Please send [] copies of DIAL-A.GLAZE CALCULATOR I enclose $7.95 [] Check [] Money Order mall now . . . or write for complete literature. Name Address_ Write for City.__ State _ ___ Zip__ Lapidary Equipment Add 40c Sales Tax in Cal[f+rnia. Add 50c if paid in Canadian Uferature funds. DEALER IN(~UIRIES INVITED. Burlington, W;scons[n 53105 10 Ceramics Monthly ITINERARY NEW YORK, FARMINGDALE 12 Strawtown Road, West Nyack, N.Y. The Fifth Annum Continued from Page 9 September 17-19 NEW YORK, NEW YORK by Ceramic Arts Ceramic Show, sponsored December 4-12 The Second Annual CINCINNATI Inc., will be held at the OHIO~ of Long Island, New York Art Festival is open to all pro- The Second Creative Arts Hall. For information, write: October 9-10 Sons of Italy fessional artists, craftsmen and sculptors. is open to all artists and crafts- Boettger, 16 Wolcott Rd., Levit- Festival Ralph Jury. Closing date, October 1. For infor- the Indiana, Kentucky, Michigan York 11756. men in town, New mation, write: Jinx Harris Shows, Inc., and Ohio area. Juror, Orrel Thompson. CITY 539 N. River Road, Manchester, N.H. Awards and purchase prizes. Slides due NEw YORK, NEW The Sixth Annum CORNERS September 9. Indoor Professional show September 26-27 OHIO, HOWLAND will be held at "Creative Design," spon- accompanied by Outdcor Amateur show Rockland Ceramic Show October 9-10 Irene Rushmer, on Page 38 and sale, juried by university art educators. Lamplighters Hall. Write: Continued Entry fee. Fcr information, write: 2nd Creative Arts Festival, P.O. Box 11307, Cincinnati 45211. OHIO~ COLUMBUS YOU'D BE AMAZED March 4-April 8, 1972 "Designer/ Craftsman '72," produced by Beaux Arts for the Columbus Gallery of Fine Arts, is open to craftsmen working and/or residing AT THE THINGS WE in Illinois, Indiana, Iowa, Michigan, Min- nesota, Missouri, Nebraska, North Dakota, Ohio, South Dakota and Wisconsin. Entry fee; Jury; Slides due December I. For in- KEEP IN STOCK! formation, write: Jo Ann Stevens, Cc- lumbus Gallery of Fine Arts. 480 E. Broad St., Columbus 43215. OHIO, YOUNGSTOWN ]anuary 1-February 27, 1972 The 24th Annual Ohio Ceramic and Sculpture Show is open to present and former residents of Ohio. Media include ceramics, enamels and sculpture. Purchase prizes. Deadline for entries: December 12. For information, write: Secretary, Butler Institute of Ameri- can Art, 524 Wick Ave., Youngstown. TEXAS, MCALLEN November 7-29 The Inter-American Crafts Alliance "Inter-D2" is open to art- ist-craftsmen cf the United States and Mexico. Media include all crafts. Jury; Prizes; Fee; Entry cards due September 15. Work due October 4. For information, write: Mrs. Jessie Daniels, P.O. Box 3486, MeAllen 78501. SPECIAL FOR HOBBYISTS ILLINOIS, CALUMET CITY October 9-10 The Town and Country Ceramic Association will hold its annual show at the American Legion Post #330. Mrs. Arnold Kaufman is show chairman. For information, write: Jane Waters, 235- 174th Street, Hammond, Indiana 46324. MARYLAND, S EABROOK October 2-3 The Third Annum Ceramic Show, sponsored by the Maryland Beltway Area Ceramists, will be held at the Knights of Columbus Sarto Hail. For in- formation, write: Betty Cormack, 6813 97th Place, Seabrook 20801. WESTWOOD CERAMICS. WE HAVE A COMPLETE LINE OF MICHIGAN, FLINT SUPPLIES FOR EVERY POTTER'S NEEDS! WRITE FOR OUR Ce- October 23-24 The Fifth Annual CATALOGUE TODAY! ramic Show, sponsored by the Flint Ce- ramic Association, will be held at the Luke M. Powers Catholic High School. WESTWOOD CERAMIC SUPPLY CO. For information, write: John Wolverton, 1127 W. Kurtz Ave., Flint 48505. 14400 LOMITAS AVE., CiTY OF" INDUSTRY, CALIF'. 917,44 September 1971 11 t ~i~¸ ~ ~- 12 Ceramics Monthly SUGGESTIONS /rom our readers FOOTRIMMING A BOWL GLAZE IDENTIFICATIONTILES your wheel head If you've had a bowl with a rim larger than I read with interest a recent suggestion in CM for making a large bat in order you probably thought that you would need small "weed pots" and using them for glaze testing. For a practi- bowl can be trimmed if to trim the foot. Actually, any sized cal and permanent way to identify glazes in our studio, we make flower pot to the inside you first attach a trimming chuck or 2-inch test tiles and glaze these to use as identifying labels or tags bowl is then inverted and of the bowl with a coil of clay. The for the bottles of glazes we are using. As each tile is cut from the on its own rim while being rests on the chuck rather than clay slab, a hole is pierced in the corner with a sharp tool. After used is tall enough, you can trimmed. If the chuck or prop glaze firing, the tile is attached to the matching glaze bottle with the wheel head. Also, a tall prop reach under and attach it to wire strung through the hole. --Mrs. N.C.C., Ft. Wayne, Ind. allows the bowl to clear the splash pan if this is necessary. chucks, you can make some If you throw your own trimming RAKU IN AN ELECTRIC KILN especially for bowls. Bisque chucks stick better if they are soaked on the part of some potters about in water before they are attached to the pots. There seems to be timidity --Marvin Bartel, Goshen, Ind. doing raku in an electric kiln. To the many people I know who are now refusing to raku in their electric kilns, I say: "Turn them on STACKING A SALT KILN off the elements before removing your pots, then turn again after more ware is placed in the kiln. There is very little salt glazing it is necessary to stack When packing a kiln for and no danger involved." Plates can be heat loss the ware without the aid of the usual supports. ---]on R. Lepper, Spokane Wa. stacked five or six high by the use of three wads of clay between wads may be round pellets or they can be made each plate. The TAPE TO PROTECTSILVER in a decorative pattern, such as a star-shape. Melt some wax for enameling, it is very and daub an area larger than the wad in three places on each When working with silver metal to suggest that plate, front and back. The wax resists the salt slip. If no slip easy to damage the delicate surface. I would like of his pliers in or glaze is applied before firing the wad is not necessary. Nor is the enamel craftsman place tape over the ends on the grip- it necessary to have the plates all the same size, but it is im- order to protect the silver surface. I also use tape purpose. If the portant to have wads placed one above the other. If a hole is ping surfaces of my bench vise for the same even "make made in each wad, it can be used after the firing for a large enamelist doesn't have a rawhide mallet, he may salt-glazed bead--beautiful! his own" by attaching several layers of tape over the tapping --Nancy H. Baldwin, Northport, N.Y. surface of a metal hammer. --R. H. Harris, Bloomington, Ind. MODELING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS! NOTE: We now manufacture FIVE different MOIST MODELING CLAYS -- When ordering, please specify exact kind -- ALL five may be combined to secure quantity price! 1. MEMPHIS BRAND WHITE MOIST MODELING CLAY (Cone 05 to 7) 2. MEMPHIS BRAND RED MOIST MODELING CLAY (Cone 05 to 1) 3. MEMPHIS BRAND BUFF MOIST MODELING CLAY (Cone 05 to 7) 4. EX-CEL BRAND WHITE MOIST MODELING CLAY (Cone 05 to 5) 5. STONEWARE MODELING CLAY (Cone 2 to 10) PACKED IN 121/. 2 Pound Plastic bags White & Stoneware Red, Buff Ex-Cel 25 Lbs. 8c per Lb. 12c per Lb. 12c per Lb. 50 Lbs. 7~2c per Lb. lOc per Lb. lOc per Lb. 100 Lbs. 6~c per Lb. 9c per Lb. 9c per Lb. 500 Lbs. 51/.2c per Lb. 7c per Lb. 71/.). c per Lb. 1000 Lbs. 4~2c per Lb. 6c per Lb. 61fi2c per Lb. 2000 Lbs. 4c per Lb. 5c per Lb. 5V2c per Lb. (Prices are F.O.B. Memphis or one of our nearest branch plants) LOWER PRICES FOR LARGER QUANTITIES (FROM MEMPHIS ONLY) PLEASE INQUIRE BRANCH PLANTS Mail All Orders to BRANCH PLANTS Florida T alladega, Alabama HOUS F 0F CFRAM[£S, H~C. Jacksonville, Alfon, Illinois (Sf. Louis) 1011 N. Hollywood Sf., Memphis, Tennessee Bangor, Michigan September 1971 13 MARIANNE DE TREY studied at the Royal College of Art, London, and graduated as a textile designer. It was while she was at the College that she met Sam Halle, then a student in the pottery department, whom she subsequently married. Early in 1940 she and her husband moved to the United States. Marianne worked as a textile designer in New York while Sam sought--and ultimately found--a post teaching ceramics. He first taught at Alfred Univer- sity, and later at Ann Arbor, Michigan. It was during B this second period that Marianne became absorbed in the world of ceramics. She became Sam's pupil, and later, when he joined the army, took over his teaching post. She has always found the atmosphere in the States sympathetic to creative work. The traditional cultural influences that operate only too often in a restrictive and inhibiting way on a creative artist in Europe do not exist in the same way in North America. The genuinely em- pirical attitudes are stimulating, and if maybe not every experiment leads to a satisfactory result, at any rate it is ,-.gvN l thought worthwhile to question accepted norms and ideas: In spite of her liking for the United States, how- ever, she and her husband returned to England shortly after the end of the Second World War when Sam was J: i demobilized from the army. They first set about potting in association with a brick- works near Colchester, in Essex. Here they produced a quantity of slipware and Sam was able to develop his original decorative talents that were so well suited to that medium. He succeeded in using the traditional English slipware techniques in a manner that was totally valid and yet in tune with postwar England. He was also working part-time as a pottery consultant to the Rural Industries Bureau, a government-sponsored body whose task it was to help small rural industries in their struggle to survive and adapt themselves in an ever increasingly mechanized society. He heard that the pottery workshop which had been started by Bernard Leach at Dartington Hall, Devon, was looking for a tenant. Marianne and Sam decided that they would take it over to produce earthenware. They moved to Devon and set about improving the workshop and building new kilns. Shortly after this move, however, Sam was tragically killed in a road accident. As Marianne herself says of this period, "I was thrown Marianne de Trey in headfirst and had to learn as I went, adding more help, space and equipment when necessary." She de- Shinners Bridge Pottery signed and started to produce a basic range of hand- thrown majolica tableware. Assistants were engaged and a steady routine production emerged that soon established by EILEEN LEWENSTEIN her workshop as one of the reliable small potteries that could satisfy shop orders while still maintaining a high standard of repetition work. In 1959 the workshop was practically destroyed by fire. Marianne eagerly took this opportunity for reorganization by changing from earthenware to stoneware production, and adding a small oil-fired kiln that was built for her own personal work. This meant that the standard ware could be oxidized and fired in an electric kiln, and that she could fire reduced stoneware and porcelain in the oil-fired kiln. She found that the experience of reduction firing gave great stimulation to her work at that time. A 14 Ceramics Monthly Above: This is th~ entrance to Shinners Bridge Below: Miss de Trey feels that wood-fired pieces, Potter), in Devon, England. The brick structure such as this straight-walled bowl, are superior to in front of the smaller building is Marianne dc the pieces fired in electric or gas kilns. Trey's raku kiln. further stimulus was given in 1965 with the building of a wood-fired kiln. She feels that new kilns and firing techniques are always valuable in terms of the excitement they generate and the fact that one is set upon a new path of discovery. But she finds that the economics of these ventures are hard to work out. Wood firing is very cheap in terms of fuel but very expensive in terms of labor; there is a very, high proportion of "seconds," but the "firsts" are thought to be far superior to any of the pieces that have been fired by electricity or oil. The necessity to arrive at a balance between a reliable production of repetition ware and her own individual pieces has been the underlying factor in her workshop organization during the last decade. A visitor to Shinners Bridge Pottery has the impression of an exceptionally well-run and pleasingly-arranged series of workshops. Marianne works in a separate studio, where she produces her individual pieces -- mainly vases, bowls and planters. Nevertheless, she is constantly aware of everything that is going on. She is always concerned that the shapes thrown by others are exactly those that she wants, and that the handles are pulled and added to the cups exactly as they should be. Sometimes she feels that the set-up she has evolved is wrong; that she has allowed it to grow and develop in an apparently haphazard way and that she would like to start all over again, doing just one thing and using just one large kiln and making a lot of money. But, as she says, she would then have to be a different person. She has never been able to work out how much time September 1971 15 : ~; ?i ' Above: Standard ware produced at Shinners Bridge Pottery has a dark brown slip glaze ex- terior with zohite glazed rims. Holloware is glazed white inside. Porcelain bowl by Marianne de Trey is an example o[ her own individual work. It is [our inches high. she spends making pots because there are always so many Centre, alongside the industrially-produced ceramics of other things to do. This has probably been one of the Stoke-on-Trent. Today in her workshop she employs two greatest deterrents to expansion; she has never been willing full-time assistants (one of whom is usually a student) to turn herself entirely into a businesswoman at the ex- who are mainly concerned with throwing, turning, pense of her enjoyment; and her enjoyment in life is handling and kiln setting and firing. There are also two making pots. part-time assistants who see to glazing, decorating and Others too have found great enjoyment from her work. the sorting out of orders. Over the years her standard ware has given great pleasure The straightforward practical approach to the making in many homes. She has based her shapes on the simple of her standard ware is carried through in her individual principle that if she likes to use them, then so will others. pieces, which are expressions of the very nature of the She herself likes pots for everyday use that are easy to materials used. Subtly curved delicate porcelain bowls wash and stack, and comfortable to hold; cups and jugs seem to possess an inner strength so characteristic of the that are light and well-balanced. The tableware has a material. Rugged yet simple stoneware vases are enhanced uniform treatment. All the hollow pieces -- mugs, cups by their wood firing, and it is immediately obvious why" and jugs -- are glazed white inside; the exteriors are her work is represented in many important public and dipped in a dark brown slip glaze. The flat ware is brown private collections in this country and abroad. One feels with white glazed rims. All the hollow ware and the that the individual work could not exist without the smaller pieces of flat ware, such as saucers and side plates, standard ware and vice versa. The two facets of creativity are thrown, but the larger dinner plates are jiggered. All are totally complementary: the existence of the one the cups and saucers are turned, but jugs and mugs are always adding to and enriching the other. merely cut from the wheel with a twisted wire. It is this combination of the aesthetic and the practical, in terms EILEEN LEWENSTEIN, a well-known English potter, of use and manufacture, that has made her standard serves as co-editor of Ceramic Review, the o[[icial publi- ware so generally acceptable while being economically cation of the Craftsmen Potters Association of Great viable. It is consistently displayed at London's Design Britain. Marianne de Trey throws a bowl on the wheel in her private studio, which is separate [rom the general work area. ~'~.... ~ ~i'~i i~ !i: ,~i ¸~¸ "¸i~~ September 1971 17 Throwing the Large Plate by STANLEY H. LEE THE LARGE PLATE has been a challenge almost from the Among the tools the potter may wish to have available time man first found he could super-harden clay by are throwing ribs, a fine sponge, a section of chamois, roasting it in the fire. With all the progress that has taken and a tool I find useful, the paint scraper. For measuring place since those early days, however, many of today's the thickness of the clay at the plate's bottom, a teasing potters learn only through sad experience the many pit- needle, or pointer, should be at hand. I'd like to men- falls that confront the makers of big plates. Many of the tion here that a measurement should also be taken near problems can be avoided if the potter is made aware of the circumference as well as in the center. For a finished the trouble zones in advance and establishes correct plate 20 inches in diameter, a moist clay thicknezs of 5/8 practices for the successful finishing of this pottery shape. to a~ inch is not excessive if ¼ inch is to be allowed for What, then, are the techniques needed in making the turning the footrim. big plate, and where are the pitfalls that must be Probably the most important piece of equipment for avoided? Of course, a good stoneware body is desirable, the actual throwing of a large plate is the wheel bat, but the special bodies needed for throwing very tall w'fich must be wide and level, and should have a smooth cylinders, for example, are not neccssary. Monmouth and chip-free rim. Since a 20-inch plate needs to be clay, without any additives, is satisfactory, although some thrown to over 22 inches to allow for subsequent shrink- potters may prefer a body with a little more "tooth." age, a wheel bat 19 inches in diameter is recommended. While it is not necessary that the clay in a plate stand Use about 14 pounds of well-wedged clay to throw a up like that in a cylinder, it still must be brought out sturdy 20-inch plate with a thick enough bottom left for horizontally into a reasonably thick rim without danger turning the foot. The clay must be centered accurately, of collapsing. I have used a 50/50 mixture of Cedar for a slight error in centering is magnified at the diameter Heights Goldart clay and Monmouth to good effect, and and little remedy is available through trimming. Once know potters who work successfully with Jordan clay for centered as a low mound, the clay can be slightly hollow- making large plates, but almost any good stoneware body ed and forced out toward the bat edge with the heel of will suffice. Individual potters may wish to add grog the hand. Plate ribs are useful in establishing the con- as a filler to reduce shrinkage and facilitate glaze fit, but tour of the plate as it curves up toward the rim. Of it is by no means a necessary ingredient. course, all work at the plate edge must be done with the Although the clay body is often blamed for many wheel rotating at slow speeds. faults that occur in platemaking, the potter should also A low wall of clay with a gently curving bottom is look to studio practices as the source of his problems. formed to within a half-inch of the bat edge. There is Careful planning of all the steps involved, from start to no great advantage in extending the clay wall further. finish, is a help in eliminating errors. For example, One-half inch of the wheel bat at its outside edge will be adequate drying space, good air circulation, and even needed for pulling-up space; it is not recommended that humidity conditions are desirable for drying thrown the plate be pulled out much more than two inches from plates. Boards for reversing the plate during drying should the base. When the rim is extended, it should provide be provided in advance; it is most discouraging to find, for a plate of about 22 inches. The paint scraper can be after having made a plate, that such a board is not avail- used at this time to smooth the inside of the plate, and able. Even worse is to have the plate sufficiently dry for the chamois can be utilized to produce a smooth rim. turning, and then find no turning board of a diameter Once pulling up and out is finished, the clay should be wide enough to fit the wheelhead and accommodate the worked as little as possible. Some potters prefer to post- work. The throwing bat usually turns out to be too small pone bottom and rim finishing until the plate has stiffen- for this purpose. ed a little, but with care and concentration there should Some kind of pad or cushion for supporting the center be little difficulty in completing the wheel work and in of the plate during drying and turning is also needed and preparing the plate for removal from the wheel bat at should be readily available. Sponge or foam rubber disks throwing time. of varying thicknesses are particularly useful, since they It is best not to let the plate dry on the bat. If this will contract as the plate shrinks. These pads should, is done, the bottom is likely to become too dry to footrim however, have sufficient supporting power to resist the easily. Furthermore, shrinking stresses and strains may be pressure of the turning tool when the foot is being tooled. present but not evident until sometime in the later stages Even so, turning pressure must be minimal and carefully of drying or firing. Altogether, it is safer to get the plate applied. off the bat as soon as it is firm enough to be reversed. With these provisions made, the potter should be ready To facilitate removal, cut the plate from the wheel bat to start. Of course, well-wedged, de-aired clay is essential, with a cutting wire or line. Since there is some danger because a hard knob of clay or an air bubble can cause that the cutting wire or nylon fishing line might ride up collapse of the piece during the last stages of throwing. and cut through too much of the plate, this damage can It is also wise to have all throwing and smoothing tools be prevented by starting a path for the wire with a available at the wheel before starting to throw. Any teasing needle held parallel to the wheelhead--a one-inch- jarring of the wheel when approaching or leaving the deep groove is adequate. Care should be taken to avoid work very possibly may result in a lopsided piece. touching the plate rim in the process of grooving! Also, 18 Ceramics Monthly z f ! 1 1. Arm should be held rigidly as the potter hollows 2. One hand holds a slip-/illed sponge [or lubri- out the centered mound. Body weight also helps cating the clay, while a wooden rib is used in the control the clay. other to establish corztour. 3. The [lat bottom area o[ the plate is leveled 4. Fingers of both hands are used to secure extra with a paint scraper. Slip lubrication is used here support as the clay at the rim is drawn upward to to prevent chattering marks. thin the wall and de[ine the shape. 5. A strip o[ chamois is held between the hands 6. The completed large plate. The author suggests and over the plate's rim to give a very smooth throwing to a diameter o/22 inches or more [or sur[ace to the clay. a 20-inch [inished plate. September 1971 19 when using the cutting wire, it is easy to forget that the inches wider than the diameter of the plate. This board knuckles often come very close to the work as tension is is then placed over the plate and the whole sandwich of applied. A 15-pound-test nylon line is adequate to cut plate, pads, and board flipped over, so that the plate's a 22-inch plate, and the line itself should be at least 30 rim rests on the board. (I prefer to catch the board on inches long, with firm hand grips. If the wheel is slowly my head.) The board is carefully placed on the wheel- revolved during the early part of the cutting, hands and head, the plate centered, and keyed with soft clay, and arms must be firmly held, for the drag of the clay can all is ready for turning. easily deflect the potter's hands and cause them to strike Turning the footrim on a large plate is little different the plate edge. The hands must hold the cutting line from turning the foot of any other large pot except that absolutely parallel to the wheelhead during this operation. very light pressure should be applied since clay that is If the hands are held lower, the line will cut against the softer than leather hard works more easily and with less bat rim; if the hands are held above the level of the bat danger to the plate. A quarter-inch depth is enough for surface, this will invite the line to ride up and cut the foot on a wide plate. There is an advantage in cutting through the plate. double or triple foot rings, particularly if a dense firing When the plate has been cut, the bat may be lifted is intended. Unsupported plate centers are likely to sag from the wheelhead and removed to the drying room when the clay is fired close to maximum maturity tem- or drying cupboard. Lifting the bat must be done very peratures. carefully. "A half-inch drop makes a lop-sided pot," is a With the foot turned, drying may continue, foot-side-up, saying that fits this operation. Extra care must be taken but to offset faster drying of the plate edge, a covering in placing the work on the drying shelf. It is easy to of plastic may be draped around the rim. Drying must misjudge distance and possibly strike the back wall with proceed evenly if a center split is to be avoided. A big the rim of plate. plate may need babying for at least a week before it can Some drying cabinets will not accommodate a 22-inch be left to dry without special attention. As soon as the plate, so it is best to check this before the plate is made. center has become leather hard, the plate may be flipped Should no drying room or cabinet be available, the plate again, this time onto a board covered with newspaper. bat may be placed on a shelf away from drafts or uneven The paper helps shrinkage to take place evenly and per- heat. As an extra precaution, the bat may be rotated mits subsequent inverting without scuffing. After time through 180 degrees after a few hours. for another flip to assist even drying, the plate should be As soon as the rim and sides are sufficiently firm, the firm enough to permit careful support by hand. Slow plate should be tested to discover if it is free of the bat; and even drying is necessary to avoid failure. this is done by attempting a gentle rotation. By no means After about two weeks, the plate may be ready for should the plate be lifted by the rim at this stage, for it bisque firing. It should be given a long warming period is too frail. When the plate is free of the bat, it may be on low heat with the door or lid of the kiln open. A carefully inverted onto a firm board and prepared for slow passage through the heat rise danger spots is footrimming. Before this is done, however, some support recommended. The glost firing should receive similar for the plate center is needed or the center may cave in. care. I sadly recall a firing which had too fast a heat Therefore, a center pad is built up at this stage. rise. All shelves held plates that had split in two! The turning board should be a firm piece of plywood With these suggested precautions it is hoped that the that is about ~2-inch thick or more, and at least two platemaker may be guided to success with this project. Stanley Lee is pictured with a ]ew of his large plates thrown by the process described here. Mr. Lee is Fine Arts Coordinator at Indiana University in Fort Wayne. Photos: Larry Wahlie. Three Slip Trailing Techniques by ROBERT FOURNIER This article is taken from material in the new p book, "Ceramic Creations," by Robert Fournier, published by the Sterling Publishing Company, New York, New York. OF THE MANY SLIP TECHNIQUES used for decoration, the most direct and satisfying is the trailing of slip onto a liquid ground. The typical stages in three applications of this technique are: running slip; free trailing and trailing on a blocked-out area; and trailing and feather- ing. Feathering was most popular in the late 18th and 19th century English village slipwares, but it has been revived by individual studio potters of today. The ideal is to achieve an appearance of liquid, flowing slip even in the finished fired and glazed piece. The style requires very little equipment apart from the trailer or "tracer." This is a slip container, conveniently small and light, with a small orifice and some means of controlling the flow of slip from it. It has taken a variety of ingenious forms. A simple, early tracer was a biscuited "bulb" fitted with a hollow quill and controlled by means of a hole in the top, over which the thumb was placed. By relaxing the pressure of the thumb, air was allowed to enter the bulb and the slip flowed out through the quill. You can make a tracer out of a triangular piece of waxed paper or soft plastic, folding it into the form of an old- fashioned candy or sugar bag. The commonest types of trailers on the commercial market consist of rubber bulbs with glass or plastic noz- zles. The stiff rubber bulb type can be filled with slip of a reasonable thickness by suction, and this is an advantage. Other rubber tracers on the market have soft bulbs which must be filled through a funnel. The nozzles are awkward to insert (dry fingers make the job much easier), but slip control is possible through both pressure and gravity and the process is quite sensitive and delicate. Top to bottom: l. A background slip is applied to a leather-hard dish, then "blots" are immediately trailed near the rim. 2. The dish is held firmly and shaken sharply to cause the blots to move to the bottom area. 3. Very attractive designs can result [toni the use of this technique, as this dish by John Shelley proves. Other types include a baby's bottle, and glass and rubber the background slip. This makes the job cleaner and more tubes. controllable, and sllp will not spill over the mold. The Thrown and molded dishes are suitable for running slip-covered dish can be dropped back into the mold for slip, free trailing or trailing on a blocked-out area, but support during trailing. A thrown dish or bowl does not feathering is best done on the flat clay and the dish made generally need support if it is designed with an apprecia- over a hump mold as soon as the decorated surface is tion of the stresses inherent in slipwork in mind. sufficiently dry. To dry molded dishes without deformation of the rim, Feathering demands care and watchfulness that the reverse onto a sheet of plywood quite soon after the body of the dish does not get too dry to take the form of decoration has been done. Lay the board on top of the the mold, which should have a fairly shallow and even mold and turn the whole thing over. The mold can then curve. It is possible to ease the slab of clay into a hollow be lifted from the dish. mold after feathering, but this demands practice and For free trailing, use a dish large enough (say 9 to 14 great care and, again, the clay must be in just the right inches in diameter) to allow for broad and easy sweeps (not quite leather-hard) state. Wet newspaper laid under with the trailer. It is essentially a rapid and lively tech- the sheet of clay, with the edges dampened occasionally, nique. For the trailed line to sink into the background WIU help. slip, the dish must be freshly coated and still fluid. Before For the other forms of slipware, work is done on the starting work, have the trailers full and everything ready leather-hard dish. Remove it from the mold to flood on --including an idea of your basic design. This will almost 4. For [ree trailing, background slip is applied to 5. The wiped-away area is [illed with a contrasting a plate and an area is wiped clean with a sponge. slip poured [rom a spoon or trailed on. 6. A third color o[ slip is trailed in lines that will 7. Finally, bu[[ colored slip is trailed on to com- suggest the outline o[ a crab. plete the [ree-trailed decoration. 4.5 J 6,7 10,11 8. Trailing and feathering are done on a flat slab of 9. A quill with the feathers stripped off is used to rolled-out clay. Trailing is done with a soft bulb pull through the wet slips for the feathering effect. t railer. 11. Dish by Jane Smith combines trailing and run- I0. Here is a close-up view of a late 18th-century ning slip. Lines were trailed across, extra slip was trailed and feathered dish. .fed on, and the dish tilted both ways. certainly undergo modification as the work progresses. Four or five slips are sufficient for slip trailing -- the As a general rule, the thinner the slip, the quicker you simplest combination of red, buff, and black for true and must work and the livelier will be the result. Thick slip, dramatic slipwares. which needs some force to push it through the trailer It is the work, the design, the balance, and the nozzle, will lie on the surface and give a less fluent and spontaneity which are of paramount importance, not a ietegrated line. Control comes only with practice and large batch of colors. Here are five basic slip recipes: beginners are advised to use a fairly creamy slip, but to 1. Buff slip ...... 100% buff clay bear in mind that the ideal slip is thinner and the move- 2. Red slip ...... 100% red clay ment more spontaneous. 3. Black slip ...... 100% grams red clay, plus Before stirring slip please remember the golden rule-- 9% manganese oxide or pour off the clear water first. If, after stirring, it is then 4% iron oxide, too thick, just add more water. If the slip is too thin, 6% manganese oxide, and no quick remedy. You can: add more powdered there is 1% cobalt oxide clay if the slip is a buff or red one; add appropriate 4. Green slip ...... 100 grams buff clay plus colored slip, which proportions of clay and pigment to a 1.25% copper oxide, and or put the work is tantamount to making up a new batch; 1.25% chrome oxide another day when the slip will have settled and off to 5. Blue slip ...... 100 grams buff clay plus poured off. In any case sieve or the excess liquid can be 1% cobalt oxide, and if it screen the amount of slip you need to use -- even 1% manganese oxide has been sieved quite recently. Dried or even slightly thicker particles of slip will spoil the effect of liquid flow The author, ROBERT FOURNIER, is a well-known on which good slipware quality depends. English ceramist and founder of the Fournler Pottery. September 1971 23 Tz'u-chou Stoneware ~i ¸ !i~ii~!!!i~ii~ill¸¸~i ¸ : ~!~,~i~i ~!i~ii~~ i! ~~,~ 24 Ceramics Monthly TH~ SUNC DYNASTY (960---1278) was the period of greatest culture in China. While the country was smaller than during the preceding T'ang dynasty, due to harassment by the Tartars, it was said that there were no uneducated persons in China at this time. The introspective, reflective character of the people was mirrored in most of their pottery. Pots made during the Sung dynasty went by the name of the kiln site, except for the Kuan. or Imperial pieces made for palace use. For example, ware made at the town (thou) of Tz'u in southern Hopei Province was referred to as Tz'u-chou. The ware made at Tz'u-chou was dissimilar to other Sung pottery. The sturdily-potted forms were spontaneous in feeling and had a sense of utility instead of refinement as noted in other Sung work. The decoration was bold and pronounced and the glazes, when used, were simple and waxy, resembling jade or soapstone. Carlton Atherton referred to Tz'u-chou ware as "humanistic and sprightly," and felt that it resembled the work of T'ang potters more than that of the Sung craftsmen. Tz'u-chou potters used a putty-colored stoneware, fired to vitrification in a single fire. A white slip was generally used over the body, in most cases stop- ping a short distance above the foot. Decorating techniques included sgraffito, which gave a smooth-edged effect; inlay, which tended to result in rougher edges; and brush strokes, which were wonderfully spontaneous. The com- monest motifs were sprays of foliage, bamboo, peonies, and chrysanthemums. Although the Sung dynasty ended when Genghis Khan swept through China and left his son Kubla Khan as ruler, Tz'u-chou ware continued to be made; in fact. the kilns have been in operation continuously down to the present time. Stoneware vase of Tz'u-ehou ware has a decoration of deep brown peonies and leaves against a creamy u'hite ground. A brown slip glaze was painted on the leather hard vase, then lines were incised through the slip and background areas were scraped away to set o[[ the [lou'ers. Finally, white slip was applied to the background. Height is 13~2 inches. Tail ~'ase with elongated ovoid body, long neck and trumpet-shaped mouth is 16~2 inches high. The stoneware body here is [incr than in most Tz'u-chou pieces o/this size. The inlaid .~lip decoration o[ phoenixes iii5 with tails spread presents a smooth sur[acc: a colorless glaze covers the entire outer sur[ace. Tall Tz'u-chou z'ase has inverted pear shape with a short sloping neck and narrow mouth. It was coated overall with white slip, then a [ree brush decoration o/peonies zca~ painted with russet-colored slip. Finally, the piece was coated u,ith a pale green translucent glaze and [ired. All photos: Courtesy, The Cleveland Museum o~ Art. September 1971 25 Handbuilt Puzzle Jugs by ROBERT F. EILENPERGER THE CREATIVE POTTER who bowl of the jug in two sections for easy removal of the favors handbuilding should foam shaping device. When these two sections have been find an amusing project in covered and trimmed, they are set aside to stiffen..\ base "puzzle jugs," " an innova- should also be made at this time. tion credited to a potter Creating the open fretwork for the neck can be an named Vroom at Haarlem interesting step since it can be as simple or complex as before 1566. The reason the potter wishes. The segments for the neck in the dem- they were called puzzle jugs onstration photos, for example, are pointed oval shapes was because, upon first ob- cut from a rolled-out slab of clay. Because a natural servation, they seemed im- rough clay is used, these shapes are quite thick and some- possible to use in the ordi- what irregular. If a white earthenware or porcelain clay nary way. Since the open is used, work of a more delicate nature would be desired. fretwork of the neck would The oval shapes are coated heavily with slip where they not allow any liquid to be touch preceding rings as they are formed into a "parade" poured from the pot in the of rings that will form the open fretwork neck. The sepa- usual way, the user was thereby challenged to emp:y it rate units can be arranged into an even row, or be so in some other manner without spilling the contents. In connected as to create an irregular effect, as shown here. fact, the liquid inside had to be drunk through rather in- When the clay has stiffened a bit, the section is wrapped conspicuous small openings around the spout, openings around a cardboard mailing tube, which makes a good which protruded from a circled tube passing around the shaping core for the standing circle that forms the neck. neck and through the handle, and thereby connecting If you have some of the length left over after the cir- with the bottom of the vessel. cumference of the tube has been covered, just cut it away. Traditional jugs were shaped by the potter on the This segment of the jug is now set aside to stiffen. wheel, but by handbuilding from clay slabs, the potter When the separate parts are ready to be assembled can bring to his work a wider variety of neck designs and into a jug, the base is put in position on the working a one-of-a-kind appearance. In the demonstration photos, area. Some slip and fresh plastic clay are added to its steps have been included which the individual potter can rim. Next, the bottom bowl section is centered over the expand upon to produce his own "family of forms," jug- base and welded in place. Some slip and a thin layer neck treatments, and draining apertures. of plastic clay are added around the rim section, then Much artistic vitality is achieved by handbuilding the top section is set in place and welded carefully. As certain objects, since the absence of mechanical para- the bowl walls are somewhat drier than the joining clay, phernalia brings the potter into a closer total personal there might be a shrinking seam all around the middle involvement with his material. The use of handbuilding of the bowl when it dries. To avoid this, "pad" the seam as a method for making the puzzle jugs can, therefore, by making the area of added clay thicker than the bowl be a great pleasure since it enables the craftsman to wall itself. If too much is added, it can be reduced when create such details as fretwork patterns for the neck of the jug is leather hard. his jugs. It also gives the potter a choice of cores over The fretwork neck is added next, over a hole which which rolled-out clay slabs can be draped to form the has been cut in the center of the topmost part of the jug bowl of the jug. I used a feather-weight plastic foam bowl, and welded in place. Any impromptu changes in shape originally intended for use as a float to mark lobster the work can be made now to make the neck compatible trap locations at sea; however, any readily-available form in proportion and design to what has already been as- can be used as long as it fits the purpose. To get clay sembled. After the basic jug has been completed to this slabs to fit snugly over any rounded surface, V-shapes point, it is time to make the hollow coils which will form can be cut from the slab where it overlaps or folds, and the handle tubing and rim apertures. the edges can be carefully welded together to make a When clay is rolled around a rod to form a hollow smooth "skin." In most cases it is necessary to make the coil, the finished coil nearly always seems to have a hole 26 Ceramics Monthly 1,2 f, 3,4 5,6 1. First step in creating a puzzle jug is the assembly 2. Overlapped oval rings are attached to clay strips o/ the jug itsel/ /rom slab [ormed pieces. to [orm the open [retwork [or the neck. 3. This unit is li[ted onto a cardboard tube, which 4. The neck section is rolled around the tube until will be used to give the neck a circular shape. clay circle has been completed. 5. Excess material in the strip is cut away and the 6. A pad o/so[t clay is placed around the opening two ends o[. the clay ring are care[ully joined. at the top o/the jug itsel/ be/ore the neck is added. September 1971 27 f 7,8 9,10 11,12 28 Ceramics Monthly intended. Be- rim tubing. that is larger in diameter than the potter hole, or holes, that are cut into this upper dowel or working, it must be cause of this it is a good idea to use a wooden If more than one is "practical," or I used a rod drinks from other rod that is smaller than you need. covered or closed with a finger while the user These hollow draining aper- that was a quarter of an inch in diameter. the other. The size and placement of these a slight bending as necessitated coils are fashioned carefully, so that even tures must be determined by the potter, these coils of tubing into is not likely to plug them up. It is through for his particular jug. I added short lengths open at all Keep checking that the liquid flows, so they must remain these openings and welded them carefully. has been times. as you work to be sure none of the tubing prepared, a meant to be When some of the hollow tubing has been closed, unless, of course, any of these are of the fretwork: The puzzle jug piece is cut to encircle the uppermost rim closed as part of the "puzzle" of the pot. much slip is that you this is now welded in place. A hint: if too is completed by applying any further decoration slip may cause used to join the tube to the rim, the fluid think will enhance it. even collapse oxide wash. tube to soften and become weak, and The jug shown here has a dense iron the may altogether. If you omit texture and have a smooth surface, you of the tube glaze that The junction area where the two ends wish to use an all-over glaze. An interesting ends should meet it is not on the meet needs special attention. The tube might be used for a puzzle pot (although should be a because it can on the inner side of the rim, but there pot illustrated) is one I call "gravy" glaze outer edge of until it tends "tube's-width" of space left open on the be controlled with only slight adjustment will be joined it takes the rim. It is here that the hollow handle to run like thick gravy; when applied unevenly, form on the to the rim. on the appearance of dripping icicles that type of hollow glaze is sort of The handle is formed from the same roof eaves during a winter thaw. Gravy diameter than to prepare be- tubing. The coil should be of a greater an "instant" ash glaze. It is a simple one be tapered in prepared the rim coil, however, and might even cause sifted wood ash is added to any regular of coil is amounts of ash width from top to bottom. Before this length gloss or matt glaze. By adding varying the bowl where the glaze is made cut, a hole is made in the lower part of (depending on kiln temperatures used), is measured, cut the "fat" drips the handle will attach; then the handle opaque and its fluidity is retarded so that flat surface in place before and shaped before it is placed on a smooth are interrupted in the firing and frozen easily and safely. do. Of course, to stiffen a bit so it can be handled they have melted as they normally would tube is carefully to any particular When the clay consistency is right, the determining the amount of ash to add to rim. it should be of joined from bowl hole glaze is a matter of experimentation, but cut along the want to try Next, one, two, or three small holes are interest to some potters, especially those who come from the outermost part of the rim. The liquid will for a high-fire look at low-fire temperatures. clay 7. When the two parts have been sealed, extra at the joining area is smoothed away. [orming 8. Sections o[ hollow tubing are made by or tube. clay slabs around a dowel or some other rod neck 9. Tubing is used to encircle the top o[ the and to [orm a section [or the jug's handle. hole in 10. The larger tubing is attached around top tube. the jug and also connects with holes in the desired 11. Small holes are cut in the tubing where to serve as the drinking apertures. be[ore 12. Decoration can be applied to the jug [iring. it is put away to dry slowly be[ore bisque September 1971 29 SETTING UP A CERAMICS CURRICULUM for a modern senior high school necessitates Room Design a thorough familiarity with a va- and riety of room designs relative to the intended courses of study to be offered by the department. The first require- ments Curriculum Planning for such a project, however, should be concerned with room size, plan, shape, and storage space. A plan by CHARLES that is "open," RASIt with unobstructed traffic patterns, is as im- portant as is ample, functional storage space. The easy flow of students through and around a well-planned room indicates a design that promotes better working time and fewer "bottlenecks." For a senior high school intending to offer an in-depth program in pottery, the following basic "heavy" equip- ment is recommended: 1. From 6 to 20 potter's wheels 2. A gas kiln (24 cubic feet) and/or 3. Three large electric kilns (8 cubic feet each) d. Two small gas and/or electric kilns for test tiles 5. A pug mill (500 lbs. per hour) or a large pastry-dough mixer In addition, there should be specifically constructed 14" x 28" x 32" student lockers designed to hold tools, notebooks, work clothing and wedged clay. This storage space will aid in keeping the students in the room and close to their work. Audio-visual provisions must be planned to encourage individual as well as group viewing. Black-out drapes, a llANO BOCOINe movie screen, 1.6CTURe a blackboard, and a couple of study carrels F1£1~4@ should make SINK,~ the department nearly self-contained. A cockles large overhead tilting mirror should be installed as th's will enable all J OAMPBOX"" of the students to see the work more clearly ENTI~I as the ins:ructor demonstrates various forming and deco- rating techniques. If at all possible, the kiln should be housed in an ad- joining, well-vented compartment. This is desirable be- cause heat loss often makes the room housing the kiln an uncomfortable place to work, especially if it is a I gas kiln; if reduction firing is to take place, an unhealthy I ' I atmosphere could develop. The clay processing L_. and storage facility should be ENIRY designed (~INK to ensure easy entry, loading and unloading raw supplies, of ] 4 t and ample work space for compounding .L ceramic CLAY bodies to be blended in the pug mill. Damp dc4Z£ I GREENWARE PROCE6~IIV¢ box cabinets are an essential item, particularly in those high schools PUO MILl. on rotating schedules where classes do not meet at the same time each day. A damp box B/~tUE WARE KILNROOM may be a converted ice chest with thick plaster slab shelving that is kept moist at all times. Because the damp box is an effective device that keeps pottery at the leather-hard stage for long periods of time, it is an im- Mr. Rash portant offers this diagram as a model [or planning piece of auxiliary equipment in most situations. a compact Some ceramics facility in a high school. The of the most neglected facilities in the ceramic author suggests studio are that an open traffic pattern be estab- the sinks; their design, function and location lished and that are of considerable the kiln be in a room closed o[[ from importance. For our purposes, a sink should be deep the general facilities. and long, with movable faucets, and with 30 Ceramics Monthly We're proud to announce this addition to our book list OBJECTS: a sink trap beneath. This type of sink enables several students to wash up at the same time. A sufficient number of such sinks should be incorporated in the room plan USA and be so placed as to accommodate the largest number of students. Works by Artist-Craftsmen in An exhibition gallery designed to show student work Ceramics, Enamel, Glass, Metal, is a feature that will enhance the facilities and provide a means whereby the instructor can award recognition to Plastic, Mosaic, Wood, and Fiber. outstanding work. This space may also be used for pro- fessional traveling shows and for juried contests of student by Lee Nordness work, The glaze room should have a sink and good ventila- tion. Equipment for the glaze room may include a ball ) mill and, perhaps, a spray booth. Plenty of shelving to provide storage for raw glaze materials is a necessity in the glaze room, of course, as is adequate work space that is necessary in establishing a rhythm to the glazing rou- ) tines. The glaze room will function best when it is located close to the kiln room or compartment. This will ensure better traffic flow and less danger of pottery breakage. '4 A suggested ceramics curriculum that will offer high J school students a strong, varied background might in- clude the following subjects: ART HISTORY This might be taught as an integral part of examples created by more than studio unit. For example, during a glaze dem- With his selection of a given artist/craftsmen living in the the instructor might show examples of T'ang 250 of the most talented onstration, United States, the author, Lee Nordness, gives us a glazes, and inaugurate a discussion Dynasty "three color" valuable general history of American crafts. Mr. Nord- topics for research. that may lead to individual ness has also included photographs of each craftsman STUDIES IN DESIGN Photographs and drawings of represented in the book, with a brief biography and natural forms can be used to show unique variations in description of the significance of his work. In addition, on design and surface decorations. Demonstrations may be many of the artists have contributed statements This book grew out conducted to show how designs may apply to pottery their aims and methods of work. heralded exhibition, "OBJECTS: USA," shapes and surfaces, using stamped patterns, textures, of the much at the Smithsonian Institution in the fall and glaze variations. which opened 1969, before going on an extensive tour throughout Projects can be assigned in pinch of HANDBUILDING the country. This volume preserves the visual delight of building, slip casting and paddle forming, coiling, slab the exhibition and serves as a valuable reference and encouraged to forming techniques. Students should be source of inspiration for practicing craftsmen and work on large, bold constructions wherever applicable. students. A most impressive addition to our book list. THROWING ON THE POTTER'S WHEEL This $14.95 in forming well-made should provide a good background 1 1 I 1 1 1 1 1 1 cylinders of various sizes. In my classes, I have students Assignments strive for a goal of 25-inch-high cylinders. CERAMICS MONTHLY Book Department should involve such shapes as the bowl, jar, bottle, lidded Box 4548, Columbus, Ohio 43212 set--all depending upon experience, form, and matching Please send me ____ copies of OBJECTS: USA by of course. Lee Nordness @ $14.9S A suggested unit of study for more serious students Name__ might include kiln construction (gas operated, updraft, and raku); wheel construction (kick or powered); and Address_ study of art photography, especially as it applies to the City State Zip____ include the making of portfolios, history. This might Ohio residents add 60c per copy sales tax. documentary films and so forth. I enclose [] Check [] Money Order CHARLES RASH is instructor in ceramics at Redmond We Pay Postage -- Money-Bac~ Guarantee High School, Redmond, Washington. September 1971 31 A Potter's Trip by KEITH MORTON ONE OF MY MAIN OBJECTIVES for sev- Maine. I noticed a distinct similarity plation of the vast collections of eral years was to obtain a work schol- in the Maine coastline to parts of Chinese, Greek and Egyptian ceram- arship for some summer courses in New Zealand. I was so impressed with ics at the famous Metropolitan Mu- ceramics in the United States, as Haystack that for my first week there seum of Art. there are no facilities in New Zealand I spent most of my time just taking This was followed by a week's visit for studying ceramics at the advanced in the atmosphere. I walked along to Alfred University at the invitation level. Most of my associates at home the beautiful rocky coastline and of Mr. Turner. I had a most stimu- make Japan their first objective for through the endless woods and swam lating time there and enjoyed meeting overseas study and I was strongly ad- in the icy sea. I felt very close to the Ted Randall and Daniel Rhodes. I vised to follow their footsteps, but I natural environment which, to a pot- was impressed with the work being couldn't see myself returning home ter, is very important and I spent produced by the graduate students again to make pseudo-Japanese pots much time observing the breathless and I enjoyed many discussions on using delicate brushwork and cane resources of nature's ever-changing present and future trends in ceramic handles. I was looking for something shape, texture, patterns and color. techniques and design. more, and this I found in the United Unfortunately, my month's stay at My trip took me next to Britain States in the summer of 1970, when I Haystack was not long enough for where I met Bernard Leach and was fortunate enough to get three this to show in my work, and my David Leach and had a stay with working scholarships to study there. experience was more spiritual than Michael Cardew to assist in the firing My first stop was in Hawaii where practical. My teacher, Victor Spinski of his huge three-chambered wood- I stayed with a potter friend. Within of the University of Delaware, chal- firing kiln. two days of my arrival we were firing lenged my traditional approach to In Rome I spent a day with Nino his kiln. This was a good introduction ceramics as advocated by the Leach Caruso, the Italian president of the to the kind of pace I would be lead- school, and showed me slab construc- World Crafts Council, and a crafts- ing for the rest of my tour of the tions weighing 500 pounds that pre- man who works in close collaboration United States. viously I would not have believed with the ceramic industry. Here I was Serious work started at California possible. interested to see what contributions State College, Long Beach, under the Penland School of Crafts, situated can be made by a craftsman who is direction of Dr. Ward Youry, where in the mountains of North Carolina, trying to influence industrial pro- I did a four-week course devoted to enjoys pleasant rural surroundings. cesses. surface enrichment and decorative Here I received considerable stimula- Now that I am back in New processes. I explored the realms of tion from my teacher, Robert Turner, Zealand, I find a storehouse of ideas such techniques as mishima, incising, of Alfred University. He emphasized in my folio of notes, drawings, glaze and the use of various colored slips. the importance of maintaining high recipes, and photographs; and in my While in California I made full standards of craftsmanship following mind are the happy memories of the use of opportunities for exploring the a thorough training in basic tech- hospitality I received and the friends many scenic attractions, and took niques. His critiques and lectures on I made with ceramists around the week-end trips to Mexico, San Diego form were both interesting and in- world. and San Francisco; included also was formative. I experienced for the first a visit to Claremont where I met time the process of salt glazing and Jerry Rothman, a potter who im- was so impressed that since my return pressed me with the monumental home, I have converted one of my KEITH MORTON emigrated [rom scale of his ceramic sculpture. own kilns to salt firing. England to New Zealand in 1957, This being my first visit to the Following Penland, I spent three and had his [irst contact with clay United States, I thought all America weeks in New York City, exploring when he trained to be a primary would be similar to California, but the museums and art galleries and school teacher. He became an enthu- my next stop was to be at Haystack seeing with my own eyes the treasures siast alter visiting a potter [riend, and Mountain School of Crafts, Maine, • I had seen previously only in photo- in 1966 made his own kiln and wheel. and what a contrast this was! Al- graphs. I have a great admiration for Since 1967 he has taught pottery though I had enjoyed myself and had the work of Moore, Brancusi, Archi- part-tlme in the Wellington High a very stimulating and informative penko, and David Smith. The op- School evening institute and spends time at Long Beach, it was not until portunity of seeing and becoming the rest o[ his time producing studio I left the Los Angeles area that I involved in their works was a fantas- domestic ware [or the local market realized what a joy it was to breathe tically stimulating experience for me. in co'tlaboration with his wile. Both fresh air, and this I found plentiful in I also spent several days in contem- potters are sell-taught. 32 Ceramics Monthly Fluoride Glazes STBY for Cones 06, 4 and 6 KILNS by RICHARD BEHRENS Formerly POTTERY by DOT FLUORIDE FLUXES have long been SMOOTH PATTERNED GLAZE (Cone 4) used in metal-enamelware formulas Lepidolite ...... 52.0% but they have been used less often in Sodium Fluoride ...... 2.8 the composition of pottery glazes. Fluorspar ...... 12.4 They may, however, prove useful to Flint ...... 32.8 the creative l~otter because of their 1oo.o % strong fluxing power and also because 2.0% they are instrumental in the produc- Add: Bentonite ...... tion of smooth and clear, turbid or 6) mottled, and textured, cratered or PATTERNED GLAZE (Cone (with color segregations) fissured glazes. The particular form Zircopax ...... 35.0% and appearance the glaze takes on Fluorspar ...... 50.0 depends upon its composition and Clay ...... 15.0 the firing conditions. China When fired at Cone 03 or lower 100.0% in temperature, fluoride-fluxed glazes (Cone 6) may be smooth and clear or turbid. BRIGHT PATTERNED GLAZE (with color segregations) Fired above this level, the glaze may Lepidolite ...... 64.5% NOW! take on a mottled or striated appear- ...... 35.5 ance; in some instances it may be Fluorspar cratered or fissured. 100.0% A Good Kiln which Four fluorine compounds Add : Bentonite ...... 2.0% are useful for the compounding of fluorspar (cal- fluoride glazes are: STONY FISSURED GLAZE (Cone 6) Need Not Be cryolite (sodium cium fluoride), Cryolite ...... 33.0% sodium fluoride, aluminum fluoride), Zircopax ...... 67.0 and lepidolite (lithium potassium Expensive fluoaluminum silicate). lOO.O% Add : Bentonite ...... 2.0% Save up to 37% using a few pleasant hours to fit together STONY GLAZE; (Cone 06) one of our easy-to-assemble GLAZE (Cone 6) Cryolite ...... 18.0% ROUGHLY GRANULAR kiln kits. Fun to do ~ efficient (with color segregations) Sodium Fluoride ...... 14.3 to use. Step by step instruc. Cryolite ...... 45.5% China Clay ...... 11.1 tions for assembly and easy ...... 54.5 Fluorspar ...... 10.3 Talc beautiful firing. Flint ...... 46.3 100.o% These Are Kilns Made By lOO.0% Add : Bentonite ...... 2.0% People Who Do Ceramics and Know What ~4 Kiln Has To Do. GRANULAR-SURFACEDGLAZE (Cone 06) Conventional oxide or carbonate Fluorspar ...... 54.6% colorants, as well as stains, may be Commercial Kiln Kit, 24"x24"x27" deep ...... $219.00 Sodium Fluoride ...... 6.6 used in the usual amounts as colorants China Clay ...... 20.1 in these glazes. Considerable color Studio Kiln Kit, 18"xi 8"xl 8" deep ...... $]09.95 Flint ...... 18.7 variation from the norm may be ex- in fluoride glazes, particularly Hobby Kiln Kit, 100.0% pected 12"x12"x131/2" deep ..... $ 69.95 in those fired at the higher cone levels. MOTTLED GLAZE (Cone 4) Send for free brochure. Cryolite ...... 26.3% RICHARD BEHRENS, a graduate Fluorspar ...... 14.6 chemist whose avocation is pottery, WESTBY Clay ...... 21.0 China spends much o[ his time exploring the Ceramic Supply & Mfcj. Co. Flint ...... 38.1 field o[ glaze technology in his work- 408 N.E. 72rid St., Seattle, Wash. 98115 100.0% shop. September 1971 33 CERAMACTIVITIES people, places and things NORTHWEST CRAFTSMEN'S EXHIBITION "DESIGN I" IN ANCHORAGE THE SIGNATURE SHOP Ceramic work in the Northwest Cra[ts- In May the Anchorage Historical and "Three Georgia Pottels Have Spring men's Exhibition held April 30-May 27 at Fine Arts Museum of Anchorage, Alaska, Fever," the May exhibit at the Signature the University o[ Washington Henry Gal- was the location of "Design I" an out- Shop in Atlanta. lery, Seattle, reflected growth of the craft exhibit, "Clay and T Gecrgia, featured • , ~ humor, elegance, an- Fiber, 1970." Alice Nethken reports that work by Diane Kern- ~ guish, and purity, and from 250 works entered, juror Peter Stone, | ~ pler, Jack Mason, and set a dominant style of Oregon College of Education at Mon- ~ Don Penny, writes :(r the regional show, mouth, selected 104 objects in five craft ~ Ann Marshall of the according to ]ulie categories. Of the seven pieces singled out ~I~ _ i~ 3hop s'.aff. Pictured Anderson of the Gal- for special recognition were a porcelain -~ ~7.re Diane Kempler lery. bcttle by Alex Du/[ Combs, Jr., and a 4 ~*" ~ and Jack Mason in Awards were given porcelain bowl by Mark Ervice. ~1~ ,~ ;~an alfresco setting, to eeramists Linda Coghill, Portland; ~'~-~..~,.m'-*~ u~ingo pots from the Richard Marquis, Seattle; Patrick Mc- SOUTH CAROLINA FAIR ...xhihition as well as Cormick, 1~.~ Bellingham; Paul Keating Hof[- The South Carolina State Fair, October ,.'arden lanterns made man, Astoria; Harrison Jones, i,y Mr. Seattle; 18-23, features ceramics in its Fine Arts Mason. Sig- and Kenneth nature Shop proprietors Shores, Portland. Shown is Department exhibition, and the competi- are Blanche "Xanadu," a ceramic Reeves and Sally Adams jar by Paul Hoff- tion is open to residents of the State in man. professional, amateur, and junior cate- In addition, Richard Marquis and Pat- gories. Each of these divisions is judged CANADIAN rick McCormick CRAFTSMEN were selected to give one- separately. Work may be submitted in all man exhibitions in 1972 at the Henry Roger Kerslake and Tim DeRose held phases of ceramics, enamels, and sculpture. a combined exhibition at the Canadian Gallery. Prizes include purchase and sponsored Guild o[ Potters, Toronto, June 23 to Nearly 1,000 entries were judged from awards, cash, and ribbons. Deadline for July 10. Their exhibition was mainly artists in Alaska, Idaho, Montana, Oregon, entry blanks is October 11; these are concerned with pots produced without the Washington and Wyoming. Jurors for the available from Mrs. Helen F. Mendel, exhibition aid of the potter's wheel, though a few were Rose Slivka, Kenneth Superintendent, Fine Arts Department, Hendry, were constructed from wheel-thrown Larry Metcal[, and John Mar- 4525 Reamer Ave., Columbia. S.C. 29206. shall. shapes. Roger Kerslake, from Devonshire, En- "CLAY-PLUS" EXHIBITION gland, is now residing 20 AMERICANS in Toronto and is The State University College o/Arts and an instructor at the Central Technical "Clayworks: 20 Americans," being Science at Geneseo held its third national School in Toronto. His work has been shown at the Museum o[ Contemporary ceramic invitational show, "Clay Plus," at exhibited at the Design Centre in London. Cra[ts through September 12, is a com- the Fine Arts Gallery during January and "Ceramics '71," held at the Royal On- mentary on present day society, its con- February. According to the show's origi- tario Museum, featured his work and he cerns, faults and merits, according to Paul nators, Allan Peterson and Carl Shanahan, also has work represented in several British Smith, director of the Museum. He goes the lmrl)c:se ,~f this sh~,w was to give a Exhibitions and private collections. on to say: "'Clayworks: 20 Americans' Tim DeRose is from Toronto, and also cannot be construed as a survey of the is associated with Central Technical ceramic medium today; there are many School as a ceramic technician. other directions being taken simultaneous- ly. The kind of work shown in this ex- hibition is only possible and meaningful SMITHSONIAN EXHIBITION SERVICE in the context of our affluent 'free-form' Dennis A. Gould, an innovative arts American society." administrator from Portland, Oregon, has The 20 Americans represented in the been named Chie[ o[ the Smithsonian In- exhibit are: Raymond Allen, Robert Ar- stitution Traveling Exhibition Service, ef- neson, Clayton Bailey, Patti Warashina fective July 1. Mr. G~;uld succeeds Mrs. Bauer, Jack Earl, Kurt Fishback, Verne Dorothy T. Van Arsdale, who resigned in Funk, David Gilhooly, Dick Hay, Rodger November, 1970. In the interim, Mrs. Lang, Marilyn Levine, William Lombardo, Eileen Rose has served as Acting Chief. James Melchert, Richard Shaw, Victor Spinski, Bill Stewart, Chris Unterseher, Peter Vandenberge, Kenneth Vavrek, and CERAMIC HOBBY WEEK William Warehall. Jack Kemper, President of the National Ceramic Manu[acturers Association, has LOCATING WORKING POTTERS announced that the period from Septem- In reply to the Editor's note regarding ber 13-18 has been designated as National pottery workshops in the Letter column showcase to p,~tters x~;;rking xxith mixed Ceramic Hobby Week. Ceramic hobby in the May 1971 issue, Elaine Bono[[ of media. distributors, dealers, and studio owners New Rochelle, New York, writes: "Crafts- The ten invited artists were Michael are urged to request the special promo- men on Cape Cod have formed a guild Arntz, Robert Coleman, Jerry Dodd, Wil- tional package available at no charge from which publishes a map with easy directions liam Farrell, ]un Kaneko, Howard Kottler, Association headquarters. Included are a to different workshops all over the Cape. Malcolm Magruder, David Middlebrook, suggested press release, an official procla- You can get this at the Chambers of Mineo Mizumo, and Mark Tomlinson. mation format, broadcasting spot an- Commerce of the different towns. Miss Pictured is William Farrell's "Popeye with nouncements and other promotional ideas. Bonoff also suggests local museums, art Neon." Mr. Farrell is presently teaching at Requests for the kit should be mailed to stores, supply houses, etc., will also help the Chicago Art Institute as an Associate NCMA. 53 East Main Street, Moores- provide this information as you travel. Professor in the Department of Ceramics. town, N.J. 08057. 34 Ceramics Monthly Amateur or professional- Minnesota Clay_ is your best single source for quality materials, chemicals, NATZLER RETROSPECTIVE A retrospective exhibition of the work of e___qu_jpment,tools g accessories! California ceramists Gertrud and Otto Natzler opened at the M. H. deYoung Memorial Museum in San Francisco on July 24- and will continue through Septem- ber 6. Otto Natzier has dedicated the ex- , Clay , Chemicals ~ Alpine hibition to the memory of Gertrud, who Wheels & Kilns ~ Lockerbie, died on June 3. Robert Brent & Shimpo Wheels NATIONAL GLASS Walker Pug Mills ~ Ohaus A competitive glass exhibition, open to all artists over 18 years working and/or Gram Scales , Orton Cones , residing in the United States, will open L & L Kilns ~ Thermo-Lite Gas at the Bloomfield Art Association at Birmingham, Michigan on September 18 Kilns-Portable ~ Bamboo Tea- and continue through October 23. This pot Handles, 11/2"-6" Corks ~k competition was designed to represent cre- ativity in glass and glass and mixed media Elephant Ear Sponges on a professional level. Jurors for the show were Harvey Littleton and Richard Q. Ritter. Write for our new catalog/ BJURLIN SHOW AT FREDONIA The Michael C. Rockefeller Art Center Gallery of the State University College at Fredonia, New York recently installed an extenveehbton MINNESOTA CLAY of the ceramics of 2410 E. 38TH STREET/MINNEAPOLIS,MINN. 55406/PHONE 612-729-9085 O Bjurlin. For Marvin each of the past two summers, Mr. Bjurlin (who has been teach- ing at the college in Fredonia for the past three years) was ' awarded a Fellow- ship by the State University of New York Research Foundation to explore sculptural directions in clay. The exhibition included numerous works which were the result of these fel- lowships. Moreover, many functional pieces representing a wide range of more tradi- tional forms and techniques were included in the show. Bjurlin began potting as an under- graduate at Bethel College in St. Paul, Minn. where he studied with Eugene John- son, potter in residence, and chairman of the Art Department. He received an M.F.A. degree from the University of Michigan in Ann Arbor, working with to getting the most out of Orton Cones--it takes three both Fred Bauer and ]ohn Stephenson. ...wnen st comes Mr. Bjurlin's work has been included in to really do the job. numerous exhibitions across the country. The Guide cone tells you when your ware is approaching proper maturity. the One of the artist's pieces from The Firing cone tells you when the firing cycle has reached its optimum point, Fredonia exhibition is pictured. and the Guard cone lets you know if you've gone beyond the best point in the THE KILN ROOM heat-time relationship. Lee Magdanz, The Kiln Room, plan: Take a tip from the pros...use three Orton cones with each setting. to offer graduate credit in his Bristol, You'll find a complete range of cones at your dealer in the handy blister pack. and work Virginia, studio operation Ask him for a free copy of "Cones for the Hobby Potter". through VCU. He also is adding two apprentices: Doug Hay, a graduate of (~ The Brooklyn Museum School, and Roger De- The Edward ORTON Jr. Ceramic accepted standard Armond, a graduate of the University of FOUNDATION for Minnesota. 1445 SummitStreet • Columbus,Ohio 43201 * Phone (614) 299-4104 over 70 years Continued on Page 37 September 1971 35 KERAMOS CLAY AND GLAZES FOR THE POTTER by Franz Kriwanek. All of the basic areas of by Daniel Rhodes. Two complete books in Recommended ceramic work, from digging clay to build- one! Fundamental details on both clay and ing and operating a kiln, are covered in glazes make this book a "must" for every books on ceramics this new book. The examples of pottery are student, teacher and potter. $7.50 impressive both in number and quality. from the There is a refreshing treatment of subject KILNS: DESIGN, CONSTRUCTION matter that makes the book unique among & OPERATION the various tex:s now available. $4.00 by Daniel Rhodes. Everything you need to know THE TECHNIQUES about kilns -- se:ting up, firing, various OF types of kilns -- is described and demon- PAINTED ATTIC POTTERY strated in this first complete book on kilns. by Joseph Veach Noble. This lavish book Over 100 drawings and photographs. $10.00 unravels the methods used by the Athenian Book Department potters to produce the greatest pottery in STONEWARE AND PORCELAIN ancient European art. Includes information by Daniel Rhodes. Describes techniques on the famous and ORDER ANY OF THESE SELECT Greek black glaze. $25.00 materia s used in high-flre poffery. !ncludes sections on TITLES ON OUR MONEY-BACK A POTTER'S BOOK clay bodies, glazes, co ors, tex- tures and decoration. $7.50 GUARANTEE. WE PAY by Bernard Leach. Now in its twelfth Amer- POSTAGE ican edition, this book should be in the RAKU: ART & TECHNIQUE library of every potter and student of by Hal Riegger. The first complete ceramics! $8 book on 75 Raku. Covers clay and glaze preparation, kiln building and NATURE AS DESIGNER CERAMICS firing techniques. Beauti- by Glenn fully illustrated. $12.95 by Bertel Bager. This unusual and stimulating C. Nelson. A new, revised and en- larged edition of a favorite book presents a treasured collection of plant title. An out- METAL life standing handbook for potters and teachers. ENAMELING which demonstrates in a unique and very by Polly Rothenberg. effective way the beauty 348 pages, hardcover. $10.95 The emphasis in this of form in nature. book is on new methods of The forms will suggest an infinite number enameling and SELLING YOUR new applications of the age-old techniques. of shapes and textures for pottery. An CRAFTS out- by Norbert N. Nelson. In a concise step- Many of these unusual experimental projects standing gift selection. $14.95 by-step presentation, this book leads you have never before been published. $7.95 through MAKING POTTERY WITHOUT the actual stages necessary to sell A WHEEL successfully what you produce. Covers such CREATIVE CLAY DESIGN by F. Carlton Ball and Janice Lovoos. This diverse channels by Ernst comprehensive of sales as wholesale, retail, Roffger. A wonderful aid to those and richly illustrated book mail order and specialty who are covers every markets. $5.95 learning and those who are teach- phase of handbuilding and ing others how decorating clay pieces. to explore the crea:ive pos- No book covers the sibilities of clay. subject of texture and form so effectively. WE PAY POSTAGE $5.50 Includes section on firing. $9.95 POTTERY & CERAMIC SCULPTURE OBJECTS: USA by Herbert Sanders. A thoroughly revised DESIGN MOTIFS OF ANCIENT MEXICO edition of Mr. Sanders' best by Lee Nordness. A superb publication fea- seller CE- by Jorge Enciso. A compilation of 766 ex- RAMICS BOOK. Completely up-dated with amples divided into turing over 250 of our most talented artist/ geometric, natural and craftsmen new material, including section on how to artificial forms. Includes designs working in ceramic, enamel, glass, build a potter's based on metal, plastic, mosaic, wheel. This is an excellent flowers, birds, fish, etc. 170 pages. $2.50 wood, and fiber. In- book for beginners. cludes a photo of each craflsman, a brief $1.95 biography, and an example STEP-BY-STEP CERAMICS of his work. 360 THE WORLD OF JAPANESE CERAMICS pages ~ many in color. $14.95 by Jolyon Hofsted. In this complete in- by Herbert Sanders. This handsome book troduction to ceramics, the beginner is led CERAMICS FOR THE ARTIST POTTER illustrates the forming and decorating pro- through all of the basic clay forming and by F. H. Norton. cesses and the unique tools used by the The most complete book potters of decorating processes. There are special sec- on the subject, from Japan. Includes glaze formulas, tions choosing the proper color charts, and American on the Potter's Wheel, Glazing, Firing clay to putting the final touches on a equivalents of a Kiln, Building Your piece, Japanese glaze compositions. $12.50 Own Kiln, Decorating all clearly explained. $9.75 Techniques and Raku. $2.50 CERAMIC GLAZES ENAMELING ON METAL HANDBOOK OF DESIGNS AND by Cullen W. Parmelee. This invaluable by Oppi Untracht. Step-by-step photos are DEVICES used to describe by Clarence Hornung. Over 1800 sketches reference book completely covers glaze fundamentals on through of basic designs making, including formulas and to newly developed experimental styles. This and variations including the batch complete circle, line, scroll, recipes. 314 pages of technical information. guide is a maior contribution to fret, shield, snow crystals the and many more useful symbols. $2.00 For advanced students. $9.95 art of enameling. $7.50 CERAMICS AND NOW TO POTTERY: FORM AND EXPRESSION CERAMIC DECORATETHEM DESIGN by Joan B. Prlolo. Presents detailed by Marguerite Wildenhaln. A truly by John B. descrip- beauti- Kenny. Complete instructions for tions and illustrations of dozens of ful book! Magnificent pictures of the methods of forming decorat- author and decorating ware are ing techniques and shows how to use them. at work and of ancient and contemporary given, with step-by-step photos to guide the Excellent for hobbyists. $6.95 potters. Outstanding gift selection. $9.95 designer along the way. Contains appendix, mmm Inn mm mm mm list m mm mm mm mmm m m m m m m of materials, recipes, and glossary. $9.95 mm m mm Order Form -- We Pay Postage CERAMIC SCULPTURE BOOK DEPARTMENT Box 4548, Columbus. Ohio 43212 by John B. Kenny. Contains over 1000 photos [~Bac~er'---~ature and sketches $14.95 ~ Kenny--Sculpture $9.95 [] Nelson--C .... ics $10.95 covering all abases of the [] Ball & Lovoos--Pottery $9.95 sculptor's art: figure [] Kenny--Pottery $7.50 [] Nelson--Sellln9 Crafts $5.95 work," models and [] Enclso---Deslgn $2.50 [] Kinney--Glass casting, firing, etc. A valuable aid for Craft $7.50 [] Nordness--Objects $14.95 all [] Hofsted~Ceramlcs $2.50 [] Krlwanek--Keramos $4.00 teachers and craftsmen. $9.95 ~ Norton--Artist Potter $9.75 [] Hornung--Deslcjns $2.00 [] Noble--Attlc Pottery $25.00 Parmelee--Glazes $9.95 THE COMPLETE [] Kenny--Desicjn $9.95 [] Leach--Potter's Book $8.75 [] Prlolo--Ceramlcs $6.95 BOOK OF [] Rhodes~Clay & Glazes $7.50 POTTERY MAKING Rhodes--Kilns $10.00 by John B. Kenny. The "best seller" in the NAME Rhodes--Stoneware $7.50 ceramic field! Step-by-step photo lessons Rieqqer--Raku $12.98 cover all of the pottery-maklng techniques: ADDRESS- [] Rothenberg--Enamelln9 $7.95 clays, glazes, firing, plaster, etc. $7.50 J-~ Rottqer--Creatlve Clay $5.50 CITY STATE_ ZIP_~ [--~ Senders--Pottery $1.98 GLASS CRAFT ~-] Sanders--Japanese $12.50 by Kay Kinney. The comolete book on fusing, I enclose [] Check [] Money Order [] Untracht~Enamelin9 $7.50 [] laminating and bending glass. Basic tech- (Ohio residents: add 4% Sales Tax) Wildenha~n--Pottery $9 95 niques and step-by-step projects. $7.50 m m m m elm 36 Ceramics Monthly NEW CATALOC CERAMACTIVITIES NEW ZEALAND CRAFTSMEN Continued from Page 35 The International Design Center at No. 21 for '71 Minneapolis featured TOWN AND COUNTRY ELECTS an exhibit of ceramics According to Jane Waters, Publicity and textiles by New a Ceramics recently Chairman, the following are the Zealand craftsmen in Country a Stained Glass elected officers of the Town and April and May. The Indiana: Ceramic Association, Hammond. show included work a Lamp .parts, lighters, Mrs. Ernest Coleman, president; Arnold ~f well-known New Bey- music boxes Kaufman, vice president; Mrs. Fred Zealand ceramists: ker, treasurer; Mrs. Clark Lembcke, cor- Len Castle, Jack • Kemper tools Roy Sipes, responding secretary, and Mrs. Laird, Patricia Perrin recording secretary. and Wilfred Wright. Pictured is a wine • Marx brushes Wright. Mr. Wright is a pot by Wilfred a Porcelain Flowers PROVIDENCE ART CLUB potter at the Reikorangi Pottery near ACC Executive Vice President Donald Wellington. • Rhinestones, jewels, L. Wycko[[ was juror for a Craft Show Starlites held April 4-16 at the Providence Art Club, Providence, R.I. The "Best in THE POTTERS' GUILD OF BALTIMORE a Jewelry Findings, Show" award was given to Wayne Higby The Potters" Guild o/ Baltimore, Mary- porcelain blanks of Providence for his raku covered jar, land, celebrated its 15th anniversary with a special showing of members' work in • Crushed glass, marbles 201 Homeland Avenue Gallery in the enameling June. The Guild organized in 1955 with a Copper fifteen students; membership totals 55 a Plastics today. Guild members have exhibited and won special awards at the Smithsonian. 134 pages of more, more, more! Corcoran, Norfolk and Baltimore Museums Rush $1 for your copy today. of Art. Recently installed officers of the Pot- ters' Guild are: Edie Brown, president: Barbara Glodek, 1st vice president; Marti BERGEN ARTS & CRAI Stroud, 2nd vice president, Nina Long, Box 689 CM Salem, Mass. 0191 treasurer; Virginia Cohen, assistant trea- surer; Lee Nor.ak, recording secretary, and Sallie Jones, corresponding secretary. c:zx WISCONSIN DESIGNER-CRAFTSMEN'S FIFTIETH and the "Juror's Choice in Ceramics" Governor Patrick ]. Lucey proclaimed Sculptors-Potters. Ceramists award went to Daisy Brand of Newton, February 16 "Wisconsin Designer-Crafts- Massachusetts, for a stoneware planter men Day" in recognition of the opening CALL FOR (pictured). of the Wisconsin Designer-Craftsmen, Inc., 50th annual exhibition in the University TOOLS Arts Gal- I KEMPER WRONG PLACE SETTINGS of Wisconsin-Milwaukee Fine leries. QUALITY- UTILITY- DURkSILITY Credits for work illustrated in the June Over 220 pieces were accepted for the Show Time feature on the Evanston Art Since 1947 sh,,w, juried by Lee DuSell, professor of Center's "Place Setting" exhibition were Used in colleges, universitiesand schoolsthrough incorrect. Work shown at the top of the out the United States. Listed below are just a few 1 page was done by Joyce Moty, while that of the hundredsof KernperTools available. illustrated below was by Ray Alien. Alice • TURNING TOOLS Westphal was exhibition director for the • RAKU TOOLS show; T. William Fejer is Director of the • TOGGLE CLAY CUTTERS Art Center. • ALL WOOD MODELING TOOLS • COMBINATIONWIRE and WOOD TOOLS EDGEWOOD INVITATIONAL t • DOUBLEWIRE END TOOLS Edgewood College, Madison, Wisconsin. • LOOP TOOLS presented its first clay annual, "Lake • TEXTURINGTOOLS Area Clay Invitational," during February. • FLEXIBLE STEEL SCRAPERS CALIPERSETC. Several young artists, largely from scu~h- • HARDWOOD ern Wisconsin, were asked to show. They Write for completeKEMPER CATALOG enclos. ing ~ (coin or stamps) for postageand were John Barsness, Vernon Brejcha, Den- handling. Please include Zip Code Number nis Caf[rey, Bob Freagon, Sharon Hansen, with address Karen Massaro, Duck Natale, John Na- tale, Flynn Sochon, Bill Warehall, and KEMPER MANUFACTURINGCO ,~,)~jJ|l Mike Zilka. P. O. Box 545, DeM CM, Chino, California 917]0 ~ii~l J Awards in Purpose of the show was to illustrate art at Syracuse University. to John Satre how the ceramic artist of today is making ceramics were presented and a transition through a variety of old and Murphy, Don Bendel, James Michels, Patch" new ceramic ideas and techniques. Con- Elizabeth Boettger. "Watermelon is a set of tainer and object decoration ranged from by Don Bendel, pictured here, snakes. low fire luster to high fire salt and un- stoneware melons tied by coiling glazed ware. Continued on Page 42 September 1971 37 "LOTUS" POTTER'SWHEEL iAII Steel) Since 19S3 ITINERARY Continued from Page 11 Nationally Known for sored by the Western Reserve Ceramists of Warren, Ohio, will be held at Howland OUALITY! Community Church, Rt. 46. For informa- tion, write: Mrs. John Daugherty, 5751 Ruggedly built to last longer. Used in Emerson, N.W., Warren, Ohio 44483. the large colleges nation-wide. Send for literature and prices. OHIO, TOI.EDO LTM September 18-19 "Wonderland of Ce- Corp. 855 South Telegraph Rd., Monroe, Mich. 48161 ramics," the 10th Annual Toledo Show, sponsored by the Toledo and Area Cera- mists, will be held at Toledo Raceway Park. For information, write: Ila M. Periat, 2646 ll7th St., Toledo 43611. PENNSYLVANIA, PLYMOUTH MEETING September 30-October 3 The First An- nual Plymouth Meeting Mall All Craft and Sculpture Show is open to all profes- sional craftsmen and sculptors. Fee. For information, write: Jinx Harris Shows, Inc., 539 N. River Rd., Manchester, New Hampshire 03104. FRANCOISE CERAMICS DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes, WHERE TO GO Underglazes, Bisq-Stain and Molds. IN STOCK: Large selection of Atlantic • Arnel • Ludwig Because listings are subject to change, Schmid . Holland . White Horse • Fres.O-Lene dates can be veri[ied by writing to & Weaver molds. Complete line ceramic supplies. the WHOLESALE sponsoring groups or AND RETAIL galleries. 113 49th St. South St. Petersburg, Fla. 33707 ARKANSAS, LITTLE ROCK September 17-October 24 The Fifth i Annual Print, Drawings and Crafts Ex- Gare is dressed hibition; at The Arkansas Arts Center. to kiln • . . in stainless steel jackets and a 2-year factory CALIFORNIA, AVALON, CATALINA warranty on electrical components. ISLAND Check Gare's net prices before you make your September next kiln purchase PARAGON Kilns -- enameling and ceramic. 17-19 Catalina Festival of and make a killing. Complete line of THOMPSON enameling sup- Arts and Crafts Show and Street Exhibit pies. Distributor for all DUNCAN products Gare Ceramic Supply Co., Inc. and JACOUELYN ceramic stains. C asses in at Avalon. P.O. Box 830, Haverhill, Mass. 01830 enameling and ceramics. Large selection of GREENWARE. CALIFORNIA, Los ANGELES through September 30 "This is Mexi- Cross Creek Ceramics, Inc. co"; at the California The Famous 3596 Brownsville Rd., Pittsburgh, Pa. 15227 Museum of Science and Industry. KLOPFENSTEIN CALIFORNIA, SAN FRANCISCO POTTER'S WHEEL Write the LOCKERBIEPotterSs Wheel through September 6 Ceramics by for FREE Information Gertrud and Otto Natzler; at the M. H. H. B. KLOPFENSTEIN & SONS FINEST KICK WHEEL MADE de Young Memorial Museum. RFD. ~2 Dept. A Crestline, Ohio 44827 Used by colleges, schools and studio potters $175.00. IOWAj DAVENPORT Write for new circular to September 18-19 The Beaux Arts Fund Parfex Co. - 7812 Boulder Fair; at the Davenport Municipal Art CERAMIC EQUIPMENT Ave., Highland, Calif. 92346 Gallery grounds• WALKER pug mills • LOCKERBIE, OSCAR PAUL and SHIMPO WEST KANSAS, TOPEKA potter's wheels. Send large stamped addressed envelope Please Mention CM September l l-November 28 "Handi- for brochures. crafts of the Southeast," Smithsonian Capital Ceramics, Dept. CM when writing our advertisers 2174 S. Traveling Exhibition; at the Topeka Main St., Salt Lake City, Utah 84115 Public Library• MASSACHUSETTS., PETERS I-IAM September 15-19 Art and Craft Exhibit at the Town Hall. MASSACHUSETTS. WORCESTER September 18-October 17 "The Ameri- ~.~.L~,~_ ~ ~/.~ i st,dio! can Porcelain Tradition," a traveling ex- CLAYS hibit circulated by the New Jersey State GLAZES Museum; at the Craft Center. TOOLS bmlaec~::,, ~ I [ Let MICHIGAN, BLOOMFIELD KILNS the Walker Pug Mill mix September ...... 18-October 23 "National Schools and institutions write for Iil +cl+. 'imi°a+ Glass"; satidied users.\",'~! I II . save time for creative a competitive glass exhibition of FRrcF_ literature. ~-"* cifor[ a~zd ir,strU~tlOn United States professional artists; at the Bloomfield Art Association. Continued on Page 39 38 Ceramics Monthly Kilns -- Potter's Wheels Ceramic Tools ITINERARY I WRITE FOR OUR I Continued [rom Page 38 70-71 FREE CATALOGUE ] MICHIGAN., MIDLAND October 1-22 "Michigan/71 Competi- tive," a statewide competitive exhibition of CERAMIC Michigan artists; at the Midland Center PRODUCTS for the Arts. MINNESOTA~ 2618 S.E. STEELE STREET CHASKA PORTLAND, OREGON 97202 September 11-19 The First Annual Ren- aissance Fair, sponsored by the Minnesota Art League; at Jonathon. MINNESOTA~ ST. PAUL SAN DIEGO Kickwheel Kit -- $69.00. Lookerbie, Oscar Paul, Shimpo wheels, Elec- September 15-October 15 Craft Com- tric and Gas Kilns on display. Pug Mills, Ac- mitment Exhibition; at College of St. cessories and Supplies. Catherine. WAY-CRAFT MINNESOTA, ST. PETER 394 Delaware St., Imperial Beach, CA 92032 through September 14 Craft Commit- ment Exhibition; at Gustavus Adolphus College. Please Mention CM MONTANA, BILLINGS through September 30 Ceramics by when writing our advertisers Maxine Blackmer; at Gallery '85. NEw JERSEY, TRENTON through September 12 "Selections from the Collection" include glass, pottery. PACIFICA Potter's Wheels porcelain and Art Nouveau pottery and porcelain; at The New Jersey State Muse- ~many models from kits $45 to professional potter's um. wheels for $149. ---are more rigid than most NEW MExmo, ALBUQUERQUE --easily dismantled for mov- September Pottery by Betty Colbert ing ~have a unique system of Fromm; at The New West. adjustments so that they September 12-30 Pottery by Neal Town- COMFORTABLY fit users POTTERY from 4' to 6' 4" tall send; at The Studio Gallery. All models now ready for immediate shipment NEW MEXIGO, SANTA FE EQUIPMENT Phone: (415) 841-5168 or through September 20 "Southwest Crafts Biennial"; at the Museum of New Write: Box 924, Dept. C., Berkeley, CA 94701 SPECIALISTS Mexico. LEADING LINES OF KILNS (gas and NEW YORK, BINGHAMTON electric), WHEELS, TABLES, PUG September 11-12 Holiday and Arts Fes- MILLS AND TRUCKS. tival includes pottery and crafts: at Rober- Southern Sales Office covering southeastern U.S. -- N.C., Tenn. and all states soutM son Center. PAUL STROMGREN & ASSOCIATES 3919 Sevill= St., Tampa, FI. 33609 BR1DGEHA~IPTON NEW YORK, Write or call: (813) 831-8081, night or day. J INSTRUCTION - CATALOGS 1 September 4-14 Glass by Willem Hee- 1 With beautiful color charts I Sales & Service I ~70A Ceramic Supplies & Equip. $1.00 I sen; at Benson Gallery. I ~67B Enamel Supplies & Equip .... S0 I I Costs refundable with coupon I NEW YORK, CORNING 1 (FREE to Schools and Institutions) mR through October 31 "Victorian Glass"; September 13-18 1 TEPPING STUDIO SUPPLY CO. mR National Ceramic Hobby Week I professional staff I at Coming Museum of Glass. NEW YORK, NEW YORK through September 12 "Clayworks: 20 Americans"; at the Museum of Contem- porary Crafts. September 17-October 3 Annual Ex- Van. Howe hibit of Artist Craftsmen of New York; at Lever House. Ceram,c Supply September 23-October 9 Madeline Sadin Memorial Exhibit; Pottery; in the Little Gallery at Greenwich House Pottery. #11 Catalog $1 NEW YORK, ROCHESTER September 11-12 Clothesline Art Show; at Memorial Art Gallery. Catalog Sent Free To Schools & Institutions NEw YORK, UTICA September 5-December 5 Satsuma Ware, Japanese Ceramics from the Proctor Col- VAN HOWE CERAMIC SUPPLY CO. lection; at Fountain Elms. Continued on Page 40 11975 E. 40th, Denver, Colorado 80239 September 1971 39 0scar-Paul ITINERARY PROFESSIONAL Continued [rom Page 39 POTTER'S WHEEL NEW YORK, YORKTOWN HEIGHTS September 1-30 The 1971 Connecticut Traveling Craft Show, sponsored by the Society of Connecticut Craftsmen; at Yorktown High School. NORTH CAROLINA, ELIZABETH CITY September The 1971 North Carolina Traveling Exhibit; at Elizabeth City State University. NORTH CAROLINA, KINSTON September The 1971 North Carolina • SLIP CLAY ...... Cone 06 and S Traveling Exhibit; at Lenoir Community • SCULPTURE CLAY ...... Cone 10 * Variable speed (19-155 RPM) College. e Full torque "Satellite Dr;ve" NORTH CAROLINA, RALEIGH September lO-October I0 North Caro- • Quiet operation lina Craftsmen; at the North Carolina Museum of Art. e Compact size & light weight OHIOj CLEVELAND e Floor space ~ 2 sq. ft. through September 19 "Florence and e Optional table tops the Arts: Five Centuries of Patronage," ceramics; at the Cleveland Mu- (flat or splash pans) includes seum of Art. drive e Smooth & uniform OHIO, COLUMBUS September 5-.70 Handthrown stoneware INDUSTRIALMINERALS CO Potters and Dealers . . . write far more Carlos, Ca. 94070 information and prices. by Harrison Mclntosh; at Helen Winne- 1057 Commercial St., San more's. OSCAR-PAUL CORP. 522 W. 182 St., Gardena, Calif. 90247 OHIO, TOLEDO through September 26 "Form, Color and Surface in Glass" augments the major dis- play, "Art in Glass"; in the school lobby, Toledo Museum of Art. L L KILNS Tip the scales in your favor. ONTARIO. TORONTO September 14-October 2 Ceramics by • . . the most complete line! This new college text gives you a Marcel Beaucage; at the Canadian Guild The only kilns with patented DYNA-GLOW weighty advantage in unscrambling the element holders. Write for information. calculation. of Potters. mystifying science of glaze L and L MANUFACTURING CO., Box 348 Highlighted by charts, reference tables 144 Conchester Rd., Twin Oaks, Pa. 19104 and step-by-step guidelines, this book PENNSYLVANIA, EASTON makes a most valuable addition to the September 1B The Sixth Annual Centre library of both the serious student and the independent potter. Square Art Fair; in downtown Easton. T PENNSYLVANIA, PHILADELPHIA ENAMELING SUPPLIES through September 28 "Design Works of EVERYTHING FOR THE ENAMELISTt Decoupage m Leaded Glass Bedford-Styvesant" and African Artifacts CATALOG $1 (Decoupage Catalog $1.00) of Tribal Arts Gallery; at the Philadelphia KRAFT KORNER m Art Alliance. 5842 Mayfield Road, Mayland Annex Cleveland, Ohio 44124 Phone (216] 442-1020 PEN NSYLVANLA~ PITTSBURGH September 1-21 "Objects: USA"; at the Museum of Art, Carnegie Institute. Please Mention CM TENNESSEE: MEMPHIS when writing our advertisers September 5-October l "Appalachian Corridors: Exhibition 2"; at Brooks Me- morial Art Gallery. ~: ~i " TE~XAS, SAN ANTONIO New 1971-72 Catalog through September 19 "Chinese Gold, • Raw Materials and Porcelain" from the Kempe Silver • Frits, Glaze Stains loll elll llelll I. el I • I I ~ • * el eltleeooe Collection, circulated by the International • Glazes- Low & High Fire i billike, n ptcJ! : Memorial Museum, at Witte Museum. • P.O. Box 8564 San Jose, Calif. 95125 • • Clays -- Blended & Bas;c • SKUTT, OSCAR-PAUL, Please send me Postpaid copies of : • Glaze Calculation @ $3.95 each. (Calif. . LOCKERBIE Wheels •; res. add 5% tax) Art-Crafts Supplies, Inc. • PARAGON & SKUTT Kilns 235 N.E. 67th St. Miami, Fla. 33138 Catalog $1.00 • Name Distributor for: (Free to Sckools & Institutions) • Address PARAGON Kilns • DUNCAN, GARE & ORTON CONES Paramount Ceramic, Inc. ~,• City State Zip '! MARX Brushes • JACQUELYN Stains 220 No. State Fairmont,Minn. 56031 oo ooo = • ooo ooeo eee =eoeoeoooee 40 Ceramics Monthly CLAYS NEW BOOKS Electric High Fire ~i!;;! ~ II AND 2300 ° F -- CONE 8 j~;lil:j~ i~g OBJECTS: USA by Lee Nordness Write for literature "Objects: USA," the book, is a culmina- tion of "Objects: USA," the traveling ex- GLAZES hibition of notable contemporary art ob- AIM CERAMIC KILNS jects brought together by Lee Nordness For Potters, Schools, NEW ADDRESS and Paul Smith in conjunction with the and Institutions 303 Potrero St., Santa Cruz. Calif. 95060 Johnson Wax Company. The book is divided into nine categories: enamel, ceramic, glass, metal, jewelry, plastic, We feature a full line CERAMIC E~)UIPMENT mosaic, wood, and fiber. The examples of glass colors- lusters- SHIMPO POTTER'S WHEELS chosen for the show are representative of ~lr Huge Stocks "k Fast Service ~ Ouality work being accomplished today in the overglaze colors. Merchandise ~ Write for FREE literature United States by fine artist-craftsmen. The CECAS format includes a photograph of each ~ili~i~•~ !ili:~ ill!i! Batavia Road, Warrenville, Ill. 60SSS artist, along with his or her biography- Phone (312) 393-9468 philosophy. Included is a photograph and ?i)i description of the artist-creator's "object" that was accepted and shown in the ex- Clays Engobe or CERAMIC& hibit. 360 pages; photographs in color and Chemicals Slip Stains j!~ SCULPTURE halftones; $14.95. Ceramics Monthly, Box Plasters SUPPLIES 4548, Columbus, Ohio 43212. Glaze Frits CLAYS • TOOLS • GLAZES RAW MATERIALS Glaze Stains Modeling Tools KILNS • WHEELS Ca;'aioq. $1 (deductible with first $15 order} EXPLORING FIRE AND CLAY Test Kilns " RICHLAND CERAMICS, Inc. by Arne Bjorn Underglaze Post Office Box 3416, Columbia, S. C. 29203 Archaeological explorations recently under- Colors Balances taken in Denmark were the inspiration of i Prepared Glazes Brushes COMPACT-ADJUSTABLE- RIGID -ALL STEEL-SPLASH PAN this book, which discusses and provides PORTABLE-HEAVYFLYWHEEL - , - directions for the reconstruction of outdoor ~ kilns used two to three thousand years potter' wl ool ¢ ago. The Hasseris kiln, and the Limhamn "Try us for those POWEREDVERSION ~149._ - _ __-L,-,L,L kiln -- a method of open pit firing -- are ii! hard.to.flnd items." described and building diagrams are in- ~ Flit inrellATiOaADmiT THE'UOlGMIREwaE[tqhiliJ cluded. In addition, the Glostrup and St. E$TBIN HFG,LTO, 3651 Pt.GreyVancouvd8 Canada" Olai kilns are discussed. Instructions for simple pottery making and construction ~i~J~ NEW CATALOG and control of fire are other features of i+!~: SENT FREE TO ONE-STOP CERAMIC SERVICE this book. 88 pages; halftone photographs and drawings; $4.50. Van Nostrand Rein- i;!~ POTTERS, SCHOOLS ~ Central New York Ceramic Supply hold Co., 450 W. 33rd St., New York, ..... New York 10001. ~ AND INSTITUTIONS. 213-215 Second St. LIVERPOOL, NEW YORK 13088 JAPANESE AND ORIENTAL CERAMICS by Hazel H. Gorham Of value to collectors and dealers, this Sold only work offers authentic guidelines in recog- by nizing differences in Japanese and Chinese Authorized porcelains and ceramics, and is the result Dealers of years of study and research by the author. Tracing the cultures influencing I 1147 E. Elm W. P. DAWSON, INC. Fullerfon, Calif. 92631 the emergence of Japan as the melting pot of culture in the Orient, there is a his- torical outline of the development of Oriental ceramic wares, in addition to pre-historic and early potteries. In all, CERAMIC the book discusses nineteen "name" wares. CLAYS Also included are these five areas in Japan and the indigenous potters who are 1 • and well-known for their wares: Imari, Ku- tami, Kyoto, Seto and Tokyo. Further GLAZE sections contain a brief historical outline MATERIALS of Korean wares, ceramic designs and symbols and inscriptions used on ceramics, and advice to buyers of Japanese wares. Standard Ceramic rinitH CERAMICSUPPLY, INC. There are 36 full page illustrations in addition to many smaller ones. 256 pages; Supply Co. 9016 DIPLOMACY ROW $7.50. Charles E. Turtle Company, Rut- DALLAS, TEXAS 75235 land, Vermont 05701. ~ Box 4435, Pittsburgh, Pa. 15205 PHONE (214) 631-0540 Continued on Page 42 ~!~ :~:~:.i~. =. " .: .. September 1971 41 lOth Annuol Advertisers Index September 1971 NEW BOOKS Toledo Show AIM Kilns ...... 41 Continued from Page 41 "Wonderland of Ceramics" Allcraft ...... 8 TOLEDO RACEWAYPARK FINE CERAMICS American Art Clay Co ...... 4 Technology and Application Art-Crafts Supplies, Inc ...... 40 5700 Telegraph Rd., Toledo, Ohio by F. H. Norton B & I Mfg. Co ...... 10 In this technical volume, the author SAT., SEPT. 18 - 10 a.m. to 9 p.m. Bergen Arts & Crafts ...... 37 discusses the general principles involved Billiken Press ...... 40 SUN., SEPT. 19 - 10 a.m. to 8 p.m. in the production of fine ceramics. The Brent, Robert, Potter's Wheels ...... 12 book was planned to be used as a text • FREE DEMONSTRATIONS for undergraduate and graduate college • FREE PARKING Campbell, Gilmour ...... Cover 4 courses in ceramic engineering, as a 38 • DOOR PRIZES • BOOTH PRIZES Capital Ceramics ...... reference for research and production CECAS ...... 41 • HOBBY AND STUDIO DISPLAYS personnel in the ceramic industry, and a Central New York Ceramic Supply .. 41 • SCHOLARSHIP AWARDS stimulus to management. In addition, and Ceramic Coating Co ...... 4 of special interest, are the hundreds of '="~ I f * Ceramichrome ...... 7 formulas for the preparation of bodies, Cork Products ...... 39 glazes and colors. Diagrams, tables, and Craft Students League YWCA ...... 42 black and white photographs illustrate Creek-Turn ...... 38 the text. 507 pages; $24.50. McGraw-Hill Cress, J. J ...... Cover 3 ASexis Id ~ "~" Book Co., 330 West 42nd Street, New Cross Creek Ceramics ...... 38 York, New York. Dawson, W. P ...... 41 COUNTRY POTTERY THE ENGLISH Dial-A-Glaze ...... 10 its History and Techniques by Peter C. D. Breers Duncan's Ceramic Products ...... 3 ~ ~ Slvd. EzJl This study of English pottery and its his- Estrin Mfg. Co ...... 41 tory traces developments from the medieval 0~Turnpike tradition, on to the urban potteries, pro- Franeoise Ceramics ...... 38 duction of art wares, on through to the Gare Ceramic Supply Co ...... 38 / ~ ~C~umbus~CIivebnd decline of the potteries. Original research is incorporated, including the first classifi- House of Ceramics ...... 13 For information Call or Write: cation of the little-known wares of the late lie M. Periat, Pres., TOLEDO & AREA fifteenth and sixteenth centuries. The types Industrial Minerals ...... 40 CERAMISTS, 2646 117th St., Toledo, O. 43611 discussed of clay, glazes and firing used are Jay-Bellman ...... 8 in detail. The book is generously illustrated with black and white drawings and photo- Kemper Mfg. Co ...... 37 graphs. A comprehensive gazetteer of the Klopfenstein, H. B. & Sons ...... 38 majority of the craft potteries that have Kraft Korner ...... 40 worked in England since 1500 is included. CRAFTSMAN'S 266 pages; $8.50. Charles E. Turtle Com- L&LMfg. Co ...... 40 FAIR pany, Rutland, Vermont 05701. Lotus ...... 38 39 OF THE SOUTHERN Marshall-Craft ...... Mayco Colors ...... 9 HIGHLANDS CERAMACTIVITIES Minnesota Clay Co ...... 35 Continued [rom Page 37 Ohio Ceramic Supply ...... 38 MISSISSIPPI VALLEY WINNERS Orton Ceramic Foundation ...... 35 Raymond 1. ]orgens of the Mississippi Oscar-Paul Corp ...... 40 Valley Ceramic Association sent in the photograph showing award winners from Pacifica Potter's Wheel ...... 39 the recent show held at Moline, Illinois. Paragon Industries ...... 10 Paramount Ceramic ...... 40 Parfex Co ...... 38 Reward ...... 8 Richland Ceramics ...... 41 OCT. 19-23 GATLINBURG, TENN. Rovin Ceramics ...... 4 For folder write: CRAFTSMAN'S FAIR Shimpo-West ...... 6 Box 9145, Asheville, N.C. 28805 Skutt Ceramic Products ...... 39 Southern Highland Handicraft Guild.. 42 The Soulhern Highland Handicraft Guild Standard Ceramic Supply Co ...... 41 Stromgren and Associates ...... 39 Tepping Studio Supply ...... 39 From left to right are: Mary ]aster, hob- Thompson, Thomas C., Co ...... 5 byist; Becky Groene, hobbyist; and Bey Toledo & Area Ceramists ...... 42 Eno, professional. Back Issues Trinity Ceramic Supply ...... 41 The [ollowing back issues o[ CM are still YWCA CERAMICS Unique Kilns ...... 38 available at sixty cents each. (Ohio resi- 840 8 AVE dents pay 4% sales tax). We pay postage. AT SIST SCULPTURE Van Howe Ceramic Supply ...... 39 NYC 10019 Foil Term Sept 23- Jan. 22 1962 February 1970 September Walker Jamar Co ...... 38 October CRAFT STUDENTS LEAGUE Way-Craft ...... 39 [212) 246-4712 Open House SEPT. 21 Westby Kilns ...... 33 Please send check or money order to: SEND FOR 5-9 PM CLASS Westwood Ceramic Supply ...... 6~ 11 CERAMICSMONTHLY CATALOG Courses in 26 Croft Fields Williamsburg Pottery ...... 5 Box 4548, Columbus, Ohio 43212 42 Ceramics Monthly Cress Model C-30-FH High Fire Kiln. Outside: 40x46x67". Inside: 24x24x30". 10 cu. ft. capacity. Up to 2300°F. Voltage: 230. Amperes: 60. Complete with two half shelves, 6 posts, peep-hole plugs and instructions. Elements on three sides and the door for uniformity of temperature. Seven input power controls for precise adjustment of heat in each section. Refrigerator type latch on door. Heavy steel frame. Timer and relay (shown) are optional. $1153.50 or with automatic shut-off $1215.50. Weighs 1200 pounds. • ! I ,= You cant beat a CRESS At colleges and universities all over the the money than an~ other electric kiln on world, you will see the highly efficient CRESS the market. This c~?n't-be.beat value has High Fire Electric Kiln (as above) or some made CRESS one qf the world's largest other of their 19 models. Styles and sizes for manufacturers of kilns for firing and glazing. home hobbyists, commercial, school or Write for free catalpg illustrating our full institution use. Prices from $89.50. line of quality cons~tructed kilns for Feature for feature, CRESS offers more for ceramics, glass an~l enameling. J. J. CRESS COMPANY, INC. 1718 Floradale Avenue, South El Monte, Californi 91733 For Hobbyists • Schools • Art & Craft Centers • Institutions Manufactured by GILMOUR CAMPBELL - 14258 Maiden - Detroit, Michigan 48213 KINGSPIN Electric Banding Wheel KI NGSPIN Wheel • Heavy Kinalloy 7-inch table NEW with Wagon Wheel Base • Top and base are cast Kinallay • New -- with height trimmer • Top measure~ 61/4 " • Shipping weight 3 Ibs. • Solid cast aluminum case • 110 volt motor, 35 RPM Model W-6 only ...... $4.95 • On & Off switch, 8-ft. cord • One-year service guarantee With 7-inch table • For light throwing Model W-7 ...... $5.50 Model E-2 ...... $24.95 With 8-inch table E-2T with trimmer ...... $26.95 Model W-8 ...... $7.50 Model E-3T ...... $30.50 (More power tot light throwing) With 10-1nch table E-3 less trimmer ...... $28.50 Model W-10 ...... $9.95 KINGSPIN Kinolite Turntable KINGSPIN Kinalloy Turntable New 12-inch model with many uses • A 12-inch wheel for the price • 10" model of an 8-1nch • Made ol KINOLITE -- latest sinktop material used • Heavy KINALLOY Table in newest homes • Heavy Kinalloy round base • Just the thing to use on those lace dolls. • Heavy Kinalloy round base • Easy Spinning W~th Wagon Wheel Base Model W-t2 ...... $6.50 Model KR-7 ...... $6.50 With 7" Table q With 12-inch Aluminum Table Model KR-8 ...... $8.75 Model A-12 ...... $16.95 With 8" Table Model T-12 ...... $7.50 Model KR-10 (shown) ...... $11.25 KINGSPIN Lowboy Steel Wheel KINGSPIN Steel Wheel • Our Economy Model • Kinalloy • Our Economy Model Bearing • Easy Spinning • Zinc • Kinalloy Bearing Plated-Rustproof • 7" Steel Top & Botlom • Highest Quality • • Knurled Stem Low Price • Easy Spinning • Zinc Plated -- Rustproof This new model may be used as a • 7" Steel Top & Bottom mold stand, for clay modeling or as a decorating wheel in spray • Highest Quality booth. • Low Price Model S-L $3.25 Model S only ...... $3.50