Wheel-Thrown Animal Sculpture Ceramic National

1961- . -~

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WHEEL-THROWN ANIMAL SCULPTURE CERAMIC NATIONAL

Trade Show and Workshop A FEATURE-PACKEDSHOW OF CERAMICPRODUCTS AND IDEAS

National firms exhibiting Demonstrations by leading supplies and equipment for all areas authorities in the field. of ceramic work. Amateur competitive exhibit in all major categories.

EDUCATIONAL • INSPIRATIONAL • ENJOYABLE DETROIT MAY MICHIGAN 4-5-6-7

Managing Director FREE brochure available March ! listing schedule of events and hotel reservation information. Mail your Arthur .E. Higgs for a copy now! 322 Schearer Bldg. Bay City, Michigan Announcing

SUPPLY AND EQUIPMENT CATALOG

81/2" x I1" IN SIZE

MANY PRICES LOWERED -- BOTH RETAIL & WHOLESALE The Following List of Products are Shown in FULL COLOR:

DUNCAN GLAZES ~ DUNCAN E-Z STROKE m MACK CHINA PAINT COLORS DUNCAN STAINZIT ~ EX-CEL COLORED GLASS m EX-CELL FLOWER-TEX CLAYS DUNCAN CRYSTALS ~ FRANCESS PERMA STAINS ~ EX-CEL MARBLEIZING LIQUID DUNCAN COVER COAT ~ RHINESTONES AND PEARLS ~ PETERSON'S 3-WAY FIRED STAINS (Shown in Actual Size)

DECAL CATALOG 2Sc CLIP THIS COUPON and attach your Check for $1.00 . . . (not deductible)

HOUSE OF I MEMPHIS 8, TENN. I HOUSEOF " Here's My Dollar. Rush Me A Copy Of Your .~:/:61 SUPPLY and I CERAMICS , I NAME INCORPORATED STREET_ - .... I 2481 Matthews Avenue -- Memphis, Tenn. L CITY____ STATE /m__J I j / m I /

March 1961, Vol.9~Ne. 3. Published monthly except Ju y & Aug, by Professlona Publlcatlons Inc CERAMICS MONTHLY, af --S. L. Davis, Pres. P. S. Emery, See.: at 4175 N Hicjh Street, Columbus 14 Ohio. Entered as second-cass matter the post offce at Athens, O. Subscrptons: One Year $5 Two Years $9; Three Years $12. Copyriqht 1961. All Ricjhts Reserved. NAEA SUPPORTING MEMBER

Everywhere Acclaimed For Better by Teachers and More Consistent Professionals for Results Performance

This Nationally Recognized Power-Driven ORTON Precision Wheel only $57.50 (Shipped complete Less Motor) Standard Pyrometric 4r Ideal for school, studio, home use . . . The famous B & I Pottery Maker, first in the field, is still first [n value and in price! Simple operation, rugged construction, with all the versatility required by professional workers! Many built-ln CONES features . . . ADJUSTABLE arm rests: BUILT-IN water container; VARIABLE speed drive: QUIET bronze and Orton cones are your guide babbit to more uniformly bearings; ADJUSTABLE foot-pedal control; UNUSUAL fired ware. Here is a leaf size from industry's book range. that you can use. For complete details on this Before you buy, Write B & I . . . get full, free details: Point- economical control method see your dealer or by-polnt, we challenge comparison on QUALITY features write direct. • . . Our price is still the best in the field! RcqucsZ youT ~,ec copy o~ "'Properties ~nd Ulcs o~ pyTomctric Co~cs" B & I Pottery Maker shipped complete, less motor, f.o.b. factory, The Edward Orton, Jr. Ceramic Foundation Burlington, Wisconsin, for only $57.50. 144S Summit Street Columbus I, Ohio B & I Mfg. Co. Dept. C. Burlington, Wisc. "Originators and M~lcerl of famo~ B & I GEM MAKERS"

4 CERAMICS MONTHLY VOLUME 9, NUMBER 3 MARCH o :961

50 cents per copy

IN THIS ISSUE

Answers to Questions ...... 6

Letters to the Editor ...... 7

Suggestions from Our Readers ...... C

Pic of the Month ...... 9 Itinerary ...... 11 | Earthenware: A Matte Glaze of Many Colors II by Karl Martz ...... 13 Wheel.Thrown Animal Sculpture by Irene Kettner ...... 14

Chunk Flint Glass by Kay Kinney ...... 18

Show Time: The Art Treasures of Thailand ...... 20 Large Enameled Pictures by EJ;se Chapman ...... 22 rfui Wax-Resist Brush Stroke Decoration by Marc Bellalre .... 24

Stoneware: Testing Frifs for Glazes by F. Carlton Ball ..... 26

Hanging Planters by Alice Lasher ...... 27

Enameled Easter Eggs by Kathe Bert...... 30

CeramActivifies ...... 33 Teacher's Pet by Clark He;pie ...... 37 ZF/ow Summer Workshops ...... 38 Index to Advertisers ...... 38 ON E COAT

ON OUR COVER: Irene Kettner's wheel-thrown animal sculpture is the subject of this month's feature article. Step-by-step photo- B L U E graphs and instructions illustrate how she assembled the earthenware turtle, as well as other animal forms. Her article, "Wheel- CLEAR BRUSHING GLAZE 618 Sculpture," begins on page 14. Thrown Animal Now... just one coat does Editor Thomas Sellers Art Director Joe Schmidt the job of the usual 3 Busines~ Manager Spencer L. Davis Advertising Production Betty Owen • WHITER THAN WHITE Circulation Mary Rushley • TWICE AS FAR WITH Western Advertising Representative: Joseph Mervish. 6716 Gentry Ave., THE SAME JAR! Box 3115, North Hollywood, Calif. TRiangle 7-7556. • TINTED BLUE FOR Copyright 1961 Professional Publications, Inc. EASE- OF- APPLICATION

in Gals. • Qts.. Pts. NON-BREAKABLE Re-usable Plastic Container Columbus 14, Ohio I l IZI 1 year $5 [] 2 years $9 [] 3 years S12 SAME LOW PRICE! Name_. ! at your Duncan Dealer Address.., or Distributor J City__ "n._ State., I CERAMIC PRODUCTS, Inc. 4030 N. Blackstone Fresno 3, California [] Remit*ante Enc O Please Bill Me • ......

MARCH, igbl st,ons ::: ! }:z :::

Conducted by the CM Technical Staff

Q The atomizer I use [or spraying gum solution in my copper enamel work keeps clogging. Can you suggest anything that might help me? --A. L., Atlanta, Ga. The gum solution may be too thick, or it may be that you aren't cleaning the atomizer thoroughly after each use. Run (:lean water through it immediately after use.

Q What gauge of copper do you recommend for use in enameling work?--Mrs. W. B. F., Winnetka, Ill. Depending on the size and shape of the piece being made. 14-to 22-gauge copper generally is used. For most purposes, 18- gauge copper is recommended.

Q Why does the gum solution "'bead" on copper, even alter a very thorough cleaning? This makes an even dusting with the enamel almost impossible.--M. L., Roselle Park, N. ]. Beading of the gum solution is an indication that there is some grease remaining on the metal. This might happen even 30 BRILLIANT CERAMIC COLOR5 after an acid bath. You might try scrubbing the surface with a detergent after the acid bath; however, be certain that you •.. Ready for instant use! wipe this off very thoroughly before applying the gum solution--D. R. No fuss l No muss! Just dab a brash into any of the 15 Liquid Overglaze or 15 Liquid Underglaze Colors and apply directly to your ware. Each set con- Q Can you suggest a means to prevent underglaze /rom run- tains strong, deep colors. Easy to mix for intermediate ning when [ired? I already have tried bisque [iring be[ore apply- shades or with white for pastels. ing the glaze, but without success.--Sr. L. A., Montreal, Quebec Your problem The Underglaze is with the glaze, since underglaze will not Colors can be used for Engobes flow. Perhaps your glaze is too fluid, or Slip Stains- and attacks and carries work equally well on raw or bisque the underglaze when it runs. Your glaze application ware, in either might be one or two fires. There's one full ounce too thick, or your firing temperature might be too high for the in each jar. glaze you are using. Since your problem may result from any The Overglaze Colors are the finest obtainable, all one or a combination of these, it is impossible to give you an milled superfine to make china painting a real pleas- exact answer. ure. Included are three costly colors: Pink A-1644; Maroon A-1645 and Purple A-1649, which contains Q I have been having di[[iculty with the use of m), molds gold compounds. Each jar contains about 1/10 pound [or casting. A[ter a mold has been used [or just a Jew of color. times the castings won't release properly, but )ust stick to the walls o[ the Each set is attractively boxed with two multi-purpose molds. Do you know what I could be doing wrong?--E. L., brushes and instructions. Order today! Atlanta, Ga. It sounds as if you are not allowing sufficient time to ~[~m m m m mmm mmm m mmmmmlmmlmmmmmmmmmmmmm mmmmmmmmmmmmm~ elapse between casting sessions. The molds must dry for a certain period of time before they are again used. There also is : B.F. Drakenfeld & Co., Inc. cM : the possibility that your casting slip is not properly deflocculated 45-47 Park Place, New York 7, N. Y. and is causing undue water soaking of the molds. .m Gentlemen: Attached is my check for... | [] Liquid Overglaze Set ...... $11.00 s [] Liquid Underglaze Set ...... 5.00 ; Q I have been told that it is most harm[ul to an electric : I will pay shipping charges. : kiln to do reduction firings in it. I don't do reduction firings | S very often, | NAME z but I don't want to ruin my principal piece o[ equip- II • ment. Can you advise about this?~K. L., New York, N.Y. ' A**.ss There does seem to be | | some deterioration of the kiln ele- : CITY/ZONE STATE~ : ments from excessive use of the electric kiln for reduction firings. However, there should be no noticeable damage from the : [] Send me the Drakenfeld catalog of prepared : reduction schedule you seem to be m 2lazes. ciay bodies, electric kilns and other • using. Be certain that this firing is done in a well-vented • ceramic supplies. • room, as there are vapors given off that must be allowed to : m m~mmmmmmmmmmmm m mmmm m m mmmmmmmmmmm~m escape.

All subscriber inquiries are given individual attention at CM: and out of the many received, those of general interest are selected " rokenFe/d for answer in this column. Direct your inquiries to the Questions Editor; please enclose a stamped self-addressed envelope.

6 CERAMICS MONTHLY advice. Share your thoughts with other CM readers--be it quip, query, comment, or All letters must be signed, but names will be withheld on request. Ohio Address: The Editor, Ceramics Monthly, 4175 North High St., Columbus 14,

TRAVELING EXHIBIT BOOKED versifies, private studios, military instal- The studio or art potter must under, .# Thank you for the publicity you gave lations, homes and converted two-car gar- stand that many of the so-called hobbyists our Traveling Exhibit in the December ages. It is exciting, interesting work, pri- are truly interested in handmade pottery. issue of CERAMICS MOXTHLV. We have had marily because I find that all people who Many of them want to try working with inquiries from Delaware. Ohio, Indiana, like to work with their hands in earth a wheel but do not have the space at Nebraska and as far west as Spokane, possess a certain wonderful philosophical home for one or do not have available Washington, all due to your article. quality, and also because I get a composite to them an organized course or a teacher. RUTH N. BUNNELL view of the entire ceramic scene. I ask One of my students in Oklahoma sat on The Society of Connecticut Craftsmen and answer many questions and, since the ground for seven hours on a chilly West Hartford, Conn. when one teaches one learns, I hope that night, working on my portable wheel to the following information may be helpful. learn the rudiments of throwing. She did LET'S GET TOGETHER To the hobbyist I would like to say this because for the first time in five For many years now I have been read- that the art of ceramics or pottery-making years of interest she found a teacher and ing CERAMICS MONTHLY and for a few is, first and foremost, that of fashioning wheel in the same place. The hobbyist years I have been doing articles for this an original form from raw clay by such wants to learn and to advance; I know fine magazine. [ have never before taken methods as throwing on the potter's wheel, this because of the interest in my classes the time to write a letter to the editor slab building, coiling, etc. Therefore, un- in design development, sculpture and slab and I do so now only because I have less one totally creates a ceramic piece, building during the past three years. read just one too many of those pro and that piece cannot be entered in a show Whereas the art potter is an explorer and con letters concerning your articles and of original work. In the same way, one inventor dedicated to the deepest creative to just what part of the ceramic scene would not enter a boxed-cake-mix cake interest in his craft, the hobbyist is a they might appeal. in a national baking contest, even though person involved in the pure joy of pro- In the past six years I have traveled, the frosting were original. On the other ducing an object by the most convenient by every available means of transportation, hand, hobby shows, in which greenware means available. to every major and most minor cities of is being used and exhibited, should be The one thing that I find both hobby- the United States and to Mexico and judged on the basis of the quality of the ists and art potters have in common is Canada as well. I have held ceramic work- decoration, except in those cases where a great, intense interest in creating some- shops and seminars in such places as uni- original work is demanded. Continued on Page 34 FOR BEAUTIFUL CERAMICS Choose One Or More OF MAYCO'S

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Americas Finest Colors • READY-TO-USE ! ~"

Always iI pdAaAb[ [c : e e y o u r N ..... t MA;~';~jI~AL~ r ~A/r;.....

MARCH, 1961 7 9th Annual .... i~ ;¸ EASTERN Flashlight to see Cones The light of a flashlight, even a small pen flashlight, shown into the peepholes during firing makes it quite easy to see the cones. This works very well even at high temperatures. CERAMIC SHOW --Mrs. E. W. Rabon, Charleston, S.C. Dental Mirror Useful Convention When pouring molds that have a lip or ledge at the top, Hall I sometimes have trouble with small cracks that can't be dis- covered until after the bisque firing. I found that a dental-type Asbury Park, New Jersey mirror that I purchased for a very reasonable price in a hard- ware was very useful in discovering these cracks before the firing. It is much easier to touch them up with slip while the SPONSORED BY: CERAMIC LEAGUES, INC. greenware is still damp. --Helen Robinson, Schenectady, N.Y. Offers You A Fabulous Date Your Cone Pats Program Here is a suggestion that I have found very useful. Many" times I have forgotten to turn off the kiln at the proper time, May 18- -1, 1961 and then later on I wanted to know the approximate tempera- THE HOBBYIST "THE PAGEANT OF TECHNIQUES." Free morning demonstrations by Top Name Artists. 9 A.M. to Noon except Friday. FREE! Ed-ca- , ! 7' tional! Don't miss it! I " - - S TUDI0 0 WNERS Morning Sales Period for Dealers only. 10-12 noon except Friday. i i ture on pieces that were in the kiln on one of these overfirings. Now I scratch the date on the clay pat that holds the cones, and ALL save the used pats if the firing is over or under the exact tem- CERAMISTS perature desired. This is particularly useful, since we always Plan to attend the "Early Bird" Ce- date the pots we make. --Don ]. Boehm, Hamilton, 0. ramic Breakfast, Friday, May 19th at the Berkeley Carteret Hotel. Time: Instant Slip 10:30 fo 12 noon. To save opening a jar and washing a brush when joining pieces of clay, keep some slip in an old plastic squeeze glue bottle. After serrating the edges of the pieces, just squeeze the slip from the bottle onto the roughened parts and join. It THE HOBBYIST doesn't spill and is always handy. --Sister Mary Rosalie, San Francisco, Calif. Show your piece in the National Amateur Exhibit! Prizes galore! Use for Old Shaving Brush An old shaving brush is ideal to use for applying glazes. It really guarantees SHOW HOURS a creamy, smooth job. I especially like this for glazing the inside of a bowl. GENERAL PUBLIC - - - 1 P.M. TO 10 P.M. DALLY --Sally Remaley, Hobart, Ind. DEALERS ONLY - - - 10 A.M. TO 12 EXCEPT FRIDAY Dollars for your Thoughts Note: Write for information on any of above. CM pays up to $5 for each itemcM,used4175inthiSN. ~-~ column. Send your bright ideas to High St., Columbus 14, 0. Sorry, but we can't acknowledge or return unused items.

8 CERAMICS MONTHLY CM's Pic of the Month: Stoneware Bottle by Dean Strawn, Riverside, Cali- fornia, was exhibited in the 18th Ceramic National and was one of the award winners in that show. The piece, which is 12 inches high, is an example of simple, good potting in which the ceramist abstained from decorating except for the dark specks on the surface and the dark lip at the top of the form. The union between form and glaze makes this bottle an outstanding example of contemporary American pottery.

MARCH, Iq61 9 Now is the time to learn just how wonderful a ceramic color can be. Ceramichrome has the "built- in" difference that means finer results ..... time after time! Ceramichrome products are formulated to fit most clay bodies and will fire successfully from cone 06 to as high as cone 6. They will respond to any method of application .... brushing, spraying, or dipping ..... they cover smoothly, and will not chip or flake. There are over 200 colors and textures available, including underglazes, glazes, antiques and specialty products.

Write today for complete information. Please indi- cate your interest in ceramics ..... whether followed as a hobby or whether you are teaching in a school ceramic program.

CERAMICHROME INC., Dept. (M-2, 15215 South Broadway, Gardena, Calif.

ALLOVER AMERICA

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I0 CERAMICS MONTHLY e WHERE TO SHOW: three months ahead of entry date: WHERE TO GO: at least six The VAitl : : weeks before opening. : :...... ~ ~_.~_~__.

OHIO, AKRON WHEEL 16 0 March 10~April Spring Show of Ar- competition The 38th Annual "Approved for your Protection" *national tists and Craftsmen of the Akron Area, at the Akron Art Institute. Craftsmen CALIFORNIA, SACRAMENTO living in Summit, Portage, Medina, In Popular Use By March 18--April 23 Stark and Wayne counties are eligible. Second Biennial California Craft Ex- Craft categories include decorative ob- Schools, Studios, hibition, sponsored by the Creative Arts jects, jewelry, useful objects. For entries, League of Sacramento, is open to Cali- write: Akron Art Institute, 69 East Potters, Hobbyists, fornia artists. Media: pottery, mosaics, Main St. enamels, glass and jewelry. Specific in- Military, Hospitals, etc., formation concerning entry dates, media, OHIO, TOLEDO jury and prizes may be had from: Cre- May 7--28 Throughout The United ative Arts League. The E. B. Crocker 43rd Annual Toledo Area Art Exhibi- Art Gallery, 216 O St., Sacramento. tion, to be held at the Toledo Museum States as a of Art, is open to present and former CONNECTICUT, NEW LONDON residents of Ohio. Media include ceram- April 23--May 14 ics and other crafts. Fee: $3; Jury; Cash Prestige Show, sponsored by the Society awards. Entry cards and work due April BEGINNER'S POTTERY of Connecticut Craftsmen, will be held 13. Write Mrs. JoAnn Cousino, 3717 at the Lyman Allen Museum. Members Indian Road, Toledo. and of the Society are invited to submit three WHEEL ... articles which will be juried for accep- TENNESSEE, MEMPHIS tance by the standards committee. Three May 5--28 ELECTRIC DECORATING judges will jury the entire final show. The Second Biennial Mississippi River Crafts Show, sponsored by the Memphis KANSAS, WICHITA Branch of the American Association of WHEEL April 15--May 22 University Women, is open to craftsmen *The 16th National Decorative Arts- residing in states bordering the Missis- • Light • Compact • Rugged • Port- Ceramics Exhibition, open to all Ameri- sippi River. Categories include ceramics. can craftsmen, includes ceramics, mosa- enamel, glass and mosaic. Prizes; entry able • Economical ics, hand-wrought and stained glass, jew- 3. Entry fee. Deadline for entries: April Priced for Schools -- to Purchase elry and enamels. Fee: $4; Awards: blanks and information available from: $2000. Work due between March 1 and Mrs. Robert A. Crenshaw, 5312 S. Ange- in Quantity !-- 14. Write: Maude G. Schollenberger, la, Memphis. 401 N. Belmont Ave., Wichita. UTAH, SALT LAKE CITY KENTUCKY, LOUISVILLE April 2--30 April 1--30 First Utah Designer-Craftsmen Show, to 1961 Art Center Annual, at the J. B. be held at the Art Barn. is open to resi- Speed Museum, sponsored by the Avt dents of Utah. After its initial showing, Center Association. Open to artists of the exhibit will be displayed in Ogden, Kentucky, Southern Indiana and others Cedar City, Provo and Logan. Media within 100 miles. Media include crafts. include ceramics. Jury: Awards: Fee: Entry cards due March 10. Write: Mrs. $3 for five entries. For information, Nelle Peterson. 2111 S. First St., Louis- write: Jennifer Giddings, Box 730. Rt. ville 8. #1, Sandy. Utah.

WORCESTER WEST VIRGINIA, HUNTINGTON MASSACHUSETTS, 28 April 22--May 20 April 23--May Exhibit at the Huntington "Massachusetts Crafts Today--1961" is Ninth Annual Galleries. Open to artists of West Vir- the title of the exhibition to be held at and Kentuc- is open ginia and to artists of Ohio the Craft Center. Competition within 180 miles. Media in- Massachusetts As- ky living to members of the clude crafts. Entry forms due March 29. sociation of Craftsmen, and deadline for entries is March 18. For details, write the Association, 25 Sagamore Road, Worcester 5. SJeClAL mR ~uvl~:: NEW YORK, DOUGLASTON COLORADO, DENVER Standard Units As II]ustratecl $36.90 May 7--20 May 6--7 ~*Spring Exhibit of the Art League of Eighth Annual Ceramic Exhibit of the SPECIAL DELUXE UNIT Long Island is open to all artists. Media Rocky Mountain Ceramists Association, Contains both the Pottery and Dec- include ceramics and small sculpture. to be held at the Colorado Grange orating Heads. Fee: $5; Jury. Entry cards and work due Building, will feature a hobby competi- $48.95 F.O.B. Shipper April 15. Write: Louise Gibala, Art tion. For information write: George Lit- League of L. I.. 44--21 Douglaston trell, Publicity Chairman. 1100 S. Gilpin NO C.O.D.'s PLEASE -- Calif. Pkwy., Douglastonl St., Denver 10. Res. add 4% Sales Tax -- Order your VARI WHEEL through your or: NEW YORK, ROCHESTER GEORGIA, ATLANTA Dealer April 13--23 May 4--5 ~Religious Arts Festival sponsored by Seventh Annual Show of the Georgia Central Presbyterian Church is open to State Ceramic Hobby Association is open hobbyists in the state. The VIR-TONE all artists. Sculpture, enamel and mosaic to all ceramic ENTERPRISES $1 for each entry; Jury: show will feature a special creative cate- included. Fee: Box 504 Buena Park, Calif. Prizes. Write: Religious Arts Festival, 50 gory for members. Registration cards are P.O. -- -- Dealer Inquiries Invited Plymouth Ave. N., Rochester. Continued on Page 35

MARCH, 1961 IF "ff et~.gE, vrExee "

Advances in cn~incclin~ and X() I)(~hs, no lilMclliIlg do',~ II. motor design have made this new concept in a potter's wheel possible. OUTSTANDING FEATURES By incorporating the light weight, you'll convince yourself and buy ! yet sturdy, pan of Royalite and a weklcd tubular \~ VARIABLE SPEED, liS VOLTS, steel franw, l:astern 30 to 160 RPM Art Craft has AC or DC developed a compact, \/ MOTOR INCLUDED rugged, potter's wheel. /2"throw-~ IN PRICE ing head is easily \' PERMANENTLY LUBRICATED spun off for quick MOTOR and GEARS and thorough cleaning of pan. \/ ONE YEAR UNCONDITIONAL GUARANTEE OF O/'/g'O~ C ENTE RI N G DEVICE CRAFT FOOT SUPPLIES \/ SWITCH MAINTAINS simplifies the most difficult step for CONSTANT ~PEED, ADJUSTS AT the novice and speeds up production A TOUCH.YOUR FOOT DOES NOT Enamel powders for the professional. HAVE TO REMAIN ON CONTROL •5"~i~-~-~ ~ Hofpack Kilns This optional accessor). CD1. Compacl size: 22" x 18" x 9'/~" hi u.h means greater enjoyment for the and light weight : 24 pounds... ~~ Dremel power tools amateur by aiding him in precise' complete, at this price.. $130. ~"~" Jewelry findings centering of every "throw"... $I5. Write for Brochure \\ Steel and copper shapes EASTERN ART CRAFT CO. Tools and accessories P.O. Box 732 Abington, Mass. \ \ Decorating materials Enameled tiles Poasche spraying equipment Liquid enamels guarantees stability ~\ L & L kilns unitormlty, brushability, .... Firing tools reliability. Copper Cat jewelry kits

This big, new, fully-illustrated catalog includes a com- GLAZES plete line of materials and equipment for enameling, ceramics, Specsey Speckled and other crafts. Whether you're a hobbyist, professional, Art art glazes of multicolored beauty. teacher or student, you'll find everything you need . . . select Vellum Lovely satin-like glazes with "Touch and order at your leisure from one complete source. Take Magnet;sin." advantage of convenience, fast shipment, and attractive low Meringue Foaming textured glazes. prices. You'll find over 200 enamel colors listed, more than 50 jewelry items, an outstanding selection of copper trays, Wonfire s0 beautiful colors both gloss and matt. bowls, and free form pieces. Crackle With perfect crackle pattern.

SEND FOR YOUR FREE COPY NOW! Spill Enhances our cjlaze combinations as listed in our "Tricks and Treats."

Also, SGRAF-WAX--the only new decorating aid in the ceramic hobby field. Thomas C. Thompson Co. Dept. CM 1539 Deerl;eld Road -- Highland Park, III. Write for our complete color catalog including underglazes and WONSTROKE concentrated colors. Please send your free catalog of enameling and craf~ supplies. Perhaps your studio qualifies for a Com- mercial Discount on SPECIALIZED preducts. Manufacfured NAME by:

ADDRESS --

CITY __ZONF STATE .-- BOX 453. WELLSVILLE, NEW YORK I

CERAMICS MONTHLY Tin Vanadium Yellow Stain 5.0 Chartreuse Copper Oxide 0.6 The Li V[ Ly of Zirconium Turquoise Stain 5.0 Speckled Ebony Manganese, Turquoise 60-80 mesh 0.5 Chrome Alumina EARTHENWARE Pink Stain 7.0 Speckled Pink Ebony Manganese, 60-80 0.5 by KARL MARTZ Tin Vanadium Yellow Stain 4.5 Copper Oxide 0.5 OF MANY COLORS" Red Iron Oxide 0.9 Speckled Mustard "A MATTE GLAZE Ebony Manganese, 6O-8O O.2 glaze has HIS zinc-bearing matte and nickel in the proportion of 1 Copper Oxide 1.0 } T been used with consistently satis- to 10: Tin Vanadium Lime factory results for a number of years in Yellow Stain 4.0 I think you will enjoy try- RAW GLAZE STAIN NO. 42 my classes. Cobalt Oxide 7% Raw Stain #56 1.0 t ing some of its many colors. 70 Chrome Alumina Orchid Nickel Oxide Pink Stain 5.0 It is an opaque glaze maturing at Nepheline Syenite 23 04 with a smooth textured, Chrome alumina stains work better cone 100% pleasant feeling surface. Apply it in than chrome tin stains in glazes which composi- a coat of medium thickness as evenly Medium dark include zinc oxide in their Raw Stain :~ 42 3.0% gray-blue as possible. It is essentially non-flow- tions. Copper Oxide 1.0 t brown colors in zinc ing which makes it useful for many Raw Stain # 42 1.5 Gray Green Iron yields glaze painting effects. bearing glazes: with copper Modifying cobalt Red Iron Oxide 2.5% Brown CONE 04 IVORY WHITE MATTE color towards the green throws the Red Iron Oxide 3.0 ) GLAZE NO. 316. the spectrum. This stain con- 37% part of Raw Stain Gray Brown White Lead and copper in the propor- #42 1.0 Flint 20 tains cobalt Zinc Oxide, calcined 14 tion of I to 5: Red Iron Oxide 5.0 } Powdered Glass 11 Chromium Red Brown RAW GLAZE STAIN NO. 69 Oxide 0.3 E.P.K. Kaolin 6 6% 6 Cobalt Oxide Ball Clay Oxide 30 Wax resist painting is an effective Dioxide 3 Copper Titanium Nepheline Syenite 64 method of decoration with this glaze. Tin Oxide 3 Spray on a medium coat of one of the 100% 100% lighter colors. Paint the design in wax Raw Stain #69 2.5% Greenish Blue and, when this is dry, brush over all and harden RawStain ~56 1.0 t colors. To keep To minimize crawling Raw Stain 69 2.0 Cool Blue of it one of the dark the surface against the handfing it the design strong be sure there is a undergoes during some of the decor- Ebony Manganese, which is granu- strong value contrast between the two ating processes, use, as a binder, 1 tea- lar, stirred into any color of this glaze colors. This pronounced light-dark spoon of Karo syrup for each 100 will produce pleasing dark speckles: contrast is fully as important as the grams of glaze, dry weight. Ebony Mang., color selection. Cobalt blues develop strongly in 60-80 mesh 0.5% Oatmeal Wax resist sgraffito is also good. a coat of glaze and cover it glazes containing as much zinc oxide Copper Oxide 2.0 t Spray on as this one and as little as 0.05% co- Ebony Mang. Medium Speckled ---or large areas of it--with wax. In- 60-80 0.5 Green balt oxide produces a light blue. In cise the design through the wax. preparing small batches of this color A speckled blackish green results Then brush the second color into the it is often convenient to make use of from this combination of colorants: incised lines. glaze stain of the fol- If you prefer a majolica painting a dry mixed raw Oxide 2.7% I de- Copper of brushing a dark color lowing composition, such as Manganese Dioxide (pwd.) 1.0 technique scribed in the May, 1960 issue of CM: directly onto the lighter base coat, Granular copper oxide, 0.5%, pro- make the brushing color extra dark to RAW GLAZE STAIN NO. 56 duces greenish-black speckles on a allow for the diluting that takes place Cobalt Oxide 10% white background. Prepare the granu- the light color blends 90 in the fire when Nepheline Syenite lar copper oxide by firing a wad of with the dark. This 100% bare copper wire to cone 04. Good color combinations are gray- oxidizes the copper which is then brown over oatmeal, brown over yel- Raw Stain ~ 56 0.5% Light Blue broken up in a mortar and ground low, blackish-green over a medium Raw Stain 56 2.0 Medium Blue 80-or 100-mesh Cobalt Oxide 0.7 Bright Blue until it passes an speckled green, and cobalt blue over Cobalt Oxide 2.0 Strong Blue screen. A little of this goes a long way. turquoise or light blue. Many commercial glaze stains work You can discover many other grays Modifying cobalt with nickel very well in this glaze. Here are a beautiful color combinations using the blue. This stain contains cobalt few suggestions : this glaze in your own studio. • MARCH. 1961 WHEEL-THROWN

For detailed descriptions of the construction and finishes o[ the wheel-thrown animal sculpture pictured on these pages, please turn to pages 16 and 17.

CERAMICS 14- MONTHLY iNIMAL SCULPTURE

by IRENE KETTNER

HEEL THROWN animal sculpture offers the W potter numerous possibilities. Even though any particular animal form is repeated many times, its original- ity still may be maintained by making changes in its position or expression, by varying the clay bodies or textures and by using various decorating techniques. This freedom of design and decoration makes each animal an original. In some instances animal sculpture may be enhanced by the use of an underglaze, engobe or glaze decoration; in other instances the unglazed clay body may be pre- ferred to emphasize the vitality of the throwing marks. However, if the work is intended for use outdoors and is left unglazed, it is important to fire the body to its full maturity to make the clay impervious to moisture. A porous body, when exposed to moisture and cold, has a tendency to crack. Before giving a step-by-step description of making a piece of wheel-thrown animal sculpture, there are some general instructions I would like to emphasize. Always begin by making some rough sketches of the desired figure. From these sketches determine the num- be allowed to stiffen until it can be removed easily from ber of thrown forms that will be necessary to complete the bat. Then it is centered on the wheel and trimmed. the project, then plan in advance the procedure for All parts should be of uniform thickness, and they throwing each individual part. These preliminary sketch- should be of the same leather-hard consistency when as- es also are valuable in determining the proportion of sembled if cracking and distortion during the drying each part in relation to all others needed to complete the period is to be prevented. animal. Puncture air vents in any closed forms to permit air from the In most cases it is best to build outward to escape during the drying and firing processes. Vent body or main section of the animal. This part is thrown holes in the body section can be hidden by placing them first, and the remaining forms are made in scale to it. where the hollow cylinder legs attach. That is, the neck is added to the body, the head is added Score all connecting areas with a knife and apply is to the neck, etc. The sequence for throwing all forms thick slip on these scored areas. After joining the surfaces, established in this manner. clean off any excess slip. A small coil of clay may be If any thrown part is to attach to any other part blended around these joints. slightly in an angular position, make that secondary form Modeling and carving can be done if the potter de- appendages longer since it will have to be cut to fit. Also, cides that it will enhance the finished product. But this flared out- that are to join the parent form should be treatment should be kept at a minimum if the wheel- ward slightly in order to give a feeling of unity when thrown quality is to be retained. they are joined. The assembled animal sculpture should be allowed If any form needs to be bent or reshaped, this should to dry very slowly to prevent any possible cracking. be done immediately after that part is thrown, while the The turtle was made from earthenware clay and was pull is clay still is in the plastic state. A steady, gentle fired to cone 03. The photographs show the procedures necessary to avoid distortion of the original thrown form. used in making this creature. Any form that requires turning or tooling should Please Turn the Page

MARCH 196; 15 Step 1. All the parts necessary for making and assem- bling the turtle are thrown on the potter's wheel. Sizes and proportions are kept in mind by referring to the original sketches made before starting the clay work. All thrown parts are textured with hacksaw blades immediately after being thrown. A fine-toothed blade is used for the neck-head form, the tail and bottom bowl section. All other parts are textured with a coarse blade.

Step 2. The main body section of the turtle is made from two bowl shapes having the same rim diameter. The bases of these are tooled and textured on the wheel when they are leather hard. The rims are scored and smeared with thick slip to effect a secure joining of the two pots.

Step 3. The top bowl is inverted and placed on the rim of the bottom part and the two forms are pressed together firmly and carefully. When this is accomplished, the body section of the turtle is complete. Step 1. The component parts for making the turtle are shown after being thrown. Hacksaw blades were used to texture the clay. Step 4. The bottom of the turtle body is turned upward for the completion of the assembly. Areas that are to receive the remaining parts are marked and scored for attachment. Vent holes are punctured with a small carving tool in the center of each scored area. The legs next are cut to fit the contour of the body section and these are coated with slip and attached. They were thrown longer than needed to allow for this cutting. A modeling tool is used to clear away excess clay and slip after at- taching each leg.

Step 5. The small thrown eyes are attached and the mouth area is cut out and the mouth space is filled with thin sheets or slabs of clay. This detail work is completed before the head and neck section is welded to the body. With the addition of the head and tail, the turtle sculpture is finished and it is allowed to dry very slowly.

Step 6. The dark clay body of the turtle is sprayed with a black engobe after the sculpture reaches an advanced leather-hard stage. It is given a hard bisque firing and left unglazed. The finished piece has a dull, dark, velvety Step 4. A leg is cut to fit the body contour, then is attached with surface. It is fourteen inches long and six inches tall. • sllp. Vent holes are punctured through the body for air circulation.

The horse. The horse is 14 inches high and 11 inches when attached to the body, was slashed at its end for long. It was made from a dark brown clay body. Cylinder a feathery effect. The horse was allowed to dry very forms were used to make the body, neck, legs and head. slowly on its supporting clay lump until it reached an The legs, thrown slightly longer than needed, were thrown advanced stage of leather hardness. After bisque firing with the use of a dowel rod; when ready to attach to the the horse was waxed with a standard home floor wax to body, they were fitted and applied. A lump of clay was produce a soft luster finish. placed underneath the body--between the four legs--to support the weight of the unfinished form while the re- The penguin. All parts of the penguin were cylinder maining parts were added. This technique helped to forms. The legs and tail were thrown slightly larger than avoid cracking or warping of the legs during this final desired, then were cut to fit and attached to the body. work. The next step was to cut, fit and attach the neck The neck and head, made in one piece as a thrown cylinder to the body, and then to add to this the closed closed form, next was attached to the body. The thrown form for the head. The thrown ear and eye forms were beak was fastened in place after piercing the head to attached, and a small thrown bowl became the chin. vent the beak, and the eyes were applied to the head. The tail was made from a thrown ring of clay, which, The wings were cut and shaped from a single thrown

16 CERAMICS MONTHLY Step 2. The tooled and textured bowl shapes that are to form Step 3. The rims of the two bowls are carefully pressed together the body are scored at their rims and coated with thick slip. to weld the parts into a new closed form that makes the turtle's body.

Step S. The eyes are attached to the head-and-neck section before Step 6. Finished turtle sculpture is six inches high and fourteen it is added to the body unit to complete the turtle sculpture form. inches long. Unglazed surface treatment retains saw-blade texture.

cylinder and were fastened to the body to complete the pelican sculpture. A two-tone pink finish of wax stain sculpture. After the bisque firing, the penguin was colored was used to color the piece. It is nearly 14 inches high. and waterproofed by applying black and white wax stains. The alligator and gila monster. All of the parts that The pelican. All parts of the pelican were made from made up the alligator and gila monster were cylinders. cylinder forms. The legs were cut and fitted to the body. The tail sections were made from cone-shaped cylinders The neck and head section, thrown in one piece, was which were bent while the clay still was plastic. The head next applied to the body. The beak was made from a and neck sections were thrown as closed forms. After each cone-shaped cylinder cut in half, then attached to the mouth section was cut away, these areas were filled in head. The separate pieces of the beak were supported with with small clay slabs to shape the inner mouth. The sticks at the tips to prevent them from sagging while dry- heads, tails and legs were attached to the body forms, ing. A small opening was cut from the head section to and the eyes were applied last. The brown clay body suggest a throat and to ventilate the body cavity. The was bisque fired to cone 03, and resulted in a matt sur- eyes were next applied, then the wings were cut to shape face with uneven burnt areas from the firing. The alli- from a single cylinder and were attached to complete the gator is five inches high; the gila monster is seven inches.

MARCH, 1961 17 MONG the many materials sent to me for evaluation A in recent months, one in particular is outstanding. Very often a raw or processed product has great beauty KILN-FORMED GLASS and shows much promise, only to change so utterly during the firing tests to which I subject all new types of glass that it can only be classified as mediocre in the fused glass category. Indeed, enthusiasm runs high when exhaustive tests prove that firing retains or even enhances the CHUNK original qualities. Such a glass is this particular flint in chunk form. The chunk flint glass is massive in its bulk form, and it has great depth and sparkle even when reduced to FLINT small segments suitable for the technique illustrated in the accompanying photographs. It might be assumed, because of the characteristic bulk form, that firing time must be prolonged or that a higher temperature might be required for fusion. This is not the case, however. This is GLASS a low-melting glass which becomes molten at the prescrib- ed 15000 F. heat required for most sheet glass. It has the added advantage of retaining its transparency and the by KAY KINNEY characteristic whorls, called "onion peel," that are found in this glass (Figure 1). The individual chunks bond to each other with such strength that only a minimum fusion is necessary. An added advantage of this material is that either a typical mold for bent glass (as is used in this article) or any ceramic bisque mold can be used. There is no strain on either type of mold as there is in sheet glass formation. The mold must be coated with a separator because glass becomes sufficiently viscous, at the firing temperature used, to effect fusion. Because of the hand placement of the chunks, dry sifted separators are unsuitable. Likewise, wet-charged separators which crumble or pow- der upon drying are ineffective. A commercial separator may be used, or perhaps a binder may be added to the liquid separator now being used. The coating of separator is more durable if it is applied with a brush instead of being sprayed onto the mold, although either method may be used (Figure 2). The mold should be thoroughly dried to eliminate the possibility of any condensation forming during the firing. This also provides a firmer lining for the placement of the irregular chunks. 1. CHUNK flint glass is shown in various sizes. The characteristic The glass chunks are placed loosely in the mold, whorls in the glass are retained in the firing. starting at the bottom of the mold cavity (Figure 3). This placement procedure provides anchorage for the chunks that are placed on the sides of the mold. If the mold sides slope very gently, the segments of glass will hold in place. Exact placement of pieces is unnecessary; however, pieces can be selected for similarity of size and shape to make a more solid wall. However loosely fitting the chunks are, the glass will fuse on contact. The rim of the mold is covered with the irregular glass chunks to complete the lining process. It is advisable to apply a speck of glue at one or more places of contact on the adjoining chunks at the perimeter of the rim, since the glass pieces might easily become dislodged in handling the mold (Figure 4:). Any glue can be used as long as it will fire out completely and leave no residue. After the entire mold cavity is lined with glass chunks, the mold is allowed to dry overnight in order to permit the glue to strengthen the last rows of chunks. The glass chunks are colored by being brushed with liquid glass colorants. The colorant must be liquid. Liquid glass is used here, being selected for its complete trans- 4. A SPECK of glue can be used to adhere chunks of glass to parency. It will melt, so care is taken not to allow it to one another when the rim of the mold is covered with glass. 18 CERAMICS MONTHLY seep between the chunks and onto the mold. This can fusing point for the individual kiln. In my kiln, which be avoided in part by pouring off a little of the water be- ordinarily bends sheet glass at 1450 ° F., the chunks bond- fore stirring the contents, leaving a thicker consistency of ed strongly at 1350 °. I would therefore say that the firing the liquid. for glass chunks should be about 100 degrees less than is Since the higher points of the glass can receive a required for bending. thicker coating of the stain to best advantage, brushwork The bowl shown in the photograph (Figure 6) was is started at the junction of two or more chunks, and then fired as outlined above, and it has been greatly admired is swept upward to end at the peak of each facet. The for its conformation and the inherent qualities of the flint coloring used here is predominately turquoise, with a light alone. It is not, however, waterproof. This is due to the chartreuse and emerald used for accent (Figure 5). Blend- quartz-like effect. If waterproofing is desired, it can be ing of one color with another is comparatively easy if the done. After the mold is lined, colored and ready for the predominating shade (turquoise) is applied to all ctmnks kiln, fine crushings of the glass are spooned into all fissures in a light wash. After this preliminary wash, accent colors to fill any openings that are apparent. The flint crushings are lightly brushed on the desired areas and then all re- need not be colored since they will pick up color from the maining portions are given a final second coating of the sides of the large facets. If, after firing, all openings are basic color. not filled, more crushings may be added and the piece Before firing the bowl, it is a good idea to test fire a retired. The glass will take subsequent firings without few loose chunks of the glass to determine the correct danger of fractures. •

2. THE MOLD is coated with a separator to prevent the glass 3. GLASS chunks are laid in the mold, starting in the center of from fusing to it: it is allowed to dry thoroughly. the mold cavity and working toward the edges.

• ~ • .3 T

• ,~,< .....

5. LIQUID glass color is brushed onto the chunks. This melts and 6. FACETS and whorls of the glass chunks impart a stunning fuses to the glass chunks during the firing process. brilliance and texture to the finished fused glass tray.

MARCH, 1961 SHOW TIME Art reaSureS 0/ Thailand

HE NATIONAL art treasures of Thailand are travel- T ing abroad for the first time in the history of this ancient Asian kingdom. After its premiere showing at BUILDING ORNAMENT from the 13th- Indiana University, "Art Treasures of Thailand" was 14th century is ceramic used in place of exhibited at the Metropolitan Museum of Art in New the usual stucco for exterior detail. The head York. The next stop on its American tour is the Boston of a naga, or serpent, was used in religious Museum of Fine Arts, where it will be on view from architecture as a protective ornament. March 12 to April 23. Subsequent showings will be in Toledo, Los Angeles, Seattle, San Francisco and Hono- PORCELAIN BOWL is an example of the lulu. 17th and 18th century ware made in China More than half of the 300 objects on display are from Thai designs, and exported for the sculpture, the major Thai art form. The decorative arts Siamese market. This five-colored pattern include ceramics, which range from a subtle Thai version has designs of mythological figures, animals and floral designs. The inside of the bowl of celadon ware to an early, but surprisingly modern style has a green background. in which glazes drip freely down the sides of massive urns. Many of the ceramic household objects are in the form of animals. Several objects in this exhibit help to visualize the architecture. While stucco was the usual material for exterior detail, ceramics often replaced it. The head of the ...... naga is one of a pair that stood at the lower corners of a pediment while their bodies writhed upward toward the apex. In addition to the ceramics and sculpture, the display also features paintings, illuminated manuscripts, silks, jewelry, theatrical masks and puppets, and decorative objects in gold, silver and crystal. Assembled from the Royal Collections, the National Museum in Bankok, ancient monasteries, private collections and six other Thai museums, "Art Treasures of Thailand" spans 1400 years, from the 6th to the early 20th century. •

20 CERAMICS MONTHLY COVERED BOWL decoration resem- POT in the Form of a Rabbit is a bles the products of the Tzu-ch'ou kilns ceramic container with a silver lid. It from China. Work in the Sukhodaya is about five inches high. An example style was influenced by Chinese patters of the /otburi style, it dates from the working in Siam. 11th to 14th century.

JAR is terra cotta of the lopburi style (llth to 14th century) showing a strong Cambodian influence. It is partially covered with a dripped brown glaze.

FLOOR VASE has ten lobed ridges and a light greenish glaze. This vase is a relatively rare specimen of the Sukhodaya style, which flourished during the 13th and 14th centuries. Techniques for producing these wares were introduced by Chinese potters.

MARCH, 1961 21 LARGE ENAME on ste'

by I=LISE CHAPMAN

HE enamelist who has become tired of working on T small pieces can quickly recover his enthusiasnl by making a large picture or mural on steel tiles. In addition to the fun of working more freely on a large surface, these mosaic-like projects result in showy, vet practical pieces. A large project might be used as a picture for the wall, a surface for a table top or a decorative section for a lamp base. Your own imagination will suggest many more uses for these large enameled works. The tiles, which may be purchased ready to use, vary in size from two by four inches to eight inches square. They are made of thin steel covered with a base coat of vitreous enamel, either white or colored. This base coating of enamel may be utilized as background for your work, if you so desire, or it can be completely covered with the colors you want to use. There is just one precaution in working with these steel tiles: Since they are quite thin, all colors should be applied and fired in one operation. The tiles tend to warp or buckle under repeated firings. Before starting a large project it would be a good idea to experiment with just one tile to better get an idea of what is involved and what results to expect. You might want to try a simple project like this: Using a white enameled steel tile, sift on some green enamel as a background and around the edges sift some darker green color. Now, wipe out some of the enamel with a brush to form an animal shape--perhaps a rabbit. Next, lay in some pink enamel for the ears and add two lumps of black for the eyes. A few black enamel threads can be laid in for the whiskers. To accent the figure, sgraffito around it and then add a few colored lumps of enamel t:~ form flowers and leaves. Place this tile on the firing rack and fire for about three minutes at 1450 ° and see your results! In starting a large project, first lay out your design on paper. Block in the tile size also so that you can tell just what portion of the design will go on each tile. When this is done, trace or sketch the design on the individual tiles with a pencil (Figure 1). If you decide that you want the design outlined, mix outlining black

22 CERAMICS MONTHLY LED PICTURES I 'el tiles

1. THE design is executed in color on paper that is marked off into areas the size of the tiles. Then the design is sketched onto the individual tiles with a pencil.

color with China medium and apply to the tiles with a brush. This must dry overnight before continuing with the application of the enamels. When you are ready to apply the colored enamels, brush a thin coating of oil around the edges of the tiles, where they turn down. Loose enamel might easily become dislodged from these areas in the process of moving the tiles or in lifting them onto the firing racks. The enamel can be applied to the tiles in any method that seems applicable to the design you are creating. Sifting and wet-inlay are the methods that you are most likely to choose (Figure 9). A paint brush can be used to remove enamels from areas where they aren t wanted after being sifted on. For special effects, sgraffito lines may be made through the enamel at this time. Lump enamels may be added, but the lumps used should not be too large, because they may pop off the tile surface after the firing. 2. ENAMEL is sifted onto the tiles for the background colors. This You may want to work on a single tile at a time is picked up with a brush where it is not wanted, and replaced or work over the whole design at the same time. How with enamels for the desired design. you decide to proceed will depend on the effect you want to achieve. The completed tiles are placed on the firing rack one at a time and put into the kiln for firing (Figure 3). Do not fire these prepared tile at too high a temperature because the background color may fire out? I would suggest that you not fire over 1450°F. Firing time is about three minutes. When the enamels are mature, remove the tile from the kiln and place it under a large flatiron or other weight to prevent warping. If a ~old firing is desired, be careful that you don't overfire. To mount your finished picture tiles, obtain a sheet of plywood of the size wanted to hold the finished picture tile. Cover this with an adhesive or tile cement, then press the tiles down into place and weight them until the cement is dry (usually overnight). The tiles may or mav not be grouted, depending on the use of the finishect article. Burlap or grass cloth might be added around the tile to act as a textured matt, or the tile picture might be set into a wooden or metal frame. However you use 3. THE enameled tiles are fired at 14S0 degrees F. for about it, your tile plaque is sure to be a showpiece in your three minutes. Taken from the kiln, the thin tiles are placed under home. • a heavy flatiron to keep them from warping.

MARCH 195: 23 "" 'c Bellaire Demonstrates SH STROKE

ECORATION

ISING WAX

RESIST

!'ilili!ii!!~!i

OPPOSITE ends of a silk sponge are dipped into two colors of THREE animals are brushed over the background areas using underglaze. By reversing ends and overlapping the colors, Mr. wax-resTst emulsion. The figures of the yak, horse and deer almost Bellalre gets a vari-oolored and textured background. completely fill in the surface area of the greenware shape.

24 CERAMICS MONTHLY HE POPULARITY of the wax-resist process with painted in wax over the sponged background colors. The T decorators is easily explained because there are so strokes are bold, almost completely filling in the surface many ways to use it and because there are so many of the saddle form. The brush strokes in wax are execut- varied effects possible. In the October 1960 issue of ed in the same way as they are for underglaze, and the CERAMICS MONTHLY, Marc Bellaire demonstrated one of most assured-looking decoration is one showing quick, the popular techniques for use with wax resist. Wax was decisive brush action. The artist should not be afraid to applied over the entire surface of the greenware and a let the strokes wander off the background areas of color. sgraffito decoration was cut through it. When the cut de- The wax is an emulsion that is water soluble, so if it sign was filled with underglaze, the result was a sharp, is too thick for your use don't be afraid to thin it with crisp line. a small amount of water. One coat of wax covers; don't This month Mr. Bellaire shows how to create a de- go over lines! Brushes can be cleaned of the wax by wash- sign with wax that preserves the brush stroke quality that ing them in soap and water. all decorators prize. This technique emphasizes a free The wax is used again, this time with a stiff stencil brush effect that is in marked contrast to the tighter, brush, to spatter the surface. The purpose of this step more controlled result from sgraffito. is to add texture and color to the new background color Mr. Bellaire selects a piece of greenware in a free- that will be applied next. Both applications of wax will form shape that resembles a bicycle seat or saddle. To resist this color. The brush is dipped into the wax, then emphasize this triangular shape, he decides to decorate the wax is spattered on the greenware surface by flicking it with three different animal shapes. Since these are to a finger over the ends of the bristles. The brush must be be executed in brush strokes in wax, he first sponges on held rather close to the clay surface for the best effect, some background color. The purtx~ of this is to relieve and some experimentation may be necessary to place the the whiteness of the greenware that will show through in spatters of wax just where they are wanted. the finished piece, and also to prevent the brushed wax Mr. Bellaire's final decorating step is to dip the silk design from assuming a stencil effect. sponge into a dark brown underglaze and carefully pat Since the theme of the decoration is animals, Marc the color over the entire top surface of the piece. If de- BeUaire selects color in keeping with the subject. He sired, this same color can be sponged over the bottom prepares red-brown and medium-brown underglazes by surface too. This sponging of color can be done immedi- thinning them with a little bit of water. Selecting a soft ately after the wax processes. The wax resists the under- silk sponge, he dips one end in one color and the opposite glaze, leaving the brushed design and the wax spatters end in the other color. This color is applied to the three free of this last color application. Mr. Bellaire warns to general areas he has selected for his animals by overlap- pat, not smear, the underglaze over the wax! The spong- ping the two ends of the sponge as they are patted onto ed colors beneath the exposed animal figures combine the greenware. This technique gives darker and lighter with the wax spatters to give excellent color and texture. areas of color on the surface of the piece. Note, however, Glaze won't adhere to the wax, so a bisque firing is that Mr. Bellaire covers only general areas, leaving some necessary before the piece is glazed. The wax bums away areas uncolored. This will keep the animal shapes from completely in this first firing. Mr. Bellaire selects a trans- appearing monotonous, and will add sparkle to the fin- parent matt for this piece, one which shows off and en- ished piece. hances the warm monochromatic colors of underglaze The three animals--a yak, a horse and a deer--are used on this saddle shape. *

WAX is spattered over the entire surface to achieve a textured DARK underglaze color is sponged over the whole top surface of the etfect after the next step. Both the wax brush lines and the spatters saddle shape. Waxed areas reveal the warm, varied colors and will resist the final background color that goes an next. the unusual textures in the freely-executed animal designs.

MARCH, 19hi 25 Strictly Stoneware

TESTING FRIT$ FOR GLAZES

by F. CARLTON BALL

TONEWARE potters are quite The clay pots are made by placing spatula into some frit on the bisque S dependent on the use of raw glazes, each "cookie" over the bottom of the tile. The colored frit test is a help in so much so that many of them are cloth-covered glass and then molding learning something about the frit's unfamiliar with frits and the sources the edge of clay over the glass to form appearance after firing. High lead of supply for frits. There are three a rough dish about one-half to three- frits will result in a green color and large supply companies that I know quarters inches deep. Next, remove high alkaline frits will be turquoise. about that manufacture frits. They the clay "dish" and repeat the process are: The Ferro Corporation, Cleve- until you have made dozens of these Using the Tests land, Ohio; The Pemco Corporation, test pieces. When they are dry, bisque After two sets of tests on each frit Baltimore, Maryland; and the O. fire them. are made and fired at two different Hommel Company, Pittsburgh, Penn- low temperatures, the test pieces sylvania. Making the Frit Tests should be glued to a piece of mount- These frit manufacturers constantly With your bags of frit on hand and ing board and each test labeled com- are working on their products and the bisque clay dishes prepared, you pletely and clearly. In this way you new frits are being made to replace are ready to proceed with the tests. I will have a permanent fired record of others as they become obsolete. Some suggest you use a bisque tile (either your frits that may be referred to for of the frits are made especially for four or six inches square), a small use in creating fritted glazes. Many of specific companies to use and thus are thimble that is smooth on the inside, the tests will look like beautiful glazes not available for general use, but and a spatula. Dampen the tile just as they are. However, to make a many others are obtainable. Your thoroughly with water--but don't sat- useable glaze from these tests it is nearest ceramic supply dealer pro- urate it--and place a teaspoonful of necessary, to add from five to ten per- bably carries a series of the most frit on the tile. Spread and mix the cent of kaolin to the frit. It also is a popular frits from one or perhaps all frit with the spatula until it becomes good idea to add some material such of these companies. He can obtain the slightly moist from contact with the as Epsom Salts to the frit and water more unusual frits for you in a short damp tile. Now, pick up some moist to keep the frit from settling and time. The chemical analyses of many frit on the spatula and fill the thimble packing on the bottom of the storage of the frits are available to potters, gently, but don't pack it. container. also. Label the bottom of one of the Following are descriptions of just a For all potters interested in experi- bisque dishes with a black underglaze few of the interesting tests of fired menting with fritted glazes, there is a pencil or a marking compound. Rec- buttons of frits. very simple method of testing that ord the number of the frit, the name Pemco Frit P-609, fired at cone 09, should be of immense help. First, of the frit company and the cone fused but held its molded shape. It re- purchase a small quantity (one to five number at which you intend to fire suited in an opaque, white satin matt pounds) of quite a number of dif- the test. Now place the thimble of frit texture (left). A pinch of copper ferent frits. Next, prepare some clay upside down on the center of the in- test pieces on which to conduct the side of the dish test piece, hold it in experiments. place while you tap the top or side of the thimble, and then lift the thimble Preparing the Test Pieces off the surface. A small, firm mound On a piece of cloth, roll out some of of frit now should be in place in the carbonate added to the frit gave just your clay into a thin sheet. Use a center of the dish. the slightest trace of blue-green color. round cookie cutter to cut a number Make at least two test dishes of At cone 04 (right), the button melt- of clay "cookies" from this clay sheet. each frit: one set to be fired at cone ed into a rounded lump of milky but To shape these into small test 09, 08 or 07, and the other in the pots, shiny glaze. prepare a simple mold by inverting a range of cone 06, 05 or 04. Ferro Frit :#:3132, fired at cone 09, jelly glass and covering it with a piece If you don't mind a little extra resulted in the button being puffed up of cloth. Fasten the cloth securely by work, it is interesting to make a color- to about twice its original size, with tying it at the rim of the glass, and ed test of the frit. Take a speck of large, thin bubbles under the smooth, you have a crude but effective hump copper carbonate on the tip of a par- mold. ing knife and blend this with the Continued on Page 32

26 CERAMICS MONTHLY Combine A Project In Clay With The Study Of Nature

FINISHED planter is suspended by four leather thongs (shoe laces). Growing inside is a philodendron: its trailing vines make it an obvious choice for a hanging basEet planter.

A SMALL hanging planter is an excellent project for the classroom or for anyone who wants to combine hobbies of ceramics and indoor gardening. Children find that these swinging sculptures are fun to make; they also like to see them in use, suspended from the ceiling or an overhead lighting fixture at home or in the schoolroom. There is an added bonus in these pottery objects, since they are hung up out of the way of any general confusion and thus are assured of a long life not always granted to pieces displayed precariously on tables, window sills and benches. There is a built-in challenge in the construction of hanging planters because they must balance correctly when in use. Children find that the final step, of drilling For The Schoolroom. the holes by which the planter is to be slung, requires careful consideration of the way the piece is to appear when in use and in the air. The teacher should find this project to be an excellent one for use in correlating an art project with other studies in the classroom. While it may be used to create objects that occur in the reading program, the most obvious relation is with some form of nature study. Ob- HANGING servation of birds, fish or other creatures of nature can be translated into these clay images. In addition to this correlation might be included the observation and a great deal of practical experience in the study of plants, since these pieces can have a very definite function. There is added incentive for workin~ PLANTERS when the pieces are to have a real use. Specific plants must be considered for use in the planters in relation to the amount of soil they must have for good growth. The selection of the proper soil for a certain plant must be de- termined, as well as the amount of water it should have. Perhaps some plants will be chosen for their ability to by ALICE LASHER grow in very little soil or in vermiculite or sphagnum. In general, these hanging planters have a minimum amount of space for holding soil, and the selection of plants must Please Turn the Page

MARCH, 1961 27 be considered very carefully. There is a wide choice of methods for constructing these planters. If the clay class is working in any specific technique at the time--pinch pots, slab-building, draping I ;>,, i or casting--it can be readily adapted to this project. And if all or part of these techniques have been used in class, the individual should be free to select the method of construction that he believes will give the best result for his particular selection of a form. Techniques might also be combined. For example, pinch pots may have slab or coil additions for head, neck, tail and wings. Combining of two forms is possible, also, as in the case of a pinch pot being combined with a slab- built piece. Over-ornamentation of the form must be discouraged if the essential purpose of the form is to hold plants. If, however, the piece is considered primarily as a sculptural form, much detail may be considered desirable. Abstract forms give more emphasis to the planting used in the pots and realistic forms become essentially a piece of I. SLAB-BUILT planter shaped like a bird starts with patterns hanging, swinging sculpture. traced onto a rolled-out sheet of clay. Shape also could be The method illustrated here is slab-building with the sketched directly onto clay slab for a freer approach. use of pre-planned patterns. However, a much freer approach might be encouraged by having the children work directly in the clay and compose as they go. Whatever the method, the teacher must be sure that seams and attachments are given proper attention so that the work does not come apart during the drying and firing. Due attention also must be given to support of the pieces during the construction and drying stages. The only unusual step in the whole process is that of stilting or supporting the pieces during the glaze firing. Due to the nature of the planter's use, unglazed bisque is likely to show scumming on the surface after being exposed to damp soil for a long time. Therefore it is almost necessary to glaze at least the outside of such pieces. The best way I have found to stilt these forms for glaze firing is to invert them on a shelf post or on a pointed length of porous firebrick. By the use of the latter, the inside of the pieces also may be glazed. There are advan- tages and disadvantages to this total glazing, however. A pot glazed on the inside requires less watering, but there is always danger of rotting the plant roots from over- 4. CHUNKS of clay support the shape on a tile while the finishing watering. If left just bisqued inside, the soil needs more work is done and prevent the plastic clay from sagging. Extra pieces frequent watering. are added before the clay form becomes leather hard. The glazed planters are completed by the addition of the soil, plants and the hanging arrangements. The plants that we have used successfully in hanging containers are rather hardy types that have a tendency to drape or trail for the best visual effect. I would suggest Kenilworth ivy or any other small-leafed ivy; babies' tears (Helxine); Oxalis, which is started from a bulb and which grows well in a shallow container with a minimum amount of soil; wax plant (Hoya), which is a slow starter, but is a beautiful plant for this use; passion-x-ine (Passi- flora), which has excellent foliage and pink, white or purplish blossoms; and the hardy sweet potato vine, which is a favorite with children. After the planting is done, the cord or wire is attached to the holes and the completed piece is ready for hanging. Remember, these pieces are made for observation as well as for display, so hang them in places where the children have easy access to them. And, last of all, remember the requirements of light for the individual plants when selecting sites for these hanging planters. •

28 CERAMICS MONTHLY 2. BOTTOM edges, which are to join one another, are cut at a 3. THE JOINING seams are carefully pressed together and sealed sharp angle for a better fit. All joining sections are scored and to form the bottom of the planter. Hand support from inside gives coated with thick sllp for the best and safest welding. counter-pressure and maintains the desired shape.

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~,i~ ~ ~ ~! ii~!~!~i'~!~ i ~i~

.I.Z ...... "

5. TEXTURED finish is given to the plastic clay with a section of 6. Bisque planter is glaze fired upside down on one or two pointed coarse-toothed hacksaw blade. Holes for hanging are drilled or pieces of porous firebrick or on a shelf post. This allows the piece bored through the clay at this time. to be completely glazed on the outside.

1961 MARCH, 29 ENAMELED EASTER

I HOPE that by the time this article is in your hands that "Free of ice EGGS are streams and brooks," to quote from Goethe's Faust. Almost as though it is compensation for the unbelievable winter we have had in New York, Easter comes very early this year, and I feel like celebrating. If you feel the same way, let's celebrate together by making Easter eggs! You all know, I am sure, the beautiful enameled and jeweled Russian Easter eggs. These are exquisite things with which we can't be expected to compete. But I wonder whether you know about the Czechoslovakian and Polish folk-art eggs? These are charm- ing objects, turned from wood or using real eggs with the inside matter blown out, painted or batiked with wax to resemble textiles. Pure design is used on most of these eggs, and if there is any representation (such as flowers or roosters), it is so highly stylized that it becomes pure orna- # ment again. Most of the wooden eggs have a hole running through from pole to pole, and colorful strings are laced through this and knotted as a method of suspending the egg from a stick. The first step in creating our tightly around the middle of the egg. These resemble whips with dangling enameled egg is to provide a pattern Now, beginning where the two ends Easter eggs attached, and are used for cutting the sheet copper correct- of the strip meet, crease the materiaJ singly or in bunches for decoration. ly. The easiest way to make a pattern on both ends to fit the egg beneath We can make decorative, enameled is over an egg or an egg-shaped ob- it to perfection. Next, pin these creas- Easter eggs, either those strongly in- ject. If you want your enameled egg es and, with a pencil, trace these fluenced by folk art or in an entirely the exact size of a real one, you can creases carefully on the material modern style. The basic copper shape begin with a hard-boiled real egg. (Figure 1). The more creases or darts is a problem I can help you with, and If you want a slightly larger size, start you make, the rounder and smoother the decoration is, as always, up to with a commercial plastic, wooden or the finished egg will be. (For lazy your own inventiveness. Even in this papier-m~ch6 product. people and non-perfectionists, four or latter area, I can offer some technical The pattern can be made from pa- five darts might be enough.) When advice without any danger of influ- per or any cloth scrap. However, I the pins are removed, the pattern- encing your design. have found that tarlatan or even making is done. The complicated and wonderful white crinoline is the best material to Cut out this cloth pattern and trace Russian eggs are made by hammering use because it is stiff enough to hold it onto a sheet of copper. On each out two halves of an egg, after which the creases that must be put in it and straight area at the two ends of the they are bezeled, lined and hinged. it also is transparent enough to see pattern, add a little length for over- Now, this can be done! And I pro- through while you work. Either of lapping (Figure 2). Now, cut the mise to have a column on making these materials is pliable and holds copper, bend it into a cylinder shape, boxes some month. But this is a major straight pins very securely. Now, don't and hard solder where the overlap° operation and I have a less complicat- think I have digressed and am going ping ends meet (Figure 3). File this ed method to present this time. These to teach dressmaking! seam. The sharp points of the copper eggs can't be opened, but they are The pattern is made by selecting a also must be filed off to make a hole very decorative. strip of the material and pinning it in each "pole" of the egg. This can be

30 CERAMICS MONTHLY done at this stage of the work, or it for the marvellous beads and balls I could be done before the soldering mentioned in an earlier article. It tru- process. This hole will act as an air ly is a marvel to make a piece abso- I THISKEY... I escape so that the egg won't lose its lutely round and done in cloisonne all shape in the firing. It also will be over without an imperfection! used to suspend the egg for firing and If you are interested in re-creating for display after it is finished. some of the folk-art effects in decora- Now, carefully press all segments tion, here is a hint: after applying a i. together with a burnisher and the egg basic coat of white enamel, apply is in shape! After the sharp edges are some patterns of stripes or patch- opens the door to New Horizons in filed to perfection, the enameling can work-quilt in bright, light colors. dramatic textures, exotic colors and be done. Cover the whole egg with black over- superb finishes in glazes You will need a special firing con- glaze and, when this is dry, scratch traption for firing the egg. The easiest out some ornamental shapes or de- ANNOUNCING method is to make one from your fir- signs. They will appear as very vivid ing rack. Simply cut a V- or U-shape colors against a black background, REWARD'S SECOND GROUP in each end of the rack and use these and will look great! 0~ NEW SIGNATURE GLAZES as supports for the wire that holds the Now, here is another amusing egg. By: Eric Vanderlund two pieces out egg. Tie or twist to,ether I say "amusing" because it comes (Available February 1S, 1961, at REWARD of strong binding wire and pitt these with a crinkled surface. Form an egg distributors. ) through the holes in the egg, and shape from wax. Around this, form place the ends of the wire on the an e,~,~,o from copper foil by squeezing forks. Supported in this way, the egg and pinchin.~ the foil. When this is GOLDEN MIST SERIES cannot touch a support and become done, heat it and allow the wax to EV 10 Nile Green marred (Figure 4). run out through an opening left for EV 11 Starlite This, by the way, is the "'mysteri- this purpose. Pickle and enamel, and EV 12 Mocha Gold ous" technique the Chinese employed it is done! Happy Easter! • EV 13 Russet Green EV 14 Jewel Brown A fabulous finish in glaze with a filigree of gold or silver making un- [I .~<,f'! :L~ ::!!' i,,l ~ J usual patterns, depending on the contour of piece on which it is apl)lied. Can be used in combination wire our lOSs Antiques or Cameo Matte glaze r breathtaking effects.

I LUSTRE SERIES EV S0 Midnight Blue EV 51 Deep Purple EV 52 Sparkling Burgundy EV $3 Tidal Green Exotic decorator colors, reflecting the ~ randeur of Old World Splendor, n~llll eep, rich lustre finish. L

Fig. 1 Fig. 2 ANTIQUE SERIES EV 70 Maple Leaf EV 71 Moss Green The REWARD Signature Antique Glazes are superb in color, beouti~l alone or in combination with other glazes. Save coupons found on glaze bottles

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Fig. 3 Fig. 4

MARCH, 1961 31 Order now from the Frits Continued from Page 26

dry white matt surface (left). Fired NEW Book Department Our He. 6 .:~ CERAMICS lOOK by Herbert H. Sanders An excellent introductory book on ceramics. Describes to cone 04 (right), the frit melted Ceramic Catalog methods and materials used to make pottery by plnch into a pool of clear, colorless, shiny method, coils and slabs~s crystal glaze. well as wheel thrown and COVERING cast forms. Discusses ceram- O. Hommel Frit :~266, fired at ic jewelry, sculpture, decorative processes and kitn flr- zone 09, resulted in a flat pool of * CERAMIC SUPPLIES ' incj. 96 pages. SI.9S translucent glaze full of small bubbles AND EOUIPMENT DESIGN FOR ARTISTS AND md pits and with a rather sugary CRAFTSMEN by Louis Wolchoaok DESIGN ~C.!i surface (left). A pinch of copper One of the best books on * COPPER ENAMELING desicjn, it will prove inval- ...... i uable to pottery and sculpture enthusiasts as well as * MOSAIC TILE decorators. Geometric form, flower and plant form, birds and animals in careful detail. Overs;re format, 207 paqes, 1280 Illustrations. C I o f h FOR YOUR COPY bound. $4.95 carbonate in a test gave a good turquoise translucent glaze with depth send S0c refunded on first order CLAY AND GLAZES FOR and interesting possibilities. Fired at Schools and Institutions Free THE POTTER by Daniel Rhodes cone 04 (right), the frit gave a clear, Two complete books in one[ colorless shiny pool of glaze. In non - technical lanoauaqe this is a must for every hobby-craftsman student, teach- Fritted Glaze Recipes er and potter. Fundamente Van Howe details on both CLAY and Suggested glaze recipes furnished by GLAZES is furnished ~ and Ceramic Supply much more. No ceramist can the manufacturers of various flits afford to be without it. Illus- !!85 S. Cherokee, Denver 23, Colo. trated. $7.50 should give you some good glazes or furnish you with a starting point for experimenting on your own with fritted glazes. JEAN LEONARD CERAMICS $8-24 Corona Ave. Corona, I,. i., N. Y. CONE 2-6 GLOSS GLAZE 18 E. Hartsdale Ave. Hartsdale, N. Y. ANDmentcrystals,CUrvilinearincludebyHANDBOOKI800ClarenceusefuIBaSlc anddesiqnsDEVICESsketches thesymbols.anqular many circle, fret,H°reunq OFand shield,More DESIGNSline,VariatlonSinterlace. other equally scroll,snow packedthaninto ~~~,',- ~ i ~L.,~L'* ,s~:,~, Wholesale - Retail Ferro Frit #3525 66% Gioumatie--T r u-Fy re---D raknu feid--Zi reo Doncan--L & L Kilns---Kemper Tools Kaolin 10 Try our Magic Glaze Binder, makesa gal. 50e. Flint 18 Distributor for Pea-Wee Sprayers. $8.95. 240 paqes of informative test. i~.:,,~-~'1: All items plus postage -- Catalog 25c. Paper bound. S1.90 L,!E~ Zinc Oxide 6

DESIGNS AND HOW TO 100% USE THEM CONE 1-4 GLAZE by Joan E. Priolo CERAMICS Ferro Frit #3497 92% FINISHED AND GREENWARE Top-notch decorating can be Kaolin 8 achieved by followinq the Distributor: ~ Reward ~ Dobe GIo simple motifs which may be "A' Willoughby "A" Symphony 'A" Kay Kinney easily enlarged or transfer- 100% Glas~ Molds red. With emphasis on modern deslqn the author has CONE 02-8 GLAZE Bergen & Marx brushes, also tools. assembled a complete sub- Pemco Frit Pb-309 92% Our stocks of all are large and varied. ject list ;ncludinq birds, fish, NO CATALOGS flowers. Pennsylvania Dutch, Kaolin 8 etc. 134 pages. $S.95 SUBURBAN CERAMICS 100% STUDIO CONE 1-6 MATT GLAZE 830 Warren Avenue Downers Grove, III. Ceramics Monthly Pemco Frit Pb-740 85% Call we 8-0719 4175 N. High St. We Pay Postage Milled Alumina 5 Columbus, Ohio Kaolin 10

Please send me the following books: loo%

An excellent booklet giving information on fritted glazes is available if you use your studio or school letterhead when writing to inquire about it. Name ...... There are glazes listed that fire from CLAYS-PLASTERS Write far Infemeflen City ...... Zn ...... State ...... and catalogue CM cone 08 up to cone 11. This ceramic Manufacturers, World's Most bulletin, called "Tam Zirconium Complete Sculptor's Sul~ies ORe~lon 9.747q Adress...... Glazes," is issued by the Titanium I enclose $..... Send remittance with order. Alloy Mfg. Division of the National Ohio residents add 3% Sales Tax , ...... Lead Company. •

32 CERAMICS MONTHLY eople,, places & things : ...... :: ...... :

AMONG OUR AUTHORS MEMBERS SEE MOLDS MADE SAN FRANCISCO EXHIBITION • Mrs. Irene Kettner is a native of Min- At the January 15 meeting of the Pitt- The Association o/San Francisco Potters ...... ~ nesota and a grad- sylvania Ceramic Guild, members wit- held its llth Annual Exhibition at the uate of Mankato nessed a demonstration of mold making M. H. DeYoung Memorial Museum in State College, by Al Schoellkop[. Guild members were December. The Association is one of the where she first be- shown a method for creating original oldest craft organizations in the Bay Area came interested in molds for making ceramic pieces. Mr. and the largest one devoted exclusively to ceramics while Schoellkopf, who has been teaching his potters. The first award in pottery went to earning her degree own special mold-making process for sev- Edward Cromey for his footed bottle. is in Elementary Ed- eral years at national ceramic shows, Peter Voulkos won the sculpture award ucation. She has one of the few mold makers in the Pitts- with his Image for Graves. Award pottery since taken pottery burgh area. A question and answer period is shown in the photograph. In the fore- work at the Uni- followed the demonstration. versity of Washing- HOUSE OF CLAY the Worceswr I Mass.) Craft Cen- ton, at The new showroom for Design-Technics ter under Verdelle Gray, and from Nan in New York City is literally a "house of James McKinnell at Old Deerfield, and clay." The building's facade, the inner Mass. Mrs. Kettner writes: "My main walls, space dividers, lamps and accessories interest is working on the wheel which my are all examples of ceramic artistry. The husband built. For the past year I have firm makes a wide variety of ceramic pro- been experimenting with glazes and var- ducts for architectural use, ranging from ious methods of decorating." She has ex- wall surfacings and floor-to-ceiling pierced hibited her work at Minneapolis, Spring- screens to accessories for decorating. The field (Mass.) and at the National Pageant accompanying photograph shows a mural *)f Ceramics at Chicago.

ground is a footed bowl by Helen Peek; VALLEY SHOW MISSISSIPPI from left to right are pieces by Edward Fern Branstetter, publicity chairman Cromey, Edwin A. Cadogan, Charles of the Mississippi Valley Ceramic Associa- McKee, Roy Walker, Bert Borch and tion, announced that the fourth annual Alan Meisel. Jurors for this event were show will be held May 13 and 14 at the Bruce Anderson, Marcia Chamberlain, Masonic Temple at Rock Island, Ill. She Graham Keith and Paul Soldner. writes: "We have approximately 75 members in our club and it is fairly active. MEETING At the present time our only plans are MIDWEST ASSOCIATION Ohio and Indiana to make this Fourth Annual Show a Studio owners from howling success!" The general show chair- who comprise the Midwest Ceramic Asso- at Fostoria, man and club secretary is Mrs. Bernard ciation held their meeting Runge. Mrs. Ernest ]ahn is president and Ohio, on October 9. Members toured the Mrs. Albert Cantwell is treasurer of the Marbar Studio, owned by Mr. and Mrs. group. Barrett Brown. A feature of the event was the judging of ceramic trophies designed and exhibited at the meeting. Mrs. Hinkey, TIFFANY SCHOLARSHIP Dayton, was named the winner; her trophy shows The Tiffany scholarships, awarded an- design will be used for the various the nually in the fields of fine arts and crafts that the association stages throughout is John by the Louis Comfort Tiffany Foundation, year. President of the group include a rotating grant in four craft fields Garwood, New Lebanon, O. Marie Smith ------ceramics, textile, stained glass and metal. is the publicity director. This year the craft competition is in the area of ceramics, and experienced profes- COLOR SLIDES AVAILABLE citizens may sional craftsmen who are U.S. The DePauw University Art Center is amounts to about compete. The scholarship offering a set of 36 color slides of pottery, travel $2000 to be used for study and ceramic sculpture and enamels which have recipient desires. Applica- wherever the been shown in the two DePauw Ceramic from: The Louis tion forms are available Shows. These may be borrowed by any 1083 Fifth Comfort Tiffany Foundation, high school or college for use as instruc- Ave., New York 28. tional aids, and there is no charge except for about sixty cents for postage and LEE R. DUNCAN insurance to the next destination. Schools should specify the approximate date when Word has been received of the death of the new showroom. A in the window slides are wanted and an alternate date. on January 18 of Lee R. Duncan. Mr. expression of pure form and spontaneous Write to: Richard Peeler, DePauw Uni- Duncan was the president of Duncan Ce- piece is an example texture, the unglazed versity Art Center, Greencasfle, Ind. ramic Products, one of the oldest manufac- of the work that is carried out in commis- turing firms in the hobby supply business. sions of large scale by Design-Technics. Continued on Page 34

MARCH, 1961 33 -~.,:.:.:.:.: CeramActivities :.:.:.:-:...... SEND FOR .,:...-...... :!:i:!:i:i:i:i ::::::::;:::;:: Continued /tom Page 33 :...... the latest :::::::::::::. JUDGES FOR SACRAMENTO SHOW 7G-page iiii!!iiiiiiii ...,..... -... California artists are invited to enter the ...... ,.,..... Cherub Molds second California Crafts Exhibition to be CRAFTOOLS .-.-...... ::::::::::::::...... held at the E.B. Cracker Art Gallery in Sacramento. The show, sponsored by the :i:i:i:i:i:i:i /o,. waft plaques CATALOG iiiiiiiiiiiii:...... Creative Arts League, will be held March -.,.,.,.-.,: 18 through April 23. Judges will be Peter of !!~i!i!iii!i![ Voulkos, potter and painter: lean Buckle)', tools and equipment iiiiiiiiiiiill sculptor and enamelist; Kay Sekimachi designer and weaver; and Daniel Nacht, CREATIVE,o,,he CRAFTS iiiiii! architect. Details for entry can be found in this month's Intinerary. CERAMICS iii!ii!!iiiii: JEWELRY - METAL CRAFT iii!i!!iii!iiii -...-..:...... GEM CUTTING i:i:i:i:!:!:i:i GRAPHIC ARTS ...... ::::::::2:::: NEW CRAFTS OUTLET BOOKBINDING ':':':':':':':"...... • •. .- ...... A new outlet for the work of artists and SCULPTURE i:i:i:i:i:i:)i craftsmen will open in St. Louis next SEND FOR IT NOW- :i:i:i:i:i:i:i: October. Called Young Americans Gallery, .:.:,:-:.:.:-:::::::::::::5 its object is to show the work of good IT'S FREE[ iiii!iiiiiiiii painters, sculptors and craftsmen from :::21:::::2:2: around the country. Craftsmen who are interested in being represented here should iiiiiiiiiiiiii send slides or color photographs of their i:}i!i!}i~i: work as soon as possible, along with thumb- ~2086 TIMMIE 2,: .,,.,.,.....,., ~. 2" Ugr $12.50 nail sketches of their backgrounds. More :i:!:!:!:i:!:!: information may be obtained by writing to Shirley Fink, 6152a Delmar Ave., St. Louis 12, Mo.

SEND NEWS, and photos if avail- CRAFTOOLS, INC. able, about "People -- Places -- 396 Broad,*.ay. Ne,*, York C:ty 13. Dept, CM Things" you think will be of ceramic interest. Our CeramActivities editor will be glad to consider them for this column. BUY BUELL KILN KITS and build your own at low cost Easily assembled at home. Safe. efficient, low operating cost. Plug into any 110.v double wall outlet. For porcelain, pottery, china painting. 3 new kilns added this fall. Write Letters for literature and "C~uestions and Answers :#2087 TAMMIE 2~ bs., 12" i:q~' $12.50 on Kiln Building." Five percent packing charcje Continued [rom Page 6 C. M. BUELL KILNS FOB, Incjlewood, Calif. Box 302, Royal Oak, Mich .... L1 2-4298 WRITE FOR NEt~ CATALOG "Every thing of beauty to help make life a bit Potter's Dream His Own Kiln" more livable. In this age, as never before. Willoughby art has been drawn to the people and the people to art. Galleries have sprung WRITE FOR FREE LITERATURE up everywhere, and museums are losing QUALITY CERAMIC PRODUCTS Studio Inc. the quality of mausoleums. People from 407 E. FLORENCE AVE. ever}' walk of life discuss art and ask Glozes - Steins - Kilns INGLEWOOD, CALIFORNIA questions about that which they do not Manufoclured by: understand. More people are buying art NORRIS LABS. objects for their homes, and this comes Please Mention CM 21S4 IRVING BLVD., DALLAS 7. TEXAS about through an increased understanding when writing our advertisers of, and identity with, the arts. Don't you

agree that these are healthy signs in our ~,11,1,,|,,||1,,,,,,,1|,,1|,,,|,||,,,,,,,,||1|||,1,1||,,,|,|,1,,|,,,|,,,,*, [] ELECTRIC STILT GR time? MARC BELLAIRE i CERAMIC [ A Dremel Moto-Tool Carrollton, Va. a must for both cerar 3in1{ SUPPLIES i and enameling hohbyi: It's the fastest and m I JEWELRY [ efficient way to re- INDEX WANTED CATALOG i move stilt marks, ex- # Why, oh why, don't you make a cross CATALOGDECAL cess glaze, polish i index for CM? I have spent copper, etc. Weighs much time CATALOG [ only 6 ounces. Prices looking up articles in my back issues which from $14.85 to $27.- I would rather have devoted to getting iSend for Your Copy--50c pp in U.S. I 50. Write /or cata- my hands in the clay. Come on and log. cough up and I will be the first to send for one for the back years. iOHIO CERAMICSUPPLY[ Dealer Inquiries Invit__ MRS. S. T. B. JOHNSON [ Deer. CM, cOX 134, KENT, OHIO [ Dremel Mfg. Co. Dept. 61l-C Racine, Wis. Springfield, Va. ~ iiiiiiiiiii1[1111111111111111111111111111111111111111111111111111111111111[

34- CERAMICS MONTHLY Itinerary Continued [ram Page 11 MIDWEST

• POTTERS due April 27 and entries must be in by CERAMIC May 4. Entry blanks may be obtained by writing: Mrs. R. G. E. St*ever, 3458 ASSOCIATION • SCULPTORS Chestnut Drive, Doraville. ILLINOIS, ROCK ISLAND presents its May 13--14 • HOBBYISTS *Fourth Annual Mississippi Valley Ce- THIRD ANNUAL ramic Show at the Masonic Temple will feature both professional and hobby ex- hibits. The competition is open to every- SHOW Tools for Every Need one whose work falls into the outlined CERAMIC categories. For more information, write: April 22 & 23 Wood Tools of Imported Boxwood Fern Branstetter, 1654 W. Lombard St., Davenport, Iowa. MEMORIAL HALL Tools W~re, Sgraffito, Clean-Up MICHIGAN, DETROIT DAYTON, OHIO May 4--7 and place to display Show and An ideal time *Ceramic National Trade and demonstrate your products. Workshop, at Cobo Hall, will feature Superior Quality amateur competitions in all major categories of ceramic work, as well as demon- See: authorities. For in- SENT ON REQUEST strations by leading ~r Competitive hobbyist displays BROCHURE formation concerning show entry, write: Arthur E. Higgs, 332 Schearer Bldg., Bay k Demonstrations by fop artists City, Mich. ~r Displays of nationally - known NEW JERSEY, ASBURY PARK Ceramic Materials and finished THE May 18--21 *Ninth Annual Eastern Ceramic Show, pieces. at Convention Hall. "Pageant of Tech2 Double"B" Wood niques" will feature free morning dem- EVERYONE'S WELCOME! onstrations by nationally-known ceramic Plan New to Attend artists. For information on the National Compare your work with others: Novelties--Mfr. Ceramic Ex- Information sheets may be obtained from Amateur Exhibit, write: local studios . . . or write direct for further positions, Inc., Convention Hall, Asbury details and booth contracts to: 5526 Alhambra Ave., Los Angeles 32, Calif. Park. GEORGE GLISSON General OHIO, DAYTON Chairman April 22--23 18[6 Mapieqrove Ave., Dayton 14, Ohio Third Annual Ceramic Show presented by the Midwest Ceramic Association (Ohio and Indiana) at Memorial Hall. NEW MIDWEST WAREHOUSE display and demon- FRANCOISE CERAMICS Distributor of MAYCO COLORS - JACOUE- Competitive hobby GLAZES LYN STAINS - HAEGER SLIP - BUTCHER stratmns by nationally-known artists. For distributor for AMERICAN BEAUTY CLAY and CERAMIC SUPPLIES for hobbyist, entry information write: George Glisson, Atlantic ~ Bee Easch ~ Holland dealer, schools, institutions. 1816 Maplegrove Ave., Dayton 14. and Ludwig Schmid Molds Central Ceramic Art Supply Paragon Kilns ~ Duncan E-Z Flow Batavia Rd., East of Rt. $9 (lust north of Glazes ~ Mack China paints Rt. 59 exit of EW Tollway), Warrenville, III. Brushes -- Tools, etc. EXbroek 3-0171 WHOLESALE-RETAIL 113 49th St. So. St. Petersburg 7, Florida

:4 I : [.] II h II CALIFORNIA, SACRAMENTO ~ K~NGSPIN] March 18--April 23 The Famous I/q :12N f±~ :] q 4 Second Biennial California Craft Exhibi- KLOPFENSTEIN MODEL T 12 $6.95 tion, at the E. B. Crocker Art Gallery. ~_.~ A 12-inch wheel for ,h. ~,~c.of o. S- POTTER'S WHEEL inch. Made of KINOLITE- latestsinktop ~ALIFORNIA, STANFORD ~ material used in newest homes. Heavy Kinalloy Write for FREE information ~,m,~'c'c I ~1 round bose.Just the thing to use on those lace March L.U..~-,~--~-)~L dolls, SEE YOURDEALER OR DISTRIBUTOR--ORWRITE "Arts of Southern California--VI: Ce- H. B. KLOPFENSTEIN & SONS OILMOUR CAMPBELL ramics," circulated by the Western Asso- 14258 MAIDEN DETROIT 13, MICHIGAN ciation of Art Museums, at the Univer- R.F.D. #2 Dept. A Crestline. Ohio sity Art Gallery. ILLINOIS, CHAMPAIGN through April 2 "American Crafts--New Talent." at the MOSAICS University of Illinois Krannert Art Mu- seum. / Ceramic Tools ENAMELING ILLINOIS, CHICAGO Enamelincj Supplies COPPER through April 2 Rhinestones "The Arts of Denmark," International Huge Stacks Loan Exhibition, includes ceramics, glass Porcelain Blanks the Art Institute. Jewelry Seffincjs #r Fast Service and metalwork. At / Complete 136-Pacje INDIANA, LAFAYETTE Quality Merchandise Cafalocj Plus New March 15--April 16 I Write now for FREE literature "Enamels," Smithsonian Traveling Ex- Supplement 50c hibition, at the Purdue University Li- ( Refundable on ILLINI CERAMIC SERVICE braries. 1st S5.00 Order) IOWA, DES MOINES New Full Color Mosaic Catalog I "Quality Ceramic Supplies" I March 17--April 9 only 25c 439 N. Wells, Chicago I0, IlL Fifth Midwest Biennial Designer-Crafts- BERGEN ARTS & CRAFTS, INC. Phone MI 2-3367 300 S.W. 17fh Ave., Miami, Fla. (Dept. CM-3) Continued on Page "~6

MARCH, 1961 35 SKUTT & SON Introduce Itinerary THE QUALITY WHEEL Continued from Page 35 You've Been Waiting for . . . for over 450 original Ludwig men Exhibition, at the Des Moines Art Schmid Models in stock, new Center. ~ : ,~ ~ items added continually. IOWA. SIOUX CITY through March 8 Complete catalogue and price "Area Artists Show" features work in all list, with additional sheet for mediums by amateur and professional dealers, studios, artists. At the Commerce Building. and schools. $1.00, refunded with first order. MASSACHUSETTS, BROCKTON through March 10 Fourth Annual Winter Show, sponsored by the Brockton Art Association. at the Art Association.

NEBRASKA, OMAHA through March 12 Fifth Midwest Biennial Designer-Crafts- men Exhibition, at the Joslyn Art Mu- seum. • VARIABLE-SPEED ELECTRIC t POWERFUL, VIBRATIONLESS NEW YORK, BINGHAMTON u MOST RUGGED & TROUBLE-FREE through March 26 Norwest Novelty Co. Two years of field test- 21st Ceramic National, at the Roberson 32480 Northwestern Highway Memorial Center. ;ng insure you delightfu' $192 Farming,on, Michigan new freedom from me- Hours: 9 to S cha nits. Permanently NEW YORK, BROOKLYN OPEN SUNDAY lubricated, mudproof, etc. through April 23 Closed Monday "Masters of Contemporary Write for Fact Sheet, Free Trial Crafts" ex- Phone MAyfalr 6-6003 Offer hibition includes work of potters Ed- win Scheier and Franz Wildenhain, and enamelists Kenneth Bates and Carl Dre- rup. At the Brooklyn Museum. 2618 S. E. STEELE ST. PORTLAND 2, OREGON NEW YORK, NEW YORK (Manufacturers of Skuff Electric Kilns) March 5--25 "The Argilartists" exhibition includes pottery, ceramic sculpture and enamels. Please Mention CM At Greenwich House, 16 Jones St. when writing our advertisers NEW YORK, SYRACUSE March 17 .April 9 Ninth Regional Art Exhibition, at the Everson Museum of Art. ART CRAFT SUPPLIES, INC. Distributor for OHIO, AKRON Paragon ~ Duncan -- Drakenfeld March 10--April 16 Bergen Brush -- Ha,pack Kilns 38th Annual Spring Show of Artists and Willoughby -- Jacquelyn's Stains m Craftsmen of the Akron Area, at the Perma-stain and Hobby Hem, en Molds Akron Art Institute. General Ceramic Supplies 180 NW. 62nd St. Miami, Florida OHIO, DAYTON through March 19 FOR THE FIRST TIME Artists of Ohio Exhibition includes ce- ramies and sculpture, at the Dayton Art Molds From ILLUSTRATED CATALOG Institute. 30 Leading of Molds and Patterns. Included at no extra Companies cost ~ many pages of How-to-do-it Ideas. ONTARIO, TORONTO Send $1.00 today! April 6,060 "Fourth Annual Canadian Ceramics Ex- BEE BASCH DESIGNS, INC. hibition," sponsored by the Canadian IN ONE CATALOG...... $1.O0 70 Pine & First Sfs., Englewood, Fie. Guild of Potters, the Potter's Club of Montreal, the Canadian Handicraft MIDWEST CERAMIC Guild and the British Columbia Potter's CENTER Club. At the Royal Ontario Museum. JACK D. WOLFE CO., INC. 722 Southwest Blvd. KansasCity, Missouri 724 Meeker PENNSYLVANIA, PHILADELPHIA Ave. March 15--April 9 Brooklyn 22, N.Y. Enamels by Edward and Thelma Winter, Tel: Evergreen 7-3604 at the Philadelphia Art Alliance. A Complete Line of: PENNSYLVANIA, PITTSBURGH CERAMIC MATERIALS and EQUIPMENT. through March 15 Sculpture, Mosaics and "Japanese Your complete source of /)l;~t(~Fl~tl~ ~ 1 Design Today," Smithsonian ~luipment. Fully illustrated Traveling Exhibition, at the I Copper Enameling Supplies . • . Carnegie #6 INSTRUCTIVE CATALOG I We manufacture our own line of Clay Institute Department of Fine Arts. FREE if requested on school letterhead I by othara Bodies, Glazes, Wheels, Tools, Etc. staff, 50c. I TENNESSEE, CHATTANOOGA Ask for school discounts. I Our Aim is: 9UALITY & SERVICE TEPPING STUDIO SUPPLY CO. • March 1--31 professional Write for our 64-page catalog - 35c "Design in Germany Today," Smithson- staff I Dealers and Distributors Invited fan Institution Traveling Exhibition, at the Hunter Gallery of Art.

36 CERAMICS MONTHLY EACHERS Contoured Glass PET A New Glass Technique... CHUNK FLINT BOWLS Simply line a "Mold-Coated" p!ece of bisque with these sparkling chunks, apply GLASSTAIN® AND FIRE TO 13S0°F. When cold, the COMBINING glass bowl releases from the bisque. Special selection includes chunk flint, Mold-Coat (our new separator for CLAY all types of glass), Turquoise and Chartreuse GLASSTAIN,® glue and AND full instructions. $4.75 Postpaid (U.S.A. only) METAL KAY KINNEY 725 Broadway Dept. G-3 Laguna Beach, Calif.

by CLARK HEIPLE ANDERSON CERAMICS COMPANY 608 N. McDuff;e St., Anderson, S. C. Complete Ceromi¢ Supplies HE TEACHER must realize that step was to glaze and fire it, all in CATALOGUE--25¢ Hoedii.g Charge T not all students approach the one operation. Earl made many of solving of a problem in the same way. these clay shapes from this bezel; he One of my students recently expressed also created his own glazes and tested a desire to make a clay setting for a them on the clay pieces. KEMPER TOOLS piece of jewelry because he wanted a During the time he had to wait Kemper Lace Tool ..... @ 75c shape different from the usual cabo- until his glazed work was fired, Earl Kemper Clean-Up Tool stone. chons available in worked on designs for the back- N.S ...... @ 75c In addition to this unusual ap- ground or setting for his improvised Kemper Twin-Line proach to the problem, the student "stones." He had decided to use the Sgraffito ...... @ 75c also set about the solving of the de- jewel to make a pendant or pin shape. Flower Cutters in numerous sizes and patterns, etc. in a manner that might seem He worked with cut-out pieces of sign Please ask your dealer for these unorthodox to some teachers. Instead colored construction paper until he and other Kemper Tools. Write for of planning and drawing the design was satisfied with background shapes FREE catalogue to: in advance on paper, Earl worked di- that harmonized with the shape he for his clay jewel. KEMPER MFG. CO. rectly with the materials themselves. had made P.O. Box 545, Chino, Calif. Working in this manner, the stu- His next step was to glue these dent learns more about the inherent paper shapes onto pieces of copper characteristics of his materials and and brass and then saw out these ~EW ,.f,.,o.,+,,.~. ,,,,.,[ I gains an awareness of what can and shapes. The two cleaned pieces of HEEL : * ¢~l;JI,Blq:[ql:l[4h,. what cannot be expected from them. metal were silver-soldered together, Some students prefer this approach, then the bezel was soldered into the and others like the drawing or visual selected place to complete the metal • EASY TO STORE , " EEEYOUR DE.4ZER OR D/$TR/BUT~+,.OR WR/TE ~m~ concept of design. The good teacher work on this project. GILMOUR CAMPBELL I+,l~dllJ~Jll o J~ will allow an individual to work in Because the clay had shrunk dur- 14258 MALDEN • DETROIT 13, MICH. J u either or both methods. ing the drying and firing processes, Earl first selected a piece of 20- the finished jewel (selected from gauge copper cut into a strip 3/16 among the glaze experiments) fitted Contact Trinity- inches wide. He bent this in various loosely in the bezel. To hold the jewel for Superior ways until he achieved a closed shape tightly in place, Earl turned the edge CERAMIC and that pleased him. His next step was of the bezel inward slightly at the top to silver-solder the ends of the copper until it fitted firmly over the jewel. PORCELAIN CLAYS strip together to form a bezel to hold The finished piece of jewelry was Distributor for soldered strip was but also the clay jewel. The a success not only in design REWARD PRODUCTS placed on the table and a wad of in the creative combination of mater- plastic clay was pushed into the bezel. ials. Because of this initial success, This clay was allowed to dry, after Earl has gone on to experiment with which it was removed from the metal other possibilities in this approach of frame and then cleaned. The next combining clay with metal. • 37 MARCH, 1961 SUMMER CREEK-TURN WORKSHOPS Rt. 38 HAINESPORT, N. J. SUMMER WORKSHOPS give you that ORIGINAL PRODUCTS wonderful opportunity to combine vaca- UNUSUAL GLAZES tion travel with hobby fun. Whether you MARCH 1961 are tripping east or west or only a little SPECIAL CLAYS ways from home, you'll find a American Art Clay Company ...... 4 workshop in ceramics to give you that Anderson Ceramics Co ...... CASTING SLIPS fresh inspiration. Our list to date: 37 Art-Craft Supplies, Inc ...... GROG CLAYS 36 RAW MATERIALS CALIFORNIA, GUERNEVILLE B & I Mfg. Co ...... 4 June 26--August 25 Basch, Bee, Designs ...... ]6 Complete line of ORIGINAL MOLDS The Pond Farm Pottery offers its 12th Bergen Arts & Crafts ...... 35 year of instruction in pottery techniques Bergen Brush Supplies ...... 10 for both beginners and advanced stu- Catalog 3uell Kilns ...... $1.00 dents. Located in the hills 75 miles north 34 of San Francisco--an area of beauty and DEALERSHIPS Campbell, Gilmour ...... 35, 37 AVAILABLE unlimited outdoor activity as well as ceramic work. Write Marguerite Wilden- Central Ceramic Art Supply ...... 35 "ACTIVITIES hain. Pond Farm Pottery. Ceramichrome ...... 10 Ceramic Expositions, Inc ...... 8 IN CERAMICS" CONNECTICUT, NEW CANAAN Ceramic National Show ...... Cover 2 A text which includes basic instructions June 26--August 22 Craftools, Inc ...... $1.60 p.d. Silvermine Guild School of Art plans an 34 Send for our new free catalogs. eight-week course in ceramics, ceramm Creek-Turn ...... 38 sculpture and mosaics. Instructor: Tauno SEELEY'S Ceramic Service Kauppi. Write: Silvermine Guild School Double "B" Wood Novelties ...... 35 9 R|ver St. Oneonta, N.Y. of Art. New Canaan. Draken[eld & Co ...... 6

Dremel Mfg. Co ...... 34 INDIANA. INDIANAPOLIS Duncan's Ceramic Products ...... S "PHILADELPHIA June 19--August 4 Amaco Ceramic Workshops are offering Eastern Art Craft Co ...... 12 one and two-week workshops in ceramics Etchall Inc. of Missouri ...... 3b MUSEUM and metal enameling at the John Herron Art School. Graduate COLLEGE and undergraduate Francoise Ceramics ...... ]S credit. Instructors: Kenneth E. Smith, Justin M. OF ART Brady, Knowlton Farr and House of Ceramics ...... 3 guest demonstrator Karl Martz. For de- Modern career college for tails, write: American Art Clay Co., Illini Ceramic Service ...... 35 today's artists, designers 4717 West 16th St., and art teachers. Coed. Indianapolis 24. Accredited. J-year B.F.A. Kemper Mfg. Co ...... 37 MICHIGAN, EAST LANSING or B.S. degrees. Also Eve- Kinney, Kay ...... 37 ning Division and Summer June 19--July 26 Klopfenstein, I'-I. B. & Sons ...... 35 Workshops for students Michigan State University is offering and teachers. Catalogs. credit courses in pottery E. M. Beuson, Dean. design, glazes, L & L Mfg. Co ...... Cover 4 and stacking and firing a kiln. Instruc- Leonard, PHILADELPHIAMUSEUM COLLEGE OF ART tor: Dr. Irwin A. Whitaker. For details, Jean, Ceramics ...... 32 DEPT. F, BROAD &, PINE, PHILADELPHIA 2, PA. write: Art Department, Kresge Art Cen- Mayco Colors ter, Michigan State U., East Lansing...... 7 M;dwest Ceramic Association ...... 35 NEW YORK, CHAUTAUQUA Midwest Ceramic Center ...... 36 July 10~August 18 Norris Labs ...... Chautauqua Center of Syracuse Univer- 34 sity will hold two three-week sessions: Norwest Novelty Co ...... 36 July 10--28 and July The following back issues of Ceramics 31--August 18. Ohio Ceramic Supply ...... 34 Monthly are still available at sixty cents Instructor: James Achuff of Syracuse Orton Ceramic per copy (Ohio residents pay 3~)/~ sales University. Instruction will cover prob- Foundation ...... 4 tax.) We pay postage. lems and techniques in pottery and cer- Philadelphia Museum College of Art..38 1953 amic sculpture. Write: Director, July. August. October. I)ecember Chau- tauqua Center of Syracuse University, Reward ...... 31 1954 610 E. Fayette March, July, August, November. 1)e- St., Syracuse 3, N.Y. Ravin Ceramics ...... 10 cember 1955 NEW YORK, NEW YORK Schmid, Ludwig, Molds ...... 36 July. August. October. November. De- June 5--july 28 Sculpture House ...... 32 cember Craft Students League offers in ceram- 1956 Seeley's Ceramic Service ...... 38 February, March, ics: coil and slab methods, casting, May. June. July, Skutt & Sons Wheels ...... August, September, October, November, throwing on wheel, decorating, carving, 36 December modeling, underglazes, figurines; ad- Specialized Ceramics ...... 12 1957 vanced work in earthenware and stone- Suburban Ceramics Studio ...... 32 January. April. May. June, July. ware; and enamehng. August, October, November, December Instructors: Rob- 19~,8 erta Leber, Gertrud Englander, Adda Tepping Studio Supply Co ...... 36 January. February. March. April. May. Husted-Anderson, Mildred June, September. Downey and Thompson, Thomas C., Co ...... 12 October. November. Margaret Sussman, For details, December write: Trinity Ceramic Supply ...... 37 1959 Helen T. Warner, Director, Craft Stu March. April, June. September. Novena. dents League, 840 Eighth Ave., New Van Howe Ceramic Supply ...... 32 ber, December York 19. 1960 Vir-Tone Enterprises ...... 11 January, May, June, September, October, WISCONSIN, MADISON Willoughby Studio, Inc ...... 34 November, December .June 20--August II 19gi Wolfe, Jack D., Co ...... 36 January, February The University of Wisconsin is schedul- Please send remittances (check or ing 8-week courses in beginning and money order), with list of issues desired. advanced ceramics. Instructor: Clyde CERAMICS MONTHLY Burt. Write: Dep't. of Art and Art 41175 N. High St. Edu- Columbus 14, Ohio cation. University of Wis., Madison 6.

38 CERAMICS MONTHLY o vFe 200 SrEe-BY.SrFP PHOmMAPH$ FEATURED IM... THROWING on the POTTER'S WHEEL

by Thomas Sellers

This new handbook on the use of the potter's wheel is based on the series of outstanding articles which has been appearing in CERAMICS MONTHLY since 1954. The original series has been expanded to include many new chapters of basic instruction and information of special importance to the beginner. Examples of wheel- PARTIAL LIST OF CONTENTS thrown pottery by contemporary American pot- PART I PART III Development of the Wheel Jars and Vases ters have been included in a special section. Selection of a Wheel Pitchers This complete manual on the use of the potter's Accessory Tools Pulled Handles Choice of a Clay Bottles wheel includes basic steps, from wedging the Preparation of the Clay Making a Chuck Covered Jars clay to the making of specific shapes, all clearly PART II Teapots with photographs and Centering Low Bowls and Plates described and illustrated Opening Closed Forms sketches. Making a Cylinder Cups and Saucers Making a Bowl Sectional Pots Lifting from the Wheel Lugged Bowls Foot Rimming Double-Wall Pots Throwing on Tiles and Bats Matched Sets ~r 80 pages of instruction

An ideal book for both teacher and student. A must for * Full-size 81/2'' x 11" format library. every hobbyist, school, art and craft group, ~r Attractive three-color cover Price $4.00

CERAMICS MONTHLY BOOK DEPT. 4175 N. High St., Columbus, Ohio A Brand New Please send me:

____ copies of THROWING ON THE POTTER'S WHEEL @ $4.00 per copy.

NAME __ __

ADDRESS

CITY ZN__ STATE _____ Handbook Ohio Residents: Add 3~/o Sales Tax. CM pays postage. I enclose [] Check [] Money Order [] Other UL APPROVED FOR YOUR PROTECTION .Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are not! TOP LOADERS • IN A COMPLETE NEW LINE - ONE UNIT 20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNAo GLOW porcelain element holders... 4-way switches ...2 peep holes.., pilot lights.., and they are designed with your safety in mind. MODEL H-8800 W HIGH TEMPERATURE FURNACES A complete line of TO 3000 ° F bench and floor models available. eeee ... using silicon carbide heating elements. MODEl. 818-G

Price includes Pyrometer, e TEMPERATURE HOLDING Input Control Switch, Gravity Door, Pilot Light, and Patented Dyna-Glow ENAMELING KILN Porcelain Element Holders. Can Also Do Ceramics ! Attractive ... Plugs ,n anywherel ~@~! ii iP $74.o p|us$2.oo crating charge MODEl. 1149 Chamber size: 4" x 8v/2 '' x 8Y2"

All steel welded case.., gravity door... ¢I~ rh Patented Dyna-Glow element holders... Plugs in $'dr--- alW O0 anywhere.., attains enameling temperatures quickly regardless of voltage conditions, no crating charlle. " " Chamber size: elements can not be burned out due to over-firing. 4" x 8" x a" *Pyrometer available at $20.00 extra

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