APRIL 1957 • 50c

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i SPECIAL INTRODUCTORY OFFER! The materials used in Re-Ward's BRUSH-ON GLAZES are much more expensive than those used in ordinary glazes, and you will recognize this immediately. Because we want you to try them, your dealer FOR A LIMITED TIME ONLY will allow you 10¢ off the regular price for each jar. 10¢ OFF! See your dealer TODAY.

CANADA GREATER TORONTO CERAMIC CENTER, 167 Lake Shore Rd., Toronto 14, Canada COLORADO LAKEWOOD POTTERY, 6955 W. Colfax, Lake- ATTENTION: DEALERS, STUDI so HOOLS I wood, Colorado CONNECTICUT See one of these RE-WARD Distribi~s for SYBIL GARVIN CERAMICS, 77 Main St., Port- quality products and land, Conn. servicI THE POTTER'S WHEEL, Post Road, Westport, Conn. ~mBAMA WASHINGTON, D. C. CERAMICS by OL~1828 Pinson St., Birming- McNOR'S CERAMIC STUDIO, 5113 Georgia Ave., ham, A a N.W., Washington, D.C. CERAMIC ART TRF,~IlRE HOUSE, 3658 S Perry DELAWARE .... • .... St., Montgomery, ~j~. CLAY DEN, 213 Fenwick Ave., Wilmington, -:~'~SKA Delaware THE MUD NESTi~]/~2 Lacey St., Fairbanks, FLORIDA JADOL ARTS & CRAFTS, 8965 Biscayne Blvd., Alaska ~NSAS Miami, Fla. ALLISON CERAI~rruDIO, 20 Arcade Bldg., GEORGIA Little Rock, Ark.UlWU PATRICIA TACKABERY, 3041 Boiling Way N. E., CALIFORNIA Atlanta, Ga. THE SHED, 1000 Santa Clara Ave., Alameda, IDAHO Calif. HOUSE OF WHITES, 5702 Fairview, Boise, Idaho POTTERY MILL, 1035 D St., Arcata, Calif. ILLINOIS STEWART'S of CALIFORNIA 7140 Firestone ILLINI CERAMIC SERVICE, INC., 439 N. Wells, Blvd., Downey, Calif. Chicago, III S. L CLUTTER, 13112 Inglewood Ave., Haw- CERAMICART STUDIO, 817 E. 89th St., Chicago thorne, Calif. 19, III. LOLLY'S STUDIO, 2120 28th St., Sacramento HAZEL HURLEY STUDIO, 4803 Prince Ave., Calif. Downers Grove, III. CONVlLLE CERAMICS, 4566 30th St. San Diego INDIANA Calif. ' ' OLD TRAIL STUDIO, 7021 Bluffton Rd., Ft. RAY'S HOUSE of CERAMICS, 8605 E. Las Tunas Wayne, Ind. Dr., San Gabriel, Calif. ANNA MARY'S CERAMIC STUDIO, 2528 W. 14th ADELLE'S CERAMIC STUDIO, 230 W. Harding St., Indianapolis 22, Ind. Way, Stockton, Cali(. IOWA LEE'S CERAMIC SUPPLY, 150 Lincoln Highway, ART CRAFT STUDIO, 1620 Commercial St., Vallejo, Calif. Waterloo, Iowa BELLA VISTA CERAMICS, 1255 San Andreas Rd., KANSAS SANTNER CERAMICS, 1727 E. Central, Wichita, Watsonville, Calif. Kansas E-WARD'S ALL NEW "BRUSH-ON" ZES

We promised something sensational, and here it is! ..... A completely new line of unique BRUSH-ON GLAZES, so

creamy-smooth, so easy to apply, so superb in / quality, and so exciting and dramatic in colors and textures! Imagine a low-fire "stoneware" glaze which can be used on regular low-firing ceramics. That's our new STON'WARE .06, and it comes in seven glorious colors. Then there's SPEK-L-STON'WARE, ANTIQUE and LAVA! They're so creamy-perfect, these new RE-WARD glazes, brush marks disappear like magic! Professionals are warm in their praise. Beginners get perfect results. Take advantage of our introductory offer TODAY, and see for yourself.

co.o ,.c ~ 1985 Firestone Boulevard • Los Angeles 1, Calif.

KENTUCKY NDALE CERAMICS, 2934 Bon Air, Louisville, NEW YORK OLEVIA CERAMICS, 152 Conklin Ave., Bingham- LOUISIANA ton, N.Y. .LIER'S ART SUPPLY, 3875 Government St., SKEET'S CERAMIC STUDIO, 1406 W. 5th St., PENNSYLVANIA ~n Rouge. La. Brooklyn, N.Y. VOLLMER'S CERAMIC STUDIO, 1723 Paxton St., IlSlANA ENTERPRISE, 3519 d'Hemecourt St., UNIVERSITY CERAMIC STUDIO, 3270 Main St., Harrisburg, Pa. r Orleans, La. ETTORE'S CERAMIC STUDIO, 1490 N. 52nd St., MARYLAND Buffalo 14, N.Y. BUF-EL CERAMIC STUDIO, 18 Bartlett St., Ellen- Philadelphia, Pa. IA-LEE CERAMICS, 160 N. Mechanic St., HOOVER'S CERAMICS, 1500 Evergreen Ave., lberland, Md. ville. N.Y. Pittsburgh, Pa. POHL CERAMIC STUDIO, 21 Vagele Lane, Glen- ~YLAND CERAMIC HOUSE, 2000 E. 30th St., AMEIGH'S CERAMIC STUDIO, 1910 Roosevelt imore, Md. mont, N.Y. MOTOR CERAMIC SERVICE, Rte. 28, Middleville Ave., Williamsport, Pa. MASSACHUSETTS TENNESSEE IRA'S CERAMICS, 695A Main St., Worcester, Rd., Herkimer, N.Y. RAINVILLE CERAMIC STUDIO, 19 Vine St., HARRY'S CERAMIC SHOP, 2543 Broad St., Mem- Scotia, N.Y. phis, Tenn. is,f; MARTIN CERAMICS, 501 Eastern Ave., CRAFTSMAN'S SUPPLY CO., 1125 8th Ave., ~, Mass. CERAMIC LAND, 1182 Fulton Ave., Uniondale, N.Y. Nashville, Tenn. MICHIGAN TEXAS ~WEST NOVELTY CO., 32480 Northwestern NORTH CAROLINA TRINITY CERAMIC SUPPLY, 100 Howell St., 1way, Detroit (Farmington), Mich. BURN'S CERAMICS, 713 No. Person St., Raleigh, Dallas, Texas No. Carolina I-TAN CERAMIC STUDIO, 962 E. Fulton St., ROUNTREE CERAMIC STUDIO, 107 E. Market qd Rapids, Mich. NORTH DAKOTA St. Road, Highland, Texas MINNESOTA HOBBYLAND and PEG'S CERAMIC, 223 Broad- way, Fargo, N.D. UTAH ISE of CLAY, 123 W. Lake St., Minneapolis, UTAH CERAMICS, 229 S. 5th East, Salt Lake OHIO Utah MISSOURI MODEL CERAMICS, INC., 772 N. Main St., Akron, City, WEST CERAMIC CENTER, 502 Southwest Ohio VIRGINIA I., Kansas City 8, Mo. LUClLLE GERBIG CERAMIC STUDIO, 4023 Read. THALIA CERAMICS, Virginia Beach Blvd. at ing Road, Cincinnati, Ohio Thalia, Lynnhaven, Va. TE'S CERAMIC STUDIO, 3343 Watson Road, DILL-HAWK CERAMICS, R.F.D. 2, Box 436, .ouis, MO. CALIFORNIA CERAMIC SUPPLY, 17409 Waterloo Roanoke, Va. .. WILLIAMS COMPANY, 2027 S. Campbell, Rd., Cleveland 10, Ohio ngfield, Mo. WASHINGTON BIL-LIN STUDIO, 503 S. Dixie (US 25), Dayton, KELSEY CERAMICS, 507 S. Columbia, Olympia, NEBRASKA Ohio Wash. 'ENPORT CERAMICS, 734 So. 27th St., SECOR CERAMIC SHOP, 4128 Secor Rd., Toledo MARJAX CERAMIC STUDIO, 8914 Aurora, oln, Neb. ]3, Ohio Seattle, Wash. NEW JERSEY MABLE LONG STUDIO, 808 Gorge St.. Van Weft, WISCONSIN ATIVE ART CERAMIC STUDIO, 17 Bridge St., Ohio MARGO PORC. & CERAMICS, 2138 S. 25th St., tham, N.J. OKLAHOMA Milwaukee, Wis. KART POTTERY STUDIO, 1048 Shore Rd.. MIDWEST CERAMICS, INC., 5717 S.E. 15th St., EDGEWATER CERAMIC SHOPPE, 5031 West iood, N.J. Oklahoma City, Okla. Capitol Dr., Milwaukee 16, Wis. AMIC ART STUDIO, 172 Kendall Blvd., OREGON WAUGH'S CERAMIC STUDIO, Route 3, Tomah, lyn. New Jersey i DOBE DEPOT, 1025 S.E. Ash, Portland. Oregon Wis. PERFECTfor MAJOLICA MAYCO SATINA* is the perfect base for decorating with ONE STROKE" translucent colors.

THE MAJOLICA TECHNIQUE IS EASY Apply two or three coats of SATINA on greenware with a sponge or brush and decorate with ONE STROKE or other SATINAS and fire at cone 06. You get a finished piece with only one fire. No additional glazing needed. Add a gold fire if you like. SATINAS are avail- able in many attractive colors. Simply ask for them at your nearest Studio.

"TM oozed. :=-

Exclusive fully enclosed, safe design -- no exposed mechan;sm:.iliiiiiiiii;:.:iiiiii

Whether amateur or skilled artisan . . . you'll find the smooth motorized :!:~,!:~:~:~ii::::iiiii::iiil::il operation . . . ease of control in the BIG, all.steel precision built MASTER POTTER'S WHEEL enables you to originate beautiful, dis- ::~::i.i~i~i::il tinctive pottery excelling anything you've ever done before. Massive steel construction completely encloses mechanism to exclude clay and moisture . . . assures operator safety and provides vibration-free performance. Other features ordinarily toured only in expensive wheels include: pro-lubricated bronze bearings for quiet, long service, con- venient arm rests, adjustable wedging wire, large 18" throwing table with plenty of working space and a removable water cup. 10" throwing head has joggles for easy centering, underside reverses for casting plaster bats. • Portable ceramic spray booth has electric fan to draw You have complete hand freedom at all times . . . smooth instant spray dust into replaceable filter so dust cannot spread change of speed from 30 to 150 rpm is controlled by a foot pedal. through house . . . no vent needed . . . weight only 20 Easy to use, even for handicapped persons. Use any I/4 HP motor. Ibs. folds far easy storage . . . opens to 20" x 20" Standard V4 HP motor $16.95 when purchased with Master Potter's Wheel. x 23". Green, baked enamel finTsh on welded steel MASTER POTTER'S WHEEL Floor Model, Item 47h, assures beauty and long service. 10 day money back Wt. 90 Ibs. Lists at $175.00--Faetory Price .... $89.95 guarantee. Only $34.95 F.O.B. Detroit. MASTER PO~I'ER'S WHEEL Bench Model, Item 47a, See your dealer or send check or money order to . . . Wt. 45 lba. Lists at $125.O0--Faetory ~r~" N,~ ~_E _ ____ ~ 10 DAY MONEY BACK GU DETROIT FABRICATING CORP. 7523 St. Aubin • Detroit 1 I, Mich. DEPT. 34.Q Burlingfen, Wis. 2 CERAMICS MONTHLY O. HOMMEL... JJ I Volume 5, Number 4 APRIL • 1957 MOST COMPLETE 50 cenfs per copy CERAMIC in this issue of SUPPLIER With the use of HOMMEL Ceramic and pottery materials in art classrooms of to- Letters ...... 6 day's modern schools, young artists can be assured of best results in their search for self-expresslon. Maintaining the first posh Suggestions ...... 9 tion in the industrial supply field, HOM- MEL always supplies the best at economi- Itinerary ...... 10 cal prices.

Antique Pottery by Bim and Doris Newman ...... 13 UNDERGLAZECOLORS m Mosaics by Sally Gallaway ...... 15 GLAZESTAINS Terra Sigillafa by Mary E[lioff ...... 16 PREPAREDGLAZES

Underglazes: Jewelry demonstrated by Marc Bel[aire ..... 18 ENGOBESTAINS PREPAREDCLAY BODIES Outdoor Ceramics by Nola Mafson Ceramics Decorate Your Garden ...... 20 OVERGLAZECOLORS Put Sculpture Outdoors ...... 22 GLASSCOLORS GOLD-PLATINUM-LUSTRES Enameling: Cloisonne Plaques demonstrated by Nelly Allan..24 for glass and china Strictly Stoneware: Slips and Engobes by F. Carlton Ball..26 CHEMICALS,FRITS

Show Time ...... 27 KILNS-a//types

Garden Plaques by Mildred and Vernon Seeley ...... 28 WOOD MODELINGTOOLS TURNING TOOLS Answers to Ouesfions conducted by Ken Smith ...... 29 BRUSHES-tardecorating Overglaze: Naturalistic Painting by Zena Hoist ...... 31 DECORATINGWHEELS Enameler's Column by Kathe Berl ...... 33 BRASS WIRE SIEVES Ceram.Activities ...... 35 ASBESTOSGLOVES & MITTENS UHDERGLAZEPENCILS & CRAYONS AIR BRUSHES Editor Louis G. Farber Business Manager Spencer L. Davis SPRAY BOOTHS Assistant Editor Shirley Abrahamson STANDARDPYROMETRIC CONES Editorial Associates Mary EUiott Thomas Sellers

Art Director Robert L. Creager FREE Advisors and Special Contributors : Carlton Atherton ; F. Carlton Ball ; Bee Basch: Kathe Berl; Edrls Eckhardt; John Kenny; Zena Holst; HOMMEL CATALOG Dorothy Perkins; Jo Rebert; Ken Smith; Vera Walkup; Don Wood Write for your copytoday. Cover by Robert L. Creager Profusely illustrated. Ceramics Monthly is published each month at the Lawhead Press, Inc., Athens, Ohio, by Professional Publications, Inc., S. L. Davis, Pres. and Treas. ; L. G. Farber, V. Pres, ; P. S. Emery, Secy. SUBSCRIPTION PRICE in U.S.A. and Possessions: one year, $5; . O. HOMMEL CO. two years, $9: three years, $12. Canada and Pan Am. add 50 cents a year; foreign, add $1 a year. Current issues, 50c ; back issues, 60c. I PITTSBURGH 30, PA. ALL CORRESPONDENCE (advertising, subscriptions, editorial) should be sent to the editorial offices at 4175 N. High St., Columbus West Coast Warehouse, Laboratory & Office 14, Ohio. Entered as second-class matter at the post office at Athens, Ohio, as granted under Authority of the Act of March 3, 1879. 4747 F.. 49th Street, Los Angeles, CalifemJa Copyright 1957 by Professional Publications, Inc. All rights reserved. Proven Sales Appeal. Molds like the Apothecary Jars and the Cornucopia shown above are iust three more of the profit making molds created in the inimitable Ludwig Schmid style. See the complete line of molds shown in our catalog. price $3.50 Send $1. which we refund with our first order. If your Order one today! (we pay postage) dealer doesn't have our molds, write direct. Be sure and visit us at Booth #13 at the Ceramic Show in Asbury Park. NOTE: The prices listed in our February issue were m Ceramics Monthly ...... II i 417SN.HlghS#. Yes -- please send me a BINUI:K incorrect. The correct prices are #S-374 $4.60 and Columbus, Okto fOP my copies of Ceramics Monthly : #S-375 $3.50 ; #398 Apothecary Jar, Large $4-.00 li #397 Apothecary Jar, Small $3.80 I Name I #409 Corn coDia $4.00 I I I Address ,. i I I LUDWIG SCHMID model and mold shop II I enclose $ Send,era; ...... ;,h o,Je,.Ohio resid ..... aa 3°/, So,~To,. I. 838 Genesee St. Trenton 10, N.J. L aim a ~ mm a mm li I l im mi I im iii a mi a mi J

NOW! you can buy Whether you're an Subscription amateur or an ex- CERAMIC SUPPLIES pert you'll find CM to be a valuable source for ideas and for your studio at Order information on pot- tery and enamels. Order your own per- DISCOUNT PRICES Form sonal copies nowH • Buy in quantity • Increase your profits SEND TODAY CERAMICS Ceramics Monthly • Satisfy your customers 4175 N. High St. MONTHLY Columbus 14, Ohio MAGAZINE • Eliminate special ordering

Our quantity discount structure applies to ANYONE buying in quantity. Write for our NEW PRICE LIST. NAME ADDRESS CITY ZONE STATE 200 West Third St., Dept. CM, Plainfield, N.J. [] 1 year $5.00 [] 2 years $9.00 [] 3 years $12.00 manufacturers of: Canada and Pan America add 50c per year for WONMIX & WHITEMIX SLIPS (liquid & dry), WON- postage and service. Foreign add $1.00 per year. FIRE GLAZES, SPECIALIZED UNDERGLAZES, WON- [] Remittance enclosed [] Please bill me STROKE, All-purpose KILN WASH.

4. CERAMICS MONTHLY tt¢l Pe Kil, a

NEW 2400 ° t. Hi-fire Kilns These kilns are designed for the ceranfic artist to fire sculpture and stoneware items. No longer is it necessary to have a gas kiln to fire stoneware. The 2400 ° elements and 2600 ° refractories backed by high temperature block insulation give dependable service. Prices quoted on special sizes.

F[ring (- hamber 3Iod~ Width Width ~Heighl: _i3~II:lx 'l'enK,. i Volt~ i ,\~a~s.- i Pri_ce _ .

17~-- -15---x-l-)---~z 15 .... 2l(JU! t ' __2~1~ | 25 l ~252.0(A~

I

~72S i tY* x 36 x 22t,:.~ . 24L~fi~ .! 22 lip $99~5~9

Firing Chal~lllet ~D.~:le.~- Width Width He},~!~L ~ax. TelnL!L V,}jt~, __~ A.r~L~- ...... t'riee

:~L~:!-! - 1;~ x 13 xi3 ~ _ :21t~!) ° .. _ ~2(, _j ~, ._[ ...... $;~25:(!(!

~5S 15 x15 .~ 15 "! 2400 ¢ _ 22U ! 25 ._ $425.00 1 ! i 58S 18 x 1~ x L7 21U0~ . 22o ~ :35 j $5~5.00 Model 88S i 222S 221/.~ -\ 22'/2 x 22~2 i 240U~ 221) i 50 $1295.00

226S .~,~1:~ x 22~.2 x 36 2i00~ ~(t ~0 ~1595,Q0 C.ompJete hne o} ceramic arf matetiais, supplies anO equipmen,* available for Schools~ Insfi÷uflons and *Model 33S is a bench model. All larger models have floor stands. PYROMETERS AND AUTOMATIC CONTROLS AVAILABLE Craf* Cen÷ers. Send far I:REE cataio~ FOR ALL OF THE ABOVE MODELS

m odel ceram,cs" ,nc: : Factory Representative f0~ 7 7 0 N i M a i n ~ e e t kr Re - W are-~ t'roeue" t s...... " : : :i :

APRIL, 1957 5 awards his student a prize, isn't he pat- that many of the criticizms you receive are ting himself on the back a bit too much? not valid for a magazine which strives I hope you don't limit your letters to to serve all tastes. the editor too much, for they are just ~/'F.R N ER WESTPHAL fascinating ! Colombia, S.A. ZORA PEROVICH St. Louis, Mo. Dear Editor : EARTHENWARE AND STONEWARE . . . • "Letters to the Editor" on the subject of • . . 1 would like to add my comments Dear Editor : stoneware, earthenware and jurying con- to those of your other subscribers about Let me say that I agree with Mrs. Sills tinue to arrive. They will not be "limited CM's contents. In the main, I like it ['.'Open Letter," December]. It is about too much"; we hope their publication will very much• However, I, too, have been a time someone said something about these help bring about a meeting of the minds little concerned when it seemed that some Stoneware potters. They think they are and a constructive conclusion. of your recent issues were going over the only artists, especially those that judge Please remember, all letters must be to the . . . flowered candy box. hobby pottery exhibitions. signed. Names will not be published if you sort of thing• It is nice of Mr. Ball to point out that so request, but anonymous letters cannot Along with many of your or~.ginal sub- Earthenware can also be beautiful . . . be considered [or publication.--Ed. scribers, I welcomed the advent of your I hope he will remember this if he juries publication as an aid to those of us who another exhibition• QUICK HENRY, THE FRIT are more seriously interested in advanc- My friends and I have decided to boy- ing the scope of pottery and ceramics. cott the ceramic exhibition in Florida this Dear Editor: • . . I have found CM to be very help- year. We can save work and express A customer ordered Frit #33, and I ful and interesting, but would like to see charges for we know our poor old Earthen- have been unable to locate a source for it. more articles on stoneware, porcelain, ware pieces, that are beautiful to us, This is the frit used in making Raku glaze architectural and garden uses, bodies, don't stand a chance . . . With the evi- as described in the article, "Make your high-fire glazes, . . . and also more adver- dence of past exhibitions stoneware pot- own Raku," February issue . . . tisements from suppliers of high-fire ters will win the awards. WILLIAM DYKES materials. Mr. Editor, now at last, with these let- The Potter's Wheel So keep up the good work and don't let ters you are waking up the down-trodden Westport, Conn. us down by turning into one of those Earthenware potters. I hope you will give • The red-faced editors regret the omission junky magazines catering to the girlie them a chance to be heard. of this information. Frit #33 is from O. shoppie sort of ceramics. Leave that to DICK P. BEGKER Hommel, Pittsburgh, Penna.--Ed. the others• Lincoln, Neb. DORIS ALEXANDER Dear Editor: PANS AND FANS Pennsburg, Pa. I have read with interest Mrs. Sills' Dear Editor : letter in defense of earthenware and Mr. • . . Thanks for the efforts you make Dear Editor : Ball's excellent reply. To me, these items with CM. I subscribe for my wife who Just wanted to say that my husband make CM alive--let's have more. is a studio potter. She studied ceramics and I are avid readers of your magazine• I would like to raise the question about in the Academy of Arts in Berlin and In fact, we just can't wait for the next student work being included in national always finds some articles which parti- number to arrive! . . . We are both exhibitions; usually student work is con- cularly interest her. It is clear that you strictly in the hobby class, and we find trolled by the instructor. Naturally stu- have to write for thousands of hobbyists CM is almost a "bible" to us . . . dent work would look like the instructor's as well as a few purists . . . (in order DULCIE LANCASTER work. If the teacher is a juror and he to succeed as a magazine). So I find Edmonton, Alberta, Canada For School Projects in Ceramics

A~~RNIA'S FINEST PREPARED READY TO USE CERAMIC COLORS"

Has prepared 2 school groups of selected, ready-to-use colors that are intermixable! 8 underglazes-from which 40 different shades can be obtained! 9 glazes-intermixed will give 52 beautiful color tones! Instructive Literature will be sent only to teachers requesting same on School Letterhead. Ceramichrome's prepared colors eliminate common losses Manufacturers of: 3 TYPES OF UNDERGLAZES--Tranz, De- due to trial and error as they are prepared by competent tails and Regular Underglazes • SEMI-TRANSPARENT ceramic technicians who engineer these fine products to per- GLAZES • SEMI-MATT • BEAUTY-FLO • OPAQUE • MATT • ART • SPILLS • PATTERN BASE • RED ART • form under all conditions. CERAMI-BLOB8 GLAZES • KLEERMATT • KLEER KRACKLE Ceramichrome colors are the solution to promoting a more • BLU-WHITE CHINA MATT • SATIN MATT CLEAR and 001 BRUSHING CLEAR GLAZES • MEDIA • MENDER • balanced and successful ceramic school program! Let us TRANZMASK • MENDSWARE • GLAZE THICKENER assist you in setting up your ceramic class program. • PALLADIUM AH-B Complete Ceramic Supplies for SCHOOLS--HOBBYISTSuSTUDIOS and POTTERS

CERAMICHROME =.boratories School Dept. CM Phone Axmlnsfer 2-0781 2111 W. Slauson Ave. Los Angeles 47, Calif. * CERAMICHROME--MEANS CERAMIC COLORS

6 CERAMICS MONTHLY /:~\ UL APPRQVEU I;QK I'UUK t'KU ! I:~ ! IUN _~ 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! TOP LOADERS ~;! 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNA- t GLOW porcelain element holders... 4-way switches • . . 2 peep holes . . . pilot lights . . . and they are designed with your safety in mind. MODEL Um

ENAMELING KILNS Price includes Pyrometer, TEMPERATURE HOLDING Input Control Switch, Gravity Door, ENAMELING KILN Pilot Light, and Patented Dyna-Glow Can Also Do Ceramics! Porcelain Element Holders. Attractive . . . Plugs in anywhere! p|US $2.00 ¢rating ichatge; $7& 80 MODEL E49 ~ Chamber size: 4" x 8 2" x 8 z"

WRITE FOR LITERATURE MANUFACTURING COMPANY CHESTER 11, PENNA. DEALER INQUIRIES INVITED

APRIL, 1957 7 The Ce,.c,micShow Natio,,

DON'T MISS ,., BIGGEST. MOST INTERESTING CERAMIC SHOW OF ALL TH~ FIFTH ANNUAL EASTERN CERAMIC HOBBY SHOW of 1957 Sponsored by Ceramic Leagues, Inc.

CONVENTION HALL MAY 4- 9 ASBURY PARK, N.J. Show opens on Saturday Daily 2-10 pro; Sunday 2-7 pm

Features Include

Lectures By John B. Kenny

"How To Do It" Ceramic Workshop (Open to Studio Owners and Hobbyists)

-~ Hobbyists Competitive Exhibit

Photo taken at 2:00 p.m., Wednesday afternoon, opening day of Fourth Annual Eastern Ceramic Show, May, 1956 FOR INFORMATION CONTACT

CO NV E NTI O N HALL, A S E U RY PARK, N. J. P H O N E P RO S P E CT 5-0900; 6. 6260

8 CERAMICS MONTHLY from our readers

GLAZE CATCHER cleans the mold without in- When spraying glazes, you troducing the danger of always get over-spray. If you scratching. Of equal import- use a large cardboard carton ance, it eliminates the need or other improvised spray for a damp sponge for clean- booth, try draping a sheet ing which would make the of vinyl plastic inside. The mold wetter and cut down overspray will cling to the on the number of casts ob- plastic background; when it tainable in one session. dries it is easily brushed off -Mrs. Forrest Witt and saved for re-use. Hooker. Okla. --Peg Townsend EVERYTHING Tucson, Ariz. TILE DRYER To dry handmade tiles BARE-SPOT without warping, place the FOR ENAMELING APPLICATOR wet tiles between plaster bats. Findings will adhere better If the tiles are quite large to a clay body if the area it is and the bats small, a weight LOW COST KILN to be glued to is unglazed. on the top bat will prove • . for beginner or professional. Fires pieces up fo An easy way to leave a small, helpful. 43/~" diameter and 11/2" high. It reaches enameling temp- unglazed area on the back of ~Bim & Doris Newman a piece of jewelry is to coat Babylon, N.Y. erature quickly and maintains it constantly. All parts are that area with a wax resist easily replaced at nominal cost. SPOUT ENLARGER I find a dampened pipe cleaner to be an excellent NEW BY THOMPSON tool for enlarging the pour- ing spout of a cast tea pot. ENAMEL GLAZE PAINTS These are particularly needed material such as the water A superior decorating medium for painting designs when the tea pot has been soluble waxes (Ceramul A) over enamel base coats. Supplied in kits and bulk cast rather heavily. The pipe commonly used for wax resist form, cleaners are flexible and will decoration. It can be brushed not damage the green ware. on--but here is a simpler way. Mrs. Walter Lade Cut a piece of natural Kearney, Nebr. sponge to the size of the bare ENAMELS spot desired and fasten it to Complete line of enamel colors including opalescents. the end of a small stick. The CLAY DECORATOR sponge is dipped into the wax, A small piece of wire win- touched to the ceramic piece dow screening can make in- METALS and the job is complete. teresting decorations on leath- All shapes and sizes in copper and the new silver plated A particularly handy way er-hard clay. Merely wrap a steel which requires no pre-deaning. to make an applicator is to fill the hole in a bamboo brush handle with toothpicks, FINDINGS then push a straight pin For cuff links, ear rings, brooches etc., and all types of chain through the tiny sponge circle in copper and brass. and into the toothpicks where it is wedged tight. --Lillian Noble ILLUSTRATED CATALOG Nebraska City, Nebr. Write for your copy of our new catalog illustrating our com- small piece around the fore- plete llne. Includes helpful hints and projects on enameling. MOLD CLEANER finger and see what you can After removing a casting do by pressing and scraping. from a mold I wipe the mold --Mrs. A. H. Sanders with a turkish towel. This Ft. Worth, Tex.

Dollars for your Thoughts CM pays $1 to $5 for each item used in ¢hls column. Send your bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio. Sorry, but we can't acknowledge or return unused items.

APRIL, 1957 9 ,"rwo%ld"n'7 FrM57, I using anything but the ~ DON'T Send shaw announcements early--Where MISS t best!" VFLVA-PLY t to Show: three months ahead of entry L__ ..... _1 date; Where to Go: at least six weeks before opening. THIS

WHERE TO SHOW GOLDEN ~national competition CONNECTICUT, NEW CANAAN OPPORTUNITY June 7-july 10 Eighth Annual New England Exhibition sponsored by Silvermine Guild of Artists at the Sih'ermine Guild School of Art. Classes at my Open to residents of the New England states and New York, New Jersey and studio with these Pennsylvania. Ceramic sculpture includ- ed in a" juried exhibition; $4,000 in prizes. Work due May 2. Entry fee, $4 to two great artists. non-members. For prospectus, write the Silvermine Guild of Artists. *MARC BELLAIRE It sticks to greenware INDIANA~ INDIANAPOLIS May 12-June 9 *HILDA GENTRY like a bulldog sticks to Fourth Biennial Indiana Ceramic Exhi- bition at the John Herron Art Museum. MARC BELLAIRE CLASSES Categories include creative ceramics and Week of July 1st. a bone. It never rubs decorated ceramics. Open to Indiana residents. Jury; cash prizes. Entries due HILDA GENTRY CLASSES off. April 23; entry blanks by April 22. Write Week of May 13fh. to the Museum for blanks. Write for particulars and Why don't you send right away far reservations. our trial kit of these prize winning NEW YORK, DOUGLASTON glazes? Regular kit, six assorted col- May 19-June 1 *27th Annual Spring Exhibition of the This year I will again be in ors of 4 oz. jars at only $4.20. Art League of Long Island. For all Special kit of six Velva Ply Art artists. Mediums include small sculpture THE EASTERN CERAMIC SHOW Glazes at $5.20 POSTPAID and ceramics. Fee: $10, includes mem- MAY 4th. to MAY 9th. bership; $5 for non-members. Entry in the two center booths of the forms and work due April 27. For de- center aisle af the very tails write to Woodward Dillon, Chair- man, 44-21 Douglaston Pkwy. "HUB OF THE SHOW" HAVE YOU TRIED Be sure to visit me and say "Hello" WHERE TO GO MOSAIC? CANADA, TORONTO IT'S READY AT LAST April 3-April 28 We have all the necessary supplies "Canadian Ceramics of 1957," spon- THE 1957 PUBLICATION OF THE for this fascinating new hobby. Glass sored by The Canadian Guild of Potters FLORENCE COX GREENWARE, and Ceramic Tiles in breathtaking and The Canadian Handicraft Guild. GLAZING AND FIRING PRICE LIST. colors. We show you haw! All-Canada exhibition at the Royal On- tario Museum. (This price list is intended only to help the thousands of ceramists who ILLINOIS~ CHICAGO write me each year for help in de- CLASSES through April 24 termining prices.) Midwest Deslgner-Craftsmen Exhibition Hundreds of new items added--plus IN at Art Institute of Chicago. Represents the mold makers name after each wide geographic area designated as the piece of greenware. CERAMICS Mississippi Basin. POSTPAID ANYWHERE $2.00 IOWA, CEDAR FALLS through May 5 MOSAICS "American Jewelry and Related Objects DISTRIBUTOR II," Smithsonian Institution Traveling Tru-Fyre Fine Art Brushes Exhibition, at Department of Art, Iowa GJoss-Matic Gold Erasers COPPER State Teachers College. Creek-Turn Silk Sponges Renalssance Coxeraff Gold KANSAS, WICHITA L & L Kilns Amaco Pan Paints Complete stock 0[ supplies for all April 13-May 20 Specialized Ceramics these crafts. If you can'÷ come in The 12th National Decorative Arts and Double B Wood Novelties ,Jane Snead Publications we will gladly ship +o you. Ceramic Exhibition at the Wichita Art Association, 401 North Belmont Avenue. Coxcraff China Paint Ceramics, jewelry, ceramic sculpture, and Coxcraft Palette Knives enamel included in media. Wrica Gold Writing Pens KANSAS, ~rlC I-IITA April 24-28 THE FLORENCE COX 8744-40 W. McNichols, Detroit 21, Mich. Wichita Ceramic Art Society show at CERAMIC STUDIO Kansas National Guard Armory, 620 N. UNiversity 2-9222 Edgemoor. 543 Boulevard. Kenilworth, N. J. (Please turn to Page 30)

I0 CERAMICS MONTHLY Chamber openlnq advan'ced en~neeHng-put-into" th~ese-'kilns: 13" x 13", depth 131/4"; Max. Temp. 2300; Volts 230; Amps 13; Heavy gauge steel frames power pressed to Ship. Wt. 240; Price $149.50 exact dimensions and electrically welded for maximum strength . . . heavy duty four way switches, light weight easy opening lids, high quality block insulation, genuine Kanthal A wiring, and dust free interior coating. Gives your work that Professional finish. If you do not have one-write today for FREE Catalog describing in detail the new Paragon Chamber opening 17 n x 17", depth 18"; Max. Temp. 2300; "S" Series. Volts 230; Amps 28; Ship. Wt. 425; Price $284.50.

WE'RE GROWING--- by LEAPS and BOUNDS! There's not only A reason, There are Many reasons. Here are just a few: Reliability Courteous Dealings Prompt Shipments Complete Stocks And "Name Brand" Merchandise Sold At For a smart, well designed canape dish #S5--Crab Canape--S3.75 Nationally Advertised Prices # fib--Fish Canape--S3.75 ~S2--Crab Earrings--S1.75 CAN ANYONE OFFER YOU MORE? All ~wlds (c) Bee, FOB Rumson, N. J. Add 10% for packing, 50e ~ninimum. No COD's, please. HOUSE of CERAMICS Send for 3293- 3295 Jackson Ave. our FREE Catalog! HEHPHIS 12, TEHH. 70 Oak Tree Lane, Rumson, N.J. k APRIL, 1957 II ABOVE PRODUCTS AVAILABLE AT DUNCAN DEALERS & DISTRIBUTORS EVERYWHERE Write for Complete Distributor List.

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12 CERAMICS MONTHLY ANTIQUE POTTERY for inspiration

by BIM and DORIS NEWMAN

he creative potter seeks out the DESIGN TAKES ITS CUE FROM USAGE. T pottery of all cultures as a source of inspiration. In our museums he can find the finest pieces from EARLY AMERICAN EARTHENWARE many periods on display but unfor- tunately these must be seen through HAS INHERENT BEAUTY AND GRACE. glass. This does not satisfy the potter. He wants to hold the pot, touch its surface, turn it over, run his hand along the inside. To gratify this need, he may buy a few pieces by contemporary crafts- men. There is another, earlier source he might also turn to, and this is the work of American potters of the nineteenth century, whose pieces are easily found, inexpensive to buy, and represent the closest thing we have to a tradition in pottery. These unpretentious jugs, crocks. and bowls, which were made for dailv use, have found their way to antique shops throughout the country. They can be bought usually for a dollar or two. To the dealer such pieces are not valuable, since technically they are not old enough to be classified as real antiques. In addition, the antique- buying public generally prefers porce- lain, even over-decorated and grotes- quely shaped porcelain, to the simple forms and subdued colors of the pot- ter's ware. For an appreciation of functional design the beauty inherent in a jug or crock which took its form from its intended use--let's look at a few examples of early American pottery. Salt-Glazed Stoneware Jug, Ozark Mountain Region This is a wheel-thrown piece with a dark olive glaze over a buff body. The

fine proportions of this jug, pictured ...... old Harris at right, indicate the potter's sensiti- A typical antique shape, vity to form, balance, and unity. The this salt-gJazed stoneware jug pulled handle appears to grow out of from the Ozark Mountains combines the lip, and has a free-flowing plastic balance, unity and form. Further cle- (Please Turn the Page) tails are given in the accompanyingtext.

APRIL, 1957 13 Wheel-Thrown Red Earthenware Vase Daubs of manganese were applied to tt~e body as an underglaze decora- tion. The manga- nese areas show through as vague Mack spots in an overall pattern. The jar was dip- ped in a transpar- ent lead glaze only. partially, I e avi n g the bottom third and foot of tim piece unglazed. This type of pottery was characteristic of New England in the eighteenth and early nineteenth centuries.

Earthenware Skimmer from Pennsylvania This piece was used for separating Two-gallon crock described below. cream from milk. The whole milk was left to settle in the skimmer until cream rose to the top, when it was quality which is well related to the prisingly light in weight, due to thin powerful curves of the jug. Thrown walls and a porous body. directly on the wheel head, this piece was cut off at the base with a wire or Black Whiskey Jug, New York string which left indentations in the There is a fatty black lustrous glaze soft clay. on this small jug. Although the shape is extremely com- Two-Gallon Crock, Upstate New York inon, this piece (pictured above) has a rare plastic Gray salt-glazed stoneware crocks quality. Finger with Albany slip inside were typical ridges are pleas- poured off. The piece is wheel of New York potteries of the last antly irregular. thrown, with hand-formed pouring century. The design was painted with The soft clay of spout and attached handles. Inside is cobalt on green ware. The chicken the pulled handle a brown slip glaze contrasting with pecking corn represented here is a was pressed firm- the light red body. The slip glaze is clue to the original use of the piece. ly to the jug, leav- peeling due to either moisture which Eggs were stored in the crock, sub- ing an indentation has penetrated through an underfired merged in egg preserver (the same of the potter's body, or an unequal coefficient of sodium silicate which present-day thumb where the expansion of body and glaze. potters use to deflocculate slip). The handle was attached. The total effect of the piece is a feeling of relaxation. proportions of the crock are not par- Pitcher, Allegheny Mountains ticularly good because of the very heavy lip and the handles which are Shoo-Fly-Pie Plates, This skillfully thrown pitcher has too thin. Pennsylvania Dutch an unusual salt glaze. There is no These stoneware plates are parti- "orange peel" or Covered Earthenware Jar, Long Island cularly interesting because they can be pitted texture, but stacked, both for firing and storage. rather an uncom- Acquiring this jar was a piece of mon crystalline good fortune, for it has its original structure. The col- cover, a rarity in old pottery. Both the or is a blend of bottom of the cov- transparent to yel- er and the bottom low to brown. We of the jar show have not been able an identical spiral to determine what pattern caused by caused tile pecul- the string which The lip and outside were left un- iarity of this glaze. the potter used to glazed to permit stacking in the kiln. Notice the generous curve of the cut them from the The insides were glazed with beautiful belly, the strong lip and pouring wheel head. A amber to red-brown glossy glazes, on spout. semi - matt brown a brown body. A press mold was pro- glaze covers the bably used in forming the plates piece inside and which were made in two sizes, seven EXAMINING THESE and similar old out. There is a flat and eight-inch diameters. The design stoneware and earthenware jugs inset lid with a small domed knob. is simple and functional, appealing to should give us an appreciation of how The neck and lip of the jar are sharp- contemporary and early American usage determines design--and, in- lv defined. The entire piece is sur- tastes. cidentally, beauty and grace. •

14 CERAMICS MONTHLY MORE on t he MATTER of MOSAICS

Tips on Making, Glazing and Assembling Tessarae

by SALLY GALLAWAY

ou can make five hundred little clay cleanly without distortion, the .a~ims MoNTucx" (January 1955) it y tessarae--enough to cover an slab is ready to be cut. Hold the stick wouldn't have occurred to me that area of about three square feet-- firmly down on the slab and run the soft clay could be glazed but I tried and have them glazed and stacked in knife along it. The stick will not it and it worked. I use a white, talc the kiln ready for firing, all in just only serve as a guide but flatten any modeling clay for tessarae and most a few hours. piece which has a tendency to warp of the glazes which fit this body in the The secret to cutting down on the and also prevent beveled edges. green or bisque stage also work equal- time ordinarily required for tessarae- The tessarae need not be touched ly well on damp clay. My favorite, making is to eliminate the necessity after being cut: the thickness of the however, is a cone 05 mosaic matt for handling the miniature pieces in knife blade separates them sufficiently glaze (the recipe, with details on col- volved. This is the way it can be and the few which may become orants, is on page 32). done: simply lay raw-glazed slabs of joined together during firing can clay on kiln sheh,es, cut the slabs in usually be snapped apart easilv. The system I use for organizing tes- small pieces and without further ado sarae in a mosaic composition permits stack the shelves in the kiln for firing. 5. With a toothpick, remove the arranging and rearranging the pieces The method not only does away tessarae at the corners of the shelf in until the desired effect is achieved and with the usual time-consuming task of order to make room for the posts then cementing the composition in moving the pieces carefully from cut- which must support the next shelf. place as a whole rather than piece ting bom'd to kiln. but also insures Then stack the loaded shelf in the by piece. the use of every available inch of kiln- kiln. (I use ½-inch posts between First, I assemble the mosaic with- shelf space and practically eliminates shelves and fire five full shelves, a out adhesive on its permanent mount- the danger of chipping and warping total of about 500 pieces, at a time in ing board. When satisfied with the the tessarae. my 11" x 11" x 7" kiln.) Small effect--with no more changes to be pieces dry very quickly so the kiln made--I spread rubber cement on This is the entire procedure: may be fired immediately: it is a good (Please turn to page 32) 1. Roll clay into slabs about the idea. however to size of vour kiln shelves. Lift them. leave the kiln with reasonable care, and lay them on door open for plaster bats or a flat board i'n a warm the first hour place. and to fire fairly slowly. 2. As soon as the clay has lost its You can see shine, spray or brush glaze on the t tl e advantage slabs. of the method. 3. When the glaze is dry to the Not once during touch, transfer the slabs to perfectly the entire pro- smooth, clean, flat kiln shelves (I cedure did the scrub all loose kiln wash off the tessarae have to shelves, then turn them upside down be handled! to receive the slabs'. NOW a word on glazes and a t. For the cutting operation, use a system for assem- broad-bladed knife and, as a cutting bling a mosaic. guide, a smooth stick about one inch Until I read Sis- wide and ~-inch thick. When the ter Magdalen MOSAIC COMPOSITIONS shown are by the aufhor. Articles in glaze does not adhere to the stick Mary's article on CM, she claims, whef÷ed her appefife for fhis fype of ceramic and the knife blade goes through the mosaics in CER- worE--and she likes if!

APRIL, 1957 15 nstead of glaze, the ancient Ro- in a ball mill for a long time, per- When a pot is dipped in the engobe-- I man potters commonly used a haps for two days, it becomes a better only once and quickly--it coats the kind of engobe called terra sigillata terra sigillata. Not all clays require surface with the finest of clay par- to finish the surface of their ware. this processing. However, a greater ticles. These lie flat, overlapping each The finish is distinguished by an al- amount of clay must be used for the other, in a manner not to be achieved most glaze-like density, fine polish, slip if it is not ground. in any other way. These factors are good hardness and resistance to Mrs. Peterson deflocculates the slip responsible for the unusual final weather; in fact, two-thousand-year- with silicate of soda,-Calgon water effect. old specimens of the Romans' hand- softener, soda ash or, best of all, Terra sigillata is applied to dry, un- some, durable pottery are still in good sodium hydroxide. As a deflocculant, fired pottery. Working quickly and condition. sodium hydroxide is best when used surely, Mrs. Peterson fills the inside In recent years, quite a bit of re- in a proportion of 0.15 to 0.30 per of the pot with the slip (or a regular search has gone into attempts to du- cent of the slip. glaze) and pours off the excess; then plicate the characteristic rich red color The slip must be extremely thin. she immediately dips the pot in the and other good qualities of the To render best results the specific slip to cover the outer surface (it can Roman finish. Substitutes have been gravity should be 1.2 and this means be sprayed if dipping is impractical). discovered but few have come near a mixture that is practically the same The pot is left standing to drain until to matching the originals. Susan Pe- as muddy water--with a consistency partially dry, which ordinarily takes terson of Los Angeles, however, has like that of milk. After it has been only a few minutes. been notably successful in developing thoroughly stirred, it is left to settle As it dries, the slip takes on a silky engobes which are quite similar to for twenty-four hours. At that time, sheen--an indication of a good terra the old terra sigillata. Her method if the slip is a good one, there will sigillata. When it has become leather is so simple that it is probably the be almost no clear water on top; the hard (in about five minutes), she same as that of the ancient potters. water will still be muddy because of rubs the surface gently with her bare The key is in the fineness of the the very fine, divided particles of clay hands, thereby producing a beautiful clay particles that make up the en- it contains. The coarser and heavier polish with very little effort. gobe. Mrs. Peterson makes her terra particles (actually extremely fine par- sigillata from surface clay. Any sur- ticles themselves) will have settled to The charm of the engobe is in the face clay will work well, especially the bottom of the container. The top satin-smooth polish and the quality one found in a creek or river bed, she half of the total mixture is the usable of the red color when fired. Actually, says. Such clays are usually red-iron part. It is decanted off while the bot- the covering is as thin as a layer of bearing and fire to a red-orange color tom half is usually thrown away as tissue paper; if thicker, it would not which approaches the richness of the useless. work better and perhaps would not Roman slips. The engobe works in its unique work at all. Keep the application thin, the Los Angeles potter advises. She mixes the clay with water to way, Mrs. Peterson explains, because make a thin slip, then screens it so the grinding and deflocculating pro- Most of the usual decorating tech- that roots, leaves and coarse sand may cess separates and suspends the thin, niques can be utilized successfullv be eliminated. If the slip is ground almost colloidal, clay disklets in water. with terra sigillata--sgraffito, wax

AN OLD ROMAN FINISH TERRA SIGILLATA by MARY ELLIOTT I

Her method of achieving the effect is one of the simplest (see text). A water-thin engobe gives the unique finish.

16 CERAMICS MONTHLY Susan Peterson shows some of her pots whose terra slgillata finish strongly resembles old Roman pieces.

~san Peterson tells how to make and use this unique kind of "engobe" on your low-temperature pottery for a rich, red, satin-smooth finish

resist, brush work with stains and firing in this case must be at cone 4 Susan Peterson is wedded to ceramics. glazes, etc. The ware is once-fired or 6. China clays were found to re- Since her undergraduate days at Mills and, since the engobe permits bisque- quire cone 8 or 10 for a vitrified sur- College, she has been in fascinated and t.ype .stacking in the kiln, the opera- face, while black clays worked beau- full pursuit of the craft. It has led to ad- tlon xs particularly economical. Firing tifully at all temperatures. vanced training in ceramics at Alfred Uni- at cone 08 to 04 has been found to be There are indications that the en- versity where she took the M.F.A. degree the most satisfactory. gobe can be used industrially. Since and, finally, to teaching (under F. Carlton Because it is so durable as well as it is not only durable but can be Ball) at the University of Southern Cali- handsome, the finish is a good one colored by the addition of finely fornia where she is Associate Professor of for such ware as plant containers, ground oxides, it. offers an inexpen- ceramics. lamp bases, patio ware. It may well ' sive, practical way of treating tile and She married into the field, too--the in- be used, also, to enhance the surface brick. It can be used to color either dustrial side of it--for her husband, lack of ceramic sculpture. of these materials while at the same Peterson, is a ceramic engineer. "'Pete" At the University of Southern Cali- time providing a harder, more im- handles the scientific side of their potting, fornia where Mrs. Peterson teaches pervious surface. building and rebuilding the home kiln, ceramics, she and her advanced stu- Aside from these special explora- wheels, blungers and other equipment as dents have been exploring the possi- tions with students, Mrs. Peterson needed." bilities of terra sigillata in relation to finds in terra sigillata a highly effec- With their two small daughters, fill contemporary ceramics. They have tive finish for her own outstanding and ]an, the Petersons frequently picnic found that very satisfactory results work as a potter. Her method is in the country--beside a creek or river can I~e obtained when Ball clay is amazingly simple her results, most bed where surlace clay for terra sigillata used to make the engobe but that pleasing to the eye and hand. • can be collected.

APRIL, 1957 17 DECORATE with UNDERGLAZES

J E W E L R Y from broken green ware

demonstrated by MARC BELLAIRE

~ HOBBY decorators who between two fingers and is carefully the eye for hanging around the neck, work exclusively w i t h guided around the penciled outline. or a pin finding can be glued to the cast shapes will be pleased to learn Short up-and-down strokes work best. back for pinning to a garment. This that new shapes can be created from piece, incidently, was made oversize old without too much difficulty. They 4. Any additional cutting or trim- for the purpose of the demonstration, also will be interested to learn that ming should be done now. For an as you may have noticed when com- pieces of broken green ware can be added decorative effect, holes are paring the size of it to Mr. Bellaire's put to good use. drilled by twirling a sgraffito tool be- hands. A jewelry item normally would The "secret" (if you would call it tween the fingers. Care is taken to be made somewhat smaller. that) is the use of a coping-saw blade. avoid excessive pressure which could There is no end of ideas that can This tiny saw blade will cut through crack the delicate green ware. come from this procedure. As you green ware without chipping or break- Careful sponging with a quite- will notice by observing the finished ing even the smallest piece. For this damp sponge, completes the shaping items of jewelry shown on these pages, purpose it is used without the handle of the pendant and rounds the edges. everything from tiny earrings to muhi- and holder. Held and guided with If the piece is excessively thick, it can piece bracelets and necklaces can the thumb and forefinger, it can per- be thinned down by stroking it across evolve. When you create your jew- form the most intricate turns, creat- the face and back with a quite-wet elry, you will no doubt have specific ing a wide variety of patterns or de- sponge. motifs in mind. But don't let this rob signs. 5. The final step is the underglaze you of the fun of letting a broken Let's follow Marc Bellaire step-by- decorating. The same rules apply piece of greenware suggest a motif step as he creates a pendant from a here as in painting large shapes. The to you. Study some of your broken green ware carefully, observing the piece of broken green ware. piece should be carefully cleaned and outline as well as the sweeps and 1. The design to be sawed out is dampened immediately before deco- rating. Abstract decorations, in keep- curves (ifit came from the side of a first sketched with pencil on the green swelling bowl, for example). Let these ware. Here Mr. Bellaire designs a ing with the stylization, are painted in by Marc Bellaire. shapes "tell you" what to make. And bird pendant on a piece broken from don't try to be too realistic. The tech- a green ware platter. 6. Here is the finished pendant nique won't permit fine edge details 2, 3. The tiny coping-saw blade is after being bisque fired, clear glazed and hairline precision. Stick to ab- used to cut out the design. It is held and retired. It can be strung through stract stvlizations. •

1. Design is sketched in pencil on 2. Tiny coping-saw blade (with- 3. Short up-and-down strokes finL piece of broken green ware. out handle) saws around outline. {sh task quickly and safely.

18 CERAMICS MONTHLY "EVERYTHING from tiny earrings to multi- piece bracelets is possible with this technique," says Marc Bellaire. To prove h~s point, he makes just such a variety of examples shown on this page.

CURVED pieces, adding a third dimension to the finished article, are particularly effective. The outer edge of a broken bowl was used for the fish necklace at left, the curved section putting action in the tails.

4. Final decorative effects are S. Abstract decoration is in keep- 6. Glazed and fired, piece is followed by careful sponging. ing with stylized shape. ready for stringing and wearing,

APRIL, 1957 19 CERAMICS DECORATE YOUR GARDEN by NOLA MATSON

ardening and ceramic-ing are my The shape for either type of light combination of ceramics and nature. hobbies and I combine the two can be round or square, tall or squat, G Candleholders are not the only" in arrangements that give me--and as long as there is space for the kind decorative ceramic element in the my neighbors--great pleasure. In my of candle to be used and an opening garden scheme. Sculpture also has its landscaped yard, I have set my cer- for air. Any method of forming the place. But since outdoor sculpture is amics among the plantings, beside holders is suitable--throwing, slab or usually made on a considerably larger "pocketpools," on walls, and where- coil building, draping over plaster or scale than such objects as candle- ever else I want to draw the eye. The in cheesecloth, molds, etc. effect is delightful. holders, firing the work can present One of my lanterns, shaped like a a problem when only a small kiln is Ground lights and hanging lanterns birdhouse, is hung in a small pine which hold fat candles are favorites available. There is, however, a way" tree planted in a tub. This tub has around the problem: the sculpture in my garden scene. Such candlehold- castors so the whole arrangement can ers are very easy to make. The im- can be made in sections and, when be moved from place to place in the fired, glued together as one piece . . . !)ortant thing, for the ground lights, yard. The neighbors like this idea: is a fiat base or pronged foot which when they have an" outdoor party will sit securely in the soil or on a they borrow the tree with its lantern. flat surface; for the hanging lanterns, They also borrow the ground lights. Turn the page to see how Nola Matson a ring or some other provision for This pleases me because it means makes tall sculpture for the garden by the suspending them safely. people in general really appreciate the "sectional method."

20 CERAMICS MONTHLY GROUND LIGHTS for oversize candles can be any size or shape--hand formed or wheel thrown.

iiiii!iiilili~I: i i~ i i Night and Day... Candleholders made from clay provide night time illumination and blend in nicely with trees and flowers

HANGING LANTERNS (for high lights) resemble bird houses. The fiat bottoms make them equally useful for fable-level light.

The ground lights shown close up at the top of the page are two other types of ground lights are shown. The covered-bowl type illustrated above enhancing a garden setting. In the photo at right, (by Christine Thowson) is electrically wired--no wind problem here.

APRIL, 1957 21 THIRTY-FOUR INCHES TALL, this figure was fired in a small-size hobby kiln--in sections--the various sections being glued together later.

PUT SCULPTURE OU1

! '2 3 Flattened coils were used to build the sec- kept them from sticking during the building too-rapid drying of the lower sections. After tional sculpture. Foil between the sections and modeling: plastic wrappings prevented. details were added, the sections were sep-

22 CERAMICS MONTHLY wanted to make a figure about 3 4. The next step was to finish the i feet high for the garden but my head, do the finer modeling required, average-sized hobby kiln was too small and textm'e the clay surfaces a bit. to accommodate a piece that large. Then a small coil of'clay was worked So I planned to make the sculpture in a decorative pattern around the in five sections which could be fired top edge of each section to camou- >eparatelv. flage the joints. Using the coil method, 1 built up 5. When the. l orming and model- hollow sections one on top of the ing were finished, I took the figure other. First came the lower skirt; then apart and stripped off the aluminum the mid-skirt, upper-skirt and bust; foil which had separated the sections. tinallv the shoulders-and-head section. To make sure that all parts would This method of building had a dis- have the same drying conditions arm tinct advantage since I could see the to help avoid warping, the sculpture figure evolve as I worked and make was then reassembled for drying. changes accordingly. Throughout the process, I had of course to be sure to Drying this kind of sculpture is allow for shrinkage of the clay so the a long, slow process, if you hurry it, sections would fit neatly after firing. you can wind up with a mass of clay Even a small kiln can Step by step, this is the wav the humps! I let my figure dry very slowly figure was made: for a month or even longer. After it was considerably more than leather 1. ! used large, flattened coils of hard, I removed the head so that air be used for large clay and formed the bottom section could circulate inside and help the (lower skirt). A small coil was added drying. (All the sections may be sep- at the inner edge of the top rim to arated at this time--for the same ceramic sculpture provide a ledge to hold the next sec- reason.) Finally, the sections were tion in place. The work was then fired separately as planned and then and allowed to stand overnight so the put together once more--this time by making firing clay would become firm enough to permanently--with waterproof glue. stand the weight of the next section. The owner of a small kiln can use piece in Next day, I fitted aluminum foil the sectional method of building for the sections around the top so that. newly added any type of large sculpture. It seems clay would not stick. to me a neat solution for outdoor 2. Each subsequent section was ceramics which tend to be larger than handled the same way as the first the pieces we make for indoor use. one, except that no ledge was re- In other words, there is no need for quired for the head. A plastic wrap- letting a "hobby-sized" kiln keep you ping was used to keep each finished from doing grand-scale pieces! part from drying out too fast as work The main point, however, is not on the next section progressed. the size of your outdoor ceramics. 3. When the basic figure had been They may be sculptured pieces or completed, details such as the facial candleholders or any of innumerable :)OORS features were filled in. Then the arms other possibilities. The point is that were added. Meantime, the top of whatever the form, you will find ce- the head was left open and unfinished ramics go beautifully with nature, even to give that section a chance to drv if the setting is the most modest of somewhat. back yards. •

4 5 arated, the fall removed, then the pieces onstrotion sculpture is at the right: another reassembled for drying. The completed dem- sculpture, in its setting, on +he facing page.

APRIL, 1957 23 ENAMELING: CLOISONNE PLAQUES as demonstrated by NELLY ALLAN

loisonnc enameling -- the tech- become embeded in the flux. If, dur- C nique of filling wire-enclosed ing the process, any of the wires spaces with enamel colors--is one of should pop up, they will be quickly Nelly Allan's favorites. She uses it pushed down again with two rounded for jewelry, trays and many other knives. It is better to underfire this accessories. In the photo sequence time; it may result in a cloudy back- shown here, we follow her through the ground but the flux will turn golden process of making a plaque for the and transparent in the second firing. top of a box, beginning with a de- tailed plan on paper and ending with 5. Making ready for enameling: the plaque set permanently in place. Each enamel color, well washed, is in The motif she chooses is a pair of an individual shallow container (bot- dancing figures but the basic method tle cap). Water (or gum solution) she uses in executing the design is is added, drop by drop from a syringe, applicable to any motif and to almost and the mixture stirred to a thick any object one might care to make. paste. Now all is in order for inlay- Whether the plaque is small as for a ing the enamels. The color sketch pendant or larger as for the box top, and the fired, cleaned plaque stand Nelly likes to frame it with a bezel. at the side. 1. Planning the motif: A fully de- 6. Inlaying the enamels: Now the tailed paper sketch is prepared to wire-enclosed spaces are filled with serve as a woi-king guide. Heavy out- wet enamel. These are laid in with lines show where the copper-wire a blunt-nosed dental tool, then flat- "fences" are to go and the colors for tened with the tip of a moistened the enclosed spaces are also suggested paintbrush. The areas are built up in the sketch. With one exception the slightly higher than the wire parti- enamels to be used will be opaque: tions since enamel sinks in firing. red for the boy's jacket, girl's skirt When all the spaces are well filled, and bow; blue for trousers and blouse; the plaque is fired until the enamel black for hat and boots; white for becomes glossy. stockings and skirt trim; chartreuse 7. Making the bezel: The enameled for hair. Hands and faces are to be top is to be set in a bezel, or frame transparent pink. c~f metal. In this case the bezel con- 2. Preparing the wires: The out- sists of a narrow strip of 26-gauge lines of the sketch call for ten pieces of copper (¼-inch wide and about 11 wire altogether. These are cut from inches long). The strip, after anneal- soft, 20-gauge copper wire and bent ing, is bent to fit the plaque. to shape with nose pliers. If handling 8. Soldering the bezel: First, the makes the wire pop up, it can be set ends of the strip are hard-soldered to- against an iron stake and flattened gether; then the bezel is set on the out again by light tapping with a box itself, secured with wire, and wooden mallet. As each piece is soldered permanently in place. shaped, it is laid in place on the 9. Now the plaque is set snugly into sketch. the bezel. The bezel is then mitered 3. Attaching wires to base: The at the four corners and, with the help metal base for the cloisonne has been of a burnisher, the top edge is turned cut from 16-gauge copper and is 3 in on the plaque, holding it securely inches by 2y2 inches in size; the back in place. The last step in the process has been counterenameled. The top is a final cleaning of the bezel and surface is coated heavily and evenly the copper wire of the cloisonne. with flux, but is not yet fired. Now The completed box top and three the wire shapes are lifted one by one of Nelly Allan's pendants are shown from the sketch and set carefully in on these pages. Notice how she has place on the flux-covered base. Eye- used the bezel in all cases as a finish In her three pendants, Nelly Allan brow tweezers make a handy tool for and frame for the plaque. used a simple design and a relatively lifting the wires; and support for the working hand helps in this step. The comparatively easy way of easy cloisonne technique. With this making cloisonne demonstrated here combination, even a beginner can ex- 4. Firing wires to flux: After only a is one in which even the beginner can pect success. couple of minutes of firing, the wires expect to be successful. •

24 CERAMICS MONTHLY 1. Line and color sketched on paper 2. Wire cut and bent to shape 3. Shaped wires set on flux-covered base

4. Firing embeds wires in flux 5. Enamel powder is made into thick paste 6. Enamels (colors) are lald in

7. Copper sfrlp is cut for bezel 8. Bezel (frame) is soldered to the cover 9. Plaque is set snugly in bezel

Completed box with plaque in place. Note how Nelly Allan uses bezel, on the box and the pendants on the opposite page, as both a finish and frame for her enameled plaques.

APRIL, 1957 25 Strictly Stoneware ... slips and engobes

by F. CARLTON BALL

THE TERMS, "col- difficulties will be over. If none of to adhere, l)uring firing, the borax ored clay, slips" and them fit, try the engobes suggested fuses first and produces a sticky layer "engobes'" are synony- later in this article to see if any of of material between the body and mous. A colored clay them will do what you wish. And if tile engobe, in this wav helping to slip .is to all intents that fails, choose from among your hold the engobe on the pot in and and purposes the same tests the white clay that came the after firing. as an engobe and vice closest to fitting the red clay and ad- Many stoneware bodies are dark versa. "Engobe" is a just it to fit. There are materials which can be in color. Such bodies give some of French term meaning the most beautiful of effects especial- to envelop. added to the white clay to cut down its shrinkage, and other materials ly when decorated with engobes. Dark When a colored slip clay calls for a light-colored engobe; is used to completely which will make it shrink even more. Choose a single material or a combi- and usually a potter has one that will cover a pot, it is called an engobe fit his dark stoneware clay--an en- because it envelops the pot. That be- nation that will make your clay fit. White clays, each having more or gobe that is quite white because of the ing the case, an engobe becomes a Ball clay and China clay in it. less shrinking capacity, can be added. "clay slip" when applied only to local If such an engobe is applied heavily Kaolins will not shrink much; plastic areas of a pot. In neither composition it stays white through the glaze firing. kaolins will shrink a bit more. Ball nor method of application is there any But many artist-potters would wish to clays will shrink a good deal, some difference between engobes and color- decorate the pot with direct single ed clay slips. of them more than others; and ben- tonite will shrink very much--prob- brush strokes of the white slip--and this is a highly effective way of en- There are as many compositions of ably too much. colored slips or engobes as there are Flint is one of the materials which riching the surface. A nice, thick potters. In general, the best engobe will keep your clay from shrinking as transparent glaze over such a pot should be beautiful but frequently the to use is one made of the same clay much as it ordinarily would by itself. design disappears in the firing and as that used to make the pot--with Fine grog would work the same way the potter's time has been wasted. appropriate color and water added to but would not be as good an ingred- A white-clay-slip design will not make it into a slip. By following this ient to use. Feldspar counteracts dry- disappear nearly as much if a trans- practice, the problem of fitting the ing shrinkage but increases firing parent glaze is applied very thinly slip to the body is eliminated. shrinkage. over the pot. There is a disadvantage, Each kind of clay acts a little dif- The appropriate material, depend- however, in using a thin layer of ferent from any other and each clay ing on whether you want to increase transparent glaze. The pot when fired shrinks differently, so it is quite a task or counteract shrinkage, should be appears to have been varnished; the to find one kind of clay that will make added to the white clay of the engobe beauty that goes with a thick glaze a satisfactory engobe for use on an- in percentage quantities. For example, is lost. other kind of clay. This is especially if a kaolin is being used for the base This, I think, is what happens: true if one is seeking a white-clay material and it doesn't shrink enough, when the glaze is mohen in the kiln engobe for a red clay pot. a ball clay could be added in varying it dissolves some of the alumina and The easiest solution is to use a buff amounts--let's say, 5, 10, 15, 20 and silica out of the body of the pot and body; or use a buff clay in the body 25%. After making and firing tests, some of the surface of the pot goes and color it if the buff color isn't sat- you should have an engobe which into the molten glass of the glaze. isfactory. Then the buff clay can be comes closer to fitting; another series If, perchance, the surface of the pot the lightest color in the clay slip and of similar tests should completely has a nicely painted engobe decora- coloring oxides can be added. The solve the problem. tion, it too is absorbed into the glaze lighter colors such as yellow, light If a ball clay is being used as the and disappears from sight. There may blue and light green will look well base material for the engobe and it be other or additional reasons for with a buff clay as the base of the slip, shrinks too much, run a series of clay slip to lose its opacity, but the but they would not be good if a red- tests with flint added in varying important thing is that it does tend clay base were used instead for the amounts ranging from 5% through to disappear under a glaze especially engobe. There is no problem of the 25%. When these tests have been at stoneware temperatures. engobe's fitting the clay body because fired with a glaze over them there the clay for the engobe is the same as should be one which is so very close This "fault" in your engobe or clay that used for the pot: both will shrink to fitting that it can easily be cor- slip may be corrected by the addition equally during drying and firing. rected. of a percentage of your favorite zir- If it is necessary to make a white: The addition of 5% of powdered conium opacifier. It is possible to add engobe which will fit a red clay, there borax to your engobe can help it to 50~ of zirconium to a batch of en- are several ways of going about it. fit. Borax is soluble so, when a slip gobe and this is the percentage I pre- First, try all the white and light-buff containing it is painted on a pot and fer. Make tests by adding five different clays available to you; make slips of the slip and pot dry, the borax sets amounts of zirconium oxide to your them and put them on the red clay; up a thin skin of borax crystals be- engobe. For the first test, add 10%; fire and glaze the tests. Perhaps one tween the surface of the pot and the the second, 20%; then 30, 40 and of these white clays will fit and your engobe and this helps the engobe (Please turn to Page 30)

28 CERAMICS MONTHLY Joseph Trippetti, Manchester, N.H., top prize in enameling for S" x 7" cloisonne which also wan the Thomas E. Thompson Purchase Award. SHOW TIME Fifth Annual Miami National

SINCE. IT BEGAN FIVE YEARS AGO, the number of states represented in the Miami National Ceramic Exhibition has grown from 10 in 1953, to 33 this year. More than 650 pieces were submitted to the jury of the Fifth Annual Miami National Ceramic Exhibition, sponsored by the Ceramic League of Miami. The 147 works selected by the judges were exhibited in March at the Joe and Emily Lowe Art Gallery, University of Miami. Follow- ing the exhibit, the top 57 pieces from the competition will be circulated among mt~seums and galleries in the South. A total of $9,625 in prize money was awarded to winners in four categories--cer- amics, enamels on metal, two-dimensional de- sign, and ceramic sculpture--with several prizes in each category. The $500 Beaux Arts Purchase Award, the top prize of the show, was given to Paul Soldner of Claremont, Calif. Anne Chapman of Oxford, Miss., won the special earthenware award for her sculpture, "Affinity of Man" (not illustrated). CM's Kathe Berl (The Enameler's Column) re- ceived third prize in the enameling division "Girl With Folded Hands, by for her bas relief plaque. • Frans Wildenhain, Rochester, N.Y.; First in ceramic sculp- ture (21" tall wlth base).

Paul Soldner, Claremont, Calif.; Beaux Arts Purchase Award, top prize in show, far a thrown black and Frans Wildenhain also won the top award in two-dimen- white floor vase, 52" tall. sional design far his 21" file mosaic (above) "Life in the Woods." First prize in the ceramics category went to John Mason, Los Angeles, far 15" vase (left).

APRIL, 1957 27 make a GARDEN PLAQUE

by MILDRED and VERNON SEELEY

n spring a ceramist's fancy turns to I planning decorative pieces for the outdoor scene. Here is a project which POINTS-OF-THE-COMPASS MOTIF--made mosaic style. can be incorporated as an unusual, attractive element in the patio wall, garden walk or any flat surface. It is a plaque made up of several cer- amic shap'es--a mosaic, in fact. The first thing to do is plan the plaque on paper (we chose a points- of-the-compass motif), then make a pattern of the design on strong paper such as wrapping paper. Now we proceed to make the plaque itself. (In the step-by-step photos, incidentally, you will see three different motifs being worked on. This was for photographing conven- ience; we hope it will not prove con- I. Slip poured into clay dam on bat 2. Design traced with pencil fusing.) 1. With modeling clay, build a half- inch-high dam around the edge of a large plaster bat (or use a mold with a flat side). Pour slip on the bat to a depth of % inch--the dam will pre- vent it from leaking out. Be sure the slip lies level so that the slab it makes will be equally thick throughout. 2. When the clay slip has hardened enough place the paper pattern on it. Trace the design with a pencil, using enough pressure to indent the clay. Use a ruler as an aid in making straight lines. When the tracing is finished, remove the pattern care- 3. Sharp knife used to cut clay 4. Pieces ready for bisque firing fully. 3. Following the outline, cut through the clay to the plaster with a sharp knife, cutting straight up and down (pieces fit together better if not cut on a slant). The ruler is a help here, too, in keeping lines straight. If desired, the clay may be textured or imprinted at this point. Do not remove the cut sections, however, until they are dry enough to release easily from the plaster; in other words, leather hard. Now they may be smoothed as needed with a damp sponge. To make it easier to put the plaque together later, it is a good idea to 5. Sections glued with ÷i]e cement 6. Grout worked into all cracks (Please turn to page 34)

28 CERAMICS MONTHLY CERAMICS for the artist potter uestlons by F. H. Norton

emuluctpd by K E N S M I T H

~. A ,mall image ,culptured in ,oap :ca, ,e,t to me with the request that I make a pla,ter mold [rom it. I [eat that it cat, not be done ~uceess[ully because o[ the ,oap clogging the pore,, o[ the mold. What is )'our opinion? ,6.. Good news for the soap carver it is doubtful that the soap will harm the plaster mold in any way. After all, pro- fessional mold makers use soft soap as a parting compound. You might wish to polish the soap carving with a cloth to get a good smooth even finish and then pour plaster directly on it. It should release quite easily.

¢~. Can the prepared dr)' clay body I use /or making cast- ing slips be used to produce a plastic clay [or hand modeling ,culpture and potter),? &. A clay body made specifically for casting will not usually be as plastic as one made for modeling. It may also already have defloeculent added, which would tend to make it less work- able. It can be used, however: why don't you try it and see if you The most complete book on ceramics! From (:an get satisfactory results? choosing the proper clay to putting the final touches on a piece of pottery, each operation is explained ~. 1 ata making wulpture for u,~e out-of-door,~. Is a special clearly and simply and is illustrated fully with h,i~h requited to prevent it from zceathering? photographs and diagrams. A. The piece must be waterproofed to prevent it from The first half of the book explains how-to-do-it suffcrina danmoe durino_, freezing weather. The best way, of operations for forming, finishing, and decorating. course, is to be sure the clay body is extremely well vitrified and The second half goes into more advanced discus- to u laze it. Surface finishes other than glaze will also prove sat- sions of clays, molds, decorating, glazing, etc. isfactory. These include plastic materials, wax and others. A superb teaching guide and reference book! The impartant thin~-, if I may repeat, is to be sure the The author tells what the artist potter does and body is well vitrified. why he does it. 320 pages; 471 illustrations; 7" x 10" format. DeLuxe Edition $10. Q. I haz:e made "jewels," as recommended by ]o Rebert in the "'Copper Enameling Handbook" and have difficulty because CONTENTS o[ the kiln wash sticking to the backs of the mounds o/ glass. Introduction Principles of Design Elements of Glazing Forming By Hand Application of Design Compounding Glazes This is most difficult to clean off; do you have any suggestions? Forming On the Theory To Pottery Maturing and Fitting Wheel Clays Glazes A. We have asked Mrs. Rebert and she suggests that per- I:ot'ming By Casting Nonplastic Ceramic Practical Glazes haps you are using too thick a kiln wash; she uses a kiln wash and Pressing Materials Color and Its Meas. Finishing Ceramic Bodie~ Ceramic Stains thinned to the consistency of a water color. Overfiring can I)rying Preparation of Special Methods of Biscuit Firing Bodies Decoration cause this difficulty too. Underglaze Dec. Mold Making Pottery Equipment Mrs. Rebert stores her glass jewels in water for some time Glazing Te~nperature Mess. Laying Out the Glost Firing Ceramic Sculpture Pottery before using them which may make the removal of the kiln Overglaze DecoratioL Control of Shrinkage, Good Pottery: Past Historical Warpage, and and Future wash easier. The few jewels which are difficult to clean might 1)evelopments of Cracking Glossary of Terms better be thrown away. Pottery

Q. Can you tell me where to buy the liquid rubber latex uwd [or the rubber resist decorating technique. I haven't been Book Department able to find it listed in my collection o[ supplier's catalogues. Ceramics Monthly A. This material is available from most of the supply 4175 N. High St. houses under readily recognizable names such as rubber resist, Columbus 14, Ohio rubber latex, liquid rubber, etc. Some companies have developed Please rush my copy of CERAMICS for the Artist their own trade names for this same type of material. These Potter by F. H. Norton. Remittance of $10.00 en- names usually incorporate the word "mask." For example Cer- closed. (Ohio residents add 3~ sales tax.) amichrome calls theirs Tranz-mask. Mayeo is Mayco-mask, etc. Name ...... ] I All subscriber inquiries are given individual attention at CM; and, Address ...... [ I I out of the many received, those of general interest are selected ! for answer in this column. Direct your inquiries to the Questions City ...... Zn ...... State ...... j | Ediforl please enclose a stamped self-addressed envelope. I !

APRIL, 1957 29 Itinerary Big annual hobby-trade shows of the CERAHASTOtlE (Continued from page 10) ceramic field will be held this year at JEWELRY MIX A Self-Glazing Clay Asbury Park and Chicago in May. On Mix With Water--Fire At Cone 06 KENTUCKY, LOUISVILLE these occasions manufacturers and Turquoise, Dark Blue, Chartreuse, Gun- dealers put on display, for the benefit metal, White, Beige Pink, Purple. Spring through April of hobbyists, all that is new and/or Yellow & Brown Exhibit of work by residents of Kentucky useful in the way of supplies and equip- V2-1b. portion--S1.00; instructions included and Southern Indiana, sponsored by the ment--glazes and underglazes, enamels, NEW--Handbook of Jewelry Making & Art Center Association, at the J. B. kilns, molds, tools, brushes, etc. Con- Speed Art Museum. Crafts and sculp- current with each show is a competitive Design featuring CERAMASTONE--$1.00 ture included. SPECIAL~l-landbook Free With $5.00 exhibition with prizes and a wide range Order. Please Specify Colors. MARYLAND, BALTIMORE of classes. (Postpaid Cont. U.S.--Colo. Res. add 2% Sales Tax) through April 21 EASTFRN CERAMIC HOBBY SHO'~V Regional Exhibit for Artists and Crafts- Convention Hall, Asburv Park, N.J. The Pottery Workshop men at Baltimore Museum of Art. May 4-9 CHIPITA PARK, COLORADO MICHIGAN, MUSKEGON Sponsored by Ceramic Leagues, Inc. Trade exhibits, demonstrations, com- May 5-May 26 petitive exhibit. Ceramic And Copper "New England Crafts," Smithsonian In- stip4tion Traveling Exhibition, at the GREAT LAKES CERAMIC HOBBY Enameling Supplies Hac'k!ey Art Gallery. EXHIBITION Wholesale-Retail NEW HAMPSHIRE, DURHAM Conrad Hilton Hotel, Chicago April 8-30 May 26-30 RE-WARD [I PERMA-STAIN New Hampshire Arts and Crafts Exhibi- Sponsored by Great Central Ceramic Distributor Distributor tion (contemporary) at University of League and Michigan Ceramic Deal- Dealer Inquiries Dealer inquiries New Hampshire Library. er's Association Trade exhibits, dem- Invited Invited onstrations, competitive exhibit. NEW YORK, BUFFALO tll~.e through April 14 :IEPO T T 1:!-:IEl[l[l 23rd Annual Exhibition, Artists of Wes- tern New York (14 counties), at AI- PENNSYLVANIA, PHILADELPHIA W I--I "~-'l='e-L bright Art Gallery, Buffalo Fine Arts May 17-June 9 Academy. '"14rends in Philadelphia Sculpture" ex- Boston Post Rd. -- Westport, Conn. hibition sponsored by the Philadelphia NEw YORK, NEW YORK Art Alliance, 251 South Eighteenth St. April 3-13 Sculpture in all media. "Ceramics '57, Home--Office--Show- unusual glazes room," exhibition at the Greenwich "~'AS H INGTON, SEATTLE two more MAYCO glazes of un- House Potters, 16 Jones St. May 1-May 22 "American Jewelry and Related Ob- paralleled beauty. Autumn Gold and OHIO, CUYAHOGA FALLS jects," Smithsonian Institution Traveling Russet Green are New! May 17-19 Exhibition. at the Seattle Historical Ohio District Ceramic & Hobby Show Society. at the Chesterfield Hotel Inn. ~VIscONSIN, MILXVAUKEE OHIO, TOLF.DO April 28 May 5-May 26 Annual Ceramic Hobby Exposition pre- 39th Annual Exhibition of Toledo Area sented by the Badger Ceramic Associa- Artists, sponsored by the Toledo Federa- tion at Mitchell Park Pavilion. 524 S. tion of Art Societies, at the Toledo Layton Bh,d. Work of Wisconsin hobby- Museum of Art. ists.

Strictly Stoneware engobes which can be used on stone- (Continued from page 26) ware (cone 6-11'/: 50%; and brush the five engobes on # 1 White Engobe a pot. Try several transparent glazes Edgar plastic kaolin ...... 34.0% over them to see which engobe is the Feldspar ...... 17.0% GENERAL CERAMIC SUPPLIES Flint ...... 17.0% FOR most desirable and dependable. A zirconium opacifier works very Bentonite ...... 3.4% • Schools • Institutions • Hobbyists Zircopax ...... 28.6% FREE CATALOG well in most engobes without disturb- ing the fit and the clay slip remains #2 Roder Ceramic Studio white under a thick layer of transpar- Nepheline syenite 20.0% 1331 Race St. Philadelphia, Penn. ent glaze. Because of this, a white en- Kaolin ...... 25.0% gobe can be brushed in single strokes Ball clay ...... 20.0% over a dark clay body, in a beautiful Flint ...... 30.0% decorative manner, and the glazing Borax ...... 5.0% #3 and firing in an oxidation or reduc- tion atmosphere will not ordinarih- Edgar plastic kaolin ...... 25.0% destroy the design. Imperial ball clay ...... 20.0% KILN JOY ,]. E~ To make an engobe handle in a F4 Feldspar ...... 20.0% WArCaES OVER YOUr, Flint ...... 30.0% KILN ] I better way, to make it flow from the Saves time and energy![ Borax 5.0% Rugged, Simple, Reliable~works td] brush in a Inore silky fashion, a little on cone principle. Guaranteed to Ill shut off kiln automatically. III glycerine can be added to the engobe. Next Month Mr. Ball will continue his See Your Dealer or Order Direct If you find glycerine too expensive or discussion of engobes and clay slips. He KILN JOY ...... $17.95 PPD. difficult to obtain, try some corn will present additional recipes for engobes, Optional: Warning-Buzzer Kit $12.95 Ppd. syrup or honey in the slip--either will amounts and kinds of coloring oxides for ]:'OLDER ON REQUEST different colors, recipes [or covering glazes, MASON INSTRUMENT CO. improve its painting quality. and other fundamental and practical in- 29 ELM AVE., MT. VERNON, N. Y. The following are some of the base formation. 30 CERAMICS MONTHLY turalistic China Painting: Light and Shadow (Part 3)

by ZENA HOLST

Mrs. Holst's light and ,~hadow aerie~ be- lightcst tints first and progress into gan in ]anuary when she explained color the darkest shadows, then brush out Silk screen printed with Versa-Colors values. Last month she gave some help[ul reflection lines very quickly before the hints on shadows and ways of achiez'ing a colors "set." Use an open (slower- The silk screen process offers great poten- three-dimensional effect. In her concluding drying) "medium for mixing back- t;alities for creative ability and craf÷smam article this month, she difcusws highlights. ground colors and for applying (refer ship. And, it is a simple, inexpensive, and --Ed. to "Mediums," July 1954). If the easy method for producing in, a~uantity. first undertaking is not entirely satis- Highlights Versa-Colors were developed especially for factory do not hesitate to wipe the silk screening on any fired, glazed or metal Highlights seldom are left pttre whole thing off and start over. Try- enameled surface. Other methods of applica- white in the final finish but are sof- ing to retouch a wet background tlon are airbrushing, stenciling, and free tened with subtle tints when the ob- makes a messy job; any portion may, brush. The 8 ready-to-use tube colors have ject is ready for the last firing. The however, be retouched for the follow- a brilliant sheen when fired ÷o 1328 ° F. values of these tint colors depend on ing firing. Write for instruction for constructing a silk the intensity of the basic color in that The final step in preparation for screen frame, and information on using Versa- area. The highest point of the center the second firing is to paint over Colors for the printing process. mass, even though the design seldom the leaves and flowers with thin is placed in the center of the plate, washes of the colors necessa W to is the area that is painted last for bring out the forms. Be sure to re- each firing. This area contains the tain the contrast of light and shadow most prominent highlights. Tips and in the contours of the lines. Intense edges of any leaves or petals that are hues in certain parts of the petals in the upper section of the study are of the flowers will need strengthen- also strongly highlighted. ing for more depth, especially if the The method of holding highlights petals are cup shaped. in china painting is the same as that used by water colorists (I first design Subsequent Firings all my original studies for china paint- Finishing details such as centers of ing with water colors. Experiments blossoms should be left for the third in washes of black and gray values on firing. A second coat of gold can also white paper are good practice for the be applied to the rim at this time. If beginner in naturalistic painting.) the floral study should be in intense There is no white in mineral pig- hues the plate may need as many as ments for painting the highlights on five firings. No matter how many china, although there is a white firings, however, preparation for the enamel that is sometimes used for last one should consist of light washes final relief details such as white fuzz and a flushing of one tone into an- /'Nrr in the centers of certain flowers. Too other to bring the whole into har- much added enamel, however, de- mony. It may be necessary to EXTRA RING tracts from the naturalistic idea. strengthen some of the reflected Second Firing shadows more than once but most $3.50 VALUE beginners have a tendency to make FREE with purchase of amazing, easy-to- For the second firing, the back- these too strong; if so, the}' can be use test kiln for only $19.95 . . . ~n extra ground should be extended over the modified to a certain degree with test ring, worth $3.50. FREE test ring entire area around the design, cover- thin washes of a contrasting or har- affords expanded size, permits larger ob- jects in kiln. Approved kiln saves time & ing the plate completely. In order to monizing color (yellow-green over money . . . ideal for medium pieces, bring the painting together as a dark green, lavender over blue, jewelry, etc. Mail ad with check or money whole, use tints and soft hues, which pompadour over rose, gray over order for $19.95 . . . FREE test ring will are related to the colors in the mass purple, etc.). Both the modifying and be included in shipment. Offer Limited. of the study, for the outer areas. SPECIFICATIONS : Kanthal A1 Element-- intensifying of colors may be done by Babcock-Wilcox Fire Brick -- Interior: Darken the shadow reflections where the dry-dusting method if one is pro- 6 x 6 x 41~ in.--12 Amp-Cone 04 in 1/_, needed. A certain unevenness and ficient in the technique. hour, Cone 9 in 1 hour. freedom should prevail in the back- For those who have progressed be- ground when a variety of tones from yond their first plate, I will add that United Artist MaterialsCo. sunlight to shadow is used, but the shadow colors in the background are ARTISTS, DRAFTING AND DISPLAY colors will need blending with a silk not ahvays confined to the areas close PRODUCTS Opposite Museum of Modern Art pad (for instructions on using a silk below or around the study. The size 32 West S3rd St., New York 19, N.Y. pad, see October 1955). Pat the (Please turn to page 32)

APRIL, 1957 31 Mosaics AT THE SHOWS (Continued trom page 15) wide strips of brown wrapping paper MOLDS Kleiner Originals and carefully lay them, tacky side manufactured in down, over the mosaic. The strips are overlapped and brought firmly over all edges of the board so that the tes- OHIO sarae will be entirely enclosed and Dealer inquiries invited. stay exactly in place. Then I lay a board of the same overall size on top Cromer Molds and flip the whole unit over (if the 20 years experience in mold making 746 Cherry St. Fostoria, Ohio MOSAIC MATT GLAZE, Cone 05 White lead ..... 52% Zinc oxide ...... 2 Whiting ...... 3 SPUN COPPER BOWLS, trays or cups. Feldspar ...... * .. 16 Also--stomped circles or squares, plain Borax ...... 2 or sJotted, for belts and links. Also--card, Kaolin (EPK) ...... 18 match or dgaretfe boxez. The Old V~king Flint ...... 7 NEW MOLDS Shop, 1236 De!aware Street, Denver 4, NEW DESIGNS Mix all ingredients, add ¼ cup Colorado. gum solution and hot water to blend: NEW GLAZES force through lO0-mesh sieve. WROUGHT IRON Yellow: add from 5 to 10 percent IMPORTED CHINA SUPPLIES rutile for various shades. CORRESPONDENCE COURSES Your source far: JUMBO LIGHTER IN- Green: add 1 to 3 percent copper SERTS and SWIVEL BALL POINT PENS. carbonate, plus 2 to 4 percent iron Write for Free Catalogue QUANTITY DISCOUNTS. Dealer Inquiries oxide, plus 8 percent zircopax. Invited. Blue: add 0.3 percent nickel oxide, CAMPANA ART CO. New Catalog ~$7 -- $1.00 0.3 percent copper oxide, 0.25 per- 442 N. Wells St., Dept. C, Chicago 10, III. (refunded on first order) cent cobalt oxide, 8 percent zircopax. Note: Liquid underglazes used as CREEK-TURN colorant with this .glaze produce ex- ADHESIOLYTE Hainesport, New Jersey cellent results. new apoxy adhesive Ceramic to metal Ceramic to wood $1.25 for 50 applications (25c for small mosaic is large, the boards with tes- ~ample) NEW 8~/_, '' x 11" Monthly Magazine If denier cannot supply yot. send direct. The CHINA DECORATOR sarae between have to be clamped to- PATTYPRINT POTTERY "Keramic Studio" style, designs, articles gether in several places so that noth- 14826 Charlevoix Detroit 15, Mich for China Decorating. Beginners: Advanced: Studios. Designs by best artists all deco- ing can slip). rating methods. Studio discounts. Adver- ~v.vv v ~r v v v v ',v v ~ v ~'qw ~ v v vv v'~v v'v.u~ tising bringing wonderful results. $3.75 yr. Now the permanent mounting board $7.00 two yr. Also CHINA PAINTING is removed, spread with adhesive and CERAMICS BOOK $1.25. lns~ruotions, SUpl)lies. Ceralnlc and NETTIE E. PILLET replaced on the upside-down tiles. As China Firing, finished and greenware ( 811 Barrows Crt. Pasadena. California. soon as the mastic has set slightly, the DISTRIBVTOR 4 unit can be flipped right side up once RE-WARD AND DOBE GLO more. Then the extra board is remov- HAZEL HURLEY STUDIO STUDIOS ATTENTION 1, 4803 Prince St., Downers Grove, I11. ( ed and the tacky paper carefully peel- Phone Woodland 8-0719 Mold~Glazes--Ceramics supplies ed off the tessarae. With that step the Bulk Sale Only mosaic is finished except for grouting For sale by estate. Hundreds of items. No reasonable offer will be refused. Write and framing. • SEELEY'S CERAMIC SERVICE Wm. Plodowski, executor, 1139 Lincoln Let us hell) you with your ceramic needs. Way East, Mishawaka, Indiana. We have a complete line of school supplies and equipment : slips, clays, colors, kilns, Overglaze Page wheels, tools, brushes, sprayers, pens, and books. Free catalog(ms to schools and cer- (Continued from page 3l) amic teachers : Ceramic-Molds Enameling. and contour of the china object as 7 ELM STREET, ONEONTA, NEW YORK well as the arrangement of the dec- : . PROFITABLE. OBBY. . oration pattern are taken into con- sideration. A tall vase or lamp, for 1"0 ALL OUR CERAMIC FRIENDS: example, may show much depth of reflected colors toward the base as I am looking forward to seeing you I ¢"a, 7 TOOLS OR EXP C at the Ceramic Shows. l i lJ NEEDED! We furnish every- a way of achieving balance in the I ~ i: thing . . . show you how Our demonstrator Ida Stone will to make costume, religious, perspective of design and object. be with me, /oak for us in the fraternal jewelry; compacts, To summarize the fundamental "Garden State Ceramic" booth at cases, many others! Choose from httndreds of styles for rules: first do the shadow painting As-bury Park, and in the "Pyramid your own use, luxurious gifts, fund raising, or in the background in order to bring Ceramic" booth in Chicago. a spare-time business of your own. Send for Be sure to stop by to see us. big, FREE "How To" book & catalog. Please out the lines of the design; then include 10c in coin for postage & handling. Rose Hart INTRODUCTORY OFFER: shade the leaves and flowers into Stunning Moonstone earring-bracelet kit & book contour forms by retaining plenty of only $1.00. Money-back guarzmtee. highlights. The painting for each suc- Hart Ceramic Supply P.O Box 920, 371 E. Beach A~enue GEM-CRAFT, Div. of Immerman & Sons ceeding firing should be built up gra- Inglewood, California Dept. CM-4A • 2185 E. 14th • Cleveland 15, O. dually. •

32 CERAMICS MONTHLY ~ D|ltlllll|llllllll,lllll.lllllllll01.,i,ll|,llll,l..mlllll|lll|ulll|,llel

coming up in CM

Kenneth Bates -

on ENAMELING "

MAKE A NAME PLATE rounded or "'raised" (1). Now "close" Even if you aren't ready to hang or finish the letters by pressing a half- The editors of CM are proud out your own shingle as a professional moon-shaped line into each open end "i to onnounce a new ser~es on E enameler, you may be ready to enamel (2). On the capital T, for example, a name plate for your home. office both ends of the horizontal bar and i enameling. or studio. the bottom of the vertical bar would In Europe, raised enameled letter- be closed. Use the handle of the scis- Written exclusively for Cer- .=E ing is often used for store signs and sors for this too. Turn the letters 3 amics Monthly by Kenneth = l)~.Ull(' plat('s but for solnc leason or over on a straightening plate and, still using the scissors, even up all the i Bates, one of the world's fore- = edges so that each letter sits absolutely i most authorities on the sub- =" level on a flat surface (3). Now they jeer, it covers three of the .:": are ready for enameling (on both sides ). " re.ore difficult techniques- = Glazing putty is used for fastening i Cloisonne, Plique-a-iour, and -: the letters permanently to glass. This Champleve. The carefully pre- " is a handv wav to apply it: Hold a i pared, detailed texts disclose " this rooster ename[ist's pra- : cedures and techniques which Name plate with enameled lettering--made he has accumulated through by Kafhe Bed as a "house-warming" gift for many years of personal ex- a friend. perience, i other it is not seen much in this coun- try. This is a pity . . . Such signs can i i be very handsome indeed. So I am letter face down in one hand, a going to share my experience in this piece of putty in the other. Drag the i BeginningNext Month i technique with you. putty across the inside edges of the Letters of the alphabet may be letter, scraping off small portions of formed individually, enameled, and putty as you go (4). After putty has i Exclusivelyin CM! then assembled in words. Or whole been applied all around the edges, 1 words may be made in one piece--if press the letter firmly onto the glass. the type of lettering is appropriate i.- = Surplus putty which escapes from [~lllll|.lll..llll0|lllll.|,lllllm.lulllll|lllllllllllllllllllll.llllll[~i and the kiln big enough to accom- under the letter will have to be re- modate the piece. With glazing putty, moved. Sever it from the enamel first the lettering is attached permanently bv tracing the outline of the letter to plate glass. Using a pair of scissors, cut the letters out of paper-thin copper. Place

i 7 and prevent it from sticking. Use a FREE copy of the latest them face down on layers of news- stiff brush to whisk both putty and CRAFTOOLS CATALOG of paper or an old book; then with the powder off the surface. ceramic equipment and tools. rounded end of the scissors' handle, When all the lettering has been CRAFTOOLS, Inc. mold each letter until it is nicely (Please turn to pa~e 34) Dept. CM, 401 Broadway. New York 13, N. Y.

APRIL, 1957 33 Garden Plaques World's finest (Continued from page 28) TILES mark the underside of the sections For Decorating and the paper pattern with corres- SuDert) English Tiles, bisque or glazed, ponding numbers. ~;" x 6", they're perfect for pleasure . . . r l,rofit. 4. After bisque firing, glaze the top ALSO AVAILABLE O TRIVETS, black $ WOODEN surfaces and remove all traces of the ban, rubber-foot- FRAMES glaze from the sides and undersides. ed, for 1 and 2 @ TILE BACKS and tiles HANGERS Now the pieces may be glaze fired. $ WROUGHT IRON 5. Assemble the sections in proper FRAMES \\*rite [or FREE Descriptive position and glue them to a hard Price List N,o. C4 board or similar material, leaving SORIANO about 1/32 inch between each one. CERAMICS, INC. Use ceramic cement as the adhesive Long Island City 5, N. Y. STONEWARE and work from the center out. Sllp-Dry-Plastic 6. When the glue is completely Data sheets on request dry, we are ready for grouting. First, Visit us at Booth 64-67 Rouse Engineering Co. thoroughly dampen the tile with a Eastern Ceramic Show 300 Third St. Trenton, N.& Asbury Park, N.J.--May 4-9 sponge to keep the grout from drying out too rapidly before setting. Fill THE LEHRHAUPTS P.O. Box 345B, 1000 Wickapecko Dr. JAYDARH the spaces between tiles with the Asbury Park, N.J. A ceramic turquoise stone at cone 09 grout, working it well into all cracks A self-glazlng, one fire. vitreous body in pow- and wiping off excess with a damp der form. Excellent for jewelry or inlay. Will take gold and enamel. Works like clay. Avail- cloth. Then cover the plaque with a In Western New York, It's able also in avocado, chartreuse, blue-green damp cloth and let it stand overnight. and white to be colored to suit. Write for Buffalo Ceramic & descriptive folder. 4 oz. $1.00, z~ lb. $1.50, 1 lb. The finished plaque may be im- $2.50: check or money order. Add 15c postage. (Please turn to page 36) Art Supply Center WILTON POTTERY, Sier Hill Rd., Wilton, Conn. 437M Franklin St., Buffalo 2, N.Y. Most complete selection o! molds, powder Enameler's Column and liquid glazes, clay, slip, tools, etc. NEW MODERN MOLDS (Continued from page 33) Send 20c for Catalog today. Ready for May 15 Delivery. mounted on glass, forget it for a few Free Folder Available. days while the putty hardens. (If the SEE YOU AT ASBURY SHOW glass background is a vertical one. Ruth Denice Lauer, Inc. such as glass in a door, some tem- florida Mold Shop 145-04 Jamaica Ave. Jamaica 35, N.Y. porary support will be needed to kee I) :he letters from slipping before the i$ ...... putty hardens (6). Strips of card- board, taped under each line of let- TEMPORARILY CLOSED ramlc tering, can be used for the purpose.) Materials and Equipment SPECIAL PREPARED BODIES Jean Leonard Ceramics Our business has been expanded to in- Distributors clude all types of clay bodies--varied col- Gloss-Matic, Tru-Fyre, Drakenfeld's, Zirco, L & L Kilns, Kemper Tools ors for slip-casting, throwing and sculpture• Cry our Magic Glaze binder. Makes one Cones 06 to B (art ware and stoneware). gallon -- 50c. Mend-all, green ware & Write tar special clay sheet. i)isque mender) 4 oz. -- 50c. All items plus Dostage -- catalog 25e. OUR AIM IS QUALITY ~6,24 Corona Ave. Corona, L.I., New York JACK D. WOLFE CO., INC. 62 Horatio St. N.Y.C., N.Y. Once the putty hardens, the letters (WA 4-6019) Wholesale and Retail will hold to the glass forever and a day. CUSTOM-MADE FRAMES FOR 6x6 CERAMIC Till, A name plate which is to be at- ENAMELED TitS, ETC. MAKE YOUR OWN TARtESI tached to a wall will, of course, have write today for descrlptioo end prices. holes for screws. Perhaps you do not want these to show, so I will give you HALLAM STUDIO"°°N°I"Oaclne, Wisconsins..., just one idea of what can be done to camouflage these holes. In designing the sign, you could plan to have a plaque of black glass Contact Trinity. screwed to the wall (7/ and a narrow plaque of white glass added to cover for Superior the holes (putty will hold glass to glass). You could have a line of black 37 COLOR SAMPLES GLASS OR TtLL--$1.OO IMPORTED ITALIAN CERAMIC TILE: lettering on the white glass and, on CERAMIC and PORCELAIN shoots $1.45 to $500, I/2 dlcets 87c to $3,00, each 2c Io 4c the black panel, additional lettering write tar part;colors on glass and supplies• in white . . . very effective! CLAYS An enameled sign or name plate wears well in every respect. It is dur- able, easy to clean, artistic looking When writing to advertisers and, if well done. it can be truly please mention CM • 1 "elegant." • 34 CERAMICS MONTHLY ...... i people, places & things

MEET OUR AUTHORS: ~orking with clay, she busies herself collect- • NEW Complete Listing of Over [] Sally Gallaway is a hobby potter who ing antiques and dolls. 100 Copper Enamel Colors. ~akes her hobby serlously, though not without • NEW Copper Shapes some experimentation. This spirit has lead to ...... [] Nelly Allan, o • NEW Accessories and Tools discoveries of simplifled methods and tech- newcomer to f h e niques such as those in her current article columns of CM, was • NEW Larger Selection of RHINE- STONES for Ceramic Decoration on mosaics. born in Pra g ue, In the matter of glazlng, Saily says .... Czechoslovakia and • NEW Bolo Cords and Findings "Not having a teacher to turn to, I studied studied there for six • NEW Step by Step Copper Enam- everything and . . . learned not to be afraid years at the School eling Home Study Course, Now of Fine Arts. She available. Written by Top Enam- fo mlx fhlngs together and slick them in the eling Teacher-- Marion Colsfon. also has studied at kTln." Send NOW for FREE folder. Mrs. Oallaway (allowed her own philosophy various schools ; n ;n a CM article, "Mix Your Own Glazes," the Unlfed States. • NEW SUPPLEMENT ~2 NOW READY (June, 1955). Writing in o non-fechnlco! Presently Mrs. Atlan is an art instructor ;n a style, Sally recommended using kitchen uten- Chicago School. She also conducts classes Sent with Enameling & Jewelry Supply sils and o nylon stocking for glaze-making in enameling and siIversmlfhing at the Oak Catalogue #6 97 pages in all--send equipment. Park Art League, Y.M.C.A. and Elmwood 25c to cover handling. ~~ In the same spirit, fh~s month she presents Park High School. her simplified method for making and as- She began working with enamels about sembling mosalcs. In add;lion to expeHment- five years ago, and had a head start when Department CMA ing wlfh new processes and methods, Hoosier enameling caught the public's fancy in 1954. Sally finds time to take part in, and win Since then, Mrs. Allan has had many exhibits prizes in, local competitions and the Indiana ~n the Chicago area. In December, "People State Fair. and Places" magazine carried an article with I 300 S. W. 17th Avenue, Miami, Florida colored illustrations about her work. [] "Im o hobbyist, that's what]" says Nola ff f fffff f~ Mafson of Castro Valley, Car~f. Mrs. Mofson • Bim and Doris Newman began collecting enioys gardening as well as "ceramic ;ng." antique pottery while operating o craft shop Presently she is landscaping her yard with in an upstate New York summer resort. More plnk roofing rock, Hawaiian tree ferns and than lust collectors, the Newmans also have pocket pools. "1 use ceramic things righf an interest in poftery-maklng which sfem~ on the ground, and what on atmosphere they from a 1952 lecture series given by Leach, glve]" she says. Hamada, and Yanagi in New York. At the A modern grandmother who has always present time, they are enrolled in ceramics been interested in art, Mrs. Mafson began classes at the Brooklyn Museum For sgraffito, incising, slab work, tem- working with clay in 1948. Since then her plate making, shaping, modeling, trim- ming and clean-up. work has won 12 blue ribbons and three [] Biographical sketches of F. Carlton Ball, sweep stakes at state and county fairs. For Kathe Berl, Zena Hoist, and Marc Bellaire-- QUALITY: Finest preclsion-made scraper points and surgically-sharp knife blades. several years she has token summer courses familiar names in CM--have appeared in VERSATILITY: Slim all-metal handle takes ;n ceramics at Mills College. When she isn't previous issues. any of 6 scrapers as well as blades. ECONOMY: Points and blades quickly and easily interchanged or replaced.

SHOW PLACE RENOVATED: Thorough re- CERAMICS IN COLOR TV: Ceramics, from - 1 modeling of the Old State Capitol at Baton the making of a mold through decorating, Rouge makes if a better place for the arts were dramatized in color TV of Detroit in ~2 and crafts exhibitions held there, reader March as a feature of Steve Booth's "Hob- Paul E. Cox reports. The galleries, maintain- bies in Action" program, Channel 4 WWJ- ed by the Louisiana Art Commission, are on TV. Doris Moorhead, manager of the Kay 5 the second floor of the historic building. Harrison Studios, where the show was filmed, 6 Jay R. Broussard is director. The Art Com- played the role of demonstrator. mission is unlque. Created in 1938 to pro- 8 11 mote "enjoyment of art as an integral part NEW HOBBY SHOW: The First Annual Wichita Ceramic Art Show sponsored by the of daily life," it is an official state agency will be held of wlth its activities supported entirely by state Wichita Ceramic Art Society the Kansas National Guard Armory, 620 appropriations. North Edgemoor (April 24-28). OREGON CERAMIC STUDIO of Portland, Amateurs ore eligible to compete in any Ore. has asked CM to announce that the of the 12 categories which include hand No. 63 Double Set: 2 handles, 6 points, 2 Eighth Annual Exhibition of Northwest Ce- modeling, wheel work, sgraffito, enameling knife blades . . . $2.75. Other sets at 75c ramies, sponsored Saintly with the Creative on metals, and a iunior division for hob and $1.50. Refills available separately. Art Foundation of Oregon, will not be held byisfs under 17. In addition to the ribbons ;n 1957. However, the grouos pFan to hold and cash awards in each category, ribbons SEND FOR FLIER--FREE: CATALOG--25C a competition next year. (Please turn to page 36) 48-69 VAN DAM ST., L. I. C. 1. N,Y.

APRIL, 1957 35 Ceram-Activities ~-- ENAMELING KILN (Continued Ârom page 35) and prizes also will be awarded for the best No. 7033 and most unusual entries in the show. LARGE WORKING Entry blanks and further information may April, 1957 AREA be obfalned from the Society 4421 East 12" x I1" x 5" American Art Clay Co ...... 31 Second Street. FAST COME-UP B and I Mfg. Co ...... 12 TIME Basch, Bee, Designs ...... 11 OTHER SIZES for ASBURY PARK AMATEUR, PROFESSIONAL and HOBBY SHOW Bergen Arts & Crafts ...... 35 INSTITUTIONS Anniversary Celebration: Celebrating its fifth Buffalo Ceramic Supply Center ...... 34 Send for Details year as an active and successful ceramic Campana Art Co ...... 32 THE ELECTRIC HOTPACK CO., INC. organization, Ceramic Leagues, Inc. will hold Ceramichrome Laboratories ...... 6 5079 Coftman St. Philadelphia 35, Pa. an open hou:e 10:30 a.m., May 6, at the Craftaals, Inc ...... 33 Hotel Berkeley-Carferef, Asbury Park, N.J. Cramer Molds ...... 32 Everyone attending the 5fh Annual Cer- Creek-Turn Pottery ...... 32 A CRAFTS VACATION amic Hobby Show may attend the program Copper Shop, the ...... 34 which will be built around the theme, "A Cox, Florence, Studio ...... ]0 Community of Ceramic Interests." There will Detroit Fabricating Carp ...... 2 in Vermont be no charge for admission. In addition to Duncan Ceramic Products, Inc ...... 12 FLETCHER FARM CRAFT SCHOOL the program, there will be drawings for over Eastern Hobby Show ...... 8 LUDLOW, VERMONT 30 valuable prizes of ceramic merchandise Electric Hofpack Co., Inc ...... 36 July 8-August 30, 1957. Two week Fletcher Farm Craft School ...... 36 courses offered in Weaving, Pottery, --molds, glazes, brushes, sllp, tools, etc. Jewelry, Gilding, Copper Enamel, Demonstrations on all phases of ceramics Florida Mold Shop ...... 34 Decoration, Rug Hooking, Block will be conducted by exhibitars during the Gem Craft ...... 32 Printing & Silk Screening, Lamp- Asbury Park ceramic show. The demonstra- Great Lakes Exposition ...... Cover 3 shade Making, Teacher Training. Write for catalogue to Mrs. Leona tions will be held in the Conference Room Grabs, Mary, Decals ...... 36 M. Phelps, Ex. Sec., Society of Ver- of Convention Hall whlch has been reserved Hallam Studio ...... 34 mont Craftsmen: Dept. 3, Bristol, Vt. solely for this purpose. A bulletin Board and Hart Ceramic Supply ...... 32 program notes will be used to inform visitors Harrison, the Kay, Studios ...... 10 Huckleberry of the demonstrations. These listings will Be O. Hommel Co ...... 3 supplemented by announcements over the House of Ceramics ...... 11 Mountain Workshop=Camp for the Creative Arts June 14 - August 31 public address system. H uckleberry ...... 36 All fields of Creative Writing "Ceramichrome Theatre," a program of Hurley, Hazel, Studio ...... 32 Phofocjraphy • Painting • Handicrafts Class and individual instruction. Rustic movles, colored slides, lectures and demon- Illini Ceramic Service ...... 12 cabins on the slope of Huckleberry Moun- strafions on all phases of ceramic hobby tain. For booklet M, write: L and L Mfg. Co ...... 7 Director, Huckleberry, Hendersonville~ N. C. work, will be held from May 4-9 on the Lauer, Ruth Denice, Inc ...... 34 Promenade. Sponsored by Ed Greenstreet, Lehrhaupts, the ...... 34 MARY GROHS DECALS.. manufacturer of Ceramichrome Products, the Leonard, Jean, Ceramics ...... 34 One of the largest Decal Houses in the East. program will feature a staff of demonstrators Mason Instrument Ca ...... 30 will be at the EASTERN CERAMIC HOBBY SHOW at Asbury Park, May 4-9, with our including Chula Kolb of San Antonio, Texas; Master Mechanic Mfg. Co ...... 2 display of Decals on the FIRST FLOOR Gertrude Oakes of Melrose, Mass: Cecile BOOTH #3-14. Mayco Colors, Inc ...... 2, 30 Gratfon and Jill Bouchard of Hartford, Conn.; Illustrated Catalog 50c per copy Model Ceramics, Inc ...... S P.O. Box 34 West Orange, N. J. Carol Ann Burke of Freeport, L.I.: Gladyce Norwest Novelty Co ...... 36 Meier of Rochelle Park, N..J.: and Ed and Old Viking Shop, the ...... 32 Esther Greenstreet, and Lucille and Andy New -- from Re-Ward . . . Decor Glaze Paragon Industries, lnc ...... 11 Henderson of Ceramichrome. Dui-Mat Glaze Super-l-Stroke Pattyprint Pottery ...... 32 Now available Re-Ward's handy Color Tickets for the Ceramichrome program may Pillet, Nettle E...... 32 Chart. Contains $0 actual color chips. be obtained from Booths 16, 17, 32, 33, 48 Plodowski, Wm ...... 32 and 49 on the main floor of the Promenade. NORWEST NOVELTY Potter's Wheel ...... 34 Next Month, full details on the Great Lakes 32840 Northwestern Hwy. Potter's Wheel, the ...... 30 Farmington, Mich. show (Chicago, May 26-30) will be presented. Pottery Workshop, the ...... 30 Re-Ward ...... Cover 2, page 1 Garden Plaques Rader Ceramic Studio ...... 30 (Continued trom page 34) Rouse Engineering Co ...... 34 Schmid, Ludwig, Molds ...... 4 bedded permanently in a large cement The following back issues of Ceramics Seeley's Ceramic Service ...... 32 Monthly are still available at sixty cents disk. This serves the double purpose per copy (Ohio residents add 3% sales Soriana Ceramics, Inc ...... 34 tax). We pay postage. of setting off the piece and providing Specialized Ceramics Carp ...... 4 1953 a protective frame. (For our disks we July, August, October, December Tepping Studio Supply Ca ...... 30 1954 used 40 pounds of a cement mixture February, March, July, August, Sep- and, as a mold, the top of a large Thompson, Thomas C., Co ...... 9 tember, November, December Trinity Ceramic Supply ...... 34 1955 carton. ) March, May, July, August. October. These plaques can take their place United Artist Materials Co ...... 31 November, December Wilton Pottery ...... 34 1956 in just about any level spot. They May. June, July, August, October. can be set into a garden walk or even Wolfe, Jack D., Ca., Inc ...... 34 December 1957 placed in the ground level with the X-acto ...... 35 January, February, March turf; they can be incorporated in a Please send remittance (check or money order} with list of back issues desired. wall or terrace. As for motifs and CERAMICS MONTHLY color arrangements, there is no end 4175 N. High St. Columbus, Ohio to the varietv possible. •

38 CERAMICS MONTHLY Announcing the 1957 Great Lakes CeramicHobby Exhibition Chicago, III.--May 26, 27, 28, 29, 30

This year the Great Central Ceramic League invited the Great Lakes Exhibition to make Chicago its site for the 1957 Show. The invitation was accept- ed and the Great Central Ceramic League will be the acting host with the Michigan Ceramic Dealer's Assoclafian as a joint sponsor. The Conrad Hilton, the world's largest hotel, with its marvelous facilities will be the background for the 1957 show.

Conrad Hilton. Chicago

Ceramists Welcome!

1. Shake hands with ceramists from all parts of the country.

2.. Laugh wffh Gladys Workman and her gang at the opening luncheon. (Reservations necessary)

3. Gather technical knowledge from the large group of experts assembled to help the hobby- ist.

4. Write for a schedule of demonstrations and classes that has no equal in ofFering you the thrilling experience of meeting so many of today's top artists.

5. Compete for $S00.00 in cash prizes plus national recognition. 6. Marvel at the nation's best display of hobby ceramic skills.

7. Most of all--prepare yourself for a wonderful exciting ceramic holiday.

FOR FURTHER INFORMATION WRITE: Arthur Higgs, Managing Director Dolly Hartman Gladys Workman 414. N..Jefferson 10128 South Rhodes Ave. Scoffsburg, Oregon Bay City, Mich. Chicago, III. Telephone: Elkfon 24. Telephone: 3-9492 Telephone: Waterfall 8-3855 i!!!iiii!i!!=:i~ i ii !i!ii!!iiiii!i!ii!i ii!ii !i !ii~!!~!~i!~ii!~( i~:~

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a CM handbook on UNDERGLAZE DECORATION A New Book... Available May 1

Here is the book everyone has been asking for[ Marc Bellaire shows how he creates exciting underglaze decora- 64 Pages "k Profusely Illustrated ~r Full-Size Format [81/zxi1"1 tions. PRICE only $3 Using the same step-by-step photo technique shown each month in Ceramics Monthly, Marc Bellaire creates a wide variety of motifs before your eyes. The book contains basic information on underglazes, tools and materials, preparing green ware, glazing, firing, defects and cures, basic brush strokes, backgrounds, etc., as well as specific motifs including Human Figures, Animals, Birds, Fruit, Abstracts, Repeat Motifs, Commemoratives, Holidays, Spec- ial Techniques, and many more. Loaded with brand new decorations which Marc Bellaire created specifically for this book, the volume has hundreds of large, clear photo- graphs of step-by-step decorating procedures as well as completed, glazed and fired pieces. Join Marc Bellaire's class through the pages of this unique instruction book. Available May 1. Reserve Your Copy Now. Dealer Inquiries Invited.