APRIL 1962. * 50c

iwn v HI • ~ m.. I

/ ~I~' ~" ~' "St

4 1 ! L.qp"

/I UL APPROVED FOR YOUR PROTECTION ,Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not! m l.] --- n[.I._I .] d : j_~ IN A COMPLETE NEW LINE - ONE UNIT 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNA- GLOW porcelain element holders... 4-way switches ...2 peep holes.., pilot lights.., and they are designed with your safety in mind. MODEL H-8800

r:3 7i i_i HIGH TEMPERATURE FURNACES A complete line of TO 3000 ° F bench and floor models available. ... using silicon carbide heating elements. MODEL efB-a

a Price includes Pyrometer, TEMPERATUR1E HOLDING Input Control Switch, Gravity Door, Pilot Light, and Patented Dyna-Glow ENAMELING KILN Porcelain Element Holders. Can Also Do Ceramics ! Attractive... Plugs m anywherel

MODEL E49 ,748. Chamber size: 4" x 81/2" x 8Y:e"

All steel welded case.., gravity door... $1~ ~ih Patented Dyna-Glow element holders... Plugs in mF O0 anywhere.., attains enameling temperatures k quickly regardless of voltage conditions, no crating charge. " " Chamber size: elements can not be burned out due to over-firing. 4" x $" x s" *Pyrometer available at $20.00 extra

WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER 11, PA. DEALER INQUIRIES INVITED Our BIG New '62 Supply & Equipment Catalog

42 pages of Decals • 16 pages in Color • 144.8W'x 11" Pages

These products shown in FULL COLOR: FRANCES Perma Stain IHCUSE

DUNCAN'S E-Z Flow Products C[I~AMIf_J TRU-FYRE, King of Colors

PETERSON 3-Way Fired Stains SUPPLY ,~ EQUIPMEHT CATALOG AFRICANA bisque colors MACK China Paints REGAL hobby molds EX-CEL dry glazes EX-CEL Flowertex clays and many other items NOW available ~ Fully illustrated

CLIP THIS COUPON and attach your Check for $1.00 . . . (not deductible)

CITY STATE j 2481 Matthews Avenue -- Memphis, Tenn. L / / / / / / / / / /

CERAMICS MONTHLY. April 1962, Vol. l~No. 4. Published monthly except July & Aug,, by Professional Publications, --S. L. Davis, Inc Pres, P. S. Emery, Sec.; at 4175 N. H;gh St~ee!, Columbus 14 OhTo Entered dS second-class ,he post offir# ~f A+'~ , r~ matter at Subsr~Tpf:C~" Or~ Vp4r SS T*~ y~- Sq Thr~-,~ Y~,:~: ~12 ~cr ~rla h+ '062 A II R'a '~" R~. rr.,-d introductory kit $3.95 8 brilliant ceramic decorating colors

Apply by: Decorate: Silk Screen Glazed Pottery Brush • Stencil Enameled Metal Air Brush Ceramic Tiles

versatile • semi-liquid in tubes versa color g~l~CO Request56-page catalog "Amaco Pottery and Metal Enameling Supplies and Equipment" AMERICAN ART CLAY COMPANY • INDIANAPOLIS 24., INDIANA

GLASS CRAFT LABORATORY SIEVES by KAY KINNEY THE FASCINATING ART OF CONTOURED GLASS Send for Your Autographed Copy Nowf Here -- at last m ;s the complete book; the result of nine years of experimentation in the wonderful world of glass bending. This is the book you'll want for your per- manent library; hard-bound, 200 pages, with over 300 illustrations. Four pages of co/or pictures, too. You can work right along with the author on step-by-step projects, with excellent photo- your guide. ONE GALLON CAPACITY -- 61/2'' DIAMETER BRASS raphs and text as he wealth of material presented in "Glass Craft" is of SCREENS PERMANENTLY FUSED INTO TOUGH, equal value to the hobbyist, craftsman, serious student, and basic techniques, glass FLEXIBLE, POLYETHYLENE PLASTIC BASINS. teacher. You'll find sections on all cutting, the use of manual and power tools; ceramic frits, sug- 30 mesh.... $4.25 40 mesh.... $4.50 60 mesh.... $4.75 gestions for formulating glass glazes, combining glass and and metal; stained glass, bottles, pre-formed 80 mesh...$5.00 100 mesh...$5.25 Finer meshes also available. clay, glass plates, and miscellaneous glass. Firing data for all types of kilns is included. And -- to top it off -- there is a "Glass OUR REGULAR 31/2" DIAMETER STUDIO SIEVES: Clinic" chapter to help you answer problems that arise. 30, 40. 60, and 80 mesh only $2.50 each. 100 to 200 mesh $2.95 "GLASS CRAFT" is published by Chilton Company, as an important addition to their popular Arts & Crafts series. ORDER TODAY! Postage Paid on Prepaid Orders. $1 50 POSTPAID (No C.O.D.'s, please) PRICE: • California residents odd 30c sales tax. COLE CERAMICLABORATORIES Order Direct From Depf. CM., Gay-Way SHARON, CONNECTICUT KAY KINNEY ~ CONTOURED GLASS California Dealer lnquiries Invited 725 Broadway Laguna Beach

MONTHLY 4- CERAMICS VOLUME 10, NUMBER 4 APRIL • 1962 SO cents per copy

IN THIS ISSUE

Letters to the Editor ...... 6 Answers to 9uestions ...... 8 Summer Workshops ...... 9 Suggestions from Our Readers ...... 10 CM's Pic of the Month ...... 11 Itinerary ...... 12 Clay Bodies for Salt Glazing by F. Carlton Boll ...... 13 Scandinavian Potters by Glenn C. Nelson ...... 14 Animals of Their Own -- In Clay by Alice Wheatley ...... 18 Throw a Hundred Pots by Richard Peeler ...... 20 Hinged Mold Construction by Den Wood ...... 22 Decorate With Clay by Phyl[is Cusick ...... 26 Show Time: Designer-Craftsmen of Ohio ...... 28 Mending Greenware and Bisque by Louise Griffiths ...... 30 Decorate Over Glaze demonstrated by Marc Bellaire ...... 31 CeromActivities ...... 33 The Enameler's Column: About Design by Kathe Berl ...... 37 Index to Advertisers ...... 3E

ON OUR COVER: Rut Bryk's ceramic tile is a design of barbaric splendor combined with childhood fantasy. Bryk is one of the group of talented potters working in Finland's Arabia Studios. See Glenn C. Nelson's feature article on Scandinavian potters and potteries on pages 14~i7 of this issue.

Editor Thomas Sellers Editorial Associate Louise Friedl Art Director R. E. Gracer Business Manager Spencer L. Davis Circulation Manager Mary Rushley

Advisers and Special Contributors: F. Carlton Ball; M~rc Bellaire: Kathe Beth Phyllis Cusick; Edris Eckhardt; John Kenny: K~ly Kinney; Zena Hoist: Karl Martz: Ken Smlth; Don Wood.

Western Advertising Representative: Joseph Mervisb. 6716 Gentry Ave. When you think of ceramics, it's natural to Box 3115, North Hollywood, Calif. TRiangle 7-7656. think of CERAMICHROME, quality glaze and Copyright 1962 Professional Publications, Inc. underglaze. Outstanding features make CERAMICHROME your wisest ceramic color buy! Choose from over 250 colors and textures in exclusive "color-balanced" palettes. Perfect for the ceramic hobbyist; 4175 North High Street used exclusively in countless schools. Send Columbus 14, Ohio today for valuable FREE information. J D 1 year SS D 2 years $9 [] 3 years $12

Name _

Address_ J City_ Zn. State CERAMICHROME, INC., 15215 S. BROADWAY GARDENA, CALIFORNIA J : [] Remittance Enclosed I-1 Please Bill Me

APRIL, 1962 5 potter previously of Deerfield and now with the University of Iowa ceramic de- partment. I have seen much of his work in your pages and have never thought they did his beautifully-subtle work jus- tice. I was lucky enough to study under Jim last summer and now am using the Share your thoughts with other CM readers--be it quip, query, comment or advice. clays and wheel which he left behind All letters must be signed, but names will be withheld on request. when he departed for Iowa. Looking forward to reading the latest Address: The Editor, Ceramics Monthly, 417S North High St., Columbus 14, Ohio. issue of your magazine . . . KENNETH W. VOGT Deerfield School A VOTE FOR COLOR • . . FROM A LUMP OF CLAY Deerfield, Mass. # I don't know what I would do without I am a potter, have a kick wheel and CM; it is the highlight of my month. an 18-inch electric kiln. I fire from cone OUR READERS WANT . . . Since I am writing to you now, I have a 04 to 4 and plan to fire to cone 6. I find suggestion: would it be possible to print your articles improving over the years and # More glass contouring, fusing and dec- a few of your pictures in color? Especially the taste in pots illustrated of a higher orating. I have especially enjoyed Kay Pic of the Month. Even if this meant an calibre• The recipes must be much appre- Kinney's articles. Also I like Edris Eck- increase in annual fees, I'm sure it would ciated by many. I believe that if you con- hardt, Ann Entis and Kathe Bed's proj- be appreciated. tinue to give the subscribers high-quality ects. But please, no more extremely mod- MRS. NICOLE MARCHAND articles and illustrations, the general taste ern monstrosities ! Hull, Quebec level is bound to improve. I find that peo- KORFF CRAFT STUDIO ple who long have felt the need to be Lockport, N. Y. "creative" are astonished at the satisfac- CM FOR REFERENCE tion anyone can get from a lump of clay. # More on what successful teachers in # I am another CERAMICS MONTHLY MRS. CHRISTINE THOM Junior High are doing that would help admirer. Being a great believer in having Victoria, B.C. other teachers. a good library for reference material, I ROSA SALAZAR put your magazine in this class without VIA BACK COPIES Los Angeles, Calif. any hesitation. I teach ceramics and still I have always enjoyed your magazine take pottery lessons. In addition, I have and am not certain why I have not sub- # More on glazes and decoration. I have opened a small shop in my home and scribed sooner, f have been interested in found the articles by Richard Peeler and have many requests for ceramic jewelry. ceramics for a few years now and have Didier Journeaux very interesting. NORMA WILLIAMS read back copies of your magazine given MRS. R. E. DREHLR Colgate, Wis. me by Jim McKinnell, the professional San Francisco, Calif.

AMERICA'S Spring Colors from FINEST MAyCO COLORS • .... ~:?~! . . . _

,, b ( :l

Dealerships Available -- See Your Nearest MAYCO Distributor or Write Us

MAYCO COLORS 10645 CHANDLER BOUI.EVARD NORTH HOLLYWOOD, CALIFORNIA

6 CERAMICS MONTHLY Kilns .... superior design for the practical craftsman

/ ! For classroom, studio or hobby shop, SK UTT KILNS are custom- ' r i7h c c I s engineered, precision-manufac- tured with the working ceramist by in mind. Compare SKUTT KILNS Skutt &: Sons with others. You'll find no other professional equipment combines automatic shutoff Safe,sure and fool-proof, the ingenious Daw- @ so many elements of superiority. son "Kiln-Sitter" is built-in each kiln for perma- nent alignment and reliability.

controlled cooling (below) Draftless Skutt Kilns feature radiant cooling, SKUTT ELECTRIC WHEEL automatically lowering the temperature rapidly $192.00 and with complete safety . . . quickly through variable speed, ~ h.p., permanently the tolerant ranges, carefully through the lubricated, fully portable, brittle ranges. rugged and trouble-free.

ease of maintenance Rust-free, dust-free, encased entirely in stain- less steel. All parts are easily replaceable by owner or handyman. ",

light in weight You gain economy in shipping and ease of handling at no sacrifice of quality, capacity or durability. The heaviest sections of a Skutt Kiln can be lifted by one person.

MODEL 181 (shown at right) MODEL i81 Porcelaip-Sroqewore k;in 2.63 cu. it. {iring chamber, 171/"2" across ]8" deep, with all SKUTT features. S~,;pping weight 150 Ibs. Blank ring can be inserted for 221/2" chamber depth giving 3.3 cu. ft. !or firing to Cone 0T. Fully U.L. Approved.

Write for more information about these outstanding Skutt products for ceramists.

~~___~<~g~lP~ 2618 S. E. STEELE STREET, PORTLAND 2, OREGON

APRIL, 1962 7 I I II III

i~,, ('i'~uestlonS ¢

...... ~ ...... Conducted by the CM Technical Staff

My top-loading electric kiln has large areas o[ rust on the outside and is ver)' unsightly. Is there a special paint I can purchase to paint the metal?--M. M., Trenton, N. ].

Any heat-resistant aluminum paint can be used to paint the kiln casing. First remove the rust and scale with a stiff wire brush: then clean the metal and brush the paint on.

I was recently given some ceramic supplies an.d among these were some bottles o[ underglaze which were completely dried up. Can these be restored by adding water or must there GLAZES be some other material added too? I hated to take a chance that I might spoil them, so decided to ask [or advice.--M. R., Laguna Beach, Calif.

• GLOSS GLAZES Prepared underglazes can be salvaged quite easily, and nothing but water need be added. You can simply put a small • SATINTONE amount of water in the jar and let it stand a few days to soften GLAZES the material; a faster method is to serape the dry underglaze il i ii off the sides of the jar and chop up the residue in the bottom • MATTE GLAZES before adding the water. Stir occasionally and your underglaze will be as good as new. • RED GLAZES • SPECKLETONE Q My kiln shelves are old and have had much hard use, but GLAZES I think there is a lot o[ life still left i~ them. However, so much glaze has dripped down and adhered to the shelves (in spite o[ • CLEAR GLOSS coatings o[ kiln wash), that they are quite uneven and some- GLAZES times it is di[ficult to stilt ware on them. Is there any way to level these sheh,es?--V. L., Athens, Ga. • CRACKLETONE Try GLAZES adding a fair amount of grog to your kiln wash the next time you coat the shelves. By applying this mixture quite heavily, you should • ART GLAZES be able to produce a level kiln-wash surface. • SPECIAL EFFECT GLAZES Q Can I add anything to china painting medium to prevent the colors [rom drying out so rapidly in a very warm room? • FROTH GLAZES ~M. G., Albuquerque, N. M.

• BROCADE Zena Holst recommended that a few drops of pure oil of GLAZES lavender be added to keep the overglazes fluid. She cautioned against using too much oil since it will cause the colors to run. • E-Z STROKE • COVER COAT Q I was advised to add some bentonite to my clay to make it more plastic, but I ended up with a gooey glob o] unmanage- able mess/ Was the advice given me bad, or is there something Preferred for: more I should know about handling this material?--L. D., Anderson, Ind. "k EASE OF APPLICATION Bentonite is an excellent material for use in increasing the CONSISTENT HIGH QUALITY plasticity of clay. Just a small amount is all that is needed---one or two percent. Your trouble probably came about from trying UNLIMITED COLOR SELECTION to add bentonite to moist clay. Because it is so extremely plastic, it must be added dry to the dry clay. These materials should be mixed together intimately before adding water to the batch. DUNCAN CERAMIC PRODUCTS All subscriber inquiries are given individual affention at CM; and out of the many received, f~ose of 5673 East Shields Avenue, Fresno 27, California general interest are selected for answer in this column. Direct your inquiries to the Questions Editor; please enclose a s~amped self-addressed envelope.

8 CERAMICS MONTHLY SUMMER WORKSHOPS

SUMMER WORKSHOPS give you that CONNECTICUT, NEW CANAAN and graduate levels. Instructors: T. A. wonderful opportunity to combine vaca- July 9--August 31 Randall, Val Cushing and others. Write: tion travel with hobby fun. Whether you The Silvermine College of Art plans an Fred H. Gertz, Director of Summer Ses- are tripping east or west or only a eight-week course in ceramics, ceramic sions, Box 805, Alfred. little ways from home, you'll find a sculpture and mosaics. Instructor: Tauno workshop in ceramics to give you that Kauppi. Write: Silvermine College of NEW YORK, CHAUTAUQUA fresh inspiration. Our list to date: Art, New Canaan. July 9--August 17 Chautauqua Center of Syracuse Univer- INDIANA, BLOOMINGTON sity will hold two three-week sessions: CALIFORNIA, GUERNEVILLE 17. June 25--August 24 June 14--August 10 July 9--27 and July 30~August Indiana University is offering an eight- Instructor: James Achuff of Syracuse The Pond Farm Pottery is offering a University. Instruction will cover intro- 9-week course in pottery techniques for week course in all phases of pottery mak- ing, both beginning and advanced, in ductory, intermediate and advanced ce- both beginners and advanced students. ramics. Write: Program Administrator, Instructors: Marguerite Wildenhain and earthenware and stoneware. Instructor: Karl Martz. Write: Robert R. Richey, Chautauqua Center, 610 East Fayette David Stewart, Assistant. Write: Pond St., Syracuse 3. Farm Pottery, Guerneville. Director, Indiana University Summer Session, 335 Education Bldg., Blooming- ton. NEW YORK, LAKE GEORGE CALIFORNIA, LOS ANGELES June 25--August 25 June 25--August 3 INDIANAPOLIS The Pottery Workshop at the Lake California INDIANA, The University of Southern June 25--August 3 George Art Center offers instructions in offers six-week credit courses in ceramics Amaco Ceramics Workshops are offering pottery techniques, with stress on throw- at beginning, advanced and graduate ing, form and decoration. The Workshop, (M.F.A.) levels. Studio practice includes one- and two-week workshops in metal enameling and ceramics for teachers and located in the Old Stone Schoolhouse, is work in stoneware with emphasis on within walking distance of Lake George. throwing, glazing and decorative tech- occupational therapists at the John Her- ton Art School. Graduate and under- Write: J. Hastings, Lake George Art tuques. Instructor: F. Carlton Ball. Center, Lake George. Write: Fine Arts Dept., USC, Univer- graduate credit. Instructors: Kenneth E. Justin M. Brady, William Gehl sity Park, Los Angeles 7. Smith, YORK and Karl Martz. Write: American Art NEW YORK, NEW Clay Co., 4717 W. 16th St., Indianapolis. June 2--August 7 CALIFORNIA, LOS ANGELES Crafts Students League is offering an June 25~August 17 DEER ISLE eight-week course in ceramics, enameling credit MAINE, Chouinard Art Institute offers a June 25--September 15 and sculpture. Instructors: Roberta Le- course in ceramics covering throwing, Englander, Adda Husted- of- ber, Gertrud decorating and firing. Instructor: Otto Haystack Mountain School of Crafts Anderson and Mildred Downey. Maurice Heino. Write: Miss Kent, Chouinard fers four 3-week sessions in ceramics. will give another workshop in Scheier, Heaton Art Institute, 743 South Grand View Instructors: Edwin and Mary fusing and decorating of glass July Street, Los Angeles 57. Ronald Burke, Toshiko Takaezu and Write: Craft Students Moun- 30--August 7. M. C. Richards. Write: Haystack League, 840 Eighth Ave., New York 19. tain School of Crafts, Deer Isle. CALIFORNIA, MILL VALLEY June 18--August 13 NEW YORK, ROCHESTER WORCESTER one- MASSACHUSETTS, June 25--August 10 Hal Riegger is conducting three July 9--20 week field trips in the central area of The School for American Craftsmen is California. Members of each group will Craft Center Summer Session plans a offering a five-day Designer-Craftsmen start off with no tools or equipment and two-week course in ceramics and enam- Workshop Seminar from June 25-29, and will return with finished pots made ac- eling. Instructors: William Wyman and a six-week Summer Session from July 2 cording to southwest American Indian Joseph Trippetti. Write: Craft Center, --August 10. Instruction will cover ce- techniques. Instruction in clay geology, 25 Sagamore Rd., Worcester 5. ramics, metalcrafts, jewelry and glass securing and working with clay and clay (two weeks, June 25--July 7). Instruc- minerals of the west and firing. Write: MICHIGAN, EAST LANSING tors: Faculty of the School for American Hal Riegger, 469 Panoramic Hwy., Mill June 20~August 31 Craftsmen; glass will be taught by Maur- Valley. Michigan State University is offering ice Heaton. Write: Director, Summer credit courses in pottery design, glazes. Session, Rochester Institute of Tech- CALIFORNIA, OAKLAND and stacking and firing a kiln. Instruc -~ nology, Rochester 8. June 20--August 2 tor: Louis Raynor. Write: Michigan PENLAND is State University, Kresge Art Center, Art NORTH CAROLINA, California College of Arts and Crafts June 12~August 18 offering a six-week course in beginning Department, East Lansing. ceramics. Instructor: Ver- The Penland School of Handicrafts is and advanced in- non Coykendall. Write: California Col- NEW HAMPSHIRE, DURHAM offering credit courses in beginning, of Arts and Crafts, 5212 Broadway, July 9--August 17 termediate, or advanced work in clay in- lege firing Oakland 18. of New Hampshire is cluding the forming, glazing and The University of the pieces. Write: Miss Lucy C. Mor- offering a six-week course in elementary of Handi- COLORADO, BOULDER Instructor: Don- gan. Director, Penland School and advanced ceramics. crafts, Penland. June 15--August 24 ald Campbell. Write. George R. Thom- The University of Colorado plans a five- as. Chairman. Department of the Arts, CLEVELAND New Hampshire, Durham. OHIO, week advanced course in pottery, wheel University of June 18--July 27 and hand techniques, June 15--July 20 Pro- The Cleveland Institute of Art is offer- or July 23~August 24. Instructor: NEW HAMPSHIRE, PETERBOROUGH in ceramics and fessor Ann Jones. Write: Professor Alden 31 ing a six-week course July 1--August enameling. Instructors: Kenneth Bates Megrew, Chairman, Fine Arts Depart- The Sharon Arts Center is offering an of Colorado, Boulder. and Toshiko Takaezu. Write: Cleveland ment, University eight-week course in ceramics and enam- 11141 East Blvd., Williams and Institute of Art, eling. Instructors: Gerry Cleveland 6. CONNECTICUT, BROOKFIELD Fran Brown. Write: Sharon Arts Center, July 30----August 17 Peterborough. OHIO, COLUMBUS The Brookfield Craft Center is offering June 18--August 24 phases of ce- a three-week course in all NEW YORK, ALFRED offering a sum- and enameling. Instructors: 10 Ohio State University is ramics, glass July 2--August workshop that includes hand Edwin and Mary Scheier, Maurice Hea- Summer School offers mer ceramic Alfred University throwing, sculpture, ceramic art ton and Joseph Trippetti. Write: Brook- courses in ceramic design and pottery building, field Craft 'Center, Brookfie|d. production at the elementary, advanced Continued an Page 36 APRIL, 1962 from our,readers : ....

Blender for Slip When I need a small quantity of terra cotta or buff slip, I prepare it very easily in the food blender. I mix the clay and water, put it in the electric blender, turn it on and in about three seconds I have a lovely creamy mixture. --Barbara Gory, Glencoe, Ill.

To Prevent Tile Warping To keep homemade tiles from warping, make them from a clay that has grog added for a more open structure. This means it will have more even drying. Place each tile between two commercial bisque tiles and put a weight on top and set aside until dry. Tiles also can be dried very slowly in the damp box, to prevent warping. A slow firing schedule should help to prevent wraping in the kiln; also avoid placing tiles near the kiln elements in order to prevent one area from receiving more heat than another. OF CRAFT SUPPLIES --N. Fulton, Culver City, Calif. Enamel powders Hotpack Kilns To Attach Bats Dremel power tools To save time, clay and mess, use clay slip to adhere a Jewelry findings removable plaster throwing bat to the wheel head. Put a thick Steel and copper shapes glob of creamy slip on the back of a dry plaster bat, then place Tools and accessories the bat slip-side-down on the center of the wheel head. Work the bat in a slight circular fashion until it is securely fastened. Decorating materials I've never had a bat come off the wheel head yet! Enameled tiles --Ed Sajbel, Pueblo, Colo. Paasclle spraying equipment t.iquid enamels L & L kilns Wire and Fall " 51;" ~"~"-":...... Firing toots Unusual glaze effects result from the use of copper wire or aluminum foil. Wrapped copper wire shaped into a ~ ...... Copper Cat jewelry kits petal or a snakelike form can be placed on a flat object, then be glazed. and will result in a dark green or almost-black decoration after This big, new, fully-illustrated catalog includes a com- firing. Unwrapped copper wire can be cut into small pieces and sprinkled over the unfired glaze, and the fired effect plete line of materials and equipment for enameling, ceramics, will be of many pretty flecks of dark green. and other crafts. Whether you're a hobbyist, professional, Aluminum foil can be cut into small pieces or shavings, and teacher or student, you'll find everything you need . . . select these can be placed over the glaze. When covered with another and order at your leisure from one complete source. Take light coating of glaze and fired, it gives an interesting effect since it assumes the color of advantage of convenience, fast shipment, and attractive low the glaze. However, the foil may need to be filed down a bit, if it remains sharp. prices. You'll find over 200 enamel colors listed, more than --Rosalie Barger, Washington, D. C. 50 jewelry items, an outstanding selection of copper trays, bowls, and free form pieces. "Permanent" Labels SEND FOR YOUR FREE COPY NOW! To make waterproof labels for glaze and slip jars, here are two suggestions. Write the name of the jar's contents on a piece of ordinary paper and affix this to the jar with Scotch Tape. Cover the paper completely, leaving an ample amount I Thomas C. Thompson Co. Dept. CM of tape on all four sides. This makes a water- and I smudge-proof I 1539 Deerfield Road -- Highland Park, III. label. There also is a liquid product on the market called "Label Glaze" that can be used over gummed labels to make Please send your free catalog of enameling and them waterproof. I craft supplies. --L. F., Olean, N. Y. I I NAME ! Dollars for your Thoughts I I ADDRESS CM pays up to $5 for each itemCM,USed4175inthlSN, w1~ I column. Send your bright ideas to I CITY ZON E__STATE____ High St., Columbus 14, O. Sorry, but we can't acknowledge or return unused items.

I 0 CERAMICS MONTHLY ~

;z!i~!~i i ¸ !i~iiii: ¸

4......

Prize CM's Pi¢ of the Month: Stoneware Bottle, by Edith D. Franklin of Toledo, was awarded the Claycraft of working to produce this six- in the Deslgner-Craftsmen of Ohio exhibition. Mrs. Franklin combined several methods coiled. A Bristol glaze was used inch bottle. The body was made in a press mold, the neck was thrown and the foot was The piece was fired to cone 9 over black slip decoration to achieve the distinctive gray-green semi-transparent surface. featured in "Show Time," start- in an electric kiln. Photographs of other prlze-winning ceramic pieces from this show are ing on page 28 of this issue.

APRIL, 1962 II I! Send show announcements earlyD

WHERE TO SHOW: Ihree months ahead o1 Beauty entry date. WHERE TO GO: at least six weeks before opening.

By and complete • WHERE TO SHOW information available by writing Oregon Ceramic Studio, 3934 S.W. Corbett Ave., Portland 1. *national competition RHODE ISLAND, PROVIDENCE MASSACHUSETTS, LINCOLN May 30--June 10 June 24--September 23 Fourth Annual Rhode Island Arts Fes- New England Crafts Exhibition, spon- tival is open to all artists in the New sored by the New England Crafts York-New England region. Media in- Council, is open to all New England elude crafts and sculpture. Over $i000 craftsmen. All media; work done within in prizes; Jury. Work due May 4. For the last two years. Regional selections applications, write: Rhode Island Arts made at various museums. For full in- Festival, Box 421, Providence. formation, write: Frederick Walk*y, Di- rector, DeCordova Museum, Lincoln. from SPECIAL NEW YORK, NEW YORK May 25--September 22 *Young Americans--1962, a national CALIFORNIA, CULVER CITY Reward March competition for American craftsmen 30 30--April 1 years of age and under, is being spon- California Ceramic Show, to be held at sored by the American Craftsmen's Coun- the Culver City Auditorium, will feature cil and includes work in ceramics, glass hobby and studio displays, demonstra- and enamel. Entry Fee; Jury; Cash tions and hobby competition. An Invitation To Awards. Work due April 2-11. The ex- COLORADO, DENVER hibit will be circulated by The American Federation of Arts. May 5--6 For prospectus and Ninth application blanks, write: Annual Ceramic Exhibit of the Miss Eileen Rocky Mountain Farrell, Young Americans--1962, Muse- Ceramists Association, um of Contemporary to be held at the Grange Hall, 2475 W. Crafts, 29 West 26th Ave., 53rd St., New York 19. will feature demonstrations TEACHERS and a hobby competition. For informa- NEW YORK, PLATTSBURGH tion, write: Z. Z. Pool, 1841 S. Forest, April 17--May 11 Denver. A jewelry competition and exhibition GEORGIA, BRUNSWICK will be held at State University College. April 20-22 Jury; Prizes; Entry Fee. For information, First Southeast Georgia Ceramic write: Evan Kern, Dept. of Show. Send for free literature on Fine Arts, to be held at the Howard E. Coffin State University College, Plattsburgh. REWARD'S famous line of Recreation Building, will have competi- OHIO, CLEVELAND tive exhibits for hobbyists, professionals ceramic colors and glazes • • May 16--June 24 and children. For information, write: Superintendent products that have been prov- The 44th Annual Exhibition of the work of Recreation, P.O. Box of artists and craftsmen 1297, Brunswick. ed through years of use in of Ohio's West- ern Reserve includes enamels, ceramics, ILLINOIS, jewelry. CHICAGO schools from coast to coast • For prospectus, write: Cleve- August 25--28 land Museum of Art, Cleveland 6. *Chicago Ceramic Show, at the Pick- OHIO, TOLEDO Congress Hotel, features classes, demon- May 6--27 strations and exhibits. $1000 competi- The 44th Annual Toledo tion open to hobbyists; special ceramic Area Artists sculpture Exhibition is open to present and former section and professional com- residents of Toledo proper and petitive event. For complete list of events, Our qualified modern to present categories staff, residents of 15 counties in Northwest and awards, write: E. Kane, plant, and product research pro- Ohio and two in southeastern Michigan. Box 115, Wilmette, Ill. Jury; gram assure you of the finest Prizes. Entry dates are April 5--7. NEW JERSEY, ASBURY PARK For prospectus, write: Toledo Museum quality products May 17--20 for the class- of Art. Tenth Annual Eastern Ceramic Show, sponsored room • Send us a note now on OREGON, ASHLAND by Ceramic Leagues, Inc., will be held July 21--September 9 at the Convention Hall at As- your school letterhead and we'll bury Park. The theme *Exhibition with Shakespeare Theme, of this year's show rush is "Ceramic Knowledge information to you on RE- sponsored by the Ashland Art Gallery, is through Art Ed- WARD'S open to all artists in ucation." Featured events include a na- easy-to-use, reliable ce- all media. Fee; tional hobbyist Jury; Prizes. Work and entry competition, classes and ramic cards due free demonstrations colors and glazes • July 10. For information and entry cards, by some of the na- write: Ashland Art tion's finest teachers. For information on Gallery and Work- the show shop, 31 Water St., Ashland. and the competition, write: Ceramic Expositions, Inc., Convention OREGON, PORTLAND Hall, Asbury Park. May ll--June 9 Tenth Biennial Exhibition of Northwest OHIO, AVON Ceramics, sponsored June 9--10 by the Oregon Ce- Sixth ramie Studio and the Creative Annual Hobby Show, sponsored NEW ADDRESS Art by the West Shore Foundation of Oregon, is open to artists Mud Hens of Cleve- 6811 Washington Blvd. residing in land, will be held at the Saddle Inn, Oregon, Washington, Mon- Avon. Baltimore 27, tana, Idaho, Alaska and For information, write: Mrs. Maryland British Colum- Lewis Vilagi, bia. Media include pottery and ceramic 476 N. Main St., Am- sculpture. Jury chairman: Paul Soldner. herst, Ohio. Entries due April 16--25. Entry blanks Continued on Page 32

12 CERAMICS MONTHLY Strictly Stoneware

CLAY BODIES FOR SALT GLAZING

by F. CARLTON BALL

in HERE ARE so many variables Clay Body 1 very nmch like the early American T salt glazing that it is quite diffi- Jordan Clay 45% 20 gray salt-glaze ware. cult to come to any definite con- Bandy Black Ball Clay 15 Body 3 firing Flint Clay clusions as to what materials, Feldspar 5 Jordan Clay 22.5% atmosphere, temperature, amount of North American Fire Clay 10 Bandy Black Ball Clay 10.0 salt, etc., give certain effects. Barnard Clay 5 XX Sagger Clay 47.5 It is advisable to try to fire the kiln Flint 7.5 2.5 several times in exactly the same way 100% Feldspar North American Fire Clay 5.0 when tests are being made. It also This body gives a better glaze at is advisable to repeat the same tests cone 5 or 6 than at cone 8. The 95.0% and transparent, at least three times in order to be glaze is bright, thick, This body, a medium gray color texture. The sure of certain effects achieved in the with a good orange-peel under the same glaze, gives a good color under the glaze. first firing. This is difficult or even body is a gray bright glaze with orange-peel texture impossible with a new kiln, however. Clay Body 2 and some iron-red color areas at the for each firing will give different ef~ Jordan Clay 45.0% texture tips which enrich the glaze. fects until the kiln is broken in or Bandy Black Ball Clay 20.0 15.0 This is a very good body for salt glaze "ripened." A new kiln acquires a Flint Feldspar 5.0 at cone 8. all over its interior on each coating North American Fire Clay 10.0 Clay Body 4 firing until it becomes heavily coated Red Iron Oxide .5 North American Fire Clay 43% with the salt glaze. It may take as Cedar Hill Red Clay 10 many as 15 or 20 firings until con- 95.5% Bandy Black Ball Clay 15 15 sistently-glazed ware comes froln the Clay Body 2 turns a light color Flint mesh) 15 kiln. glaze Grog (60 under the glaze at cone 8. The Bentonite 2 The kiln is not the only thing to is clear, bright, and transparent. It be broken in. The potter, too, must has an orange-peel texture and looks 100% become accustomed to the salt-glaz- Body 4 has a dark gray color under ing techniques and the use of a par- the salt glaze. At cone 8 the glaze ticular kiln; until this point is reached is almost too heavy, having a heavy his results will be haphazard and un- orange-peel texture, and a shiny reliable. Some will be good and some green color. In a strong reduction bad, but all will be interesting and fire it becomes an opaque dark iron- exciting to him. red color and is unpleasant. The re- Until the kiln is ripened, good re- sults would be much better at cone sults cannot be relied upon and bad 5 or 6. ones shouldn't be discarded. All tests Clay Body 5 should be made again and again un- Jordan Clay 15% Fire Clay 20 as possible. North American de,- as much control XX Sagger Clay 40 When the kiln and the potter have Dalton Clay 25 properly ripened, the good results Grog (60 mesh) 8 must be repeated again just to make Bentonite I sure of them. 109% Following are clay body recipes 5 gives a beautiful salt- for salt glazing. The), may not give Clay body body, medium gray in color. the results described until the kiln is glaze The glaze layer is thick, with orange- broken in and variations in firing SALT-GLAZED POTS made by the author at peel texture and a warm iron-red procedures are tried over and over Mills ,College in 194S have a warm brown color. again. color under the orange-peel textured glaze. Continued on Page 32 APRIL, 1962 13 SCANDINAVIAN POTTERS

by GLENN C. NELSON

~.~ ~ !., ~ " ~ - ,.~

~'~ ~ ." ~ ..~, ~ .~;~.' ~ ~

14 CERAMICS MONTHLY URING the past few years much interest has been STONEWARE Vase by Eta Staehr Nielsen. re~trai~t ,.; D products in the Scandinavian de- Denmark shows an oriental centered on various ',~,': ~z,i ,ilkv glaze quality. sign field. The term "Scandinavian Modern" has become synonymous with a type of streamlined functional design found not only in imports of furniture, glass and ceram- ics, but in our native products as well. It might be of interest first to think of Scandinavia in some relationship to the United States. Sweden, the largest country in this group, has a population of about seven million, which is comparable to that of New York City. Denmark, with a population of slightly over four million, might be roughly compared with the city of Chicago. Finland is about the same in population as Denmark, and Norway is slightly smaller. In each coun- try a large percentage of the population is concentrated in the capital city and in many cases the smaller pottery shops in which we are interested find their chief markets in the capitals and are located near them. In each of the Scandinavian countries there are large ceramic factories which supply the entire ceramic needs of their respective countries. In some instances they make not only porcelain dinnerware but also elec- trical insulators, bathtubs, and refractory brick. Such di- versification, however, is exceptional and most ceramic factories limit themselves to either dinnerware and art-

APRIL, 1962 IS dark earthenware is a direct descendent of the neolithic pottery made of dark red earthenware and burnished on the outside. Finland. In contrast to the number of small potter)' workshops throughout Denmark, the ceramic output of Finland is almost entirely in the hands of the large Arabia Ceramic Factory which is located outside Helsinki. It employs a working staff of about 1200 and makes a corn- plete line of ceramic products that includes sanitary wares and refractory bricks as well as individual hand-crafted pieces. The situation of the studio potters at Arabia is truly unique. They are located in a dozen private studios. each containing a potter's wheel, clay bins, storage TEAP()T by Marjukka Paasu~ta. .-l~abm 5':u,lio~. shelves, etc., on the ninth floor of a relatively new factory Finland, is an undisguised Junctional [orm. wing. The importance of this group, which includes Richard and Francesca Lindh, Kyllikki Salmenhaara, Toini Muona and many others, is fully appreciated by the Arabia management. These craftsmen are well known throughout Europe and their work has received numerous awards in international exhibitions. Their sit- uation is unusual since they produce only individual hand-thrown pieces and are on a monthly salary basis with a bonus commission on sales. Unlike the procedure common in American facto- ries, which evolves from a sketch on paper to a plaster model and finally to the clay, the Scandinavian approach is to proceed from a series of hand-thrown forms which are changed only slightly as the design progresses to fit into an economical production technique. The thrown- clay form has a feeling of movement, tension and dynam- ic change which cannot be captured in a model turned MARIANNE WESTMAN design- from plaster on a lathe. The presence of this hand- ed this color[ul tableware [or Ror- thrown ware within the precincts of a large Scandinavian strands, Sweden. firm is a constant reminder to those responsible for the decisions pertaining to mass-produced articles that there is much excitement and stimulation in a thrown form that must be retained in the finished product. While the group of studio potters is larger at Arabia than at other Scandinavian factories, reflecting in part the absence of other potteries in Finland, the general pat- tern is much the same in all Scandinavian factories. For example, when one thinks of Swedish ceramists the names Kage, Lindberg and Stalhane come to mind. Their in- dividual "unique" pieces are exhibited under their names as well as the names of the factories. It is indicative of the importance placed upon design in Scandinavia that all advertisements and promotional brochures, and even BOWL by Degny and Finn Hald, Norway, the price tags in the stores, bear the name of the de- has glazed decoration similar to neolithic signer as well as the manufacturer. Perhaps we could pressed reed design. take a cue from this practice. The anonymous designer is less apt to take pride in his work if he receives no recogni- tion for doing a good job! Sweden. Although there are five fairly large ceramic firms in Sweden which take care of all of their ceramic needs, including a sizable export trade, there are also nu- merous small potteries similar to those in Denmark which vary in size from a home workshop to those which em- ploy a dozen or so workers. These are found not only in the vicinity of Stockhohn but are spread over southern and central Sweden. Like the Danes, the Swedes work in both high-fire stoneware and earthenware. Many pot- ters find a ready outlet for whimsical ceramic sculptures which are a contrast VARIATIONS on a thrown ]orm, b) ()/,:,z to the functional nature of most Lalne, were done at the Arabia Studios. Swedish work. Here too, the personal character of the 16 CERAMICS MONTHLY hand-thrown pot is sought after by many Swedes who Society has been used to increase interest in the hand- seek a change from the commercial wares, well-designed crafts as well as in the mass-produced articles, since the as they may be. emphasis in their educational campaigns always has been on the quality of design and not upon a manufacturing three large ceramic firms in Norway Norway. There are technique. They reason that the work should be a re- a large portion of which produce dinnerware. However, flection of man's sensitivity to the excitement inherent in pieces are produced in smaller studios the more decorative form and the sensory qualities of materials. which reflect the traditional Norwegian love of color such as is found in their fabrics and enamelware. The Mention nmst be made of the sales outlets for small shop producer often specializes in red earthenware crafts and manufactured goods of superior design. Most with brush decoration in traditional peasant designs. famous of these is the well-known Den Permanente in However, there now are a number of individual potters Copenhagen, which carries the products of nearly 400 producing high quality stoneware which compares favor- craftsmen: similar smaller organizations are found in the ably with the work of studio potters in the other Scan- other countries. All of them display the quality products dinavian countries. of their native craftsmen in excellent surroundings and at reasonable fee charges and commission payments to The existence of such a large number of individual the exhibitors. In addition, the larger department stores producing potters, numbering over 200 in the four coun- carry a fine selection of handcrafts from native crafts- tries, cannot but be encouraging to every American crafts- men as well as from those of other Scandinavian coun- man who realizes the potential which lies untapped in tries. All of this serves to give the consumer an admir- the United States. It nmst be remembered, too, that the able selection of items in all of the major craft fields. members of this group receive their living wholly or primarily as potters and designers. This is quite the The Scandinavian studio potter has basic problems reverse of the situation here in the United States, where more or less the same as our own, aside from the dif- the hand-thrown pot is generally pursued as a hobby or ferences in cultural surrounding. Clays and chemicals are the part-time activity of the teacher. a little more expensive since many A significant factor in the develop- of these materials must be imported ment of Scandinavian design is the from Germany and England. The role played by their Industrial De- average potter uses an electric kiln sign Societies. The term "industrial because of the reasonable power rates, design" is a rather inaccurate trans- and his kiln is apt to be better insu- lation from the Scandinavian, as is lated and contain heavier elements the frequent use of the word "de- than are common here. The average sign." The Scandinavian crafts size kiln in a private studio is a 12 to schools have no courses entitled and 16 cubic foot capacity. The potter's dealing specifically with design. This kick wheel is the typical European is something which is developed na- style, without a pan, which would be turally within the particular field and a problem to most of our potters. It not as an entity to be studied in terms often has a single speed power at- of certain vague principles which are tachment on the fly wheel. In the then imposed upon a technique or average small studio, slip casting is inflicted upon a particular material. quite rare; however, in making cup The craft schools in Scandinavia are few in number and saucer sets, a mold is often used for the underside but selective in enrolhnent. These art-craft schools date of the saucer, with the face side being finished on the from about 1850 and originally were established by the potter's wheel by hand. means of contending with the lower- Design Societies as a Ceranfics as a hobby is not very common in Scan- in craftsmanship which resulted from the ing of standards dinavia. Enrolhnent in the five craft schools is limited of the guild and apprenticeship gradual discontinuance and generally open only to those whose interest is voca- intention of these schools to turn out systems. It is the tional. Medium-sized shops usually have an apprentice in the field; they are not concerned with [~rofessionals or two. and a few private potters take students. This is concept of the "well-rounded individual" who has the tile onh resource open to those unable to enter the state a smattering of everything and rarely any proficiency craft schools. in just one area. Another distinct feature of their craft Man.v prospective travelers want to know about the school program is that the instructional staffs are, for the prospects of taking a short course in ceramics abroad. most part, expected to be professionals in their respective The sulmner workshop is so common in this country that fields and, as such. creatively active. A great number of one expects it to be universal, but the Europeans take the best designers teach or supervise in the craft schools the summer holidays seriously and there are no summer in the interest of the development of design education. sessions in the craft schools even for the regular students. The origin of "streamlined Scandinavian design" However, if one arranges for an appointment, most lies in the efforts of the Society to develop everyday studio potters are very kind in showing American visitors objects for the home which are attractive in design, func- through their workshops. To the wandering potter, I tional in use and econonfical to manufacture. The charac- would suggest taking along a group of slides to show ter of these designed items has been due more to these fellow craftsmen your work and studio. It might lead to factors than any carry-over of traditional motifs or a fine friendship; it certainly will contribute to a handcraft techniques. However, the influence of the pleasant visit! •

APRIL, 1962 17 ANIMALS OF THEIR OWN

A project to delight children--ond develop personol ond creotive sculpture!

by ALICE WHEATLEY

.,t

'h

S 8 CERAMICS MONTHLY oilcloth for rolling, water, knives, sponges and a few simple tools. Then we practiced making rolls or coils of clay as uniform in thickness as we could, because we planned to make the ani,nal body by adding coil to coil. standing upright, and then add more coils for the headl neck. feet and tail. These sausage-like bodies were built from coils join- ed with a bias-cut joint and sealed together before being added to the next row. When we had a fair-sized pile of these we joined them together carefully by pushing the top coil down onto the one preceding it and pulling the bottom one up to join the upper one. just as we would for other coiled structures. We struggled to make the walls of uniform thickness and joined the coils to one another securely. The use of m IN CLAY a tool came in handy here. Then we closed both the head and tail ends by adding smaller coils and a flat "hat" of clay. If the sausage shape showed signs of splay- ing out, we actualh- cut out a wedge-shaped piece and then pulled the shape together again before continuing. We remembered to poke a small hole in what would [~e the animal's underside to allow for the escape of air. Since the body had to finn up before further work could be done, we started work on the legs and other necessary parts. Legs were made from coils of clay. When we added them to the drying body we inserted some sup- porting props -- crayons or short pencils -- and worked with the animal on its back. We left these props in the clay until it firmed up, and when we withdrew them the holes that remained in the clav made the legs lighter and the walls thinner. Of course in building all of this en- thusiasm into clay forms, the children must be warned that they must forego long, lanky legs in favor of chunk- ier ones that will support a clay body. Depending on the age of the children, detail is add- ed or eliminated. Davey, who is only seven, wanted the head of his lion to look real; he seemed to think that this was the most important part of the animal, and he was right! He fastened the tail and head with slip to make AKE A CHILD to a zoo and right away you will good joinings with the body. To keep the feet from T notice bright eyes. laughter and wonderment. Above spreading out under the weight of the body, he placed all, there will be a strong desire to own one of these a small jar underneath to give support until the legs strange animals, even if it only exists in clay. stiffened. Irresistible to a child are the clumsy bear, the roar- The giraffe was given a nice long neck. A pencil ing lion and the giraffe, whose spindly neck seems that was pushed through it and into the body for support it should show the meal being consumed, like something until it would stand alone. The head was made sepa- trapped in a plumbing pipe. The disdain}ul look of both rately and added last. We had a serious talk about the the two-humped camel and the llama from Peru also in- differences in the heads of elephants, lions with their trigue the young. ruffs and giraffes with their little ears and laughing When a child's attention is captured bv something mouths. Engobe was added to highlight any parts we new, encou,'aging his appreciation of it and increasing thought necessary to enhance a likeness. his knowledge from his own interest in it is a most re- When the zoo animals were fired and finished, some warding experience. The trip to the zoo can be only of the pieces were inounted on blocks of wood and made the beginning. The follow-up might be in the form of a into gifts. One of these was an alligator whose creator painting, drawing or clay project. The three dimensional insisted had laid its eggs in a tree stump, pre-empting the interpretation of clay seems to give the richer and more nest of a bird! Everyone admired this as much as did exhilarating experience, and this is the framework on the young artist. which all mature art development is built. This project deals with one of the intangibles of Since the child's approach is uninhibited, he is not human experience; it is built upon an outing which not bothered bv the fact that the creature he builds only only delights the children but also helps them to develop faintly resembles the original. He makes a lion and he from it a truly creative and personal imaginative sculp- does it well. This is all that matters! ture that tells how they think an animal looks and plays. To make the actual building easier, we wedged the It makes for a better understanding of the world around clay beforehand. D,'e laid out all the essential equipment: them, and this is the essence of good teaching. •

APRIL, 1962 !9 THROW A HUNDRED POTS

by RICHARD PEELER

20 CERAMICS MONTHLY l THINK xve potters have a tendency to nmve about CONTOUR. Tile profile of a pot made by any method too much from on(' form to another, l,Ve throw first is extremely important. Tile silhouette should be a flow- a vase, then a pitcher, a teapot, bowl, casserole, etc. 1.re ing line which the eye can easih" slip around without seldom stick to one shape or one way of working long being arrested here and there by a lmnpy or irregular enough to explore its possibilities. The few times I have surface. Nothing spoils tile appearance of an otherwise thrown several pieces of a kind in succession, I invari- good pot as much as an awkward contour. Karl Martz ably have noticed a development of technique and ideas has contrasted tile contour of a sack of potatoes with an which is most beneficial. The last ones are always bet- inflated toy balloon. This comparison vividly illustrates let than the first! the iml)ortance of good surface with a feeling of tension Recenth I asked myself what might happen if I not partially collapsed. threw a great nmnber of similar shapes. Would my skill All lines or contours should curve at least a little. A develop further through repetition? Would my ideas on perfectly straight line looks too mechanical and seems proportion and design lnature? And would there be a foreign to the material. noticeable difference in the design of the first few as con- trasted with the last few pots? PROPORTION. The piece should have either a vertical or horizontal emphasis; that is, its height should not ap- Therefore I decided to try the disciplinary exercise pear to equal its width. A 5x7 proportion is more interest- of throwing an arbitrarih-set number of one hundred inF than a 5x5 square. pots to be made as quickly as possible. The shapes all were produced from balls of clay weighing from two and Also, the widest point in the width of the pot should one-half to three and one-half pounds and were to be come either above or below center, not in the exact middle. An e,~m~ is a more pleasin~ shape than a sphere. functional flower vases with openings neither too small nor too large to arrange a bouquet of flowers. These FINIALS: The lip and footrim should be niceh" turned shapes were to be made in rapid succession with no other for accent. The top should be finished off with some shapes being throxvn during the exercise. I wanted the special treatment. It might be slightly enlarged or some- whole experiment to be as uninterrupted as possible. The what flared, but it should accent the piece. This finishes vases were finished entirely on the wheel in the moist the shape with a nice touch and leaves no doubt that clay stage, with no trimming or turning being done aft- the potter intended the form to end here. The top of erward. a piece should not be cut off, as with a wire or knife, During the process. I found that my throwing skill and left this way. Such a piece may look incomplete. improved and mv ideas on the design of a wheel-thrown The bottom of a pot should, more often than not, be form crystallized. DFhile none of my previously-held ideas beveled to avoid a cut-off look that may make the piece were changed radicalh, some of the notions which be- appear as if it should continue downward. A nice bevel fore were only vaguely felt were reinforced into firm says: "This is it." convictions. The last txventy pots made were better than These are some of mv ideas. The reader might have the first twenty. some fun rating the pots numbered from 1 to I0 in the Follmving are a few of my convictions which were photograph according to his own preferences. I rate No. more fully realized during this interesting experiment: 1 the poorest, No. 10 the best. What do you think? •

8 II 9 4 6 .V fo

APRIL, 1962 2T b HINGED MOLC

by DON WOOD

A BALLOON filled with water and used for a water bomb by the boys at our house seemed to offer bet- ter and tidier possibilities than being dropped from the upstairs window! The shape suggested hanging planters, a bird house or a basic form for such functional con- tainers as pitchers, teapots, deep bowls and covered jars. If a plaster mold were constructed from a balloon shape, the rubber could be stretched to any number of sizes to suit the design demands and plaster could be cast against the rubber without problems of sticking. The author thought that the potential use of such a basic-shape mold warranted the exploration of this idea. When it was realized that the water-filled balloon was lighter than the plaster mix, the author's son suggested that the balloon should be tied to the bottom of a cardboard box and allowed to float upward as the piaster was poured into the box. This would position the balloon in the cemer of the mix and hold it in place. As this method of forming a mold was being con- templated, the problems of separating the mold into halves and keying these halves together presented itself. Out of several suggestions it was decided to hinge the mold and then saw it in half. This procedure is described in the following text and the photographs. A cardboard box of suitable size is prepared as the container for the plaster mix bv taping" the seams. Cardboard pieces are taped into position diagonally across the corners of the box to reduce the size of the mold and thus conserve plaster (Figure 1). All cracks must be watertight to prevent loss of piaster and a big mess on the table! Two small strap hinges are bent so as to con- fonaa to a cylinder with the pin sections of the hinges protruding about an inch from the cylinder. Figure 2 shows a pair of strap hinges before bending (center left) and after bending (center right). Hardware cloth is cut to the appropriate size and rolled to a curved shape. Two pieces are made as half-cylinder shapes, each to be imbedded in one half of the two-piece mold. The bent strap hinges are firmly wired to the two pieces of hardware cloth so that the construction forms a complete cylinder of wire which opens and closes like a clam shell (Figure 3). The cut size of the wire is made to fit an area embedded within the plaster mass about half way between the outer and inner surfaces of the mold. The center of one side of the cardboard box is marked with a pencil line from top to bottom and the Please Turn the Page

CERAMICS MONTHLY NSTRUCTION \

y t

I. CARDBOARD box is prepared by taping the seams and adding corner pieces to reduce size of the mold.

2. TWO strap hinges are bent to conform to a cylinder shape~ pin sections are bent to protrude.

3. HINGES are wired to two pieces of hardware cloth that are bent and cut to form a cylindrical shape.

4. PIN ends of hinges are pushed through prepared slots to protrude on outside of the cardboard box.

I.

3+ 4.

AFRIL, 1962 23 HINGED MOLDS

Continued . . .

pin ends of the wired hinges are pushed through pre- pared slots on this line so that they protrude to tile outside of the box. Opposite the hinges the two edges of the halves of hardware cloth should coincide with the center line of that side of tile box (Figure 4). The pins of the hinges will protrude beyond the plaster mass so the mold will open properly when sawed apart. Tile next step is to fill a balloon with enough water for the desired shape and tie it closed with a string. The string is put through a hole in the center of the bottom of the box and this area is taped over to prevent the plaster from leaking out of the box. The box is set upright on blocks so that the string can be manipulated 5. WATER-filled balloon is placed and fastened in the box into the proper length for the balloon and enough plaster is mixed and poured at one time to fill to position itself properly. The string end is securely taped the entire mold. m prevent its being pulled back into the box bv the

7. BLOCK 6. AFTER plaster is set, the soft cardboard is cleaned from the mold is sawed in half from the top down to the hinges after with a metal scraper. Hinge pins can be seen protruding from the the balloon has been punctured and the water is drained from it. block of plaster. Each half must be identical.

9. CLAY 8. AIR bubbles are filled, edges beveled and the hinges are oiled shapes are made by pressing wlre-cut slabs in the two and cleaned. Two halves are perfectly aligned by the hinged con- halves and closing the mold. Openings are cut when the clay is struction of the mold. leather hard and can be handled safely.

24 CERAMICS MONTHLY floating balloon (Figure 5). Enough piaster to fill the entire mold is mixed and poured at one time. While the plaster is setting, the cardboard box absorbs enough of the water to cause it to disintegrate for easy removal. The pins of the hinges can be seen protruding from the plaster block in Figure 6. The soft cardboard is scraped from the plaster and an accurate line is extended completely around the block in line with the two hinges to divide the block in two halves. The block is carefully sawed in half after the balloon has been punctured and the water allowed to drain into a bucket. The block is placed hinge-side-down on strips of wood and sawed from the top down toward the hinges. This must be carefully done so that each half of the cavity will be identical. If one half is larger than the other, the large half will take in more than 180 degrees of the diameter of the balloon shape and cause an undercut which will prevent the easy removal of the pressed clay piece (Figure 7). After the halves are cut, the whole mold is cleaned up. Air bubble holes are filled, edged beveled and the hinges cleaned and oiled (Figure 8). The two halves are perfectly aligned when the mold is closed and could not be otherwise, due to the method of the construction. After the mold is thoroughly dry it can be used to press the basic "clay' balloon" shapes. The author pre- pared a quantity of ¼-inch clay slabs by cutting them with a wire with the help of a supporting box and thickness gauges. Strips of the clay slabs were laid into each half of the mold and the overlapping seams pressed together. The top edge of clay in each half of the mold was trimmed about ~-inch higher than the mold half and this edge coated with a thick slip. When the mold was dosed the excess clay squeezed firmly together, trapping air on the inside of the clay shape. The reinforc- ed construction of the mold and the support from the trapped air in the clay balloon made it possible to apply extreme pressure to the mold without the danger of breaking the mold or collapsing the shape. Many of these pots were fired and not one cracked at the joint. The clay balloons may be removed from the mold while still soft since the trapped air supports the shape. Each piece should be placed in a ring or on the end of a cardboard tube to dry, since laying it on a flat sur- face will cause it to flatten on the bottom. An opening is cut into the piece when the clay becomes leather hard and able to hold its shape. This puncture, to release the trapped air, should be made before the piece shrinks sufficiently to cause the trapped air to crack the piece. The hanging planters shown here were made by drilling a hole at the valve end of the balloon shape and threading a knotted rope through it. The pots can be glazed or left unglazed. They can be hung in clusters and vines will climb on the hanger ropes. Many uses can be found both indoors and outside for these versatile balloon-inspired shapes. •

APRIL, 1962 25 ASIC POTTERY SHAPES mold and the casting is removed, it B can be ornamented in such a is found that the coils have become variety of ways that the ceramist perfectly welded into the clay walls. could work all his life and never re- The decoration of this piece might peat a decoration. One of the most be considered finished at this point satisfying methods of ornamenting a or more clay detail may be added. pottery form is by adding clay to it, For purposes of demonstration, an- and there are many ways in which other coil is rolled out and attached this can be done for various effects. with slip to the greenware form at The obvious technique that is the point where the imbedded coils thought of in considering the addi- ended. This is wound around the tion of clay to clay is called "sprig- form in a spiral manner and securely ging." In this, a small, flat ornamen- attached. After the shape is leather tal casting is attached with slip to a hard, openings can be cut near the larger form. Sprigging is a feature top and two holes made near the of much of the famed Wedgwood rim. These openings can be used for ware. trailing vines and the small holes In addition to sprigging, there are will serve to hold the piece suspend- four completely different methods of ed if it is to serve as a hanging plant- clay application that can be used to er. This form makes a good bird good effect for decorative purposes in house if just one hole is cut in the working with cast shapes. These in- side and the top is closed off. clude the application of clay to the The Cylinder. This form com- mold itself before a piece is poured; bines the same techniques used on the the attachment of hand-formed deco- bottle but produces an altogether dif- rations to the cast piece; the addition ferent effect. As before, the mold is of extruded clay pieces; and the ap- dampened lightly with a sponge. plication of cut-out attachments. Lit- Small wads or pinches of clay are erally thousands of variations can be pressed into coffee grounds or any DECORATEevolved by utilizing these four meth- other combustible material, then these ods in addition to the usual sprigging wads are pressed and smoothed technique. It is with these techniques around the top of the mold face, with that this article is concerned. the coffee ground surface against the WITH The selection of simple basic shapes plaster. is quite important. For demonstra- tion purposes a tall tear-drop shaped The process is continued with the bottle, a cylinder, a cut down long- pouring of the slip, allowing for a CLAY necked vase, a low bowl and a sphere thick wall. Then the slip is drained are selected. None of these have any and the casting removed from the ornamental features that might dis- mold. Decoration can be continued tract from the clay decoration that by making coils, either by hand or in an extruder, and attaching them ver- by PHYLLIS CUSICK is to be added. The Bottle. A two-piece mold that tically at intervals around the cylin- der. The tops and bottoms of these opens horizontally in the middle rather than down the sides is selected coils can be beveled. To get the greatest for this project. The inside face of After firing, the coffee grounds are the bottom half of the mold is damp- burned away and that area of the ened lightly with a sponge so that piece has an unusual pitted texture. variety from cast added clay will adhere to it. Then Special underglaze or glaze treatment coils of clay are rolled out, inserted of this texture heightens the contrast in the mold and pressed against the of the decoration. pieces, try these plaster face. If the coils are pressed The Vase. Originally this form into the wall quite firmly, all of the was a long-necked vase, but the top coil detail will show distinctly in the section was cut off soon after it was unusual methods of finished form. If the coils are not removed from the mold. While the attached firmly the slip will cover greenware still is wet, small pellets of some of the outside areas and give a clay are flattened and attached to the decorating with clay. more subtle decoration. vase form with slip. Some areas of After the top half of the mold is set the vase are left uncovered by the in place, the mold is poured with pellets to afford contrast. The pel- slip in the usual manner and allowed lets themselves are decorated by to build up a rather heavy wall. After pressing their centers with the blunt the excess slip is drained out of the end of a brush handle and making

26 CERAMICS MONTHLy some slanting lines in the soft clay. Two-toned glazes are good for such a decoration as this since they tend to pool around the circles and bring out the second colors very sharply. The Bow[. A thickly-cast wet green- ware bowl is decorated by at- taching straight vertical coils upward from the base. A decorative rim is made by forming coils into ornate shapes and attaching these just below the rim of the bowl. This makes a very good over-all design and is particularly attractive when finished with a two-toned glaze. The Sphere. For my last exam- ple, a slab of clay is rolled out fairly thin and flower shapes are cut from it. These are attached with slip to the side of the bottom section of a covered ball container. The decora- iiiiii!i i~ii~ i i ili !iiii~!iii!~~ i~!+, i i!! ¸I ~! i~ is repeated by using it as a finial tion BASIC SHAPES selected for added-clay dec- SAME FORMS after being ornamented with bisque for the top section. After being orating include a boffle, cylinder, vase, bowl added-clay coils, pellets and cut-out flowers. fired, it is finished in a clear, deep and sphere. Simple, clean-lined greenware Some of these decorations are attached to Chinese blue glaze to make a very forms offer greater possibilities for ornament- the mo/d before pouring and others are add- charming accent piece. • ing with c/ay attachments. ed after the forms have been cast.

FINISHED PIECES show the result of the proper choice of glazes on the textures and decorations achieved by these clay-on-clay attachments. Infinite variety is possible by the use of the simple tech- niques described in this article by Phyllis Cusick.

N

APRIL, 1962 27 GROUP OF THREE STONEWARE VESSELS by Claude Conover, Cleveland, was given the Columbus Gallery of Fine Arts Purchase Award. Tallest pot is 141/2 inches high; the foreground shape is 161/2 inches wide. The pinkish-buff clay is accented with white engobe.

SHOW TIME Designer-Craftsmen of Ohio

p RIZES totaling $1600 were awarded in the De- signer-Craftsmen of Ohio exhibit held March 2-- April 2 in Columbus. Sponsored by the Beaux Arts Club and the Columbus Gallery of Fine Arts, the purpose of this exhibition is to present and encourage outstanding crafts executed on a professional level in Ohio. This first state-wide craft competition attracted en- tries from 144 craftsmen; the 173 pieces selected for the exhibition represented the work of 99 of them. Juror for the event was David Campbell, director of the Mu- seum of Contemporary Crafts and president of the American Craftsmen's Ceuncil. In his statement Mr. Campbell said: "This outstanding collection of objects representing tile work of only one state is equal to any nationally-represented show in the country today. The craftsmen of Ohio and ti~e Columbus Gallery of Fine Arts can well be proud." The principal purchase award went to Mary Ellen McDermott of Akron. She received $300 for her enamel panel, "Men and Ideas." This piece will be presented by the sponsoring groups to the Museum of Contem- porary Crafts for its permanent collection. • 28 CERAMICS MONTHLY !~ ! ~ ~, , ~ ~,,~

ENAMEL PANEL, "Men and Ideas," by Mary Ellen McDermott, Akron, makes use of silver toll for h~ghllghts. Colors are warm tones of gold accented with olive green and turquoise. 11 inches square. Purchase Award for presentation to the Museum of Contemporary Crafts in New York City.

STONEWARE FOUNTAIN "Adam and Eve," by David Black, Columbus, is slab built with white engobe accents; it is 33 inches tall and 31 inches wide. The juror commended this award winning enlry as "outstanding."

APRIL, 1962 29 MENDING GREENWARE AND BISQUE

by LOUISE GRIFFITHS

N OLD PROVERB says that Strain is not the only cause of bulb and coats of thin slip applied to A when the cause is found, the cure cracks, and it is not always wise or build up the damaged area. Each is not far behind. Just as doctors are necessary to return a piece to its moist coat of slip should be thoroughly dry unable to cure many diseases because state in order to mend it. Among the before the next brushful is added. their other causes causes are unknown, so many of breaks and cracks in While bisque ware is commonly a beginning ceramist both green and fails to cure a bisque ware are air considered hard to mend, I have crack in a clay bubbles, foreign piece because he is materials, unequal found two methods that are quite not aware areas of moisture, of its cause. uneven drying, successful. One method is to make a I recall poor a stubborn crack that ap- workmanship and accidents. paste of calcined clay flour (powder- peared in the base Following are of a coil-made a few of the methods ed clay that is placed in a bisque pot pot and that I have which I diagnosed as being found to be successful in and fired to red heat in the kiln to caused by careless knitting together mending. I hope that they will prove drive off the chemically-combined of the coils in to be of some the base. Following in- help to others. water), a few drops of any glue or structions Vinegar given me, I dampened the often helps to make a good cement and a few drops of water. mend. whole piece, wrapped it in a damp A little vinegar brushed or This mix can be used to fill cracks; cloth dropped into and returned it to the damp a crack will find its way when it is dry, the piece can be glazed box. When along the whole the piece was moist I length of the crack. and fired safely. A second method is went over The moistened the cracked area, knitting crack can then be to make a paste of calcined clay flour, carefully and knit with a small adding pinches of moist sharp tool and the dry powdered glaze or frit and a lit- clay. Surely surface can it would not crack again, be smoothed. It may help tle water (I generally use equal parts I thought. to press But when it was dry the into the moistened crack a of calcined clay and powdered glaze crack was small amount there again, and another of powdered clay be- or frit). This mix can be used to fill had joined fore the area it! When the cracks re- dries. A stiff paste of cracks and mend broken pieces. If turned, vinegar and after trying again and again powdered clay also may broken pieces need support, a few be pressed to repair them, I finally gave up. into a crack that has been drops of glue may be added to the More recently moistened I had a similar expe- with vinegar. mixture. This will hold the pieces to- rience A small with a coil-built teapot but this crack sometimes can be gether until the glaze or frit melts mended time I refused to give up on the by rubbing into it a bit of and takes over the task. mending. I asked myself why the dry powdered glaze -- the same glaze Knobs or lid handles can base was cracking. After noting the the potter plans to use in covering the be re-at- tached to bisque ware by weight of the coiled walls on the out- piece. The glaze that is used for this placing a bit of glaze between them er rim of the coiled base and the add- type of repair must be one that can before glaze firing. This will attach them ed thickness of a coiled footrim be- be used on greenware, naturally. I to- gether firmly. neath, it occured to me that the have found that colored glazes that wall and foot were creating a strain are opaque and matt work better Finally, I would like to suggest us- on the base, keeping it from shrink- for this than transparent ones. ing a crack or even a break and in- ing and thus forcing it to crack open. Waterglass, or sodium silicate, is corporating it into a design. A shal- low This time when I had brought the very well known as a mender, but it crack sometimes may be worked piece to its moist condition again, I has certain drawbacks. A paste made into a texture, or indeed may even suggest not only mended the crack but also of clay powder and a few drops of a decorative texture. A brok- made some holes in the footrim, up waterglass can be used successfully to en rim may suggest an unplanned but through the base and into the wall fill cracks and mend broken pieces, desirable contour for the rim. In fact, for a fraction of an inch. This time but the paste becomes so exceedingly the whole rim may be redesigned to the pot dried and fired without the hard after it dries that any excess incorporate the break. This same ap- reappearance of the cracks. Since that is not scraped off immediately is proach holds good for glaze acci- then I have noted that strain often is on to stay! Another disadvantage of dents; it can be just as effective here. the cause of cracking, and I have mending with waterglass is the tend- These are only a few of the meth- taught my students that the relief of ency of glaze to crawl away from the ods that work successfully for mend- strain results in successful mending. mended spot during the firing. ing. Each one will work on some of With this knowledge strain can be The chipped or nicked edge of a the problems but perhaps not on oth- avoided in building a piece, resulting piece of greenware can be filled in, ers. The method depends on the in far fewer cracks that must be but this takes infinite patience. The problem at hand and the cure de- mended. piece should be heated under a light pends on the cause! •

30 CERAMICS MONTHLY DECORATE OVER GLAZE

To obtain some unusual decorative

effects, try using the wax resist

technique over unfired glaze

demonstrated by MARC BELLAIRE

HE BRUSH is undoubtedly the T decorators best friend. In the opinion of many ceramlsts, however. wax-resist emulsion runs it a very close second. This versatile material not only makes it possible to produce some very stunning decorative effects; it also is great fun to use. Wax resist normally is applied on greenware, where it is used with underglaze color before the bisque and glaze firings. But this process can be used just as easily and effectively over a coating of glaze after the clay shape has been bisque fired. 1. DECORATION is painted over the dry, un- 2. FISH DESIGNS are used to alternate with Marc Bellaire chooses an under- fired white glaze using wax-resist solution the weeds. After the stylized fish are his decoration on a water theme for colored with laundry bluing. By varying the brushed aver the glaze with wax, rounded bisque vase. Seaweed and fish motifs pressure on the liner brush at certain in- dots representing air bubbles and sea flow- are combined in an alternating pat- tervals, the seaweed design is given an in- ers are spotted on with a finger dipped in tern to encircle the rather severe teresting broken effect. the wax emuls|on. form. A white matt glaze is brushed or sprayed on the piece and is al- lowed to dry thoroughly before decor- ation is started. Since the wax solu- ili!i!i~ !i!; tion is transparent and does not show up very well against the white glaze, it is colored by adding a few drops of laundry bluing. The wax and the colorant burn away in the firing. After the wax decoration is brush- ed over the dry glaze, spots of wax are applied from a finger and wax is flecked over the surface from a tooth- brush. A thin coating of black under- glaze is brushed over the entire pot surface when the wax has dried slight- 3. MORE WAX is flecked over the surface .JAR shows a strongly textured ly and the wax resists this layer of 4. FINISHED from a toothbrush to provide extra texture, white decoration against a very dull black to produce the decorative effect. color then a thin coating of black underglaze is background. The wax burns away in the flr- is a sparkling The result after firing brushed over the outside of the vase form. ing, leaving small dots of color that col- white design against a dull black The wax decoration resists this coating af lected an the surface of the wax during the background. • black underglaze color. decorating process.

APRIL, 1962 Salt Glazing MOSAIC TILE CUTTER ~~ We manufacture our own Continued [rom Page 13 ~r~) line of Cloy Bodies, Clay Body 6 ,~ Glozes, Wheels. Tools, etc. Jordan Clay 15% JET BLACK CLAY Edgar Plastic Kaolin 27 Flint 20 Nothing like it anywhere[ Fires black at Feldspar 23 cones 0S to 2. AllIpurpose clay for sculpture, XX Sagger Clay 15 modeling and throwing. 5-lb. Grog (optional) 10 Trial Sample ...... $2.50 Our Aim is: QUALITY & SERVICE

110% 64 page catalog I 35c Dealers Invited This fine light-colored glaze body JACK D. WOLFE CO., INC. has a light blue-gray color. The glaze 724 Meeker Ave., Bklyn 22, N.Y. Tel. EV7-3605 is clear, glossy, and has iron-red flecks on the tips of the orange-peel texture due to flame flashing. Clay Body 6B Norwest Novelty Co. .7~"8 S C-I Lincoln Fire Clay #4-6 15% 32480 Northwestern Highway Putnam Clay 20 Farmington, Michigan Flint Hours: 9 to S 20 OPEN SUNDAY DESIGNED FOR GLASS Feld6par 28 Closed Monday XX Sagger Clay 17 MOSAICS Phone MAyfair 6-6003 100% Favored by Hobbyists This pale gray body is one I have SEE YOUR TILE, MOSAIC been most pleased with recently and is generally used by my OR CERAMICS DISTRIBUTOR students. A subscription to CERAMICS MONTHLY makes The glaze is clear, glossy, and has an an ideal gift for any occaslon! Simply fill in the orange-peel texture colored at the subscription blank in this issue, mark it "gift," and tell us how you want it signed. We'll an- SUPERIOR tips with a red-iron color that warms nounce your present with a handsome gift card the glaze and enriches the texture. in your name. TILE CUTTER Clay Body 7 If the reclp[ent of your gift is already a 1556 W. 134th St. Gardeno, Calif. Edgar Plastic Kaolin subscriber to CERAMICS MONTHLY, we will 45.% extend the current subscription. Feldspar 25 Flint 25 Bentonite 5 the complete 100% This is a white body beneath the I 1 1 ~I~~ LI glaze. It produces a clear, bright, 7" Steel Top & Bottom • Kinalloy Bearing SCHOOL Knurled Stem.Easy Spinning • Zinc Plated smooth glaze Rustproof • ONLY $2.95 ( MODEL $ ) i that has a fine crackle Also available with cast pattern similar to a Copenhagen aluminum head (ModelSA) $3195 ~ Por- SEEYOUB DEALER 0! DISTRIBUTOB--0RWRITE SUPPLY celain crackle glaze, e HOUSE 14258 MAIDEN ° DETROIT13. MICHIGAN s I1 for all Itinerary Continued from Page 12 ANDERSON CERAMICS COMPANY 608 N. McDuffle St., OHIO, CLEVELAND Anderson, S.C. • Ceramic Supplies March 31--April 1 Complete Ceramic Supplies Sixth Annual Show of the Ceramic I Mosaic Tile Supplies Hobbyist Guild of Greater Cleveland, at Send $1.00 for our new pictured mold the Wade Park Manor. and supply catalog. Metal • Enameling Supplies OHIO, DAYTON • Gravel Mosaic Supplies April 14--15 Fourth Annual Ceramic Show, sponsored by the Midwest Ceramic Association, will be held at Wampler's Ball-Arena. WRITE FOR OUR #6 Competitive hobbyist display, demon- strations and displays. For information CATALOG and entry blanks, write: Midwest Ce- ramic Association, c/o Merchandise Dis- send S0c refunded on first order plays, Inc., 44 Webb St., Dayton 3. TEXAS, DALLAS April 13--15 1962 Southwest Ceramic Show, at the Van Howe Agriculture Building on the State Fair Ceramic Supply Grounds. Competitive exhibitions, les- sons, booths. For information on the 118S SO. CHEROKEE competition, write: Mrs. Ferroll Hol- DENVER 23, COLORADO brook, 5524 Ridgedale, Dallas 6. Continued on Page 34 32 CERAMICS MONTHLY ~ ...... people, places & things

NEW W.S.C.A. OFFICERS ments include recent college graduation NEW ART CENTER TO OPEN The Washington State Ceramic Associ- with a B.F.A. or equivalent in ceramics. The Lake George Art Center, Gallery ation held its annual election of officers Applications are due by April 15. Write, and Workshop will begin operations this February 2. The new officers include; giving full information about education, summer at Lake George, N. Y. Located Viviar~ Hausle (Seattle), president; Ruth professional experience (if any), age, sex, in an old stone schoolhouse (pictured). Nielson (Olympia), vice-president; Del career plans, references, color slides or Buckingham (Seattle), secretary and Peg- photographs of work to: Richard A. Ken- gy Sheppard (Tacoma), treasurer. Mem- yon, Director, Craft Center, 25 Sagamore bers of the board are: Mildred Lopeman, Rd.. Worcester 5, Mass. Dottle Kent, Jack Langeloh and Art Hen- dr)'. Del Buckingham writes that the Seattle MIDWEST SHOW PLANS World's Fair Ceramic and Hobby Show The Fourth An.nual Midwest Ceramic dates have been set for August 8 through Show will be held April 14-15 in the new 12 in the New Display Hall. wing of Wampler's Ball-Arena. This '62 show is expected to be even better than the previous three shows, because of a PLUMER COLLECTION AT DETROIT new site which offers plenty of free park- the Center will be used for exhibits, sales Approximately 120 works of Oriental ing and new modern facilities. and as a school. ]ean.ne Hastings, owner Art from the Plumer Collection are on The sponsor of the show is the Mid- and operator, has written us: "It is a charm- exhibit at the Detroit Institute of Arts west Ceramics Association, which is head- ing spot and I believe a perfect one to through April 8. Bronzes, paintings and ed by John R. Garwood of New Lebanon, develop into a craft school. I have in- ceramics from early periods of China, In- Ohio. Mr. Garwood is also the general stalled eight wheels, a glaze lab, and there dia and Japan, before 1500 A.D., are chairman for the show. is a gallery for the display and sale of included. The association is now making arrange- crafts and paintings. The gallery will serve The objects were collected by Profes- ments to feature, as in past years, a well- also as a painting area for students." sor James M. Plumer while he lived in known ceramics demonstrator. Also, the show will again have the competitive award exhibit which has always proved to be a popular highlight of the show. As in SKIDMORE CRAFT SHOW past years, the competitive awards exhibit Some fifty craftsmen from throughout will have 20 classifications for both ama- the United States have been invited by teur and professional entries. All these the Department of Art at Skidmore Col- entries will be on display during the two lege to show their work in an exhibition days of the show. The Midwest Ceramics entitled "Contemporary Crafts of the Association is a non-profit organization United States." Areas of work to be rep- which promotes therapeutical use of ce- resented include metalwork, jewelry, ena- ramics and ceramics as a hobby. It is made mels, pottery and weaving. Among the up of members from a three-state area of enamelists and potters whose work will be Kentucky, Ohio and Indiana. on exhibit are: June Schwarcz, Sausalito, California; Jackson & Ellamarie Woolley, San Diego, California; Jane Hartsook, SYRACUSE REGIONAL New York, N. Y.; Peter Voulkos, Berke- The winners of awards in cash and ley, California; and Edwin and Mary China during the 1930's. Until his death U.S. Savings Bonds totaling more than Scheier of Durham, New Hampshire. The two years ago, Professor Plumer taught $1000 were announced at a members' pre- exhibition is being held at the Art Gallery Oriental Art at the University o[ Michi- view of the Everson Museum's Tenth at Skidmore College, Saratoga Springs, gan. He was the author of many scholarly Syracuse Regional Art Exhibit, Friday, N. Y. The exhibition opens April 11 and works and articles on Chinese Art, espe- March 16. The competitive exhibition was runs until May 1. cially in the field of ceramics. open to artists living within a 100-mile The collection is particularly rich in radius of Syracuse. It is on view through April 15. ceramics of the Han, T'ang and Sung BROOKFIELD CENTER NEWS periods in China. Pictured is a Temmoku The Regional was selected, and awards The BrookJield (Conn.) Cra[t Center were made, by a three-man jury whose bowl and sagger from this unusual col- has announced the list of new officers for members were Martin Friedman, New lection. 1962. Nan.cy Hagmeyer is the president; York painter; Robert Hume, director of Mrs. Joseph Low, vice-president; Elsa the Division of Industrial Design, National Oetjen, treasurer; and "Mary McBurney APPRENTICE PROGRAM ANNOUNCED Gallery of Canada, Ottawa; and Max W. Green, secretary. New council members The Worcester (Mass.) Cra/t Center Sullivan, director of the Everson Museum. has announced that an apprenticeship is are Olivia Green, Florence Hanlon, Elsa The panel chose 178 works by approxi- Oetjen, Hildegard Woodward, Richard available in ceramics for the coming year mately as many artists for inclusion in the Cole and John May. starting in September 1962. The purpose show. Exactly 251 artists submitted 440 Plans for the summer include classes in of this program is to give mature, creative entries to the event. Paintings in all media, glass by Maurice Heaton; ceramics by individuals a year of independent work sculpture, graphics, drawings and crafts Edwin and Mary Scheier; and enameling and study using the Craft Center facilities. were eligible for the exhibition. James T. by Joseph Trippetti. In April, the Annual Twenty hours per week are spent in serv- Achu[[, Syracuse, was awarded the Syra- Prestige Show of the Society o[ Connectio ice to the Center. The apprentice receives cuse Ceramic Guild Prize for his stone- $1200 for the ten-month term. Require- ware footed bowl Continued on Page 38

APRIL, 1962 33 Itinerary • CERAMICS Continued from Page 32 • COPPER ENAMELING MOLDS • MOSAICS • JEWELRY FINDINGS t ARIZONA, TUCSON through April 15 • RHINESTONES "Spectrum and Space," Arizona crafts • CRUSHED GLASS show, at the Tucson Art Center. Send SOc for 100 Page Catalog #11 CALIFORNIA, SAN FRANCISCO May 1--June 15 BERGEN ARTS & (:RAFTS, IN(:. Chinese Art Treasures from the Imperial 300 S. W. 17th AVENUE, MIAMI, FLORIDA Collection, at the M. H. deYoung Me- morial Museum. CONNECTICUT, BROOKFIELD April 21--May 5 CERAMICS Annual Prestige Show of the Society of FINISHED AND GREENWARE Connecticut Craftsmen, at the Distributor: #r Reward ~lrDobe GIo 185 Pitcher, cream 193 Chocolate pot Brook- ~f Willoughby lit Symphony ~tr Kay Kinney field Craft Center. Glass Molds, Bergen & Marx brushes also "Salem" 3 I/2 "h "Salem" II"h tools. Our stocks of all are large and varied. $4.50 $10.50 D.C. WASHINGTON NO CATALOGS SUBURBAN CERAMICS STUDIO April 17--21 830 Warren Avenue Downers Grove, III. 186 Sugar or Jam Annual Spring Show of the Ceramic WO 8-0719 jar "Salem" 41/2"h Guild of Bethesda, at the Woodward $5.50 and Lothrop Auditorium. Mold Catalog 50¢ FLORIDA, MIAMI through April 15 Molds and Porcelain Decal Catalog 50¢ Fifth Annual Design Derby, at the Hia- leah Race Track. "The Clntna Decorator" Supply Catalog 50¢ GEORGIA, SAVANNAH April 16--May 7 (post paid in U. S. A.) "Contemporary Jewish Ceremonial Art," circulated by the American Federation of Arts, at the Telfair Academy. ILLINOIS, CHICAGO April 13--27 Molds and Porcelain Wedgwood and Bentley, an exhibition of ornamental wares made by Josiah Wedg- 407 E. Florence Ave. wood and Thomas Bentley, at the Art Inglewood, Calif. 4 (ILN-eARD Institute. INDIANA, SOUTH BEND April 15--29 "School Art Show," work done in the J FORLight SALE: weight TRIVETS for the beffer~| South Bend Junior High Schools, at enameling of all copper bowls, plates l P. O. Box 1055 Jacksonville Beach, Fla. the Art Center. P R Icn;s ~eweiry" i for bowls & plates sn.00 . $4.50 or S2.50| MAINE, PORTLAND for jewelry pieces S4.75 a set I April 2--28 "Contemporary Maine Crafts--1962" at !THE MASTERS B,Ev:OoU.TeN.~'. [ CREEK-TURN the Portland Museum of Art. GLAZES-MOLDS MASSACHUSETTS, LEXINGTON Catalog $1.00 April 28--29 WRITE FOR FREE LITERATURE BE A DEALER Annual Spring Exhibition of the Lexing- QUALITY CERAMIC PRODUCTS ton Arts and Crafts Soeiety, at the Art Glazes - Rt. 38, HAINESPORT, N.J. Center. Stains Kilns Manufactured by: MICHIGAN, BLOOMFIELD HILLS NORRIS LABS. April 1--30 "Japan: Design Today," Smithsonian 2154 IRVING BLVD., DALLAS 7, TEXAS MOSAICS Traveling Exhibition, at the Galleries of COPPER ENAMELING Cranbrook Academy. MICHIGAN, DETROIT 1962 REVISION through April 8 * Huge Stocks The Plumer Collection of Oriental Art * Fast Service includes many pieces of ceramics of the Han, T'ang and Sung periods in China. representing * Quality Merchandise At the Detroit Institute of Art. 34 companies Write now for FREE literature MICHIGAN, KALAMAZOO 6 Y000"°" through April 30 "Midwest Designer-Craftsmen" exhibi- IN ONE CATALOG...... $1.00 ILLINI CERAMIC SERVICE tion, at the Kalamazoo Art Center. A real freight saver "Quality Ceramic Supplies" I MISSOURI, KANSAS CITY 439 N. Wells, Chicago 10, III. through April I MIDWEST CENTERCERA.,C Phone MI 2-3367 21st Ceramic National,circulated by the 722 Southwest Blvd. Kansas City, Missouri Cor~tinued on Page 35

34 CERAMICS MONTHLY Itinerary

KENPER TOOLS Continued /rein Page 34 Recommended and designed for utility, quality, durability Everson Museum of Art, at the William KEMPER CLEAN.UP TOOL N.S. (for new style) Gallery of Art. RETAIL PRICE 75c Each Rockhill Nelson NEBRASKA, OMAHA May 1--31 KEMPER CLEAN-UP TOOL (OS) Smithsonian 85c Each "Tutankhamun Treasures," RETAIL PRICE Institution Traveling Exhibition, at the We Make If Possible For Joslyn Art Museum. Anyone To Own A Perfect Production Kiln With Our KEMPER TRIMMER KNIFE NEW JERSEY, NEWARK Famous Pre-Cuf Kiln Kits RETAIL PRICE 50c Each through December "One Hundred Years of English Pot- tery" shows over 200 examples of work and obscure KEMPER LACE TOOL done by both well-known RETAIL PRICE 75c Each English potters, at the Newark Museum. NEW YORK, ALBANY May 1--27 KEMPER ZIG-ZAG SAW..Retail Price S0c ca. 21st Ceramic National, circulated by the Everson Museum of Art, at the Albany Institute of History and Art.

OTHER KEMPER TOOLS: NEW YORK, NEW YORK through April 13 75c ea. Kemper Finger Too[ ...... Retail Price Sculpture Exhibition sponsored by the Kemper Incising Tool ...... Retail Price 75c ea. Society, at the Cor- Tool ...... 75c ea. National Sculpture Kernper Twln-Line Scjraffito ning Glass Works, 717 Fifth Ave. Sprincj return pluncjer equipped flower cut- Flower tools ters, various sizes and patterns. NEW YORK, NEW YORK and other popular ceramic utility tools. 12 April 26--May 8ricks mitered, grooved, and drilled; Tools. Ask your dealer for these Kemper Recent work in stoneware by Daniel every part, right down to the last nut House Pottery, 16 Write for FREE catalogue to: Rhodes, at Greenwich and sclew, included. With blueprints, Jones St. and concise building and firing instruc- tions .... Order from this ad or write KEMPER MANUFACTURING CO. NEW YORK, SYRACUSE for detail sheet. P.O. Box 545, Chino, California through April 15 Tenth Syracuse Regional Art Exhibition includes crafts and sculpture. At the Kits Everson Museum of Art. Ceramics . Mosaics . Copper All Kilns and Kits now fire to 2350oF. NEW YORK, UTICA 12"x12"xI3t/2 '' deep ...... $ 62.50 Send S0c for two large, illustrated cata- through May 16 Europe," 18"x] 8"x18" deep ...... 99.50 logs with instruction. Free to institutions. "Artist-Craftsmen of Western circulated by the American Federation of 24"x24"x221/2 '' deep ...... 175.00 Seeley's Ceramic Service Arts, at the Munson-Williams-Proctor 24"x24"x27" deep ...... 195.00 Institute. 9 River Street, Oneonfa, New York ALL PRICES F.O.B. SEATTLE OHIO, AKRON through April 15 Distributors For: Please Mention CM Annual Spring Show by artists and crafts- men living or working in the area, at • ALBERTA'S MOLDS when writing our advertisers the Akron Art Institute. • ARNEL MOLDS OHIO, COLUMBUS • BELL PORCELAIN through April 2 JEAN LEONARD CERAMICS "Designer-Craftsmen of Ohio," at the • CALIFORNIA CERAMICS 96-24 Corona Ave. Corona, L.I., N.Y. Columbus Gallery of Fine Arts. Distributor for • DOUBLE-B TOOLS Glossmatie--Tra Fyre---D raken feld--Zireo Dunean's---L & L Kilns---Kemper Tools OREGON, PORTLAND • GRUMBACHER BRUSHES We Pay Postage On Items Listed Below. through April 7 Mendall--for Greenware ...... 4 oz. --75c the • HOLLAND MOLDS --6Oc Ceramics by Virginia Wysel, at Magic Glaze Binder (makes a gallon) Studio. Magic Greenware Release ...... 8 oz.---$1.25 Oregon Ceramic • KEMPER TOOLS PENNSYLVANIA, PHILADELPHIA • KEN OCORR MOLDS NOTHIN6'$ CHANGED through April 15 "Design in Germany Today," Smithsoni- • MALLORY MOLDS BUT THE NAME! an Institution Traveling Exhibition, at the Trade and Convention Center. • MARGLOTEX STAINS DOUBLE B WOOD NOVELTIES was • MAYCO COLORS too Ionq a name. So we shortened PHILADELPHIA it to DOUBLE B TOOLS. Everything PENNSYLVANIA, else is the same---management---qual- April 18--May 13 • PEMBERTON-NEAL ity products--and fine servlce--as in Pennsylvania Guild of Craftsmen Exhi- years past! Buy the Orlqinal Double at the Philadelphia Art Alliance. • PIERCE PRODUCTS B Lace, Sgraffita and Cleanup Tools bition, • . . the finest made in the U.S.A. COLORS QUEBEC, MONTREAL • REWARD Available at ycur Iczal sur)pl ers "Nri:.:~ through April 7 "Uncommon Market," a competition and selling exhibition sponsored by the POTTERY BY DOT Canadian Handicraft Guild. At the 408 N.E. 72nd St. Tel. LA 3-8300 2025 Peel St. j Guild Headquarters, SEATTLE 15, WASH. Continued o~n Page 36 I

APRIL, 1962 35 i Itinerary

Continued from Page 35 ~L% ma.ufectured ~our cuml)lete ~Oulce oi materials o~ by equipment. Fully illustrated • SOUTH CAROLINA, COLUMBIA -'~6 INSTRUCTIVE CATALOG April 1--May 4 I FREE if requested on school letterhead I by staff, others 50c. m LORRAINE CERAMICS "Story of English Glass," at the Colum- I Ask for school discounts. bia Museum of Art. I TEPPING STUDIO SUPPLY CO. 4209 SPENCER ST. I professional staff • TEXAS, HOUSTON TORRANCE, CALIFORNIA through April 15 "Tutankhamun Treasures," Smithsonian we also Institution Traveling Exhibition, at the manufacture Museum of Fine Arts. WASHINGTON, SEATTLE ILLUSTRATED LORRAINE MOLDS April 8--June 10 CATALOG Northwest Craftsmen's Exhibition, fea- of Molds and Patterns. Included at no extra turing cost -- many pages of How-to-do-;t Ideas. the work of craftsmen residing Send $1.00 today! BOUTIQUE JEWELS and working in Washington, Oregon, Montana, Idaho and Alaska, at the BEE BASCH DESIGNS, INC. Henry Gallery, University of Washing- 70 Pine & First Sis., PATTERN BOOKS ton. Engleweod, Fla. • . . All Types

UNIQUE BISC STAINS ART CRAFT SUPPLIES, INC. Distributor for Summer Workshops Paragon -- Duncan -- Drakenfeld WOOD TONERS etco Bergen Brush -- Symphony -- -- Jacquelyn's Stains Continued from "Consistency and Quality make the Big Page 9 CERAMIC & ENAMELINGSUPPLIES Difference" • • • always ask for FIESTA 180 NW. 62rid St. Miami, Florida COLORS and LORRAINE MOLDS. history, critiques on form and glaze ex- perimentation. University credit to 10 MOLD CATALOG .. $1.00 hours. First term, June 18--July 20, or full quarter. Instructors: Eugene Friley, Send 10c to cover mailing on complete Paul Bogotay and guest lecturers. Write: BROCHURE and INSTRUCTIONS for Ceramic Art Area, School of Fine and FIESTA COLORS. Applied Arts, The Ohio State University, Library Binder. Columbus 10. Holds a year's QUEBEC, MONTKEAL June 4---August 31 supply of CM. FRANCOISE CERAMICS-- The Studio/Gallery is offering a 13-week Distributor for course covering wheel-thrown and hand- Order yours to- NCAN PRODUCTS - Delta Brushes built pottery in both earthenware and A.B.C. Glazes - Star Stilts stoneware, glazing and glaze calculation. day. Postpaid. lanti¢ - Holland - Ludwig Schmid Instructor: Wanda Rozynska. Write: Molds Studio/Gallery, 1443 Mansfield St., $3.50 arc Bellaire Brushes- Paragon Kilns Montreal 2, Quebec. ~Art Books - Clay - Slip - Greenwore 13 49th St., So. St. Petersburg 7, Florida QUEBEC, NORTH HATLEY June 1--August 31 Ceramics Monthly The Workshop offers three 3-week ses- 4175 North High St. Columbus sions in pottery, including wheel work 14, Ohio and glaze calculations. Instructor: Gae- The Famous tan Beaudin. Write: The Workshop, Box KLOPFENSTEIN 181, North Harley, Quebec. Elephant Ear Sponges POTTER'S WHEEL VERMONT, LUDLOW July 23--August 17 • . . no splits Write for FREE information Fletcher Farm Craft School offers ce- Distributor And Dealer inquiries Invited H. B. KLOPFENSTEIN & SONS ramics for beginners and advanced stu- ALICE LEE CERAMICS RFD. ~2 Dept. A Crestline, Ohio dents in two-week periods: July 23-- National Representative August 3 and August 6--17. Instructor: 1645 Homestead St. Baltimore 18, Maryland John P. Loree. Write: Mrs. Louise Wil- liams, Director, Box 478, R.F.D. #1, Rochester, N. H. WASHINGTON, LA CONNOR June 18--July 27 Fidalgo Allied Arts is offering six-week courses in ceramics, enameling and jewel- ry. Instructors: Hilary Moth and Ruth Pennington. Write: Fidalgo Allied Arts. La Connor. WISCONSIN, MADISON June 19--August 10 Write for information and catalogue CM The University of Wisconsin is offering Manufacturers. World's Most 8-week courses in both beginning and Complete Sculpter's Supplies advanced pottery. Instructor: Vivika /]- ~L ~. ORegon 9-7474 Heino. Write: D. Gibson Byrd, 219 Education Bldg., University of Wiscon- sin, Madison 6.

36 CERAMICS MONTHLY ABOUT DESIGN

"The Easter Egg Style"

by KATHE BERL

HAPPY EASTER, When I use the or around a jug. Curved lines might cover some of the stripes with even phrase 'Easter Egg Style," let be used running parallel to the rim strokes of this black color. When the it be known that it is not generally of a round plate. Any given area can black turns a gray color it means that known as such hut is my name for be filled with small patterns in reg- the overglaze is dry. With a sharply- a type of design or pattern used to ular, alternating or free arrange- pointed instrument, scratch away decorate the Easter eggs of folklore ments. There is an endless source of some calligraphic designs, such as origin. I do not refer to the "jew- design possibilities if one just does rows of loops, slanted lines or dots. els" made by the great craftsmen, al- what is "natural" and doesn't try to This sgraffito work will expose the though these are superb in them- break his neck finding "new" and color of the background against the selves. I am thinking of the ones that "'artistic" designs. black of the overglaze. have been done by people who do not You may ask how all of this applies To use the pen, fill your brush think of themselves as artists but sim- to the enamelist, since enameling is with slightly thinner overglaze and ply enjoy doing something to enhance not basically a graphic technique and paint the pen point with it. If the a holiday. The eggs that they color thus does not lend itself very well to overglaze is the proper consistency it and design are marvelously decora- the execution of small details and will "write" just like ink. Make your tive and beautiful. fine lines. The proper technique for calligraphic designs on the colored I firmly believe that anyone who is doing this is the use of overglaze ap- stripes not yet covered with black able to write is also able to draw plied with the finest brush or pen and this will give you a black design and decorate if he concentrates on point. With a pen point one can on a colored ground; this is just the simple pattern. This is exactly what write or draw on an already-fired opposite of the sgraffito technique. all folk art is built upon. If you coat of enamel quite as easily as on Overglazes have low melting points, take a good look at the Polish, Rus- paper. therefore we use them for the last sian and Czech Easter eggs or folk For overglaze I do not recommend firing if we do not plan to use any- ceramics, and analyze the patterns, the liquid separation enamel but rath- thing that goes even lower, such as you will find that they consist of cal- er the fine powder used in ceramics. liquid metals. For best results, warm ligraphy. Calligraphy is what we all I have written in detail about this in up the firing rack with the trivets in practiced in school when we learned the October 1956 issue of CM, and place, put the enamel to be fired on how to write. Perhaps we have been will not repeat all of that information this warm rack to allow it to absorb lucky that we had to do this, since here. What I want to do here is con- heat and then fire until the enamel the children of the not-too-distant centrate on helping you with your de- is gloss),. Do not overfire by a single future may come to their first grade sign development. second, for overglazes just won't classes already armed with typewrit- Take a tray or plaque and fire on stand this. However, if you plan to ers and never, never learn how to a coat of white or other light opaque fire some liquid gold on your piece write with their own dear little color, or a flux or transparent enam- later, do not fire until completely hands! el. Over this, wet charge or stencil gloss), but leave that for the next fir- Calligraphy in design means to me some stripes of various widths in ing. the repetition of straight, curved and bright but not too-dark colors, and This "Easter egg" type of design looped lines, crosses, dots, etc. Any then fire again. Now place a small can be done in one color on a solid coordinated person with the neces- amount of black overglaze on a shal- background or else on a many-color- sary patience can produce and ar- low plate, add a bit of water and, ed background with various colors. range two rows, straight or curved, to with a small spatula, grind it to a There are many, many possibilities fill a given area. Straight lines might thin paste -- smooth and without any for using this simple pattern design be used on a flat surface for a border visible lumps in it. Use a brush to for enameling projects. •

APRIL, 1962 37 Summer Workshops CeramActivities • i

Continued from Page 33 IN LUDLOW, VERMONT FLETCHER FARM CRAFT SCHOOL cut Craftsmen will be held at the Center APRIL 1962 Weaving: BERTA FREY; LILLY HOFF- headquarters. Another scheduled exhibit MAN; GUY HUGHES - Pottery and De- is the showing of the work of instructors sign: JOHN LOREE -- Textile Printing: ELLEN EPPELSHEIMER - Early Ameri- for the coming season. There also will be Alice Lee Ceramics ...... 36 can Decoration: RONALD SLAYTON ; a Student-Member Exhibit. Director of Alpine Kilns ...... Cover 4 MONA ROWELL - Woodworking: HUGH W. MacNAIR; F. LESLIE JONES - Rug the Center is Alex Slade. American Art Clay Company ...... 4 Making: GUY HUGHES t Painting: RON- ALD SLAYTON - Lamp Shades: WANDA Anderson Ceramics Co ...... 32 GRIFFITH - Crewel Embroidery: MURIEL Art-Craft Supplies, Inc ...... 36 BAKER. TOLEDO MUSEUM ACQUISITION Four two-week sessions, July 9 to August 31. A matched pair of early 18th century Basch, Bee, Designs ...... 36 multi-colored Dutch Delft covered vases For Free Brochure write: Bergen Arfs & Crafts ...... 34 has been acquired by the Toledo Museum Brookfield Craft Center ...... 38 Mrs. Louise Williams, Director of Art as additions to the Museum's grow- Dept. CM, RFD 1. Rochester, N. H. ing collection of Dutch art. The vases Buffalo Ceramic & Art Supply Center 38 are over 26 inches high and are decorated Campbell, Gilmour ...... 32 with flowers and birds in red, green and Ceramic Expositions, Inc ...... Cover 3 THE BROOKFIELD CRAFT CENTER blue glazes on a white background. The .Ceramichrome ...... S Brookfield, Connecticut lids terminate in seated lions. This pair of vases (pictured) was intended for use on Cole Ceramic Laboratories ...... 4. Edwin and Mary Sebeier will instruct Ce- ramics from July 30 through August 17. Creek-Turn ...... 34 Jane Kauppi will hold Ceramic Workshop three evenings a week from July 1 through July 20. Many courses in other crafts. Double B Tools ...... 35 Write for free brochure. Duncan's Ceramic Products ...... 8

Fletcher Farm Craft School ...... 38 WORCESTER CRAFT CENTER Francoise Ceramics ...... 36

2 WEEK SUMMER SESSION House of Ceramics ...... ] July 9-20, 1962 u Instruction in 8 Major Crafts a All Day Workshops • Room and Board Available Illini Ceramic Service ...... 34 Write for Brochure: Depf. CM 25 Sagamore Rd. Kemper Mfg. Co ...... 35 PL 3-8183 Worcester, Mass. Kiln-Gard ...... 34 Kinney, Kay ...... 4 Klopfenstein, H. B. & Sons ...... 36 top of a mantelpiece, table or tall chest. The vases are rare on account of their L & L Mfg. Co ...... Cover 2 large size and unusually fine decoration. Leonard, Jean, Ceramics ...... 35 Lorraine Ceramics ...... 36 The following back issues of Ceramics They date to the time when Holland Monthly are still available at sixty cents was enjoying an enormous commercial per copy (Ohio residents pay 30/o sales Masters, The ...... 34 tax). We pay postage. prosperity which also encouraged the Mayco Colors ...... 6 1953 great Dutch painters of the Golden Age January. February, March, July, August, of Dutch Art. Delft earthenware of the Midwest Ceramic Center ...... 34 December 17th and 18th centuries was inspired by 1954 Norris Labs ...... 34 March, July, August, November, Decem- Chinese porcelains and was famous all ber over Europe for the brilliancy of the glaze. Norwest Novelty Co ...... 32 1955 August, November, December Ohio Ceramic Supply ...... 34 1956 May, August, October HOBBY COMPETITION ANNOUNCED 1957 Categories have been announced for the Pottery by Dot ...... 35 May, June, July, August, September, Competitive Exhibit at the Chicago Ce- December Reward ...... 12 1958 ramic Show to be held at the Pick-Con- April, May, June, September, November gress Hotel, August 25-28. The classes 1959 of competition include Adult Hobbyist ScuLpture House ...... 36 November Ceramic Sculpture, Adult Hobbyist Seeley's Ceramic Service ...... 35 1960 June, November, December Functional Ceramics, Children (to 12 Skutt 8: Sons ...... 7 1961 years of age), Teen-agers, Professional Suburban Ceramics Studio ...... 34 January, April. October, November, De- cember and Handicapped. For complete entry Superior Tile Cutter ...... 32 1962 rules, classes and instructions, write E. January, February Kane, Box 115, Wilmette, Ill. Tepping Studio Supply Co ...... 36 Please send remittance (check or money order), with list of issues desired. Thompson, Thomas C., Co ...... 10 CERAMICS MONTHLY Trinity Ceramic Supply ...... 32 4175 N. High St. Columbus 14, Ohio PITTSYLVANIA GUILD SHOW "The Ageless Art," fourth annual show Van Howe Ceramic Supply ...... 32 of the Pittsylvania Ceramic Guild, will be Walker Jamar Co ...... 36 N.Y. STATE FACTORY REPRESENTATIVE held in the Pittsburgh room of the Penn- }or the Fabulous Homogen;zed Mayco Sheraton Hotel, June 7-8. Members of Willoughby Studio, Inc...... 34 Glazes, and Kay Kinney Glass Stains and the Guild will exhibit their work and com- Wolfe, Jack D., Co ...... 32 Molds. Write for Descriptive Circulars. pete for awards. They also will demon- Worcester Craft Center ...... 38 PERFECT ITEMS FOR ANY SCHOOL ROOM strate various techniques used in making ceramic pieces. The show chairman is BUFFALO CERAMIC & ART SUPPLY CENTER 437 Frankl;n St. Buffalo 2, N.Y. Charles Marsden; Ruth Entwisle is co- chairman.

38 CERAMICS MONTHLY ( E I ( HI) May 17-20, 1962 ASBURY PARK, NEW JERSEY SPONSORED BY: CERAMIC LEAGUES, INC.

"CERAMIC KNOWLEDGE THRU CERAMIC EDUCATION"

FREE DEMONSTRATIONS DALLY BY TOP NAME ARTISTS!

HOBBYISTS! SHOW YOUR WORK! AN AWARD MAY BE YOURS

SHOW HOURS: Make sure your firm is in this show DALLY 1o9 P.M. SUN. 1-7 P. M° represented DEALERS ADMITTED AT NOON Write for information i : l~i i I ~ --- '~'~ I ...... for portable ,°d ...... shelf storage, drying~ ..... ha,racks, ..... and many other l-~l ,~ applications. , .... I i!'! !1 " Alpine glaze formulating tables eliminate I ~i ~ II : waste, save time, with no messy open or torn sacks -- a varletv of materials at your Hngertlps. Other ceramic eqv[:~ ~ • : ~ available.

#.-~; ..~N%I, : ~/