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~ Art Studio Owner -~ Public School Teacher Private Class Teacher All types Colors and Finishes, Clays and ~ Occupational Plasters, Pottery Tools, Kiln Furniture and Therapist Supplies, Painting and Air-Brush Equip- ment, Sericrafters water-mount Decals, Etch- all Cream for removing fired gold and china paint, Ceram-Ink, Craftool power wheel, Ceramic Nets and Laces. street city __zone--.-----..~tote_ ~J FILL IN AND MAIL THIS COUPON TODAY! Melody in Metal by John Martin TABLES, TRIVETS and TRAYS In the Modern Beauty of Black Steel Works of art in the mood indigo, destined for ultimate greatness with the touch of your hand . . . to tile. PRICES -- without titles

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8-1 TRIVET--1 tile 6" square B-2~" square MOLD TO FIT $6.00 POSTPAID J with instructions for pouring. D. TRAY--2 tiles 12" long, 6" wide E. TRAY--3 tiles 18" long, 6" wide

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CERAMICS MONTHLY a letter from the editor

He that publishes a boo k runs a very great hazard, since nothing Volume 2, Number 3 MARCH • 19S4 can be more impossible than to compose one that may secure the S0 cenfs per copy approbation of every reader. --Cervantes cover story We have often requested your comments and Throwing Upside Down ...... ]. Sheldon Carey 15 suggestions to aid us in planning our editorial course. Your response has been really gratifying, articles and you have been most helpful. In-Glaze Decoration ...... Thomas Sellers 11 The new feature, "Ceramic Counsel," which Porcelain for the Studio Potter ...Dorothy W. Perkins 13 starts in this issue, grew from the many letters which Press Molds ...... ]ohn Kenny 22 asked for the "why" in addition to the "how" of ceramics. Certainly a healthy sign---and we asked How to Mix and Pour Plaster ...... John Kenny 24 our Edgar Littlefield to prepare a series of monthly items covering, from a theoretical point of view, the shows most often asked questions. Buffalo Museum Ceramics Section ...... 32 In April, another new monthly feature will be introduced, in response to those whose primary regular reading ceramic interest is in overglaze decorating. This "department" will be handled by Zena Hoist of Advertisers Index ...... 33 Itinerary ...... 8 Salt Lake City who has studied and taught decorat- Answers to Questions ... 21 Letters ...... 4 ing and design for almost forty years, and Carlton Ceramic Counsel ...... 26 New N Useful ...... 6 Atherton who is professor of Fine Arts at Ohio State Suggestions ...... 29 University. We're convinced they know all the answers.

ADVISORY EDITORS Enamellsts, too, will be served soon with fre- EDITOR J. Sheldon Carey quent instructive and general interest articles. Louis G. Farber John B. Kenny (We've been scolded too many times for seemin~ to Edgar Littlefield overlook this important section of the ceramic family.) ASSOCIATE EDITOR CONTRIBUTING EDITORS Mary E]liott Henry Bellman Ralph Waldo Emerson said that "by necessity, Karl Martz by proclivity, and by delight, we all quote," which BUSINESS MANAGER Dorothy W. Perkins prompts me to quote him: Spencer L. Davis Thomas Sellers Kenneth E. Smith A man builds a fine house; and now he has a master, and a tas k COVER by Gordon Keith for life; he is to furnish, watch, show it, and keep it in repair the rest of his days. --Emerson Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., We are happy to bow to the master and ac- 3494 N. High St., Columbus 14, Ohio. Spencer L. Davis, Presi- cept the task for life--if you will continue to help dent and Treasurer; Louis G. Farber, Vice President; P. S. us build our house. You can do it by writing when Emery, Secretary. Price in U.S.A. and Possessions: one year. you think we are off base and when you think we $4: two years, $7; three years $9. Canada and Pan America are on the right track. With your help, we might 50 cents a year additional: foreign add $1 a year. Current issues. 50 cents each; back issues, 60 cents each. even prove Cervantes wrong. Yours sincerely, Advertising correspondence, copy, and cuts should be sent to the Business Manager, Ceramics Monthly, 3494 N. High St., Columbus, 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under the Authority of the Act of March 3, t879. Printed in U.S.A. Copyright 1954 by Professional Publications, Inc. All rights reserved. letters

Where's Henry? of the true meaning of pottery making--a meaning which makes a potter humble him- Gentlemen : self before the clay on which he works . . . • . . I wait with bated breath for each The Sills know the humility which is found issue . . . I also search with similar anxiety only in the sweat of hard labor--digging of for the articles of Henry Bollman. The clay--preparing it--then throwing beautiful five articles of his you ran last year were shapes on the wheel. We are delighted to choice. While I do not know Mr. Bollman, agree that this good couple represents "'the his unaffected wit and profound under- American potter" with their healthy in- standing . . . make me wish I did. terests in music, animal and human life, (MRS.) JEANNE M. BOORDA their willingness to work hard, to throw off South Bend, Ind. life's non-essentials; their wonderful determ- • He'll be bac k soon. His latest effort is ination to develop a style of decoration that the life of Josiah Wedgwood•--Ed. keeps them true to themselves without suc- PADDY SAYS cumbing to the pitfalls of a cliche . . . The Luster Fuss (MR. ~¢ MRS.) C. C. GIORC;~ Cleveland, Ohio Gentlemen : "Begorra, ye don't need a . . . I hope Mrs. Pruden wasn't as upset by the Koch letter ("Letters," Jan.) as I Tempus is Fuglting four-leaf clover for luck, was. Certainly the writer was speaking only Gentlemen : for herself, or at best, a minute minority • . . Thanks for a swell magazine .... My what YOU need is of "purists•" really big squawk is that there are so darn I would like to express my sincere grati- many things I want to do and try I wilt tude and appreciation to Mrs. Pruden for never catch up. I discovered potting only a her excellent articles. They could not have couple of years ago; I will be sixty years VELVA PLY been written in a clearer, more concise old in June, so you see I have to step on manner . . . it... WILLIAM SIMPSON HAROLD HAYES That wonderful one-fire glaze that's Chicago, Ill. Buffalo, N. Y. got the luck o' the Irish in every bottle, Gentlemen : Traveler's Aid beiabbers. • . . I have seen Persian lusters in mu- seums. They are gorgeous things, indeed! Gentlemen : But if modern chemists and scientists can The requests by prospective travelers for Sure an' there's 80 colors as sweet as come up with jars of liquid that don't re- information on pottery locations can be very well taken care of if the hegira "abroad" is the Rose of Tralee, and if'n ye haven't quire reduction firing, far be it from me or anyone else to scorn them because they on our own continent--Nova Scotia. tried 'em yet ye'll never be knowln' aren't achieved in the same laborious way The Provincial government issues a pamphlet every year called "'Handcrafts in how GOOD a glaze can be until ye've as were those of the ancients . . . Does the "3-D" (disturbed, discouraged, Nova Scotia." It lists the craft workers in had VELVA-PLY. and disappointed) ceramist scorn all contri- that province and is available free of charge butions of modern science? I"11 wager she by writing to Handcrafts Centre, 320 Young St., Halifax, Nova Scotia• And the price, me bonny colleens, is has used a gas or oil-fired kiln, or worse yet, an electric kiln . . . In the foreword is something all of us as light as the lilt of a song--40, 60 LYNN WARREN could very well bear in mind: "'Handcrafts Niagara Falls, N. Y. in common with all creative expression give and 75c fer FOUR FULL OUNCES a sense of order and truth and must be as- ye']l be gettln', and whether it's one Gentlemen : sociated in our minds with dignified pieces I must agree with Dr. Koch's comments of work such as a fine rug, bowl or chair or a hundred ye'll be buyln', ye'll find on the initial article on lusters. The nega- and not as a conglomeration of small useless the Blarney Stone ain't in it fer LUCK. tive, condescending tone of the piece was objects and novelties . . .'" disturbing; yet this and the rest of the series (MRs.) CLAYTON A. LANE They're bloomin' fine glazes, THAT'S contained the specific information so neces- Niagara Falls, N. Y. WHAT. sary to good "'how to" articles . . . (MRs.) JOHN GALr. Mirror Image'/ Indianapolis, Ind. Now mind what elm tellin' ye and send Gentlemen : • . . I don't think the October cover is fer YOUR trial kit of 6 gorgeous colors Gentlemen: • . . The Editor's comment was too mild; so bad ("Letters," Jan.) . . . Is it unusual TODAY. Only $3.50 plus postage, me however, you raised a good point. " Many for humans to begin to look like something they really love, even if it is a pot? . . . beauties. (80c west, 60c east, of the beautiful works of art are being contributed by modern enamelists, which I doubt would PEGgy TATAKIS Mississippi). Remember, there's NO be the case if each enameler had to smelt Chicago, Ill. glaze like VELVA-PLY fer GOOD and grind his own enamel frits . . . Beauty in a piece of ceramics is not di- Heads by Wheeler LUCK and GOOD GLAZIN'." You rectly related to the time and effort that Gentlemen : can take it from Paddy, he KNOWS. went into its making• If a pot (or decor- In the January issue, Mr. Kenny showed ation on a square tile, for that matter) is us how Sculptor Cavalitto makes a portrait Free color and price list~ealers dis- beautiful, it is because of the talent and in clay, and this was very helpful. But no- counts to studios. Send to sincerity of the artist . . . A sincere artist one told us who made the beautiful collec, today can make a pot that will rival any tion of heads [children, women, a horse] museum piece--yes, using commercially pre- that were in the picture at the beginning pared materials, too! of the article. Were they the work of Mr. the KAY HARRISON studios CLARA MOORE Kenny? . . . New Orleans, La. 8744 W. McNichols Rd., Detrolt21, Mich• MARY O'SHAUGHNESSy New Brunswick, N. J. UN 2-9222. The Sills: an Appreciation • Our face is red and we're sorry we failed Gentlemen : to give credit• The heads yot~ refer to were We speak up [belatedly] to agree that the wor k of the well.known sculptor John and Esther Sills truly represent Ameri- Wheeler Williams. Our apologies go to both can traditional potters today ("Letters," Mr. Kennv and Mr. Williams for the over, October.) They have a deep understanding sight.--Ed.

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COMPANION GLAZE to the Dam- Colors." Twenty new colors are avail- erell '*Flame" was recently introduced. able in two-ounce jars with suspension Called "Serape Yellow" it can be mixed and binding agents added. For details in varying proportions with the Flame write directly to Gare or to their sales to produce all intermediate tones from representative, Ceramics by Marlene, yellow through orange, tangerine, ver- 1214 E. St. George Ave., Linden, N.J. milion, to bright red. These glazes can Please mention CERAMICS MONTHLY. also be applied over each other in ir- regular thicknesses to produce vertical REVERSIBLE THROWING HEAD is a "spills"; or a thin coat of one can be unique feature of the inexpensive pot- applied over a thicker coat of the other ter's wheel manufactured by the Master to produce "bleeds." Mechanic Mfg. Co., according to the An Original Mold Write to the Damerell Manufactur- firm. The potter can cast his plaster bats directly in the reverse side of the It's New It's Different ing Co., Exton, Pa., for other details and for the names of local sources for throwing head, which has built-in these glazes. Please mention CERAMICS joggles; when the bats are used they Beautiful nese" MONTHLY. are automatically centered and driven. For details on the other features of WALL POCKET NEW UNDERGLAZE colors were re- this potter's wheel, write to the com- cently announced by the Gare Ceramic pany at Burlington, Wisconsin, for -~M44-81/2 " Diameter Mold. Price Supply Co., 23~ Washington St., their free circular, mentioning CM. Haverhill, Mass. Manufacturers of the $6.00 10% Packing Charge No FREE element repair kit is being offered C. O.D.'s Please. Symphony color line, they call their new product "Symphony U. G. by Model Ceramics, Inc. If the wire Write for FREE catalog element in your electric kiln has broken, If you have a product or a service you send your name and address along with feel will be of interest to the readers of the make and model number of your McDaniel MOLD CO. "Ceramics Monthly," send the pertinent kiln to Model Ceramics, Inc., 772 N. information and illustrations (if available) Main St., Akron, Ohio. When writing, P.O. Box 3086 Port Arthur, Texas to the attention of the Editor, "Ceramics Monthly," 3494 N. High St., Columbus 14. say you saw the announcement in CERAMICS MONTHLY. ,-ft. HI-LI] with EEIIAMIEHIIHME- CONE 6 to 06 TRANZ-DETAIL & REGULAR UNDERGLAZES High firing on ALL Popular Porcelain & Stoneware Bodies LOw firing on ALL Artware Bodies CONE 6 TO CONE 06 AND CAN BE ONE-FIRED CERAMICHROME PRODUCTS ARE LIQUID CERAMIC COLORS THAT ARE ALL PREPARED AND READY TO USE IN WIDE MOUTH JARS. perfect for Schools ideal for Hobbyist solution for Potters safe for the Student 2 NEW DISTRIBUTORS NEW COLORS! NEW COLORS! TOWN & COUNTRY CER. EDITH'SCERAMICS 1693 Leonard N.W. 8325 W. Colfax Ave. IN TRANZ Grand Rapids, Mich. Lakewood, Colo. T-23 Onion Blue T-25 Lady Pink Attention School Instructors: T-24 Peacock Blue T-26 Delft Blue CERAMICHROME products do NOT contain Free Lead, In DETAIL U.G. In REGULAR U.G. Antimony or Barium Compounds in their formulation. L-11 Coral 141 Candy Pink Be SAFEmHEALTHY and WlSEmuse CERAMICHROME. Write for school literature or see your nearest dealer CERAMICHROMEm"The 9uality Line" as listed in the December, 1953, issue of CERAMICS Manufactured by MONTHLY. L,0 SOUTHWESTERN BLVD. LOSANGELES 621CALm. KERNIAN KRAFTS 6 CERAMICS MONTHLY Here's Why You Should Buy A D SCHOOLSand D CAMPS I ® • Years ahead in design!

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MARCH 1954 The NUMBER ONE KNIFE rMAYCO itinerary -by XoG~*to for America's finest and most Send show announcements earlvm at least three months prior to d'ate Ceramic Hobbyists popular ceramic colors- in for receiving entry cards and works liquid form m ready and easy for exhibition. aftsmen • Students to use. Made by European ! perfect knife for ~y hobby and studio trained craftsman for: Hobby- WHERE TO SHOW ~mic lobs . . . design- modeling, trimming, ists and Professionals. plng.., it's adaptable CONNECTICUT, Norwalk creating unusual de- • 48 OPAQUE UNDER- June 6-July 4 wing effects. :is;on.mode throughout GLAZE COLORS Fifth Annual New England Show at • durable, yet light. Silvermine Guild of Artists. Open to ght. Features instantly 41 regular shades. 7 art artists born, or resident two months, ~.rchangeable, surgl- in New England. Mediums include y sharp carbon steel colors (speckled effect) ceramic sculpture. Prizes: more than de. Insert a new blade for coverage, sgraffito $2000, one-man show at New York esto!-you hove a new fe-.extra blades at etc. gallery. Jury; fee: $3; entry cards, ,lers everywhere. work due May 15, 16, 17 (sculpture • 24 TRANSLUCENT photos due May 3). Write Revington Arthur, exhibition chairman, at the ) KNIFE-60~ ONE STROKE UNDER Guild, Silvermine Rd., Norwalk, Conn. AND OVER THE GLAZE (MAJOLICA) KANSAS, Wichita April 11-May 11 COLORS. 3 kits -- 8 Ninth Annual National Decorative No..51 X.ACTO SET- colors each: @1 basic Arts-Ceramic Exhibition, sponsored by No. ! knife with $ extra Wichita Art Association• Prizes : assorted blades-Sl.2O colors, #2 pastel colors, $1200, honor medal, special award. :~3 in-between colors. Jury; entry fee: $3; entries due March Send 10¢ Io cover postage 22-29. For further information write for illustrated X-aria For fine detail work, Mrs. Maude G. Schollenberger, presi- shading, china painting dent, Wichita Art Association, 401 N. Knife & Tool Catalog. effect on greenware Belmont Ave. X-ecru Crescent Products Co., Inc. etc. No special trans- KENTUCKY, Louisville 440 Festlh Avenue. New York II, Hew York parent glaze necessary April 3-May 9 Louisville Art Center Association 27th on any of our colors. annual, at J. B. Speed Art Museum. • 1S MAYCO SATINA For natives or residents of Kentucky INEXPENSIVE KILN and southern Indiana. Mediums in- One-fire satin lCinish cer- clude ceramics• Jury; prizes• Fee $2.50. amic colors. Entry cards are due March 9; work, March 15. Write Miss Miriam Long- • MAYCO MATT the den at the Association, 2111 So. First transparent matt glaze. St., Louisville 8. 4j • THE NEWEST: MAY- LOUISIANA, New Orleans CO MASK for masking March 21-April 11 Art Association of New Orleans 53rd Ideal for School Use off parts of a design. Spring Annual, at Isaac Delgado Mu. Designed for the firing a Reaches enameling scum. For members (membership open of enamels that have temperatures quickly Paint on ~ Let dry been appIio~t to one side • Sturdy and simple to artists everywhere). Crafts included. of a metal piece. Pieces construction Peel off. Jury; prizes. Fee: $5 membership dues. up to 43/s" in diameter • Low cost, trouble Entry cards and work due before and 11/2" high may be free operation • We are National dis- March 10. Address the Association, fir, d in tins kiln. fribufors for the well care of the Museum, City Park, New FREE Orleans 19. 'Enameling on known original Hazel Copper and Wiggins Designs for un- NEW YORK, New York Other Metals' by Thomas E. derglaze and china March 27-April 9 Thompson New York Society of Craftsmen, 49th This illustrated 40- painting. Also distribut- page book answers annual exhibition, at the Barbizon your questions ors for Triangle Wire Plaza Art Gallery, 58th St., and Ave. a b o u t fascinating nue of the Americas. Members only met al enameling Point Stilts. • . . techniques, are eligible. Jury; $4 entry fee. Entry tools, and equip- blanks and work due March 27. For m e n t , types of • WRITE FOR YOUR blanks and information, write exhi- enameling, firing, FREE PRICE LIST bition chairman: Roberta Leber, Leber finishing, etc. Rd., Blauvelt, N. Y. NOW AVAILABLE 12 page illustrated mold catalog~25c Comple~'e Range of Enamel Colors Copper Trays, Sheet cop- OHIO, Toledo per Circles and Squares May 2-30 Many articles -- enameled pins, belt buckles, buttons, ash trays, small bowls -- can be £. P. NIAYEN Eft. 36th Annual Exhibition of Toledo made. Teachers find enameling a medium of Area Artists, sponsored by the Toledo expression with functional as well as creative I0645 Chandler Blvd. Federation of Art Societies, at the To- qualities. WRITE TO: North Hollywood, Calif. ledo Museum of Art. Open to artists THOMAS C. THOMPSON CO. and craftsmen in twelve northwest 1539 DeerfieJd Rd., Dept. C.M. 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CITY ZONE __STATE

MARCH 1954 9 ADVERTISEMENT

you ave invited to a,ttend. . .

The First Annual

Great Lakes Ceramic Hobby Exhibition

Detroit, Michigan May 19-23, 19S4

HERE IS THE LIST OF EXHIBITORS TO DATE-- Ace Products Co. Jean's Ceramic Studio Aladdin Ceramic Studio Jenkins Wholesale Co. American Art Clay Co. Kernian Krafts Laboratories American Beauty Ceramic Mar-Jean Studio Studio Mayco Colors, Inc. Be-Freer Ceramic Studio Newell Studio Clay Haven Norwest Novelty Co. Dor-Mac Studio Paragon Industries Duncan Ceramic Supply Popular Ceramics Even Heat Kilns Powers Studio Ferro Corporation Pyramid Ceramics Goode Studio Joy Reid Ceramic Studio Gloss-Matic Rose's Ceramic Studio Kay Harrison Studio Sylvia's China Studio Hoffman Hobby House Touch-O-Magic Jany Ceramic Fashions Tru-Fyre Willoughby Studio This is going to be a field day for you--the hobbyist.

Arthur E. Higgs, Managing Director For further information write: Masonic Temple Detroit, Michigan

Phone Bay City, Michigan 2-0420

I0 CERAMICS MONTHLY bowl at left, by the author, is in-glazed, the plate below (xvi century, italian}, is tradi- tional majolica ware. how each of these decor- rations is achieved is told in the text below.

the majolica technique: In-Glaze Decoration

by THOMAS SELLERS Photo: Ferdinand Hv~caht Collection, C~h~mbu,, Gallerx' o~ Fi~c Arts

PPLYING a decoration directly should be called in-glazing.) already been bisque fired; and although on an unfired glaze and firing Majolica ware was first made by the an overglaze decorating technique A both glaze and decoration at the Arabs, and at the time of the Saracen could be used it would require two same time is the technique known as conquest it was introduced to Europe firings.) These advantages, coupled "in-glazing." This technique was most through Spain. The name by which the • with the fact that an in-glaze decor- widely used in making majolica pot- richly colored and ornamented pottery ation cannot wear off a glazed surface tery where colorful decorations were came to be known is derived from (since it is an integral part of the glaze brushed on an unfired, opaque white Majorca, the island off Spain, where a itself) and that only one glaze firing tin glaze. Decoration on unfired glazes great deal of the ware was produced. is necessary, make the technique a other than opaque white, therefore, In-glazing has several advantages as valuable addition to everyone's decor- should be called "in-glaze" rather than a decorating technique. It offers the ating repertoire. majolica. ceramist a choice of a wide variety of It does present one disadvantage. (In the strictest sense, a decoration glazes upon which to decorate; you are The potter who uses in-glaze decoration is majolica only if the base glaze is tin not restricted to the use of a trans- must have a sure hand and apply the bearing opaque white. I feel that any parent glaze, as you would be if decor- decoration without hesitation. Mistakes piece can be called majolica if the ating with underglazes. If you wish to cannot be rubbed off as in overglaze decoration was applied to an unfired cover the body completely, you need decorating. If you make an error, your opaque white glaze, whether the glaze not go through the intermediate step of only recourse is to remove the base obtained its opacity from tin or from applying an engobe; any opaque glaze glaze and start over again. some other material. Decorating on will accomplish that purpose for you. base glazes other than opaque white, If you decide you would like to decor- HE FIRST step in the in-glaze ate a piece after it has been bisqued T technique is the selection of a and the color of the body does not lend base glaze. Most commercial suppliers Mr. Sellers is director, and ceramics itself to your decorating plans, in- have a majolica glaze series. You will instructor, at the City Recreation Arts glazing is an ideal solution. (An engobe find, however, that any opaque glaze and Crafts Center at Columbus, Ohio. could not be used, since the piece has that does not become fluid enough to

MARCH 1954 II /

POTTERY by the author reveals hls~ pref- stain preparation on an unfired, stony mat The covered bowl may be considered as be- erence for in-glazing as a decorating tech- glaze. The vase was decorated with a white ing maiolica because the decoration was nlque. For the pitcher, he brushed a black glaze applied to an unfired, black base glaze. brushed on an unfired, opaque white, glaze. flow during firing will answer the pur- marble slab with a fettling or pallette are the most effective. If you wish, you pose. If you are in doubt as to the knife until an intimate mix is obtained. can sketch your decoration lightly in adaptability of one of your glazes to A few drops of glycerine, as a binder pencil, directly on the pot. The pencil this technique, make a simple test on and a lubricant to make brushing marks will burn out without ill effect. a tile and thus avoid ruining one of easier, are added, making a paste with your pots. the consistency of thick oil paint. NE of the pleasures of working in The next consideration is the choice Water from your brush thins the O ceramics is the chance for experi- of the decorating medium. Dry under- preparation; the thinner it is the lighter mentation; in-glaze decoration is no glaze colors if mixed with frit are the color will be. The color should not exception. Using the technique pre- ideally suited; the liquid underglazes be prepared, of course, until you are sented here as a springboard, you can are also excellent and can be used ready to apply your decoration. go on to many variations. The follow- without any additions. Some of the The base glaze can be applied to the ing are only a few of the possibilities. commercial engobes can be used, if pot by any of the various methods as Instead of a frit, use an equal por- mixed with a frit, but here again it long as an even coating is obtained. It tion of base glaze with ceramic color. would be advisable to experiment first should be allowed to dry for about Use a transparent base glaze over a on a test tile. fifteen minutes and then sprayed with colored clay body and decorate with If you choose to work with dry a solution of gum tragacanth or of any opaque glaze to which glycerine underglaze colorants, the procedure table syrup and water. (For the latter has been added. would be as follows: solution use one teaspoon of syrup to Decorate with a contrasting glaze Mix equal portions of the under- approximately one cup of water and over an opaque background glaze. glaze color and a frit* (the latter act- mix thoroughly by shaking or stirring.) After a decoration has been com- ing as a flux to insure proper firing). Care should be taken not to spray the pleted, make it blend with the back, A small amount of each, about the size solution so heavily that it flows down ground by spraying a very light coat of a pea, makes a quantity sufficient to the sides of the pot and mars the glaze. of the base glaze over it. (This same cover a large area. These ingredients The object of the coating is to present idea can be used if, after firing, a are ground on a piece of glass or a less porous surface for decorating decoration is considered harsh.) and to protect the glaze surface during Achieve a dry brush effect (of tones *All frit companies are able to supply frits handling in the course of the decor- rather than solid color) by using very which are suitable for the color preparation; ation process. After applying the coat- little colorant on the brush, the brush ceramic color companies have a flux pre. pared especially for this purpose. (Suggested ing, allow the pot to dry overnight be- being almost dry with the hairs separ- frits: Pemco, P--54 and P--806; Ferro, fore decorating. ated. The same effect can be obtained 3124 and 3134; O. Hommel, 164 and 242.) A long-shanked brush preferably an by decorating directly over the glaze inch or more in length is a good one without the addition of a gum or syrup to use for your decorating; an oriental coating. MAKE TESTS on small decorating brush available from most For the in-glaze technique, some pot- tiles to avoid ruining ceramic suppliers is excellent. You will ters prefer a stony mat glaze as the good pots. The tiles on find the banding wheel or whirler to base because it will not flow in firing. tap were tests of new be a most convenient aid while you If you prefer the traditional majolica sl~ains and engobes on a decorate, especially for spirals or bands, technique, however, an opaque white reliable base glaze. On because it can be turned as you work glaze should be the base. Good the pieces below, the Since a mistake cannot be corrected, examples of the latter type of ware author tested new glazes. plan your decoration well in advance. may be seen at most museums and in Note the wavy line, Many potters like to practice the brush many ceramic books. By observing caused by the glaze run- strokes on the bisque pot before it is what others have done with in-glazing, ning excessively during glazed, using water instead of colorant. we can visualize its widely varied the firing. Brush strokes made quickly and freely possibilities. •

CERAMICS MONTHLY PO RCE LAI N for the studio potter

by DOROTHY W. PERKINS

This article, the first of two about Europeans had always had red clay porcelain and its possibilities for the pottery of varying degrees of hardness, studio and hobby potter, is a general and some stoneware, but the ability to discussion of the subject. It attempts produce porcelain, or a suitable to answer questions without being approximation of the Chinese product, overly technical. In the second led to preference for it. Red clay and article, studio porcelain bodies and stoneware were immediately placed in glazes will be discussed as possible an inferior position, although many starting points for experimentation. potters today agree that in design and sensitive handling the "common ware" HITE-FIRING, translucent often surpassed the porcelains. Technic- bodies known as porcelain, ally, however, Europe's achievement of W whether firing at cone 9 to 12 white, translucent bodies was an im- or lower, provide another--and an ex- portant addition to ceramic knowledge. citing-material with which the studio Greater purity of materials, greater fir- or hobby potter may work. Although ing control, greater knowledge of de- they are not necessarily superior to all signing for the physical possibilities of others, porcelain bodies have certain a material--all were achieved through characteristics which may be used to attempts to emulate the Chinese white advantage. The way they are used in body. designing and treatment is the only How the quality of preciousness basis on which their excellence--or lack came to be attributed to Chinese por- of it--may be judged. celains by Europeans is easily under- The prestige which the Western stood. And we should understand, too, world continues to accord porcelains is, that many of the European porcelains Like other bodies, porGelaln in my opinion, entirely historical in produced in the 18th and 19th cen- is versatile. The pieces shown conception. We are influenced, even to turies were technical excellencies made here were (starting at top)--draln this day, by the awe and desire with to be admired rather than used. Such cast, Arthur Roy; hand built, which Europeans regarded the first a basis for production led inevitably Warren Maxfield; solid cast, the white- bodied, translucent Chinese to an overworking of the body and an author; wheel thrown, Harriet Brlsson. wares brought home by early explorers overdecorating of the forms. Although of the East. Aside from this historical the long-lasting effects of over-express- influence, however, we have a pro- ing technical achievement are still found respect for the achievement of apparent, the body in itself was a the Chinese in developing the original notable achievement. porcelain bodies. We have respect, also, for the vast technological ad- HE porcelains of the Chinese and vances made in Europe as workers T of the Europeans differed in body, there tried to duplicate China's white and came to be known as "hard paste" clay. (The name "'china" ~vas given to and "soft paste," respectively. Chinese white translucent ware since all such porcelain, or hard paste, is composed of known ware had come from that coun. kaolin, a white-burning clay of low try; the word "porcelain" is derived plasticity resulting from the decomposi- not from the Orient but from Europe.) tion of feldspar, and containing some |un|l|||||||a|n|m|n|||w||||n|||||||u|u||l|||ll|t of the feldspar itself. When fired, the Dorothy Perkins, a CM contributing feldspar fused, bringing the more re- editor, is Ceramic Instruct.or at the fractory kaolin into fusion. The result Rhode Island School of Design. was a very dense, glassy structure.

MARCH 1954 13 The mixture of kaolin and feldspar sorption percentage with that of other cally produced beliefs and leanings. would be extremely short; that is, it body types, the above classification in- would have very low plasticity and dicates: Porcelain, 0% absorption; Bel- XAMINING a porcelain body and could not easily be thrown on the leek China (differs from porcelain in E its potential for us today (we limit wheel which was the forming process that it contains an auxiliary flux), 0%; ourselves to porcelains produced at used by the Chinese. Time, however, American Household China, less than the usual studio temperatures, cone 9- was not the inflexible ruler in those • I %; American Hotel China, less than 12, or possibly 14), vve find these early days that (we think) it is now. •3%; Bone China, .3-2%; Semi- general characteristics and qualities: The Chinese potter could, and did, vitreous Porcelain, .3 - 4%; Semi- 1. Like other bodies, it is strong prepare clay for coming generations, vitreous China, 4- 10%; Fine Earthen- after firing to maturity. and left it to age in the wet state. ware, 10-15%; Majolica, more than 2. The fired glaze does not rest in Thus time did for them what we would is%. a glassy layer on the body, but becomes not wait for it to do today--aging The reader can see, from this classi- almost as one with it. This is due to made the clay plastic enough to be fication, that both "china" and "por- the similarity of the natural materials workable. celain" have become accepted terms. used in body and glaze and to the glass- The glazes the Chinese used were China, today, usually refers to ware like structure of the body itself. It composed chiefly of feldspar, and some bisqued high and glazed at lower temp- means that the glaze, on porcelain ware were high in calcium. Because the eratures, while porcelains are bisqued fired to maturity, will not chip off as natural body and glaze materials were low, with body and glaze maturing to- readily as it will from other bodies on so similar, affinity between the two was gether in the glaze fire. which glaze differs to a greater degree extreme. Glaze and body matured In addition to high translucency and from body composition. (arrived at the desired top temper- no absorption, three indicators have 3. For casting purposes it usually ature) together, at about cone 12 to 16. been used to determine whether a body deflocculates with ease, drain casts The glaze became an integral part of may be called porcelain• Both body and easily and quickly, solid casts only a the physical structure of the fired clay: glaze should be impervious to scratch- little less easily. it did not rest on the surface of the ing by steel; both body and glaze 4. It throws with difficulty, for be- clay body. This was hard-paste por- should be acid resistant; the ware ginners; aging and the use of plasti- celain, also termed "true" or "natural" should have a clear, bell-like ring ,when cizers make it more workable. porcelain• struck. Of these "tests," the first two 5. It may be jiggered. When the first examples of Chinese could be carried out intelligently by 6. Although a porcelain body is not ware reached Europe, the royal courts anyone interested. But as a determin- usually used in hand-modeling, its scrambled to be first with an imitation ant, the third seems to have little to "open" character due to coarse-grained of it. The Europeans realized the neces- offer. The shape of a piece, and the materials makes hand building less sity of a white clay as the principal point of maturity to which it was fired, difficult than would be imagincd. ingredient of the body, and they event- have more influence on a bell-like ring 7. Warpage difficulties may be en- ually found it. Their solution to the than has the clay body from which the countered during drying or firing or matter of a flux, however, resulted in form was made. A bowl fol"m rings both, especially in firing if the body is the use of materials more easily fused best, and an earthenware bowl, fired to very dense (glasslike) at the desired than were the feldspars of the Orient. 0% absorption, could ring as prettily temperature. Frits (ground, fired glasses) were some- as a porcelain bowl! 8. Except for the possibility of times used; other bodies were fluxed Since porcelain has been given such warpage, firing presents no special with the ashes of animal bones and be- prestige, does it have particular quali- problems. Porcelains may be bisqued came known as bone china• Thus soft ties which entitle it to higher regard low (cone 09 or even as low as 012), paste bodies, sometimes called "arti- than other clay body types? All body glazed, then fired up to temperature, ficial" or "flitted," were developed• types have particular merits but it the glaze and body maturing together. They were bisqued to about cone 01, does not follow that one is more desir- It is also possible to bisque at the then glazed and fired to a lower able or better than another. The effect maturing temperature of the body, temperature, about cone 06. The glazes and finished character desired by the then to glaze at a lower temperature. used consisted primarily of lead, and potter help to determine which body he Such procedure may be desirable if the did not form as close a bond with the shall work with red clay, stoneware, body is a very glassy one and the form body of the ware as did the Chinese low-fire white bodies or porcelains. requires support in firing; it may also feldspathic glazes• Fired, the soft-paste Some potters may feel that porcelain be desirable if certain color effects bodies were white and translucent to has the quality of sophistication, that wanted in the glaze can be obtained varying degrees. red clay does not often lend itself to only at lower temperatures. Otherwise, sophisticated forms and treatments. If the low-bisque, high-glaze fire pro- ISTORICALLY, then, the classi- porcelain betokens sophistication for us, cedure is preferable: this method gives H fications "hard and soft paste" it is only because the historical back- the best glaze and body bond. have been used in referring to por- ground still influences our feelings Porcelain, like other clay bodies, has celains but the terms are not widely about it. Red clay, depending upon de- infinite possibilities for the studio used any more. The Whitewares Divi- sign and treatment, can as well have potter. Contrary to a fairly common sion of the American Ceramic Society the quality of sophistication. Again, impression, a reducing atmosphere in approves a classification of white din- some potters may hold that stoneware the kiln is not necessary to make por- nerware bodies based upon trans- has a very definite, solid character suit- celain: the translucent bodies can be lucence, mechanical shock resistance able for ware that is less delicate than achieved by oxidizing atmospheres in and percentage absorption. A white porcelain. Here, again, may not this high-fire electric kilns. burning body, with high translucency, idea of stoneware character be inherited A second article on porcelain, to medium to high mechanical shock re. from the past? Each clay or clay body appear in a subsequent issue, will in- sistance, and 0 per cent absorption is type actually has innumerable possi- clude specific information on preparing considered porcelain by this classifi- bilities~ossibilities which have not bodies and glazes, on firing, and on cation. even been touched• We will find them other factors pertinent to making this For a comparison of porcelain ab- if we keep out of the rut of histori- type of ware. •

14- CERAMICS MONTHLY COVER STORY for tall, slender, one-section pots- throwing UPSIDE DOWN

by J. SHELDON CAREY

VERY POTTER who throws on the wheel eventually wants to see how tall. a pot he can throw, how high E he can raise a cylindrical form of plastic clay. As ex- perience aM skill accumulate, he is able to pull the clay up to form pots twelve, sixteen, perhaps twenty or more inches tall. If, however, he wants an even taller pot of good weight and thickness, he usually throws it in individual sections which are then put together. I have always liked tall, slender pots but I was not satisfied with making them in sections. Yet throwing with a single lump of clay, I could not raise a pot to the height I wanted to achieve. Pull and struggle as I would, using every ounce of effort, I always reached a limit short of my ambition. What is the difficulty, aside from my own short- comings, I asked myself. A larger lump of clay gives me more material to pull upward, and stiffer clay allows for

Readers were startled, and intrigued, when Sheldon Carey presented the idea of throwing pots with legs in the April 1953 issue ("Innovations on the Wheel"). Now he introduces "upside-down throwing" as a way to make a very tall pot in one section. The method is unorthodox-- but for Carey it works. The potter heads the Ceramic Divi- sion of the Design Department at the University of Kansas.

MARCH 1954 I5 UPSIDE-DOWN throwing starts in the conventional manner with the wheel in upright position. The ball of clay is centered and opened, and then the wheel is inverted. Experimenting with upside-down throw- ing, Carey discovered that the clay holds' to the wheel head without difficulty when the unit is turned over. The walls of the pot move down quite easily since he works with gravity instead of against it. His left hand, inside the pot, is used in the same way as in normal

thinner walls in the lower area of the pot. Yet there is always that limit. The difficulty, of course, was the fact that gravity was working against me. Since it was not feasible to go to an- other planet where gravity would be less insistent, I con- sidered making gravity work with me instead of against me. That is why I started to experiment with upside-down throwing as a way to make one-section pots tall enough to please me. Under ordinary circumstances, a lump of clay thrown on a wheelhead stays in position because a vacuum has been formed which holds it there. I had first, then, to find out whether the clay would hold if suspended in a down- ward position. Using a conventional electric wheel, I centered and opened a medium sized ball of clay, turned the wheel upside down, and suspended it from the corners of two tables which had been set about two feet apart. The clay clung to the wheel head. Starting the motor at low speed, I squatted under the

"¢- TALL POTS have "a stately beauty and sculptural quality, that I llke," declares Sheldon Carey. "1 enjoy them for their form alone. Since few people throw pots only as a way to make a living, most pots are thrown for the pure joy of giving llfe to innate clay. The potter, llke the painter, creates a piece that, for him, says something --expresses an idea, a feeling--that dances, is alive. He does not worry about what the pot can be used for, and it is not difficult to find a place for an object you like. But if we insist that the tall pot must be used, I can see it as a container for a flowering branch or as part of a contemporary design for outdoor living."

Ib CERAMICS MONTHLY throwing. In his right hand he holds a wet sponge: and as tile sur- against the legs of the table for still more control. When the walls face of the clay dries, the sponge is squeezed for the additional have been thinned enough, he starts to stretch the pot; then he com- lubrication that he needs. Throughout the entire procedure, Care~/ pletes the neck. The last step--a final attempt to achieve even takes advantage of every possible means of bracing himself for better greater length. The author cautions: "Here is the stage when all control. In the first photos, his left shoulder is braced against can be lost, but it is the only way to find out how long the pot oan the box and table, and his right forearm is braced against the box be made." This particular pot, after shrinking four inches during on the other side. As the pot becomes longer, he braces his legs the drying and firing process, finally stood twenty-seven inches tall. wheel, moistened my hands, placed the left one inside the standing on the floor to lift the wheel to this height. I pot, the right one outside, and pressed--my hands went solved that problem by placing the upright wheel and its right through the side of the pot. The wheel head was now small bench on top of one of the tables and climbing up turning in the opposite direction; obviously, if I was to there to center and open the clay. From this level, the throw with my hands in their customary position, I would task of lifting the wheel, turning it over, and resting it on have to reverse the direction of the wheel. the boxes was not as difficult because the movement was The electric wheel I was using had a variable speed down instead of up but it was still hard work! motor which could be adjusted by advancing and retarding Although the system I had worked out, using the con- its brushes. Removal of a small pin on the surface of the ventional wheel, was workable, it was far from being motor would reverse the wheel's direction and vary its wholly satisfactory. The manual labor of lifting and turn- speed. Using force and determination, I retraced my steps. ing over the heavy wheel was exhausting; there was no way With the wheel once again in upright position and of regulating the speed of the wheel satisfactorily once it still turning in the normal, counter-clockwise direction, I was upended; nor was it possible to raise the wheel con- centered and opened a ball of clay. Then I removed the pin veniently and gradually as the pot grew longer. from the motor, reversing its direction. Now, when the In view of these difficulties, the University of Kansas wheel was upside down, it would turn in the "right" direc- granted me a small research fund to construct a wheel tion for my hands. which would lend itself to upside-down throwing. The new wheel is now in operation, and the strenuous effort previ- N THROWING, each potter has to find the position ously required to manipulate the equipment has been I that gives him greatest comfort and stability. The first eliminated. The wheel, mounted on the vertical shaft of a time I attempted upside-down throwing, I lifted the wheel drill press, can easily be turned upside down and raised and turned it over at table level. The physical strain re- or lowered, and its speed can be regulated by a foot pedal. quired was so great that any working position thereafter Sitting close to the floor on a low block, my foot on the felt good. But as I worked and the pot neared the floor, I speed-control pedal, arms braced against my knees--now had to raise the wheel by placing bricks between it and the I can throw with comparative comfort and efficiency. table tops, a cumbersome and difficult operation. Later, I I want to make certain improvements on the new found that with two sturdy boxes on the tables (as in the wheel in the interest of smoother operation. A touch-button photo at top right) the wheel could be set at a good work- control would make it possible to raise and lower the unit ing level for me. It was impossible, however, for one person even more easily than it can be done now. An adjustable

MARCH 1954 17 THE CAREY WHEEL (shown below, right) was designed and built photos above, Carey centers and opens the clay while the wheel is by the author. Attached to the vertical shaft of a drill press, the new upright; then he inverts the wheel, raises it to the desired height and wheel can be raised and lowered easily. The entire unit is well proceeds, using the same upside-down technique he developed for balanced, making it a simple matter to invert; and the variable the conventional wheel. As the pot lengthens, the wheel is raised. speed motor can be controlled by a foot pedal arrangement. In the "This pot is thirty inches long--and it hasn't pulled apart yet." armrest to steady the hands is needed. I want to construct a special wheel head on which a face plate can be clamped. The plate would function like a plaster bat; it could be removed with pot attached and, still inverted, slid on two parallel bars into the damp box to await finishing. With several of these plates on hand, the wheel could be in operation continuously.

HETHER upside-down throwing has any spec- W tacular merits, I do not know. I did find that the weight of the clay tended to keep the object centered, and water couldn't run to the bottom of the piece and thus soften the walls. An uneven lip could be removed without the chance of its falling in or on the pot. As the pot hung in its inverted position, it could be brush decorated easily: a stroke started at the wheel head could be completed in one downward, smooth motion without changing the angle of the brush. And, of course, it is the only way I have ever been able to throw a thirty-inch pot in one section. Although I have been throwing on the wheel in the conventional way for twenty years, I have had too little experience with the new technique to predict its possi- bilities for the future. I hope someone can carry the re- search further than I have time to do; perhaps a graduate student can follow it through as a thesis subject and eventually refine the equipment. Whether the idea is new I do not know. It seems to me, however, that in the last four thousand years some other potter, wanting to throw a taller pot, must also have found himself beating the law of gravity by throwing upside down. •

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MARCH 1954 19 THE GREATMIDWESTERN CERAMIC HOBBYSHOW y 6-7-8-9-1954 onic Auditorium Cleveland, Ohio

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And n~xt cemes the popular, new Wild Rose Dinner set (availab!e also in plain), and a 71/4 inch-high Cookie .Jar. Send $1.00 today for our brochure. It will be refunded on your first mold order. Please enclose check or money order with mold orders. sponsored by The Midwesfern Ceramic Dealers Association LUDWIG SCHMID for booth reservations, write: art ceramic studio MIDWESTERN CERAMIC HOBBY SHOW 838 Genesee Street, Trenton 10, New Jersey 28 Mardale Road Bedford, Ohio HI-FIRE side Ic ading KILNS did you know... ideal for schools, institutions, laboratories and industry. These kilns are WONFIRE available in both 2000°F. and 2300°F. distributorships* Models. They have all the fine features of the Model top are still available? loading kilns, except the door opens on Yes, you can still latch on to the side rather than the top. All the larg- these wonderful rapid-moving, er models have ele- "fool-proof" glazes ... WON- ments in the door to assure even distri- FIRE, the only liquid glazes bution of heat on all four sides. The door featuring reds that cannot run! is recessed to retain maximum of heat. Model side loading Write, wire or phone TODAY kilns are adaptable for details. to ceramic, porcelain and copper enamel work. Automatic controls are avail- Specialized CeramicsCorp. able for all mode!s. Write for free catalog showing 200 West Third St., Dept. CM, Plainfield,N. J. 45 models. *in certain localities.

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2o CERAMICS MONTHLY answers to questions

CONDUCTED BY KEN SMITH

Q. Can you give me some information on how the GLASS Mexican "pinata" is made? Is it fired or does it have a special construction in the green clay? COLORS I would like to make one next year for our Spanish class at school. This year's unfired pinata fell a.part too FOR DECORATING TABLEWARE, TUMBLERS, soon--as Gordo would say "with the weight of candy, nuts, LAMP GLOBES, ETC. and trinkets." A. The Mexican or Spanish pinata is made of red Beautitul Low Firing Colors clay and fired to a very soft bisque. The clay pot is generally (Cone 022-020) handbuilt in the form of a good-sized olla. After firing, A GENEROUS SAMPLE COLLECTION OF it is draped with gaily colored papers and feathers to re- semble an animal or a bird. It is not necessary to use only FIVE GOLD CONTAINED COLORS a red clay; any clay will prove satisfactory if fired to a soft (Carmine-Ruby-Rose) bisque. An unfired pinata would be much too fragile. (A pinata is used in a party game by Spanish or S 500" Mexican children. The pinata is filled with candy, nuts, and the like and is suspended on a rope which has been thrown over a pulley. The pinata is pulled up and down as each Any other colors, child, blindfolded, takes a turn swinging at it with a stick. The pinata is easily broken when struck, and the contents collection of 20 colors fall on the floor--the children scrambling for their share.) Q. White powder,like marks appear very often on $ 500" my bisque ware. These marks seem to be fired into the piece and cannot be removed by sponging. Can you tell me what causes them, and how they can be eliminated? A. This defect is known as "scumming." It can be CRYSTAL removed from bisque ware by scrubbing the piece with a dilute acid such as muriatic. Several such scrubbings may AND be necessary because the scum may reappear. It is most often caused by the presence of soluble sul- COLORED phates in the clay. You can prevent this type of scum from forming by adding approximately one half per cent (by weight) of barium carbonate to the dry clay and mixing it ICES well before adding water. SAMPLE COLLECTION OF Q. When a correction has been made on a gold TEN COLORS decoration, sometimes after firing a purple discoloration will appear where the gold was removed. Is there any way 2oo, to "erase" it from the fired piece? A. Several etching creams for removing this purple discoloration are commercially available. A small amount GOLD,(LIQUID BRIGHT ROMAN BURNISH) rubbed on the defect will remove it instantly. Be sure to PLATINUM ,LUSTRES follow the manufacturer's instructions because the creams are acids and should be used with caution. A complete line available for Glass and China Q. Can ordinary glazes be used for enameling cop- • IMMEDIATE SHIPMENT • per and other metals? "Postage~aid whencheck accompanies order. A. No. Enamels for metals are specially prepared MEDIUMS INCLUDEDWITH SAM'PLES materials made for that specific use. These are not the same as glazes which are prepared for use on clay bodies.

Direct your inquiries to Questions Editor, "Ceramics Monthly, 3494 N. High St., Columbus 14, Ohio. Please enclose a stamped reply envelope. Questions of general interest will appear in this column.

MARCH 1954 21 Press Molds

by JOHN KENNY

HE CERAMIC SCULPTOR can make plaster molds of the forms T he creates in clay and from these molds make faithful reproductions of his work. He is not limited to the use of casting slip to make his reproduc- tions; he can make plastic clay take the shape of his mold, too. One type of mold which can be used with plastic clay is the press mold. When a press mold is used, the clay is pressed into the inside and allowed to remain until it starts to dry. As it dries, the clay becomes firm enough to hold its shape and, at the same time, it shrinks slightly so that it can be taken out of the mold without diffi- culty provided there are no undercuts. Of all the molds used by the ceramic sculptor, the simplest to make is a one. piece press mold for a low relief plaque or an incised tile. To gain experience in making replicas of our work, let us start with a tile to be reproduced in a press mold. 1. Draw a full-sized design for the tile on a sheet of thin paper. Remem- ber to allow for shrinkage. If you want to end up with a 6 by 6-inch tile, make your drawing about 63~ by 6~ inches. You may find that you get better re- suits by making a series of rough draw- ings, altering them until the design pleases you, then tracing the final form. Many commercial designers work this way. Roll a slab of clay about N-inch thicker than you want your finished tile to be. Use two strips of wood as guides to get the thickness right. Cut a square of the right size out of the slab and round the corners slightly. Lay your sketch on the clay and go over the outline of the design with a sharp pencil. This reproduces the de- sign on the clay. 2. Cut out the background on your

22 CERAMICS MONTHLY tile with a wire loop tool, leaving the with the thumbs. Press from the center design in relief. Try to cut to an even outward and exert enough pressure so depth and avoid making undercuts. that every crevice of the mold is filled. The portion of the design not cut away The center of the back of your tile must be slightly wider where it joins should be lower than the edges, and the background; this provides a draft there should be a rim about half an so that pressings will come out of the inch thick at the sides. Press the clay mold easily. The sides of the tile itself so that such a rim is formed. need not taper. 6. Cut off excess clay with a knife, When the background is cut out, leaving an even footing for the tile. do some more modeling on the design. With a wire loop tool, cut a series of Skillful treatment of the edges of such grooves in the back of the tile. These a relief can give the appearance of will help it dry without warping. great depth to a design which is Allow the clay to stand in the mold actually all on one plane, but don't for about ten minutes, then remove it make the design complicated. Model by turning the mold over and tapping only enough to suggest three-dimen- it gently on the table. sional quality, eliminating the cut-out Sometimes the first pressing sticks look. You are working with clay so in the mold and has to be dug out. If avoid sharp corners. this happens, check the mold to make Lay a flat board lightly on top of sure it has no undercuts; if you find the tile to make sure that the tops any, remove them with a knife. Dust of the various parts of the design are the inside of the mold with flint or in the same plane. Now the tile, when talcum powder and try again. This leather hard, will be ready to serve as time it should work. the model for your plaster mold. A tile made in this mold is shown (Directions for mixing plaster will be on the facing page. found on page 24.) 3. When preparing to make a mold, IMPLE sculptured designs of ani- place your model on a sheet of glass mals, abstract shapes and other or on a smooth board. If you use a forms modeled in low relief or in- wood surface, coat it with a size such cised may be reproduced by using a as oil or soap, to prevent the plaster one-piece press mold. A similar type, from sticking to it. called a sprig mold, is used for press- Some kind of retaining wall must be ing small ornaments and it can be set up to confine the plaster and to used for making clay decorations to be keep it from flowing all over the table. applied to pottery. For work in which the depth is not The flying bird ornament shown great, a clay retaining wall is satis- at right was made in a sprig mold. factory but as height becomes greater, The bird was modeled in clay and the pressure on the wall increases so placed on a sheet of glass. When that more strength is needed. Use wood casting plaster over small forms like or building paper when you pour this, the back of the ornament should piaster to a depth of three inches or be moistened and pressed firmly on the more, and reinforce the wall with nails glass to keep it from floating away (if wood) or twine (if paper). Press when the plaster is poured. When the a coil of clay around the base of the mold was ready, the ornament was re- retaining wall to keep piaster from produced quickly. Rolls of clay were seeping out. pressed into the design, excess clay was To make sure the plaster comes in trimmed off, and the piece was re- intimate contact with all of the details moved from the mold. of the model, spoon out enough Another type of sprig mold may be plaster, while it is still quite thin, to made by cutting a design directly in a cover the face of the model. Then pour block of plaster. A gouging tool similar the rest of the plaster. to that used for cutting linoleum block 4. When the mold is thoroughly prints can be used for carving. dry, you are ready to reproduce your Plaster of Paris will make a mold of original tile. Tiles are less apt to warp any shape at all but don't let this fact if the clay from which they are made lead you astray and into the production has a liberal portion of grog added. Be- of over-elaborate forms. Piaster molds fore using your mold, then, prepare a are best suited to clean surfaces and tile body by wedging together two the streamlined shapes of modern de- handfuls of clay and one of grog. Wet sign. As you work with the material the grog first to make wedging easier. you will learn an important truth the Form the clay into a shape almost path to beauty is through simplicity. • like that of the finished tile but slightly smaller so that it will go into the mold easily. Make the top as flat and smooth as possible. SIXTH in a series, this article is drawn from ..... ~. Put the clay into the mold, Mr. Kenny's new book, "Ceramic Sculpture," smooth side down, and press it firmly published by Greenberg: Publisher, N. Y.

MARCH 1954 23 ORTON CONES how to mix and pour PLASTER

• . . the accepted standard by JOHN KENNY for over 55 years . . . When you include plaques of Orton Cones in your ware setting, you are using the most widely accepted, and accurate means of determining the heat advance and distribution through- LASTER of Paris is a valuable aid In mixing plaster of Paris, the plas- out the ware setting, and the end p to the ceramist since it is the ter must always be added to the water. firing point. material from which he makes For mold-making the ratio should be For over 55 years Orton has been the various types of molds to reproduce 23~ pounds of plaster to each quart of first source of pyrometric cones in his work. When water in the cor- water. An excess of water will produce both the hobby and commercial fields rect proportion is added, the plaster a soft crumbly substance, too weak for --because their consistent accuracy crystallizes into its original hard, rock- a satisfactory mold, while an excess of assures the user of a constant time- like state. Fortunately, this setting plaster will set in a hard, dense mass, temperature measurement. The result action is not immediate. The mixture not absorbent enough for mold work. is better, more uniform ware time of plaster and water is quite liquid at It is advisable, therefore, to measure after time. first; after a few minutes it starts to the water and weigh the plaster each Because Often Cones are so inexpen- thicken, and continues to thicken until time you mix a batch. it enters its period of plasticity when it sive, (a four-cone plaque costs only HEN you have acquired experi- a few pennies) you should always in- has the consistency of cream cheese; ence in plaster casting, you will clude a sufficient quantity in each set. after this it becomes hard. Plaster W be able to estimate the amount needed tiny as the one sure means of obtain- poured at the moment it begins to for a mold, but until then you may ing constantly well fired ware. Your thicken will flow over any surface, have to do some computing. One quart local dealer will be pleased to advise filling every crevice and faithfully re- of water plus 23~ pounds of plaster you as to which cone numbers are producing each detail. Thus plaster can will fill a volume of 81 cubic inches. best suited to your particular needs. be used to make a mold, or negative shape, of practically anything at all; Ke~p this figure in mind and when you o and from this negative, positive repro- are ready to pour a mold compute the YOUR CERAMIC SUPPLY HOUSE ductions of the original form can be volume within the retaining walls in CARRIES A COMPLETE STOCK OF made in plaster or in clay. cubic inches, divide by 81, and the ORTON CONES The best type of plaster of Paris for answer will be the number of quarts ceramic use is pottery plaster because of water to start with. For example, it gives a much smoother surface than if the retaining walls enclose a space 10 by 10 inches and the mold is going Send for your free copy of "The does household plaster. It can be bought from ceramic dealers in five-pound to be about 1~ inches thick on the Properties and Uses of average, then the volume of plaster will Pyrometric Cones" cartons or in hundred-pound bags. Un- less you put it in an air-tight container be 15"0 cubic inches. Two quarts of Let us send you a free plaster won't keep, so buy just enough water plus 5"½ pounds of plaster will, copy of thls valuable therefore, be ample. 56 page booklet. It tells for each job and use it up immediately. how to use Orton Cones Put the water into a clean container correctly and to best and sprinkle the plaster into the water. advantage, and also in- The proper mixing and pouring of plas. It is important to sprinkle it so that cludes other valuable ter is of considerable importance if no lumps form. If you do not have a information on firing good results are to be obtained. To aid ceramic wares. scale and must estimate the amount, those who have not worked with continue to sprinkle plaster into the plaster, this article is included in this water until enough has been added to The Edward ORTON, Jr. issue as a supplement to the author's form a cone-shaped mound above the "Press Molds" appearing on pages 22 surface. Allow the plaster to stand for Ceramic Foundation and 23. This, too, is drawn from Mr. about two minutes so that it can soak Kenny's new book, "Ceramic Sculp- into the water. This action is called COLUMBUS, OHIO ture," published by Greenberg: Pub. slaking. The slaking period is im- lisher, N. Y. (Please turn to Page 30)

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~r ! • gv~ uu| |an~;u||o vw io0 TelephonePR-7248 MARCH 1954 25 NOW! Get tke richness of true stone- ware glazes from your own kiln with NA URAL mic counsel GLAZES Brush, dip or spray. Heat and acid resist- ant. Exciting NEW rich, varied earthy tones--all yours at Cone 04. six beautiful colors White Enterprise... Velvet matte Black Jack... matte Eldorodo Plum... rich red Blue Stone... mottled Aubergine... rich, dark brown Place Cones in the Kiln that the time element is automatically Tailing Tan... khaki "'No," said the young pottery-hope- taken into account; that is, they indi- ORDER NOW! 6 oz. sample of any color ful, while describing his plans for a cate the effect of heat-work expended $1 or all-color ass't, of 6-12 oz. pkgs. $8.95. Shipped prepaid. Money back pot-shop, "I'm not going to fool around over a period of time. Being composed guarantee of satisfaction, with cones. I'm going to install an of ceramic materials, their behavior ' ...... electric pyrometer in my kiln so I'll parallels that of bodies and glazes, NATURAL ORE GLAZE CO. know the temperature I'm firing to." thus providing a good guide to the pro- Central City, Colo. Gentlemen: Enclosed find $__ for If that remark can be taken as a gress of maturation in ceramic ware. which rush the following Natural Ore fair sample of this would-be potter's Manufacturers of pyrometric cones Glazes with complete instructions at ceramic knowledge, it promises little supply tables showing approximate $1.00 each postpaid: cone-temperature relationships; they ( )--__ _6 oz. pkgs. in following success for his venture. It suggests that colors: he is not familiar with the nature of recognize the time factor by presenting firing and with the maturing of bodies two sets of temperatures, one for a and glazes which is basically a process slow rate of heating and one for a ( ) 6 k 12 oz. pkgs. of assorted of progressive melting. Ceramic mix- fast rate. The fast-rate temperatures colors at $8.95 postpaid. shown are always considerably higher (Other quantities, price on request) tures, unlike metals, do not have sharply defined melting points. In- than those given for the slow rate. Name __ Cone 1, for example, deforms at 2057 ° Address__ stead, some of the ingredients begin to melt first; these, with increases in F., when fired at 36 ° F., per hour but City State when fired at a rate of 270 ° F., per DEALER INQUIRIES INVITED time and temperature, dissolve increas- ...... ,.a ing amounts of other ingredients. hour, its deformation point is 2120 ° F. Time is of great importance. We can This article is not meant to dis- Tool And Clay speak of lead as having a melting courage studio potters from using Headquarters for point of 621 ° F., but we cannot make pyrometers. They are extremely valu- such a definite statement about a able adjuncts when properly used-- Sculptors & Ceramists ceramic mixture. The information that for example, in checking on the pro- gress of a firing in its early stages and You name it~ We've got it. Ceramic, a certain glaze or body should be fired Marble, Piaster Casting, Sculptor's to 2000 ° F., is, therefore, insufficient in controlling the rate of cooling. It is TOOLS. Ceramic, Modeling, School, unless the temperature reference is tied even possible to install an elaborate Plastelines, CLAYS. Exclusive seller to a definite firing schedule (intro- pyrometer system which will cause a of ROMA ITALIAN PLASTILINA. firing to follow a predetermined course Retail and Wholesale. Send today for ducing the time factor). A porcelain most complete catalog of tools and body may be properly vitrified when and also make a time-temperature clays ever published. fired quickly to 2400 ° F. It is quite record on paper of the entire firing possible that the same body, fired cycle. This kind of equipment is too SCULPTURE HOUSE slowly, would reach the same degree costly, however, to be considered by Dept. 9A 304 W. 42nd St., New York 36 of vitrification with a peak firing- the average studio potter. Theoretically, temperature of 2330 ° F., or lower. To such an installation could function bring about the desired results in firing without the use of pyrometric cones QUALITY KILN KITS ceramics certain minimum heat treat- but it is interesting to note that cones ments are required. In general and are usually used in such set-ups, often $26.65 Up within limits of practicality, this heat as a check on the pyrometer. Easily Assembled of Home for can be of high intensity for a short Many false notions about the use of period of time or of lower intensity pyrometric cones exist. Some ceramists Ceramics--Porcelain--Enameling have, to their sorrow, attempted a Plug into any II0 V. line for a longer period, the important thing being the total heat involved. small economy by re-using cones which Safe, Efficient, Low Operating Cost Heat and temperature are not synony- did not fall over in a previous firing. Write £or Descriptive Literature mous. Heat is a form of energy while Such cones should be discarded; the temperature is an index of the intensity previous heating caused enough change C. M. BUELL KILNS of that energy at a given moment. to make them unreliable for re-use. Box 302, RoyQI Oak, Mich. Pyrometric cones are so compounded One person, apparently under the Tel. LINCOLN 2-4298 illusion that cones had the magic power to limit firings, exclaimed, "But the kiln couldn't have fired higher than This is the first of a series of monthly WHEN WRITING TO ADVERTISERS cone 6! That was the highest cone in theoretical discussions by Mr. Littlefield. PLEASE MENTION there!" Cones as such cannot control If you have a pet problem you would like "CERAMICS MONTHLY" the firing: their behavior must be noted to have aired in this column, write CM. and acted upon by the human agency.

26 CERAMICS MONTHLY youcan FIND it ..ifyou BIND it

lis handsome Binder holds 12_ issues

YOU will have no problem finding quality rigid cover of long wearing last month's copy of "Ceramics material. Monthly"mor earlier issues you've Get your binder nowmfor greater receivedmlf they are neatly tucked reading pleasure and convenience away in this handy binder. Like most CM subscribers, you will be referring to back issues for ideas and other valuable information time and time againmso keep them handy in this handsome library binder. This durable cloth-bound binder is green in color and has "Ceramics Monthly" stamped in gold leaf on the front cover and backbone for immediate identification. A steel blade holds each copy in Order Now! Price $3.00 place. New issues are quickly and (Ohio Resldenls adct 9c Sales Tax) easily inserted. Each issue will remain neat and fresh protected by the high we pay postage

send check or money order to CHAM~CS MONTHLY 3494 N. High St. Columbus 14, Ohio

MARCH 1954 27 and glass pieces comprise the 60th itinerary Annual Exhibition of the New York Society of Ceramic Arts, at the Ameri- (Begins on Page 8) can Museum of Natural History. Work is displayed in room settings created Co, by New York designers. Demonstra- Ohio counties and two nearby Mich- i CERAMIC STUDIO igan counties (Toledo retail trading tions and lectures, Saturday and Sun- area); also to former residents of day afternoons. " 543 BOULEVARD - Toledo and environs. Jury; basic entry " KEN ILWORTH, NEW JERSEY fee: $3; unlimited number of entries NEW YORK, New York accepted for ceramics and other craft through March 21 classifications. Awards. Entry dates: Ancient Art of the Andes exhibition .:" DISTRIBUTOR for: April 1,2,3. For further information, at the Museum of Modern Art in- write Mrs. James E. Vogel, 2056 Park- cludes textiles, jewelry, pottery from = "Renaissance" Lustres, Under- wood Ave., Toledo 2. glazes and China Paints; L & L--= 1400 B.C., to the Spanish conquest in i Guaranteed Kilns; Tru-Fyre the 16th century. OREGON, Portland i DEALER for: May 13-June 12 TENNESSEE, Memphis :-- "Amaco" Underglazes. =-= Northwest Ceramics Fifth Annual Ex- March 1-22 hibition of pottery, sculpture and American Craftsmen, traveling exhi- i MOLDS by: enamels, at Oregon Ceramic Studio. bition, at Memphis Academy of Arts, - Holland--Schmid--Coulton : Work produced during twelve months 690 Adams Avenue. More than 100 preceding date of entry: open to resi, examples of ceramics, enamels, silver. COX EXCLUSIVE MOLDS dents of British Columbia, Idaho, Mon- tana, Oregon and Washington. Jury; smithing and other work by outstand- i Write for price list and de-.: entry dates, April 12-26. Write studio ing contemporary craftsmen are in- scription. at 3934 S. W. Corbett Ave., for in- cluded in this show sponsored by formation and blanks. Smithsonian Institution. : GREENWARE ' Large assortment from all the i WEST VIRGINIA, Huntington TEXAS, Houston : most popular California Molds--" April 11-May 2 through April 4 : plus greenware from all the.~ Comparative exhibition of ceramic _~ Eastm-a Molds. Second annual Exhibition 80 at Hunt- ington Galleries Open to artists and stoneware includes examples from craftsmen over high school age, with. China's Sung Dynasty and contemp- "COMPLETE LINE OF SUPPLIES' in fifty-mile radius of Huntington, orary Swedish work. The Sung exhibit "! AND EQUIPMENT .:" members of Tri-State Creative Arts contains specimens from private collec- Assn. All mediums. Fee: $2, mem- tions and Eastern museums: display i Write for information regarding! bers; $3, non,members. Entry cards assembled by Swedish Society of In- membership in the newly-formed" due Mar. 20; work, Mar. 25. Jury: dustrial Design includes p,eces by " "Ceramic Leagues." award certificates. Write Exhibition 80 Friberg, Lindberg and Stalhne. At at gallery, Park Hills, Huntington, for Contemporary Arts Association of .: Houston, 302 Dallas Avenue. r~,|.||||n|m|,,|,.|,H,,|,,,H,,,,,,|,m,,.|,,|,|,m,|,.|n|,|o,H,.,,,[~] further information. WASHINGTON, Seattle WHERE TO GO March 7-April 7 Northwest Craftsmen's Second Annual ILLINOIS, Chicago All-Crafts Show at the Henry Gallery, University of Washington. Pottery, March 16-April 26 enamel and ceramic sculpture included Mid West showing of Designer-Crafts- in exhibition which represents Idaho, men U.S.A. (1953). Display of more Montana, Oregon, Washington and than two hundred handcrafted objects British Columbia craftsmen. exc.,.n~;#;,~ . . .. by Americans includes ceramics. The exhibition was drawn from nine iuried flew . . . regional shows and first displayed at SUPPLY AND EQUIPMENT SHOWS original . . . the Brooklyn Museum last fall. Each year, the firms which manufacture, distribute or sell supplies used in the Send 25e for catalog ILLINOIS, Chicago ceramics craft, display their products at ex. Sahuaro Molds, P.O. Box 133, Sta. A March 16-April 26 tensive exhibitions in various sections of Studio at 560 College Ave An exhibition of the work of Designer- the United States. These shows constitute a Palo Alto, California Craftsmen of Illinois, Indiana, Michi- market.place where dealers, ceramists and gan and Wisconsin shown along- the general public may see and examine side the national Designer-Craftsmen, kilns, molds, glazes, tools and innumerable U.S.A., exhibit at the Art Institute. other types of equipment and supplies. To GAY-WAY help CM readers keep up.to.date with the MASSACHUSETTS, Northampton working materials that are available, five "STUDIO TESTED" March 1-22 such scheduled shows are listed below: CERAMIC MATERIALS Textiles and Ceramics exhibition at May 6-9 Smith College Museum of Art. One Transparent Gloss Glazes hundred or more examples of dis- Midwestern Ceramic Hobby Show at True Majolica Opaque Enamels tinguished ceramics and textiles in- Cleveland Auditorium, Cleveland, O. "Vitgobes"--Aztec Marts cluded in display; this traveling exhi, May 19-23 Suede Mafts--Engobes bit/on is a selection from the Fourth Great Lakes Ceramic Exhibition at Biennial of the Museum of Cranbrook Masonic Temple, Detroit, Mich. "Sure-Fire" Red Enamel Glaze Academy. Catalog Free June 2-6 Dealer Inquiries Invited NEW YORK, Buffalo Eastern Ceramic and Hobby Show at March 3-April 4 Convention Hall, Asbury Park, N. J. GAY-WAY POTTERY Ceramic work by craftsmen in four, Dept. CM, Sharon, Conn. teen Western New York counties in, June 23-26 eluded in the 20th Annual Western Southwest Ceramics and Hobby Show New York Artists show at the Al- at Electrical Building, Fair Park, bright Gallery, 1285 Elmwood Ave. Dallas, Texas. WHEN WRITING TO ADVERTISERS July 28-August 1 PLEASE MENTION NEW YORK, New York California Ceramic Hobby and Gift "CERAMICS MONTHLY" through March 10 Show at Municipal Auditorium, Long Ceramic sculpture, pottery, enamels Beach, Cal.

28 CERAMICS MONTHLY I find it helpful to use a stick across the top of the piece to facilitate s u gge stJ o n s from our readers measurement of the inside. Remember, however, to mark off the megsurement at the lower edge of the stick. Plaster Mixing Bowl holding a small hand mirror down in --(Mrs.) John D. Wicks the kiln, I can now see exactly how A small convenient plaster-mixing Newton, Mass. close the pieces are to each other and bowl can be made by cutting a hollow find I save much firing space and rubber ball in half. This lends itself Sturdier Wedging Board loading time. ideally to mixing small batches of In your December "Suggestions" Many places which are impossible to tim column, you mentioned using a flat plaster. If you forget to clean see from above are immediately visible fruit box for making a portable wedg- when the mirror is held at shelf level. ~Marion C. Tankersley ing board. In our workshop, we use for this purpose a wooden soft drink Denver, Colo. Measure the Thickness You need not guess at the thickness "bowl," the dry plaster can be easily of the bottom of a piece and risk either broken away by flexing the soft rubber walls. --1. H. Saling ~ ~~THICKNES$ OF Columbus, Ohio \ =i / III ,o.o, \ t l / I I x. INSIDE Kiln Stacking Aid UJ "EAsuRE'ENT When stacking my top-loading kiln, I sometimes found myself nearly in the tooling through the piece or leaving the kiln trying to see whether any of the bottom too heavy. delivery case, and it has proved to be pieces were touching each other. By With a ruler or stick, measure the very satisfactory. inside up to the rim and then measure The delivery case is much sturdier Dollars for Your Thoughts the outside up to the rim. The differ- than is a fruit box, and the partitions CM will pay from $1 to $5 for suggestions ence between the two measurements is inside add even more to the strength used in this column. Be sure to include the exact thickness of the bottom. of the entire unit. photos and sketches if applicable. All items of Knowing this you can tool the foot or Plug the grip holes on each end of interest to ceramlsts are carefully considered. bottom to the exact thickness you wish. (More Suggestions on Page 31)

Olin Russum advocates free brush decorations

In his ceramic class at the Baltimore Museum of Art, talented Olin Russum encourages free ex- pression in pottery. Although some of his students are artists in their own right, others need guidance in decorating ware.

Beginners must have dependable materials to minimize early disappointments. Pemco Pasgobes were developed especially for these students. Pas- gobes are far easier to work with than underglaze colors and are more consistent than engobes. They can be thinned to slip consistency for fluid applica- tion with a big brush. Pasgobes won't absorb the glaze or crawl. For opaque decoration, two coats of Pasgobes give excellent covering power. In ad- dition, Pasgobe is the perfect medium for sgraffito work, when applied thickly.

o~'L~. Send for the new Pemco price list today. ..~ PEM¢O CORPORATION

t POTTERY ARTS DIVISION * BALTIMORE 24, MD.

MARCH 1954 29 Clay Haven LAMP PARTS how to mix Ceramic & China Painting Everything you need! and pour Supplies for Evenheat and Jen-Ken Kilns MAKING a REPAIRING Ceramichrome Distributors CONVERTING PLASTER 6912 Schaefer Rd. Dearborn, Mich. SEND FOR OUR NEW CATALOG (Begins on Page 24) LU 2-6871 Thousands of parts of every description illustrated, described, priced Ceramic Molds and Supplies We sell and shlp 1 or 1000 pieces portant for if you start to stir too soon, Free Cataloge Free Molde Free Packing the plaster will form a lumpy mass ANGELO BROTHERS difficult to make smooth. If water re- 2333 N. Mascher St., Philadelphia 33, Pa. mains on the top after the plaster has settled, it means you did not use OF CALIFORNIA enough plaster. Don't try to add any 12125 Lakewood Blvd., Downey 6, Calif. more but pour off the excess water CERAMIC carefully before you start to stir. [--~llll.lllll.ll.ll..||,l.,|.Ullllll,..,,...illlll,|lllllllH,iiil*|llllll,.r ~ MATERIALS o E(~UIPMENT .i VOLLMERS CERAMIC STUDIO -" Potters Wheels -- Kilns .=" 1723 Paxton St., Harrisburg, Pa. : Clays -- Glazes -- Tools OR stirring, use your hand or a " DISTRIBUTORS : If you haven't tried our liquid under- F large spoon but in either case stir .= Religious Roman Gold Decals : glaze colors, send for information. .: Cross 25c, Lords Prayer (Prot. or JACK D. WOLFE COMPANY from the bottom and try to get all the =" Cath.) 25e each, 23rd Psalm 35c : 62 Horatio Street, New York 14, New York -" Little Sheperdess 35c, Pansy Spray " 10c, Ivy Glaze 10 lb. $10.00 :* DEALER INQUIRIES INVITED - ~'lllnmmHIIInlllllnlln*l|unnllnnl.lllmlllnllnll|lll.l..[~l ANIMAL MOLDS J & M CERAMICS Instruction Catalogue ORIGINALS Now Available for Ceramlsts 20416 Royal Blvd., Torrance, Calif. 25c Postpaid Phone--MEnlo 4-4132 Dealers Ask for Discount Sheet. Send 15c for NEW illustrated catalog LAURINE BROCK CERAMICS bubbles out of the mixture if possible. 1651 W. Woodlawn, San Antonlo 5, Texas Don't whip the plaster (that will put Selling to SCHOOLS more bubbles in), but stir gently and CERAMIC FLOWER is our specialty. agitate the entire mass. As you stir you INSTRUCTIONS (NO MOLDS OR CUTTERS) $2.00 A complete line of matched ceramic will feel the mixture start to thicken. CHINA PAINTING supplies and raw materials available. When it reaches the consistency of VIA CORRESPONDENCE COURSE, EACH $1.00 CATALOG AND TIPS 15c OR COMPLETE COURSE. 12 LESSONS $10.00 300 CHINA PAINTING DESIGNS $3.00 or Write on School Stationery. heavy cream, thick enough so that your SEND FOR BROCHURE BUFFALO CERAMIC SUPPLY CENTEr finger leaves a slight mark as you draw 76 Allen St. Buffalo 2, N. Y. NETTLE E. PILLET it over the surface, then is the time 841 Barrows Ct., Pasadena, California to pour. Plaster must be poured quickly and Featuring Exotic Art Glazes smoothly, without splashing. Take care IMPORTED Complete line of Ceramic Supplies to cover the entire surface of the model, WHITE CHINA Classes--Firing leaving no vacant spaces. If the model Send 25c for catalog Open Sat. all day--Sun, b/ appointmenl has delicate detail, use a spoon or brush Irco & L and L Kilns, Tru-Fyre Glazes Deductible from first order to put a small quantity of plaster on it Jirele Ceramics 2116 N. Limestone Maryland China Company Ohio's Largest Ceramic Studio first. If you do this, dip this bit of 1436 N. Gay St., Baltimore 13, Md. SPRINGFIELD Phone 3-0632 OHIO plaster a little sooner than usual, while it is still fairly thin. When plaster has been poured, the CERAMIC MOLDS working table should be jarred vio- LACES and NETS lently several times in order to loosen WHEEL LACES Wrought Iron any bubbles which may adhere to the All Widths Modern-Contemporary S. COLE CO. model. As these bubbles rise to the P.O. Box 827 Catalogue 25¢ surface, blow on them to break them. Main Post Office, Los Angeles 58, Cal. CREEK-TURN POTTERY The plaster soon becomes hard, and if Please Write for Our Free Catalog HAINESPORT, N.J. you touch it you find it warm. As soon as it starts to cool, the setting action is finished; it is safe now to remove the KNAPINE CERAMIC STUDIO mold from the model. Sno-White Non-Crazi.g Slip TEACHERS A plaster mold is not ready for use Non-Crazing Transparent Glaze until it has dried out thoroughly, a WITH CONFIDENCE FOR YEARS MOLDS, MODELS, BLOCKS, CASES process which may take several days. HAVE OBTAINED THE BEST CERAMIC Sno-White Bisque Ware SUPPLIES & EQUIPMENT FROM TEPPING Drying can be hastened if the mold is put near a warm radiator, but don't or2 S. llth St., Phila. 7, Pa. Send for Catalog • Dealerships Granted let it get too hot or it will start to Professional staff of long experlence crumble. You can tell when a mold is When writing to advertisers dry enough to use by holding it against TEPPING STUDIO SUPPLY C0. please mentlon your cheek; if it feels cool it is still 3517 Riverside Drive • Dayton 5. Ohio "Ceramics Monthly" damp. @

30 CERAMICS MONTHLY A very fine spatter pattern can suggestions come from a spray gun--either the SATISFACTION GUARANTEED power spray or the hand spray. Use a OR YOUR MONEY BACK (Begins on Page 29) thicker glaze than you normally do and • o •ooo• • oooo the box with clay, and then fill the make the gun sputter rather than spray box to the top with a good plaster mix. smoothly. this guarantee applies on When the plaster has set, remove the You can use underglazes for thc every thing we sell except clay plugs and screw a strong piece spatter effect or some of your cover glaze which has been stained with kilns and molds, on which of wood to the side of the case to hold the guarantees are limited the wedging wire and turnbuckle. ceramic colors• These can be applied The grip holes on each end of the directly to the green or bisque body to those offered by the man- case make the wedging board easy to or to a coating of unfired glaze• In ufacturers. either case, you will find it helpful if handle when it becomes necessary to ooe•oooooooo you apply a very thin coating of clear move it. We can make this offer be- --Gary Ceramic Guild glaze over your spatter pattern so that the pattern will not be smeared during cause we sell only "brand Gary, Ind. subsequent handling of the piece• name" goods. --]. H. Saling Spatter Glazing Columbus, Ohio EX-CEL BRUSHON GLAZES Spontaneous decorations, with no GLOSS-MATIC KEMPER TOOLS two alike, can be obtained by spatter- Glazing Aid TRU-FYRE DELTA BRUSHES ing contrasting colors on a piece of CERAMI CORNER DECALS When spraying or brushing a white (Lord's Prayer, Shepherdess e~c.) bisque or greenware. There are several clay body with transparent or white DUNCAN E-Z PRESS MOLDS ways to obtain the spatter effect, each glaze, it is almost impossible to tell CERAM-INK JANE SNEAD BOOKS PARAGON KILNS one giving a different pattern. when the piece is evenly covered. A A nail brush or the end of a scrub EIGHT LINES OF MOLDS brush can be dipped into glaze and WHY TAKE CHANCES? • • • • • • • • • • • • HOUSE of CERAMICS 3295 JACKSON AVE. few well-aimed pencil marks, drawn on Memphis 12, Tenn. 4 I the piece of bisque ware, will give you a pattern to cover with the glaze. No tell-tale marks will be left after the firing, and no special equipment is YOUR Order needed. Marion C. Tankersley PROMPTLY Shipped! Denver, Colo. And WE PAY all Freight Charges on all orders of'100 pounds or $100 or more* Stilting Small Pieces To eliminate the tedious stilting of FAMOUS NAMES in CERAMICS many tiny pieces such as buttons, pins, • Ceramichrome Products etc., they can be placed on small • Mack's China Paints mounds of kiln wash and fired in that • Zirco China Paints manner. I find, however, that these • Etchall small pieces can be handled much more = Glossmatic Ceramic Colors easily if they are placed in the kiln on • Paragon Electric Kilns a thin slab cut from an insulating • Sponges brick. The soft insulating brick can be • Star Stilts cut with a small saw or even a nail • Kemper Tools file. One brick will make four or five • Brushes slabs and can be used many times. • Copper Tooling Supplies • Hazel Pearson Designs • Formulabs Textile Paints • Wold Air Brushes • Holley Decorating Wheels spattered on a piece of ware by run- • Except moulds, kilns, clay. ning your thumb across the stiff bristles• -.-.~.,." ..., :t '-'; A slightly different effect can be had by rubbing the brush across the face of a wire screen• If the glaze on the piece runs and A different pattern will result if you the piece adheres to the slab, you can dip a tooth brush into glaze and rap still pick it up easily and sand the soft CENTER the brush handle sharply against a bits of brick from the piece. stick. Another interesting effect comes --Marion C. Tankersley WHOLESALE- RETAIL from dipping the fingers in glaze and Denver, Colo. flicking the hand in the direction of 916 Scott St. Wichita Falls, Tex. the piece. Where's YOUR Suggestion?

MARCH 1954 31 I I • Rhinestones for Figurines • Earring Wires, Pin Backs • Bracelet Blanks and other findings for Ceramic Jewelry a

Send for FREE Studio Price List BERGEN ARTS, Dept. CM 128 Main Street, Hackensack, N. J.

I N0rmandyRoad • WHITE PLAINS, N.

Near Grand Island Bridge NIAGARA FALLS, NEW YORK CULVER CERAMIC STUDIO Only studio in LaSalle with a complete stock of supplies for Ceramic Hobbyists MEMBER OF Western New York Ceramic Dealers Assoc. 194 Sixty-First St. Phone 3-3912

PIECES shown on these pages were in the is by Lilllan Meyer; footed ashtray, by Buffalo exhibition, and they were among the Margaret Clark; teapot, by Helen Creighton. judge's selections for awards. Bowl at left RT. 13 80;( $43"4 F~EJ~O ¢AUI Pinch bowl, top, is the work of Irene Stell.

WATCHCERAMICS MONTHLY for announcement on new LIQUID UHDERGLAZE COLORS DEALER AND JOBBER INQUIRIES INVITED GARE CERAMIC SUPPLY CO. 23S Washington St. Haverhill, Mass. SHOW TIME

schools Study at the CRAFT WORKSHOP A HOBBY GROUP that became the In the Great Smoky Mountains Ceramics Section of the Buffalo Mu- PI BETA PHI -- UNIVEI~SITY OF TEN- NESSEE • Full session: June 14 to July seum of Science in 1947 recently held 17, 1954 • Half sessions: June 14-30, and July 1-17, 1954 • Classes in weaving, their sixth annual show at the museum. silk screen printing, metalwork, jewelry, The group is devoted to "the creation enameling, pottery, design, recreational crafts O Graduate -- Undergraduate -- Non- of handbuih ceramics and clay sculp- credit • For folder write: ture," and the work of its members I Pi Beta Phi School a Gatllnburg, Tenn. was on display for over three weeks. The show was not juried--all pieces submitted by the members were accepted for exhibition. And, unlike HAYSTACK most shows, the work was divided into thirteen different categories: coil, MOUNTAIN drape, slab, and thrown pottery; under- glaze, sgrafitto, and pierced decoration; SCHOOL tiles; sculptured figures, animals, and busts; Chinese-inspired pieces; and mis- OF cellaneous. Pieces were selected from each of CBAFTS the categories for awards; and in an LIBERTY, MAINE CHICKEN LICKEN, a fairy tale sculpture effort to improve their work, the group by Mary Templeton, is made of buff clay WRITE BOX 3 FOR BOOKLET asked the judge to evaluate the exhi- and gaily decorated with underglaze colors. bition and make recommendations

32 CERAMICS MOI4TliLY Index of Advertisers March, 1954 Angelo Brothers ...... 30 Bergen Arts ...... 32 Brock, Laurine, Ceramics ...... 30 Buell, C. M. Kilns' ...... 26 Buffalo Ceramic Supply Center ...... 30 Clay Haven ...... 30 Cole, S., Co ...... 30 Cox, Florence, Ceramic Studio ...... 28 Craftools, Inc ...... 2 Creek-Turn Pottery ...... 30 Cul~ver Ceramic Studio ...... 32 Delta Brush Mfg. Corp ...... 19 Drakenfeld, B. F., & Co ...... 2 Gare Ceramic Supply Co ...... 32 Gay-Way Pottery ...... 28 Great Lakes Hobby Exhibition ...... T0 Harrison, the Kay, Studios ...... 4 Harrop Ceramic Service Co ...... C-1 Haystack Mountain School of Crafts...32 Hommel, O., Co ...... 21 House of Ceramics (Tenn.) ...... 31 Houston, Charles, Molds ...... 32 Huff's Hobby Center ...... 31 J & M Originals ...... 30 Jirele Ceramics ...... 30 WIDE variety in show is reflected above. head, by Neville L. Cocker, is of buff clay. Kernian Krafts ...... 6 thrown bowl, by Mary Templeten, is o| The Margaret Clark made the owl from pinch Kiln-Gard ...... 32 red clay with green glaze. The unglazed pots; and Mary Cornell's tile is underglazed. Knapine Ceramic Studio ...... 30 L and L Mfg. Co ...... 7 McDanlel Mold Ca ...... 6 which might prove helpful to the WHITE BISQUE polar bear took a prize Martin, John, Treasures ...... ! members. The judge's comments prob- in animal sculpture for Helen Creighton. Maryland China Co ...... 30 ably could apply to most amateur Mason Color & Chemical Works, Inc... 7 groups. Master Mechanic Mfg. Co ...... 25 The members were advised to con- Mayen, E. P., Co ...... 8 centrate on the fundamental process Midwestern Ceramic Hobby Show .... 20 involved in simple combinations of Model Ceramics, lnc ...... 20 clay and glaze, and to work in fewer Marehouse Industries ...... 9 areas than the numerous categories in Natural Ore Glaze Co ...... 26 the show reflected. Some of the figures Orton, Edw., Jr., Ceramic Foundation..24 exhibited could have been more sculp- Paragon Industries ...... S tural in feeling and less whimsical. Pemco Corp ...... 29 It was also suggested that the show Pi Beta Phi School ...... 32 might be jury-selected; and prize- Pillet, Nettle E ...... 30 winning pieces, ~if prizes are a must," Re-Ward ...... 19 could be selected on a general basis Roder Ceramic Studio ...... 7 rather than from special classifications. Sahuaro Molds ...... 28 Encouraging to the group was the com- Schmid, Ludwig, Art Ceramic Studio..20 ment that the work showed improve- Sculpture House ...... 26 ment over past years. Seeley's Ceramic Service ...... 2 The nucleus of the Ceramics Section Specialized Ceramics Corp ...... 20 membership took evening classes in Stewart's of California ...... 30 ceramics at the Museum several years Topping Studio Supply Co ...... 30 ago and, on the basis of their common Thompson, Thomas C., Co ...... 8 interest in the craft, formed a hobby Trinity Ceramic Supply ...... 25 group. They met at first in the homes United Artist Materials Co ...... 9 of members; by 1947, however, the Vollmers Ceramic Studio ...... 30 group had grown so large that the Ward, S. Paul, Inc ...... 9 Museum arranged a special section for Winthrop Ceramic Supply Co ...... 2S them. The Ceramics Section is in the Wolfe, Jack D., Co ...... 30 ~Anthropology'" division of the Mu- X-acto Crescent Products ...... 8 seum because, the members explain, "work in clay was one of man's earliest "Say you saw it in CM" activities."

MARCH 1954 33 CERAMICS MONTHLY BOOKDEPARTMENT Select Titles to Choose From

CERAMIC SCULPTURE by John B. Kenny CHINA DECORATION by Kafhleen Mann ENAMELING: PRINCIPLES & PRACTICE The brand new book which promises to be This new book is a simple guide to the by Kenneth F. Bates as valuable as his "best seller" on "Pottery china decorating art. Many illustrated ex- The author, who has won many prizes for Making." Mr. Kenny uses the same step- amples of modern designs. $2.50 his enamels, has penned a practical guide by-step pictorial technique and an identical for the beginning student and an authori- format. Containing over a thousand photos tative reference for the craftsman. Covers and sketches it covers oil phases of the CERAMICS BOOK by Herbert H. Sanders all phases of the art of enameling. Pro- sculptor's art from beginning essentials to Just published. Complete step-by-step in- fusely illustrated, including plates in color. advanced projects, including animals, chess- structions on making specific pieces. Ex- Hew price effective Mar. 15--$3.95 men, figures, and many others. $7.50 amples of pottery by well-known ceromists. Over-sized format (8" by 111/2"), 96 pages. EARLY AMERICAN DESIGNS $1.75, paper back; $3.00 hard bound. A POTTER'S BOOK by Bernard Leach by Erwin O, Chrisfensen The famed Mr. Leach's book is the out- come of 25 years' work in the Far East Interested in identifying Early American MAKING POTTERY FOR PROFIT pottery? Here's an assist. The 48 pages and England. It deals with four types of by Cole and Sforr pottery: Japanese raku, English slipware, (8V2" x !1") are filled with some 60 il- How to make pottery pay. What to make, lustrations of ceramic decorations $1.75 stoneware, and Oriental porcelain. Con- how to make it, how to price, how to siderable basic information is between merchandise. Has many ideas for new and these covers as well. Illustrated, some in POTTERY MAKING by Wren and Wren original products. $2.95 The authors, potters of Oxshott, England, color. $6.00 cover all the basic phases of pottery mak- ing. In addition, they present information A POTTER'S PORTFOLIO CERAMICS FOR THE POTTER on gas kilns and building a small coke by Bernard Leach by Ruth M. Home kiln. Illustrated, 140 pages. $3.50 An elaborate (111/2" by 14", cloth-bound) The chemistry, geology, history of ceramies edition in which Mr. Leach has chosen for MARIA: THE POTTER OF SAN ILDE- presented in non-technical language. Since discussion some 60 examples of great pot- the author began her study of ceromic¢ FONSO by Alice Marriott tery of the past clown to the present. The The story of Maria Ivfartinez, who revived "at the beginning," she is able to say in pottery picture~ are suitable for framing; the preface, "Only an amateur can ap- the ancient Pueblo craft of pottery making some are in color. $17.50 and has become a legend in her own life- preciate the problems of an amateur." time. A unique biography, skillfully told. $4.SB Contains 294 pages: 25 illustrations. $3.75 CERAMICS HANDBOOK by Richard Hyman THE COMPLETE BOOK OF POTTERY LITERATURE ABSTRACTS OF CERAMIC Illustrated with almost 300 photos, it covers GLAZES by Koenig and Earhart all phases of pottery making, sculpture, MAKING by John a. Kenny A review of virtually all literature on cer- and jewelry. Includes recipes for low-temp- Exaggerated title? Not at all. All of the amic glazes. Drawn from nearly 90 sources erature glazes, instruction for bu;Idlng kilns most popular pottery making techniques covering a period of more than 50 years. and wheels, and an "equipment review." are explained in detailed, step-by-step Fully indexed. $7.S0 Hard-bound edition. $2.95 photo lessons. Included is basic informa- tion on clays, glazes, bodies, firing, plaster, many other subiects. Large format (7" by 10"), 242 pages, more than 500 photos and drawings. $7.50 Order Form Ceramics Monthly BOOK DEPARTMENT 3494 N. High St.. Columbus,Ohio THE POTTER'S CRAFT by Charles F. Binns Written by the man who since his death Please send me the following books: We pay postage has been called the "Father of Ceramics," the book discusses the various origins of pottery, the nature of clayworking mater- ials and tools, and careful instructions for a variety of projects. For the amateur as well as the student. $3.50

Name CREATIVE CERAMICS Address. by Katherine M. Lester Strong on modeling, the volume also pre- City 7n__State _ sents detailed material on developing simple designs, building decorative tile, I enclose $ ...... Send remittance with order. Ohio residents add 3~/o Sales Tax. making simple molds, glazing, firing. Il- lustrated with works by contemporary pot- ters and with fine old masterpieces. $4.25