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So whetheryourrequirements are for school, studio or home, there is an Amaco kiln just made to order for you.., a safe kiln. For complete details, write for the Amaco Pot- tery & Metal Enameling Catalog, Dept. SK. AMERICAN ART CLAY CO., INC. INDIANAPOLIS, INDIANA 46222 f gmgGo Learn the Secrets of the Ancient Masters The of Techniques Z" pP~ted ' ~ At~ of r ~ Painted Attic F Pottery by Joseph Veach Noble Published in cooperation with The Metropolitan Museum, this lavish book unravels for today's ceramist the methods used by the ancient Athenian potters and vase painters to produce the great- est pottery in ancient European art. The author meticulously de- scribes how to shape Attic vases; analyzes the famous Greek black glaze; explains how the ancients applied colors, created relief line, and fired pottery. The techniques are dramatically illustrated with demonstration photographs and examples of Attic masterpieces. 234 pus. 9 x 12. 260 illus. Color frontispiece. Biblio. index. $17.50 CERAMICS MONTHLY Book Department begins with... 4175 North High St., Columbus, Ohio 43214 Please send me __ copies of The Techniques of Painted Attic Pottery at $17.50 each. REWARD- HAR T I enclose [] Check [] M. O. (Ohio: 4~ Sales Tax) We pay postage. eeee PRODUCTS eeee Name REWARD CERAMIC COLOR MFRS., INC. Address 314 Hammonds FerP/ Rd., Glen Burn[e, Md, 21061 City .State Zip __ Ceramics Monthly f-,~ere yourjmag,-J • • naaow • i with th4r ",) j J.:' MONTHLY t BI G U)EA ce[o Volume 16, Number 9 November 1968 Letters to the Editor ...... 7 Suggestions from Our Readers ...... 8 Itinerary ...... 11 Answers to Questions ...... 12 The Folded Form by Joel E. Edwards ...... 13 Gaff Kristensen by Polly Rothenberg ...... 16 Variations on a Textural Theme by Muriel Anderson ...... 22 Stacking the Kiln (Part 2) by Robert F. Nell ...... 24 Two-Tone Slab Inlay by Robert F. Eilenberger ...... 26 Titanium Glazes by Richard Behrens ...... 31 CeramAetivities ...... 34 Index to Advertisers ...... 38 Pacemaker for the metal enameling industry for over 70 years, Thompson now gives greater scope to the artist's On Our Cover original creations. See for yourself in the new FREE Large bhe-and-white Japanese porcelain jar of the 17th century Thompson catalog and Color Guide, featuring: is a recent acquisition of the City Art Museum, Saint Louis. The jar is painted a fairly rich cobalt blue in a free yet decisive manner. A transparent, frothy glaze enriches the blue with a • 233 new ways with color enchantment softness that is particularly sympathetic to the theme. The body of the jar is thinly potted for its size, and the material is hard and white. Both interior and bottom are almost completely • New line of pre-formed shapes in 18 gauge cc,pper glazed. The jar belongs to a group of wares produced near the porcelain center of Arita in northern Kyushu. The fine • Steel tiles porcelain body, the style of the painting ~nd the distinctly the jar comes Japanese character of the decoration suggest that Complete line of tools, findings, working materials from one of the kilns under the direction of the Kakiemon • family which are traditionally noted for wares of the highest quality. Photo, courtesy the City Art Museum t)f Saint Louis, • New model kilns W. K. Bixby Oriental Fund. Your Thompson Catalog and Color Guide is mailed to you within 24 hours after receipt of the coupon . . . and Editor: THOMAS SELLERS so will most of your material orders. Get up to date wTth Art Director: ROnERT L. CREAOER Thompson TODAY! Business Manager: SPENCER L. DAVIS Circulation Manager: MARY" RUSHLEY ...... Editorial Assistant: CONNIE BELCHER THOMAS C. THOMPSON COMPANY Advisers and Special Contributors: F. Carlton Ball; Richard Dept. CM-11 Behrens; Kathe Bed; Edris Eckhardt; Zena Holst; John Kenny; Karl Martz; Ken Smith; Don Wood. 1539 Old Deerfield Road Western Advertising Representative: Joseph Mervish Associates, Highland Park, Illinois 60035 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR 7-7556, Area Code 213. Please rush my FREE catalog of complete enameling Copyright 1968 Pro/essional Publications, Inc. craft supplies with Color GuTde today. Ceramics Monthly November 1968, Vol. 16 -- No. 9. Published monthly except July and August by Professional Publications, Inc. -- S. L. Davis, Pres., P. S. Emery, Sec.; at 4175 N. High Street, Columbus, Ohio NAME 43214. Second class postage paid at Athens, Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1968. All rights reserved, The articles in each issue of Ceramics Monthly are indexed in The Readers' Guide to Periodical Literature. Microfilm copies are available ADDRESS_ to subscribers from University Microfilms, 813 N. First St., Ann Arbor, Michigan. Manuscripts and illustrations dealing with ceramic art activities are welcome and will be considered for publication. Manu- scripts should be typed double-spaced and range from 500 to 2000 words. TIP.__ Send Manuscripts and correspondence about them to the Editor, Ceramics CITY STATE Monthly, 4175 N. High Street, Columbus, Ohio 43214...... November 1968 5 M ODEL ING CLA Y Used by leading SCULPTORS, POTTERS, SCHOOLS, INSTITUTIONS, and STUDIOS.I NOTE: We now manufacture FIVE different MOIST MODELING CLAYS m When ordering, please specify exact kind m ALL five may be combined to secure quantity price! 1. MEMPHIS BRAND WHITE MOIST MODELING CLAY (Cone 05 to 7) 2. MEMPHIS BRAND RED MOIST MODELING CLAY (Cone 05 to 1) 3. MEMPHIS BRAND BUFF MOIST MODELING CLAY (Cone 05 to 7) 4. EX-CEL BRAND WHITE MOIST MODELING CLAY (Cone 05 to 5) 5. STONEWARE MODELING CLAY (Cone 2 to 10) PACKED IN 12½ Pound Plastic bags Ex-Cel, Buff & Stoneware Red White 25 Lbs. 8c per Lb. 12c per Lb. 8c per Lb. 50 Lbs. 7½c per Lb. 10c per Lb. 7c per Lb. 100 Lbs. 6½c per Lb. 9c per Lb. 6c per Lb. 500 Lbs. 5½c per Lb. 7c per Lb. 5c per Lb. 1000 Lbs. 4½c per Lb. 6c per Lb. 4c per Lb. 2000 Lbs. 4c per Lb. 5c per Lb. 3½c per Lb. ALL PRICES PLUS 5% PACKING CHARGE (Prices are F.O.B. Memphis or Jacksonville) HOUSE OF CERAMICS,INC.- FLORIDA HOUSE OF CERAMICS 1011 N. Hollywood St. 5350 W. Beaver St. Memphis, Tennessee 38108 Mail All Orders to Memphis Jacksonville, Florida ..... B&I POTTERY Manufacturers & Distribu+ors of the • FOSTER POTTER'S WHEEL ~~~ ' Power D~riv~ER • PUGMILLED & DE-AIRED CLAY All pugmil]ed and de-alred clay is packed \ ~~~[" -~ VariablesG950S;eed in poly bags 25 Ibs. per carton. RO-10 Gray Stoneware ...... Cone 8-11 RO-72 Stoneware ...... " 08-2 RO-20 Ternmoku Stoneware ..... " 8-11 F.O.B. less belt', motor 1tO-81 Porcelain ...... " 8-I 1 RO-62 Red Sculpture ...... 08-2 RO-30 Tern-Stone Blend ...... " 8-11 Professional features, versatile enoughfor advanced crafts- men, yet simple enough for beginners' use. • RAW MATERIALS -- Oxides, Clays, Precision built, etc. compact, portable. Mountsanywhere. Distributors of New variable speed reducer with adjustable foot controls provides speed range • OHAUS SCALES from 38 to 130 r.p.m. Built-in water container, attached • ORTON-- Co,es wedging wire, reversible 9-inch throwinghead with recess for New Book -- Oct. Delivery molding plasterbats. Ideal for school or home studios. KILNS -- DESIGN, CONSTRUCTION, FIRING Also available for pottery maker is a new workbenchwith $10.00 by Daniel Rhodes a convenient seat to allow operator to control position at Postage paid on orders thru Nov. all times. $22.S0 each, F.O.B. Burlington, Wis. Order by mail now . . . or write for complete WRITE FOR BROCHURE literature. Ravin Ceramics Write for Lapidary Equipment 7456 Fenfon St. Dearborn Heights, Michigan 48127 Phone: LOgan 3-2906 Literature Burlington, Wisconsin 5310S 6 Ceramics Monthly LETTERS Share your thoughts with other CM read- TRADITIONAL POTTERY February 1968 CM, and "Abuja Stone- ers--be they quip, query, comment or ad- • . . I'd like to say that I have been ware" in the October 1966 issue. vice. All letters must be signed, but names enjoying reading your magazine. I always Betty Williams will be withheld on request• Address: The thought I didn't care much for African Baltimore, Md. Editor, Ceramics Monthly, 4175 North art--the masks and carvings seemed too High St., Columbus, Ohio 43214. weird; but having read two articles in THE OLD EXCITEMENT CM which were beautifully illustrated This is just a note to tell you that I "CM WATCHER" with examples of native craftsmanship of have been with CM since the first, and to think that pot- I have enjoyed "watching" CM for Nigeria, I'm beginning the old excitement builds up--even more a lot of appeal. The almost 15 years now, and I have noted tery, at least, has so---with each new issue. Thanks so much Slye, were "The how very much the area of ceramic art articles, both by Jonathon for just being! M. Jewel of Nigeria" in the has changed- and improved- and how Traditional Pottery Franklin, Tenn. these changes have been reflected in the pages of your magazine. The June issue has prompted me to write and say that it has impressed me more than any other I've seen. And remember that I've seen the Maria issue (June 1964) and the be- ginning glaze series issues (February-June 1965), and thought at the time that they were tops ! The Haniwa portfolio in the June 1968 issue is a real beauty, probably the love- liest thing I've seen in print on any ceramic subject. You can tell that a lot of loving care went into producing this. Also, I was impressed very much with the "Tennessee Mural" article. I particu- larly enjoy an inspiriatlonal-type article when it also manages to be a little bit practical• This one was! And I want to mention the wheel article by Don Lewis, which I enjoyed. However, I have a ques- tion here: Mr. Lewis didn't mention what the template was made from and the picture of it really isn't sharp enough so that I can tell. Do you suppose you could get him to clarify this for a CM regular? Mrs. L. L. Mayer Harrisburg, Penna. Don Lewis replied that the template illustrated was made from tin, but that an), sheet metal or lightweight plywood would do. You might want to fasten the metal to a piece of plywood to make it a bit more rigid and easier to hold. --Ed. DEFINITELY NOT Regarding the idea for a "glaze-of-the- month" (November 1967 Letters column), definitely NOT. It smacks of artsy-craftsy magazines• Besides, you're bound to dig up a new glaze formula, good or bad, every month• Keep it as it is at present. When someone has something to say re- garding glazes, let him put it into a good article. Please try to retain the dedicated, pro- fessional approach to ceramics in your This is the kiln that is ideal for both High School and University level. magazine as you have in the past. Large capacity -- has dimensions of 24" x 24" x 30" high. Perfect top ].R. Baldwin to bottom uniformity is obtained by use of seven input power controls each section. Kiln is ruggedly con- Yorktown, Sask. enabling precise adjustment of heat in structed throughout. Heavy insulation provides maximum heat retention and slow cooling. Priced at only $1050.00. KEEPING UP WITH CM • . . I don't see how anyone can do Write for free catalog which illustrates pottery and talk the language without our full line of kilns from $79.50 up. keeping up with current trends via your magazine. I keep copies all over the house as they are great to pick up and read anytime. Mrs. L.J. Keith, Jr. J. J. CRESS COMPANY INC. San Jose, Calif. 1718 Floradale Ave. South El Monte, California 91733 November 1968 7 SUGGESTIONS [rom our readers CENTERING 25 lbs. or more.. an impossible goal? GLAZE MIXING THE EASY WAY Many simple glazes can be mixed in a much easier way than the old-faithful method of adding water to the powders, stirring, and forcing the mix through a sieve. Try this easy method: Place the weighed-out dry glaze materials in a glass jar (not filling the jar more than % full), then add the proper quantity of water, and stir with a wooden stick. Next, cover the jar tightly with a screw-on cap and shake the jar vigorous- ly. This is an especially good method for those glazes which have coarse particles that won't pass through a sieve. --H. Head, Flint, Mich. TIPS ON BEAD MAKING Holes in beads should be made slightly larger than needed because the openings become smaller as the clay shrinks in drying and firing. In addition, there is ahvays the chance that glaze may become lodged inside the holes and further decrease their size. I have found that the best instrument for cutting a hole in a bead is a drill hit. The bit can be held in the hand and carefully rotated to cut cleanly through the bead. Also, I would recommend that the hole be drilled when the clay is leather hard, not soft. When the clay is soft, there is a greater chance that the hole will become distorted or even close up again as the bead is handled. No matter how glaze is applied to the bisque beads, there always is a chance that some of it will get into the holes and decrease their size or even clog the holes completely. Be sure to remove all glaze from the holes before the glaze is thoroughly dry; by so doing there is less chance of chipping the glaze around the hole openings. It goes without saying that very fluid glazes should not be used for glazing beads because of the ? greater possibility of excessive flowing and filling up of the holes. --E. W., Hammond, Ind. PARTY PICKS FOR PLUGS I would like to pass along the following suggestion for you~ Suggestions column: I use plastic "party picks" to plug up the holes of salt and pepper shakers when glazing them. I simply Not on the Shimpo-West RK-2. stick the picks into the holes, dip the piece into the glaze and pull out the picks as soon as the glaze is dry enough. Because the picks are plastic, they wash easily and the glaze The potter must can be salvaged. If the picks are too long for convenient use, first consider his confi- they can be broken or cut dence and skill, but on our wheel in half. he can --Audrey Boisjoli, Dartmouth, feel assured of the response and the power N.S. needed to do a heavy job. This same wheel affords smooth vibration-free operation at REMOVING EXCESS WATER lower speed to finish the pot. Total depend- Here is a suggestion for removing excess water from a glaze. ability and flexibility are what the RK-2 I have found that it is easier to get a glaze through the sieve offers the potter, from 0 to 200 rpm. or screen if it is mixed with plenty of water first. I use as much water as I need, and even rinse off all working utensils in order to collect and save as much glaze as I can. Then I pour the Write today for free literature. glaze into a glass container and allow it to stand until the glaze solids settle to the bottom and there is a level of clear water at the top. I then take a syringe and siphon off the excess water. This process is useful too when the potter wants to thin out the glaze for a special application technique, then restore SHIMPO-WEST it to its usual consistency for the regular glazing processes. --]. Whitman, Hockessin, Del. P. O. Box 2315, La Puente, Calif. 91746 DOLLARS FOR YOUR IDEAS Ceramics Monthly pays up to $5 [or each item used in this column. Send your suggestions to CM, 4175 North High St., Coumbus, Ohio 43214. Sorry, but we can't acknowledge or return unused items. 8 Ceramics Monthly Ceramic Art inthe School Program ~ENSKY of clay ig to free expression in this versatile medium. Six stimulating sections on: Clay, Tools and Equipment, Clay Construction, Decoration, Firing the Kiln, and Glossary and Glaze Recipes. Excellent for personal use and course instruction. A valuable addition to every craftsman's bookshelf. 112 pages fully illustrated $8.75 D • ~~VI$ I~uDLIcATION$,/IO • uric. 7811 Printers Building, Worcester, Mass. 01608 Please send ~ copies of CERAMIC ART IN THE SCHOOL PROGRAM (~ $8.75 each Enclosed is $ in payment. [] Send bill payable in 30 days. Name Address City. ~State~ ~Zip_ In Canada." Order from MOYER Division, Vilas Industries, Ltd. Moncton / Montreal/Toronto / Winmpeg I Saskatoon / Edmonton / Vancouver Prices slightly higher in Canada "Vovember 1968 9 C0ne 6 2194°F, Fire at will. Ceramichrome takes the worry out o] firing. We've demonstrated this with the hand thrown piece o/noted stoneware art potter, Frank Matranga. Finished in our textured glaze, it was fired to Colze 6 along with another original, using the same glaze, fired to Cone 06. Both pieces fired per/ectly. Choose/tom over 200/ully proven glaze and underglaze colors. Each is designed to per/orm per]ectly anywhere within this unique firing range. Ceramichrome means outstanding per- /ormance, with tile buih-in margin o/sa/ety. Try them. : Cone 06 1816°F. Ceramichrome Inc. '. • . . P.O. Box 2086 Gardena, Calif. 90247 MANUFACTURERSOF PREPARED CERAMICCOLORS AND GLAZES Now offered for the first time nationwide THE ROBERT BRENT POTTER'S WHEEL ROBERT BRENT POTTER'S WHEELS are de- signed to bring you professional, industrial quality potter's wheels at reasonable prices. From our kick wheel to our model C, all use only highest quality components, designed for maximum life and minimum maintenance. These wheels are ideal for use by schools, studios and hobbyists alike. There is one to fit every need and budget. Robert Brent's Potter's Wheels are only sold direct to the customer. We have simply eliminated the middle man and sell at essentially the wholesale price. You cannot get more for your money in a potter's wheel anywhere, and we stand behind this statement with a money-back guarantee. For complete information on all models, write for a free brochure. Model hp Speed Price ROBERT BRENT POTTER'S WHEELS A 1/4 40-150 rpm $139.00 1101 Cedar Street B 1/3 35-175 rpm 195.00 Santo Monico, California 90405 C V2 0.220 rpm 275.00 Tel. (213) 474-8948 Robert Brent Kick Wheel 79.50 10 Ceramics Monthly ITINERARY WHERE TO SHOW write: Grace Johnson, 4308 Bennett Dr., of the College of the Holy Names. Send ),our show announcements early: Flint 48507. "Where to Show," three months ahead CALIFORNIA, SANTA BARBARA of entry date; "'Where to Go," at least WHERE TO GO November lO-December 7 Ceramics by six weeks before the opening. Because listings are subject to change, Jerry Rothman; at Galeria del Sol. dates can be verified by writing to the COLORADO, BOULDER CALIFORNIA, NORWALK sponsoring groups or galleries. February 17-March 7, 1969 "Cerritos November 23-24 Exhibition and sale of Ceramics Annual--'69," will be held at CALIFORNIA, OAKLAND pottery by Betty Woodman; at the Wood- the Cerritos College Art Gallery and is through Nocember 17 Art faculty show man Pottery, 575 Euclid Ave. open to all artists working in ceramics and includes work in ceramics; at the Gallery Continued on Page 32 ceramic sculpture. Jury; Prizes; Jury date is February 1. For prospectus, write: Rol- and Shutt, Cerritos College, 11110 E. Alondra Blvd., Norwalk 90650. CALIFORNIA: SACRAMENTO March 15-ApriI 27, 1969 "California Crafts VI, Pacific Dimension," sponsored by the Creative Arts League, is the sixth biennial. Open to craftsmen residing in Alaska, California, Hawaii, Oregon, and Washington. All craft media; Slides of work due Jan. 4; Entry fee; Cash and Purchase Awards. For entry forms, write: C C VI, Crocker Art Gallery, 216 O Street, Sacramento 95814. NEW JERSEY, MOORESTOWN November 8-ll Fifth Annual Moores- town Mall Art Show is open to all pro- fessional artists and craftsmen. Write: Jinx E. Harris, Director, 148 Concord St., Manchester, N.H. 03104. OHIO~ nI'OUNG STO'~VN January 1-February 23, 1969 The 21st Annual Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute, is open to present and former residents of Ohio and includes work in ceramics, enamel, jewelry, and sculpture in any medium. Juror: Norman L. Rice; Over $1,000 in Purchase Prizes; Entries due between November 1 and December 15, 1968. For information and entry blanks, write: Butler Institute of American Art, 524 Wick Ave., Youngstown 44502. SPECIAL FOR HOBBYISTS ALABAMA, MOBILE November 3 Annual Show and Com- petition of the Azalea City Ceramic As- sociation will be held at Murphy High School. Show Chairman is Mrs. Hugh Story, 15 N. Georgia Ave., Mobile 36604. mayeo is for every mood.* LOUIS~AN^, NEW ORLEANS March 20-22, 1969 The 15th Ceramic Show, sponsored by the New Orleans Subtle tints or bold hues, high gloss or rough surface -- you Ceramic Society, will be held at the Lake- can get any desired result with the infinite variety of side Shopping Center Mall. The exhibit MAYCO® Glazes, Underglazes or One Stroke. comprises work in both hand and mold MAYCO products -- America's finest colors -- are perfect classification. For entry information, for all techniques, fire at Cone 06 and are homogenized write: Mrs. Shirlee Vale, Chairman, 665 for easy application. Send for free color chart! E. Marlin Ct., Gretna, La. 70053. ~[IC I-IIGAN, FLINT November 9-10 Second Annual Ce- mayeo colors ramic Show, sponsored by the Flint Ce- 20800 Dearborn Street, Chatsworth, Calif. 91311 ramic Association, will be held at the Dealerships Available Dyewood Cabana Club. For information, November 1968 11 Answers to QUESTIONS Conducted by the CM Technical Staff Over the years I have become increasingly aware of the popu- I've been seeking a novelty glaze that has golden flecks on a larity of reduction firing with stoneware potters. I know that blue background. I have seen this used and it is very dramatic, reduction is necessary to achieve the copper red and celadon but I haven't been able to find a formula for making it. I hope glazes, but I [rankly do not know what the other benefits are. you and your staff can come up with a good formula for use Could you tell me what I should be looking [or when I see a on earthenware.--H.C.B. pot labeled "reduction-fired stoneware"?--Mrs. K.]. The recipe given below, which dates from our school Most stoneware bodies contain iron and other impurities. days, gives a rather fluid glaze that is dark blue in color and Under reduction firing, these change the color of the glaze or dotted or streaked with gold or tan flecking. The dark blue give it a spotted or mottled appearance that is characteristic comes from the high cobalt content; the tan flecks are from of this clay when fired in a reduction kiln. The particular the rutile : mottled appearance is possible only in reduction done in a gas- Frit 3304 (Ferro) 90% fired kiln. Artificial reduction, which can be done in an electric Barium Carbonate 5 or a gas kiln, can be used successfully only for obtaining the Bentonite 5 celadon or copper red colors, not the spotted glaze appearance. i00% Add: Ground Ruffle 5% Cobalt Carbonate 1% I have seen examples of a decorating technique called The raw materials should be combined dry (because of the "basalt." It appears to be something applied on top of a bentonite), the water added, and the mix forced through a glaze and it adds a very pleasing texture. Can you help me 50- or 60-mesh screen. Special care should be observed find what this is?--R.G. in han- dling because of the barium carbonate. The glaze has a firing The only basalt ware we have come across is the basalt range from Cone 04 to 01. ware developed by Josiah Wedgwood in 1768 and still made by the firm. The body is black and vitreous and gives the ap- All subscriber inquiries are given individual attention at CM; pearance of a polished basalt rock. On a few pieces, encaustic and, out of the many received, those of general interest are painting was done in black and red; some of Wedgwood's black selected [or answer in this column. Direct your inquiries to basalt ware was decorated with applied festoons and other the Questions Editor, CM, 4175 N. High St., Columbus, Ohio ornaments, also in black. 43214. Please enclose a stamped, self-addressed envelope. :or The Discriminating Ceramist MODEL A-99B Fire immense loads daily This enormous 10 sided kiln is 27" deep and 23¾" in diameter for a full 7 cubic feet of firing capacity. Fast firing and fast cooling allows you to fire immense loads daily. The three movable sections have their own 4-way switches and pilot lights. Use the three sections to fire your tallest lamps or top and bottom sections for many small pieces. Fires to cone 6--2300 °, everything from china paints to porcelain. Add a 41/2'' blank collar for full 311/2 'p depth. EXCLUSIVE! INCH OF BLOCK INSULATION IN LID AND BOTTOM IN STAINLESS STEEl. MODEL A-99B ...... $367.50 Q 41h " blank collar, $29.50 / FREE.. crating .. instruction manual DAWSON Automatic Kiln Sitter/ steel stand.. 2 year guarantee.. $42.00 installed at PARAGON Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to ~i~ld:/4~/~ ~~, gjq~.,. Dept. CM Box 10133, Dallas, Texas 75207 12 Ceramics Monthly (IONTROLLED SI~ONTANE1TY is an appellation often used The Folded Form to describe some production of contemporary potters and it is an apt term when assigned to the folded slab form I bv JOEL E. EDWARDS call an "envelope vase." Several different materials may be used as the forms, or to stuff the forms that the clay is wrapped around; among these are sand-filled plastic bags, rolled cloth, or crumpled paper. The clay can be rolled into tube shapes, made into box forms, or folded into envelopes and be sealed, torn, pressed or cut. Clay used in this way acquires a naturalness that evolves from its own personal being. To make an envelope shape, the clay is rolled to a quarter-inch thickness; its spread depends on the ap- pearance of the completed piece. If it is to be a box shape or envelope, the outer edges should be rolled more The three envelope weed pots pictured below were made by the method demonstrated. The largcr piece is approximately 15 inches in height. / 1 ;z / \ , Z i •t• ~ . I. To make the envelope vase, clay is rolled 2. An outline of the [orm is torn to shape to a thickness o[ approximately ~ inch. alter the outer rim ends o[ slab are thinned. thinly. These edges of the clay slab next are torn into a then they are fitted together. The joint is smoothed and pattern that, when folded up, will give the desired form. a coil of clay may be worked into the area to complete You may first want to practice by utilizing a paper the attachment. pattern. After the tearing process, several sheets of news- Openings in the envelope should now be made at paper are crumpled together and placed in the center the top or side. They can be cut or torn open in one or of the slab. The bottom half of the clay slab is folded more sizes to enable the piece to be used as a container up over the newspaper, then the outside edges are moist- for weeds or flowers. ened and secured to one another. Next, the top section The construction of oversized pieces utilizing folded is folded down over the bottom and paddled to make it slabs will present little difficulty since one works on the adhere. As an alternate method of procedure, one or flat table surface and only raises the units when they both of the sides can be the last sections to be folded are sufficiently firm to be handled with ease. Of course, and sealed. Several envelope shapes can be made at one one does not have to stop with the single section on a session and each folded and twisted in a different man- foot. Several envelopes may be attached to a single foot, ner. The newspaper core burns out in the bisque firing building the form as far as good taste and design dictate. and what little residue remains may be shaken out of the With this form, care must be employed in the glaz- fired vase. ing or decorating. The clay itself offers a variety in design After all sides are folded and paddled into place, with its folds, twisted corners and asymmetrical balance the envelope can be pushed, pounded or pinched into on the taller foot. Little or no glaze was my solution, the final form you wish it to have. On the demonstration but a flowing overall glaze of subtle tone can be effective. pot, I have added thin strips of clay and paddled these Caution: all seams must be well welded together if you on just lightly enough to adhere to the surface. These do not intend to glaze the insides of the envelopes. You are effective decorative additions to the fired surface. may find that these seams leak if they are not pressed Now, the envelope is set on its bottom edge and sup- well together. ported with blocks or bricks while it dries to the leather stage. This is the final article in a three-part series in The tall foot for the envelope vase is thrown on the which JOEL EDWARDS explores some o[ the possibilities wheel and allowed to stiffen. Its height and diameter in relating slab construction and wheel work. The first, should be governed by the shape of the upper envelope "Wrapped Slab Pots," was [eatured in the September that is to be attached to it. When both pieces are of 1968 CM; the second, "'Slab Wrapping and Wheel equal consistency, the top rim of the foot is cut to con- Throwing," appeared in the October issue. Mr. Edwards form to the bottom curve of the envelope. Both sections and his wife operate their own studio in Los Angeles, are serrated and moistened where they are to be joined, producing individual pieces in high fired clay. -- Ed. 14 Ceramics Monthly ,~ii!!~?~...... ~ !~~i¸¸i~ ..... 3. Bottom section o[ the clay slab is [olded into 4. The top section is [olded down, edges are place over the newspaper core and secured. moistened, and then lightly paddled. t %°. 5. Alter all sides are [olded and secured, 6. While the envelope is propped up to sti[[en, textural additions are lightly paddled on. one corner o[ the shape is le[t open. 7. A thrown [oot is cut to con[orm to 8. Openings are made in the top o[ the enc'elope contour, then both sections are assembled unit to serve as holders [or weeds or serrated and moistened. [lowers. November 1968 15 Gail Kristensen by POLLY ROTHI.;NBERG GAIL KRISTENSEN is a painter, sculptor, enameler, and potter who maintains her home, studio, and workshop in Saint Paul, Minnesota. The fine arts came first with Mrs. Kristensen, and many years of education and ex- perience in the fields of painting and sculpture led her to explore the crafts as media of further creative expression. Gall Kristensen attended the University of Minnesota to study drawing, painting, and sculpture. Later she returned to Iowa, where she had grown up, and enrolled in applied arts courses at Iowa State College. After one )'ear, however, she switched back to the field of fine arts at Iowa State. She later took a job as an advertising artist with Better Homes and Gardens magazine, but during this time her art training was not neglected. On weekends she attended Cummings Art School in Des Moines, and served as assistant teacher in painting at evening school at the Des Moines Art Center. After a year and a half, she returned to school full time at Drake University in Des Moines, where she again studied painting, sculpture, and those early pieces. On the contrary, they have different art education. She moved to Duluth to teach art in that planes where masses are laid in with sifted layers of city's adult education program. After two years in this enamels and are quite modern in concept. Many of her work, she opened her own studio in Ames, Iowa, spe- backgrounds are oxidized areas which are enameled. cializing in ceramic stoneware. The Kristensen home in Saint Paul is also a show Gail first began to explore the field of ceranfics as room, gallery for Gail's works, and an art studio. Her a form of functional sculpture. Although her main clay basement workshop is a mai~,el of functional space. As is interest is in the individually-constructed piece, she also often the case with a sculptor-turned-ceramist, Gail's makes attractive table ware and other useful pots. All concepts are large. Her clay and enamel kilns are cor- forms, she believes, have their place and proper emphasis. respondingly huge and each has its own separate studio It was the need to make salable pieces which take less area. In another large pine-paneled room are tables and time than completely hand-built pottery that impelled benches for classes in clay work. The classes are divided her to return to the University of Minnesota for two into three groups: those students who have no training years of wheel work. She has continued to operate a or interest in any field other than clay but who want studio for the past 14 years, with the exception of a year wheel work and hand-building instruction; those who when the entire Kristensen family, including three teen- have some art background, are experienced in clay, and age children, lived in Bad Homburg, Germany, while want a place to work and get further instruction in in- Gail was guest American artist working in clay at the formal class experience; and the experienced, serious Wurkunst School in nearby Wiesbaden. artist-craftsmen who need a source of materials, firing Gail Kristensen continued to search for additional facilities, and a compatible place to work. media with which to develop forms, shapes, and textures Gall Kristensen is a member of the Minnesota Crafts- relative to her love of painting and sculpture. The search men's Council and the American Craftsmen's Council. led to enamels, and this eventually became an exciting She has been an exhibitor and award winner in shows, painting medium, more fascinating to her than pigments. fairs, and museums, including the Milwaukee Art Center, Although she works in a wide range of enamel concepts, Wisconsin State Fair, Brook's Memorial Art Gallery, St. it is her enamel character portraits that are unique. These Paul Art Center, Minneapolis Art Institute, and the are quite large, not at all like the miniature portraits in Minnesota State Fair. She was given a National Merit Limoges style which were done during the Renaissance. Award for clay in an American Craftsmen's Council They do not have that flat smooth-to-the-touch feel of competition. (Continued . . .) 16 Ceramics Monthly i Gail Kristensen stands in [ront o[ one o[ her enamel murals and holds a slab branch bottle. Photo: The Minneapolis Star. Stoneware slab bottle (le[t) has wheel-thrown neck. The pot is 24 inches tall, with an incised decoration; unglazed. "Emerging Forms" (below) has oxidized background o[ bare copper with applied and three-dimensional enamel design. ~ ' ~?i+~,i~i ¸¸' ~ ,~,,l~i'!i~ I~ ~i!!iii'~ ¸ i!!~ii~ November 1968 17 Gail Kristensen Constructs a Slab Pot WHILE GAIL KRISTENSV.N formed this large demonstra- of firm clay are formed by rolling each one individually; tion piece, she talked about clay. Each craftsman, she the size of each slab is determined by the size clay piece believes, should translate his own idea of a clay piece she grabs from a large clay chunk. Each rolled slab is into whatever form pleases him most. For her, the clay shaped by banging the edges against a table top to give must reveal that it has come from the earth. Some of her a "natural" edge rather than one cut by a knife. layered pieces are black and basaltic in quality as though The first shaped slab is welded to tile base with a formed by volcanic eruptions which have flowed, layer clay coil positioned inside the pot. As each slab is placed, over layer, then weathered smooth. it is welded into position with wads of soft clay on the In the particular clay concept which Gail demon- interior only. No clay slip is used in this process, only strates, the slabs are not cut or tooled, except for the coils and wads of soft clay which are worked into the base which is cut directly on a plaster bat. Only inside surface with the fingers. Both large and small her fingers are used in building the large jar. Slabs slabs are used; occasionally some are broken off and the break marks are left visible. As Gail builds up each row, she allows the clay to set slightly so the emerging pot can maintain its own form. Where spaces are visible between slabs, chunks of soft clay are pushed through from the inside only and allowed to show. The piece is built up, row on row, until it is about two-thirds of the planned height. In order to achieve the black organic character planned for this piece (which is not glazed), she uses a standard stoneware clay that she mixes herself; she adds extra red iron oxide and manganese dioxide granules (80-to 100-mesh) so the overcharged iron and manganese fairly ooze from the clay when the piece is fired. This will give the ore texture seen in the bottom two-thirds of the fired piece. For the upper third portion, she kneads in additional manganese dioxide at the wedging stage. This will lower the vitrification point of the clay. When the piece is fired, the upper third will melt slightly and begin to run down over the lower portion of the pot. Although this resem- bles a glaze, the piece technically is not glazed. Only experience and judgment can guide the firing time and temperature for this process. If it is fired too high, the piece can collapse. When the upper third of the demonstration pot has been built to the desired height, a few slabs laid across the top provide an appropriate finish to this clay piece. When Mrs. Kristensen is working on light colored ceramic pieces, she uses a mix of half stoneware clay and half fireclay. After the bisque firing she sponges on a very heavy iron oxide wash, then wipes off the excess but allows the heavy oxide to collect in the cracks and thus emphasize seams and texture. This craftsman uses glaze in a sparing manner on some of her pots. She plans the amount of glaze accord- ing to the pot's over-all design. Where she wants a glimpse of reflected color or a highlight accent, she applies a carefully-controlled amount of glaze to show contrast and emphasize the earth texture more completely. Like the sparkle in a human eye, the glaze must always be an enhancement of the innermost character of her clay Fired unglazed pot is 24 inches tall. composition. 18 Ceramics Monthly 1. Base [or the slab pot is cut to shape directly 2. Slabs are rolled /rom firm clay an on the plaster bat. banging the edges against the workin~ 3. Initial slabs are welded to the base with coils of soft clay. 5. Both large and small slabs are used to give an 6. Slabs may be broken to shorten them. Any attractivc design of horizontal and vertical spaces between slabs are filled with chunks elements. of soft clay. November 1968 19 Gail Kristensen Enamels a Portrait EVER ALERT to new approaches and modern concepts and materials, Gail Kristensen first became interested in I. Lines are brushed in according to preliminary enamels during her search for a different painting me- sketches, then are scribed on the copper surface. dium. Experimentation revealed to her the beauty and versatility of enamel in combination with copper, and many of her enamels have controlled oxidized copper as an integral part of the design. Gail's enameled portraits show vigor and a skillful use of the medium. The enameled portrait which Gail demonstrates is titled "Girl Sleeping on a Train." The first blocking in of shapes is done directly on a clean, counter-enameled copper rectangle. Using an oriental water-color brush, she freely strokes in the masses with a water-base ink which will burn off in the first firing. Although she could scratch in the lines without the aid of the brushed guide- lines, she finds that brushed ink gives a much freer in- terpretation. Later, she scratches over these lines with a metal scriber. Sometimes she makes a preliminary sketch of the portrait; other times she creates directly on copper with a Japanese brush. When the permanent lines have been scribed, she sifts a flux base coat over the entire piece and fires it in her large home kiln (15" x 23" x 6"). When the base 3. Delicate detail is added last with a Japanese coat has been fired, the big panel is flipped onto a brush and fine line black. transite board and weighted down with an equally large piece of sheet steel to keep it from warping out of shape ~ .~ L~t... ~ ...... as it cools. Red heat is slow to leave this size of piece, ~ ii ~i~ i~;~! ~'~ ~" and the panel is still flexible many seconds longer than a smaller piece would be. Extra steel weights are placed on top of the steel sheet; because the cooling enameled cop- per sheet has great flexing strength, it must be controlled by heavy weights. After the piece has cooled, it is time to sift different colors over the scribed-in areas. Scratched lines are clear- ly visible through the fired flux, although the black brush- ed lines have vanished during firing. It is interesting to note that Gall uses double sections cut from discarded nylon hosiery to sift her enamels instead of the customary 80-mesh screening. She fastens them into place with strong rubber bands directly over the container in which the enamel is purchased. Coarser residue of enamel which does not sift through can be ground smaller in a mortar and pestle. Gall develops her portraits with transparent enamels so the glow of copper continues to be an integral 5. Heacy shcet steel is placed over the red-hot part of the design. The depth of transparent enamel over copper panel u,hen it is taken from the kiln. 20 Ceramics Monthly copper gives subtle beauty to the portrait. This is her main reason for using copper, rather than steel. She continues to develop the design, firing each layer between applications of enamel. Small amounts of opaque enamels are sprinkled on to create highlights and accents in the final stage of her composition. Line details and further accents are lightly stroked in with liquid black enamel and the Japanese brush for the final firing. This last firing must be carefully controlled so details do not burn out. In order to fire the piece hot enough to re-fuse any heat cracks that may develop and still not over-fire delicate details, requires skill, judgment, and concentration. Gail Kristensen's enamels add new dimension to copper enameling through her conviction that there need not be conflict between craft and fine arts fields; each has much to contribute to the other. 2. Enamel is si/t,d onto the panel through nylon stretched ow:r the supplier's containers. iC!i i ii!: ::!ii!ii! i lii<' 4. The piccc i~ /ired m t/i~ large kiln in Gail i Kristenscn's home studio. Finished panel is titled, "'Girl Sleeping on a Trdin.'" 6. Ettra steel blocks arc used to weigh down the cooling copper and keep it from warping. November 1968 21 ALBERT EINSTEIN once said, "'hnagination is more im- Variations on a portant than knowledge." Certainly it is one of the most needed ingredients for successful artistic achievement. hnagination cannot be taught, but one wonders Textural Theme ,cometimes whether perhaps it can be caught. If so, it would explain the exciting student creations one finds in the art departnmnt of Cardinal Stritch College ill by MURI].:I. ANDERSON Milwaukee. To enter San Damiano Studios is to have the feeling that you have stepped into a living kaleido- scope; it is an exciting world of color and design where beautiful, creative works have been fashioned from the most humble materials. As the match lights tim candle, so the teacher sparks the student's inlagination. One of the teachers who has been doing this at Cardinal Stritch since 1947 is h'ene Kihnurry. She is that ideal creative combination . . .a perfectionist-craftsman with great imagination. Born in Chicago, Mrs. Kihnurry majored in art at the Chicago Teachers College and did graduate work at the Art 22 Ceramics Monthly Institute of that city. She received her Masters degree in art at the University of Wisconsin at Milwaukee. Irene Kilmurry is living proof of the theory that love of one's work somehow creates perpetual energy. When not teaching she can be found happily at work on commissions in sculptu,e, ceramics and stained glass, getting ready for an exhibit, or dashing off to lecture or act as juror in the areas of ceramics, sculpture or weav- ing. In addition to all this, she has always found time to enjoy her family. The slab sculptures made of stoneware clays, which she is currently working on, are good examples of what a magic springboard the imagination can be. This project began one day when she came across an old hand- crocheted antimacassar. It was about 50 )ears old and the texture intrigued her. These, you'll recall, are the chair back and arm protectors which grandmother proudly fashioned to save the parlor furniture. Mrs. Kil- murry made some pressings with clay of this interestingly Le[t: Biblical [igures by Mrs. Kilmurry include "Christ and the Multitudes" and "Moses." Top to bottom: A clay slab is rolled out over a piece o/ heavily-textured material. When the clay has sti[[ened a bit, the slab is cut into a conical shape. Cloth and clay are [olded into a cylindcr and the sides are slipped and joined. textured piece and then the basic cylinder idea evolved which subsequently led to experimentation with various other textures. "Friends soon began bringing me all sorts of scrap materials to experiment with. I have a huge box now filled with laces, monkscloth, burlap, textured wall cover- ings, handknit and crocheted pieces." One figure led to another and soon it was a full- blown project. These pieces, like much of her work, have a biblical theme. "I've always found biblical themes very good because you can imagine them as primitive and simple forms which allow broad interpretation." It is interesting to follow one of these figures from a formless chunk of clay to a finished piece of sculpture. First, a slab of clay is placed onto a textured material such as burlap, monkscloth, or lace, and the clay is rolled out to a thickness of approximately one half inch. When the clay has stiffened up somewhat, the slab is cut into a conical shape, folded together, and patted into a cylinder. Then slip is applied at the joints and the edges pressed together tightly. M1 joinings are re- inforced from the inside at this stage. When the cylinder is able to stand up by itself, it is shaped into the final angle or position desired for the form. Additional details such as the arms, head, hands, etc., are made separately and applied with slip, piece by piece, to the basic conical form, and then bent into the shape necessary to complete the figure. The finished slab sculptures are fired at earthenware temperature for the bisque firing, glazed with stoneware glazes or slip glazes (Sadler or Albany) and re-fired at stoneware temperatures (Cones 8 to 10). Some of the figures are purposely left unglazed to utilize the color and texture of the stoneware clay, and three different stoneware clays are used for the sculptures. One clay is fine textured and light in color; another is gray with fine grog; and the third fires mottled brown with a heavy textured grog. A heavy hardwood base is used for the finished sculptures. Rough ehn was used on the groups shown here, so the roughness would be in keeping with the rather primitive handling of such material. Then the wood was sprayed flat black. In these pieces of slab sculpture, all variations on a textural theme, we find a good example of what can be accomplished when the seed of an idea is explored and expanded upon. Top to bottom When the cloth is pulled away, its pattern remains as a texture on the clay. Appendages such as head, arms, and hands are made separately and bent into the desired shapes. When the appendages are leather hard, they are applied to the conical form with slip. 24 Ceramics Monthly Stacking the Kiln Part Two by ROBERT F. NOLL ROBERT F. NOLL is Ceramics that rises from the kiln door. If mois- lock the pieces together or to crack Technician at San Jose State College, ture is still evaporating, steam will fog either piece. The inner piece nmst be San Jose, California. The material in the shiny surface. When there is no smaller by ¼ inch all around if the this two-part series is part of the in- more steam, the kiln may be closed two pieces are of different clay bod- struction Mr. Noll gives to student and fired. A gas kiln can't be checked ies; it must be ~ inch smaller if the assistants in the Ceramic Laboratory. this way because moisture is a by- same body. The first installment appeared in the product of gas combustion. It's safer to put low-fire clay inside October issue of CM. Three checks for moisture in green- high-fire clay than vice versa. At ware are appearance, weight, and bisque conditions, the low-fire clay IF s:ov SXACK a kiln by placing the temperature. Wet clay looks darker will probably shrink more than high- supports first, then placing the than dry clay. Wet clay feels heavier fire clay. pieces to be fired, you can check than d~, clay. The evaporation pro- If the shelf is level, bowls may be clearance by laying a straight-edge cess requires heat-energy; if a project bisque fired upside-down. With pieces from one post to another. You must feels cooler to your cheek than the not symmetrical, you need to consider leave at least ¼ inch of space between surrounding atmosphere does, there the centers of gravity and the effect the project and the shelf above it. If still is moisture in the clay and it is of gravity on the pieces when they any of the shelves you are using are evaporating. get softened in the heat. twisted or sagged, check each shelf Pick up every project, green or When stacking glazed ware, blow carefully so that you can leave ¼ glazed, with full support underneath away (or otherwise gently remove) inch between the tallest project and it. If greenware is lifted by grasping any foreign material that has fallen the lowest sag. the top or by compressing the sides, on it while it was waiting to be fired. If you have a front-loading kiln you may break it. If glazed ware is Handle glazed pieces as gently as and time is more valuable than space, lifted by either of those two methods, greenware. The coating of dry glaze you can leave the shelves and posts you may break off some of the coat- materials breaks and falls off or gets stacked in the same position from one ing of glaze. If possible, get both rubbed off all too easily. firing to the next. Don't slide the hands or fingers of both hands under Casseroles are usually fired with the projects into place; carry them full)" every project and lift without sliding. lids on to help control warpage and supported. Each project nmst be low If a greenware project has thin to fit. If there is glaze between the lid enough to give clearance for your medium walls, 6 to 8 hours in a hot and pot, don't fire the project. If you hands underneath and space above drying cabinet kept at about 175°F think the glaze is close enough or so you won't scrape the top of the will dry it. If the walls are extra fluid enough to run down between piece. If you attempt to slide in a thick, leave it in the hot cabinet for the lid and pot at maturity, reject it greenware piece, you may chip a several days. also. piece off the bottom. If you slide a If you suspect a piece has a hollow If you think glaze will drop or flow glazed piece, you may knock some area, check to see that it has an air onto the kiln shelf, take a piece of kiln wash into the pots below. If you escape hole so it won't blow up in broken shelf, put on it a thick coating accidentally knock kiln wash into or the kiln. If for any reason you suspect of kiln wash, and set the project on onto a project while stacking above a project nfight damage itself, the the kiln wash. it, remove the foreign material--even other students' projects, the kiln, or If a piece is unstable, make an if it means de-stacking to get to it. the kiln furniture, put it aside. extra thick layer of kiln wash and An important consideration before Stacking for bisque firing is much sink the bottom of the piece into the any firing is to get the ware com- more efficient than for glaze firing. kiln wash while it still is wet. When pletely dry before taking it above A project may nest inside another, the kiln wash dries, it will give some 212°F. Above that point, the moisture sit on top of another, touch another, support to the project. turns to steam pressure, and may or even touch the wall of a muffled If at all practicable, stack a piece either explode a green piece or spit kiln. In nesting, consider strength, in the kiln the way the student sets the glaze off a glazed piece. If you support and shrinkage. The walls of it on the rack. After a student has are uncertain about the dr?mess, leave the lower projects must be strong had a few pieces fired, he usually has the kiln door or lid partly open so enough and of such engineering that a good reason for setting it on the the temperature won't go above they will support the weight above. shelf the way he does. 212°F for a short period of time. An The foot rings (or rims) must be one Also, if practicable, try to get units electric kiln can be checked for mois- above another. of sets in the same firing and in the ture by holding a mirror or shiny When nesting, the outer pieces nmst same part of the kiln. You can even glazed surface in the hot atmosphere not shrink enough during firing to Continued on Page 37 November 1968 25 MANY CERAMISTS TODAY are handbuilding a number of Two-Tone their pottery pieces, or combining hand-built segments with portions turned out on tile potter's wheel. By using either of these techniques, the craftsman can enjoy a Slab more leisurely pace as he forms or assembles the various segments. Too, preparing flat clay slab forms and joining them by slotting or welding with a knife, rolling pin, or Inlay the fingers is more likely to result in work with greater personality. by ROBERT F. EILENBERGER Some potters enjoy working with two or more dif- ferent colored clays in making a piece of pottery, but in so doing they must have more than a casual interest in the performance of the varied clays that are used. The matter of prime concern, of course, is the degree of shrinkage that takes place between the clays, since it must be relatively uniform to insure a compatible union. Work- ing with [amiliar clay bodies is the best way for the potter to be certain of their drying and firing behavior. There are several ways to keep the shrinkage of your clay uniform. The best way is to add coloring material to a basic white-or buff-firing clay. The addition of 1. A box core is selected, covered with cloth, 3. An opening is cut in the slab to dc[iple the crea then measured with paper to provide a pattern. o[ the two-color inlay design. 2. The paper pattern is used to cut a clay slab large 4. The cut-out slab is cut into strips and these enough to encircle the box. strips are rolled into coils. 26 Ceramics Monthly Barnard or some other natural slip clay that is high in rolling them out with a rolling pin under a cloth to make iron content will bring some degree of a tan-to-deep- a solid slab. If you are alternating colors of clay for every' brown-color to a single clay. If you are not familiar with other coil, the resulting slab will be striped. Instead of the such additives to your clay, this is a good place to start. finger-coils, squares, triangles, or diamond shapes of two Basic red and buff clays can be combined, but too often colors of clay can be cut, placed side by side, and rolled the results are not as pleasing as are the earthy brown out to make a solid slab in an inlaid design. These are tones. Of course tests of clays new to the potter should good ideas to start out with. They are simt)le but I am be made in order to avoid disappointment later on. sure you will agree you will bring out of your kiln some When you are reasonably aware of the behavior of interesting pieces of pottery. two different colored clays, you are ready to start work. A technique that I enjoy using is the inclusion of I suggest starting by combining only two clays; after you inlaid coils in an opening that has been cut out of a have experienced some trial-and-error of your materials, slab and using this filled-in and rolled-out slab to form you can use variations on a two-tone theme. Certainly a draped, molded or combined slab pot. Uniform slab when you begin you must have some plan for the shape thickness, correct welding of the seams, and proper time and design of your pot, but it is always exciting to me allowances for stiffening the clay slabs are important. to start working with the two clays because the design After you have the knack of carrying out the correct often becomes somewhat unpredictable as it progresses. disciplines necessary to keep a slab pot or object whole Inlaid potter}, can be a marketplace for ideas that during the drying and firing cycle, the enjoyment you are tailored to your individual choice of design. I have get certainly will be rewarding. made some pottery simply by combining finger-slzed To work with this technique, select a box or object coils of clay placed on a flat surface side-by-side and that you can use as a core for shaping your two-toned 5. Design units o[ two-color clays are arranged in 7. The clay is covered with a cloth and gently the opening cut in the slab. rolled to consolidate the added clay. 6. All spaces are [illed in with coils and wads to 8. The box is placed over the slab in a position that complete and cover the design area. will best display the inlaid design. November 1968 27 i| 9. The clay is care[ully bent around the corners o[ lO. Ends o[ the slab are joined together with the the box in order to avoid sharp corners. /ingers or a kni[e. slab. Cover the core object neatly with a cloth and less frame you have around the inlaid design area, the tape the edges smoothly so it will not only be neat but more difficult it will be to form the pottery piece with will be easy to handle. The cloth prevents the clay from this slab. When you have determined where this inlaid sticking to the box. Leave the cloth loose at the top flap design area will be, cut it out of the slab with a knife. of the box so you can slide the box out first, and then Keep the knife upright so you will cut your clay at a the cloth, after the clay has stiffened. After you cover 90-degree angle. This will make the edge as vertical as the box, cut a piece of paper the size that will represent possible. Lay the cut-out portion of clay on your work the area of the box sides. Next, roll out a slab of clay surface and cut it into narrow strips about the thickness about one half inch thick (or less if you prefer), place of the slab. From these strips you can make your finger- the cut-out paper pattern over the slab, and cut the slab sized rolled coils to form the design portion of the two- to the pattern size. This portion of your pottery can be toned slab area. Do the same to a rolled-out slab of the of either the light or dark clay, whichever you choose for other color clay you have selected to use. Roll all of these the basic color of your pot. strips into coils, just as you would do for building by the Next you must decide how large you want the inlaid coil method. design opening in the slab to be. In the demonstration The design you make should be your own. "Cart- piece, the space at top and bottom is 5 inches, with 6 wheels" can be made and combined with alternate color~ inches left for the center inlaid design. Do not, however, of coils for a stripe effect. Squares or diamond shapes extend the cut-out opening too far left and right, as the cut from the slab (instead of coils) are effective also. ~'ii!il J I I. The box is placed upright on a slab that is structure to become a part o[ the pot. slightly larger than the base. 13. When the clay has sti[[ened, the supporting core 12. The excess clay is incorporated into the upper is removed. 28 Ceramics Monthly Place the "'frame slab" on a cloth, then arrange the various design units in the center opening. All spaces must be filled either with straight or curved coils. Small wads should be tucked into corners when necessary to completely fill the design area. One important thing you must remember is to have the coils no higher than the thickness of your frame slab. If you do, this will decrease the depth of the markings that divide the two colors of your clay and make the design less attractive. When you have put all the inlaid coils into their proper places, cover the piece with a cloth. Use a smooth cloth or you will have dents in the surface when you go over it with the rolling pin. Next, take the rolling pin and gently roll the surface. Do not press too hard, as you do not want to thin out the slab too much or obliterate the design. When this is done, take a look at each side but do not disturb the slab any more than you must. Often I find one side is better looking than the other. When you decide which side you want to show, keep that side face-down on the cloth and remove the other cloth you used for rolling. Next, place your covered box on the slab in a position that will best display the inlaid design. Carefully pull one end of the slab at a time around the box core, using the cloth as a help. When you bend clay around a sharp comer, be sure you do not make the thickness of the slab thinner at that point. If you do there is a chance that the pot will crack in the firing. Keep the same thickness by carefully and slowly bending the clay around the corners. Join the slab ends with your fingers or knife. j5 Next, set the box upright on a slab of clay that is about ~-inch larger all around than the bottom of the pot. This extra clay is brought up with knife or fingers and welded to the sides. Do this carefully so the seams will join it securely to become part of the pot. As soon as the clay has stiffened enough to be self supporting, the box core is removed. In some of the pots I have made in this fashion, I have added a neck and spout portion directly to the inside of the top of the slab, leaving a ledge the thickness of the original slab. I have used the same clay, or contrasting color for this, as I have also for spouts or handles. Some of us like spontaneous markings left in our pottery, others prefer a smoothness. If the ledge is left, it shows a portion of your original working pro- cedure and also preserves much of the character of your material. Much handbuih pottery shows to its best advantage if the texture of its surface is exaggerated. A stain or glaze that darkens the depressions of the texture enhances the two-toned pottery and draws it into a wholeness. Black or dark-toned matt or bright glazes will do this if tiae glaze is applied to the bisque ware and wiped off the higher areas with a wet sponge. There are also pre- pared stains that will give you this same effect. The thing you have to consider is whether matt or gloss results are Alternating colors o[ coils are used to make the the most pleasing to you. Barnard (or Blackbird) slip banded bottle pictured at top. applied and wiped off gives a dull effect but may not be in dark enough for distinct contrast when fired at low Squares of two tones o[ clays are placed the bottle. temperatures. No matter how you use the techniques, the checker-board pattern (center) to make effect of the two-toned slab and the inlaid areas will Dark and light coils are placed in a swirling pattern bring to your work a new dimension and satisfaction. to produce the pilgrim bottle at bottom. November 1968 29 ORDER ANY OF THESE SELECT TITLES ON OUR MONEY-BACK GUARANTEE. WE PAY POSTAGE. CLAY AND GLAZES FOR THE POTTER HANDBOOK OF DESIGNS AND DEVICES STEP-BY-STEP CERAMICS by Daniel Rhodes. Two complete books by Clarence Hornung. Over 1800 by Jolyon Hofsted. In this complete in- in one! Fundamental details on both sketches of b:lsic designs and variations troduction to ceramics, the beginner CLAY and GLAZES make this book a including the circle, line, scroll, fret, is led through all of the basic clay "must" for every hobby-craftsman, stu- shield, snow crystals and many more forming and decorating processes by dent, teacher and potter. $7.50 useful symbols. $2.00 means of fully illustrated step-by-step instruction. There are special sections DESIGN MOTIFS OF ANCIENT MEXICO CERAMICSAND HOW TO DECORATETHEM on the Potter's Wheel, Glazing, Firing by Jorge Enciso. A compilation of 766 by Joan B. Priolo. Mrs. Priolo gives de- a Kiln, Building Your Own Kiln, Dec- examples divided into geometric, na- tailed descriptions and illustrations of orating Techniques and Raku. $1.95 tural and artificial forms. Includes de- dozens of decorating techniques and signs based on flowers, birds, fish, hu- shows how to use them. $6.95 MAKING CERAMICS man figures, etc. 170 pages. $2.25 by Lis and Hans Lundkvist. This text THE TECHNIQUES OF demonstrates some of the simplest meth- ENAMELING ON METAL PAINTED ATTIC POTTERY ods of handling and shaping clay. Con- by Oppi Untracht. Step-by-step photos by Joseph Noble. This lavish book un- tents include forming pieces by hand are used to describe fundamentals on ravels the methods used by the famous and with the potter's wheel, decorating through to newly developed experi- Athenian potters and vase painters to with glazes, recipes for glazes, making mental styles. This complete guide is a produce the greatest pottery in an- plaster molds, casting, firing, construct- major contribution to enameling. $7.50 cient European art. Beautifully illus- ing a wheel, and directions for building trated -- a wonderful gift. $17.50 a raku kiln in the backyard. $4.50 CREATIVE CLAY DESIGN by Ernst Rottger. A wonderful aid to MOSAIC TECHNIQUES SELLING YOUR CRAFTS those who are learning and those who by Mary Lou Stribling. This unique by Norbert N. Nelson. In a concise, are teaching others how to explore the book gives a glimpse of the tremendous step-by-step presentation, this book creative possibilities of clay. $5.50 potential of mosaics as a medium for leads you through the actual stages personal expression, and will stimulate necessary to sell successfully what you CERAMICS the curiosity of beginner and profession- produce. Such diverse channels of sales by Glenn C. Nelson. A new. revised and al craftsman alike. $6.95 as wholesale, retail, mail order and enlarged edition of a favorite title. An CERAMIC SCULPTURE specialty markets are covered -- with outstanding handbook for potters and the advantages and disadvantages of by Betty Davenport Ford. The author each type of selling. $5.95 teachers. 331 pages, hardcover. $7.50 leads the reader to a high level of pro- CERAMIC SCULPTURE fessionalism in the design and technique HANIWA: THE CLAY SCULPTURE OF of an ancient craft. Animal, human, PROTOHISTORIC JAPAN by John B. Kenny. Contains over 1000 plant and abstract forms. $5.50 photos and sketches covering all phases by Fumio Miki. This outstanding book of the sculptor's art. A valuable aid for POTTERY: FORM AND EXPRESSION contains nearly 100 dramatic photo- all craftsmen. $9.95 by Marguerite Wildenhain. A truly graphs of notable Haniwa masterpieces beautiful book! Magnificent pictures of -- the clay figures that decorated graves THE COMPLETE BOOK OF the author at work and of ancient and of emperors and lords. The accomp.any- POTTERY MAKING contemporary pottery. An outstanding ing text is outstanding. Comes an a gift selection for potters. $9.95 handsome slipcase and makes a won- by John B. Kenny. The "best seller" in derful gift. Was originally priced at the ceramic field! Step-by-step photo POTTERY & CERAMIC SCULPTURE $8.75 per copy. now $6.95 lessons cover all of the pottery-making techniques. by Herbert M. Sanders. A new, thor- Clays, glazes, firing, plaster. oughly revised BERNARD LEACH: A POTTER'S WORK etc. edition of Mr. Sanders' 242 pages. $7.50 best seller, Ceramics Book. Completely Introduction by J. P. Hodin. This latest CERAMICS up-dated with new material, including book by Mr. Leach covers 55 years of FOR THE ARTIST POTTER his work from 1911 to 1966, showing by F. H. Norton. The most complete section on how to build a potter's wheel. Excellent for beginners. $1.95 photographs of his pots and sketches book on the subject, from choosing the from his notebook that he feels are rep- proper clay to putting the final touches MAKING POTTERY WITHOUT A WHEEL resentative of each period, including on a piece, all clearly explained. Ce- by raku, stoneware, slipware, salt-glaze ramics F. Carlton Ball and Janice Lovoos. at its best! $7.95 This comprehensive and richly illus- ware, and enameled porcelain. $I0.00 CERAMIC DESIGN trated book covers every phase of hand- THE WORLD OF JAPANESE CERAMICS by John B. Kenny. Complete instruc- building and decorating clay pieces. No book has covered the subject by Herbert Sanders. The first broad tions for methods of forming and dec- of texture coverage in text and form more effectively. and photos of the mod- orating ware are given, with step-by- $9.95 ern and historical ceramic techniques of step photos to guide the designer along A POTTER'S Japan! This handsome book illustrates the way. Contains appendix, BOOK list cf by Bernard Leach. in detail the forming and decorating materials, recipes, and glossary. $9.95 Now in its tenth American edition, this book is a must processes and the many unique tools FREE BRUSH DESIGNING for every potter and student of ce- used by the potters of Japan. Includes glaze formulas, glaze by Egbert and Barnet. The authors' ex- ramics! It deals with Japanese raku, color charts, and citing approach to painting and de- English slipware, stoneware, and Ori- American equivalents of Japanese glaze signing develops confidence in the new ental porcelain. $8.75 compositions. Has slipcase. $12.50 artist. Extremely well adapted to ce- ramic decoration. $3.95 STONEWARE AND PORCELAIN ....BOOK DEPARTMENT 4175 North High St., Columbus, io 4;4---3 by Daniel Rhodes. Describes techniques [_~ Rhodes--Clay & Glazes $7.50 [] Rhodes~Stoneware $7.50 [] BaH & Lovoos--Pottery $9.95 and materials used in high-fire pottery. Enc;s~Design $2.25 [] Kinney--Glass Craft $7.50 [] Leach--Potter's Book $0.75 Includes sections on clay bodies, glazes, [] Untracht--EnamelincJ $7.50 [] Parmelee~Glazes $8.00 [] Hofsted--Ceram;cs $1.95 colors, textures and decoration. $7.50 [] Rottqer--Creatlve Clay $5.50 [] Hornunq--Desiqns $2.00 [] Lundkvist [_-7 Nelson--Ceramlcs $7.50 [] Priolo--Ceram;cs $6.95 reMaking Ceramics $4.50 GLASS CRAFT [] Noble--Attic Pottery $17.50 [] Nelson--Selling Crafts by Kay Kinney. [] Kenny--Sculpture $9.95 $5.95 The complete book on [] Stribllng--Mosa~c $6.95 [] Miki--Han;wa $6.95 fusing, laminating and bending glass. [] Kenny--Pottery $7.50 [] Norton--Artist Potter $7.95 L~ Ford--Sculpture $5.50 [] Leach--Potter's Work $10.00 Basic techniques, step-by-step projects [] Wildenhaln--Pottery $9.95 [] Sanders~Japanese $12.50 and a "Glass Clinic." [] Kenny--Design $9.95 $7.50 [] Ecjbert--Brush $3.95 [] Sanders--Pottery $1.95 CERAMIC GLAZES by Cullen W. Parmelee. This invaluable NAME reference book completely covers glaze ADDRESS making. Includes formulas and batch recipes for glazes. 314 pages of techni- CITY STATE ZIP cal information. $8.00 I enclose [] Check [] Money Order. [Ohio residents: add 4% Sales Tax) Titanium Glazes BY RICHARD BEHRENS KEMPER TITANIUM, a metal found in small GLAZE lII (Cone 2) amounts in most clays and nonplastics, Lithium Carbonate ...... 7.5% Lead Monosilicate ...... 33.1 when used in significant amounts in Zinc Oxide ...... 10.8 the glaze can prove a useful addition TOOLS Kaolin ...... 17.3 to the potter's formulary. It may be Flint ...... 31.3 used to produce opacity, color, and 100.0% for Sculptors - Potters - Ceramists Add: 5% Titanium Dioxide texture to the glaze. Quulity, Utility and Durability The two compounds of titanium A typical matt titanium oxide glaze. since 1947 that are the primary sources of tita- GLAZE IV (Cone 4) nium are ruffle and the relatively-pure Zinc Oxide ...... 20.0% Used in colleges, universities and white titanium dioxide. Rutile is a Strontium Carbonate ...... 6.8 schools all over the United States. Nepheline Syenite ...... mineral forln of this oxide admixed 20.4 Lithium Carbonate ...... 8.4 Wood Modeling Tools 6" & 8" • with iron oxide and other minerals. Kaolin ...... 5.8 Wood & Wire End Tools • Double Used in glazes, it acts nmch like the Flint ...... 31.4 Wire End Tools • Texturing Wire pure chenfically refined titanium but Titanium Dioxide ...... 7.2 Brushes • Many others with multiple introduces an iron coloration. 100.0% uses. Complete line of ceramic hobby Titanium diovide dissolves freely in Add- 2.5% Copper Carbonate tools. the average molten glaze but most of In the average firing this glaze will produce clusters of acicular crystals. Write for complete Kemper Cafalog it separates in crystalline form as the enclosing S0c When cooling is slowed, these crystals (coin or stamps) for glaze cools. These fine crystals produce postage and handling. Please include may be increased in size. In common a smooth matt opacity and, when the your Zip Code Number with address. glaze is slowly cooled, may produce with most crystalline glazes, this glaze crystals that are visible to the naked runs; pots glazed with it should be Kemper Manufacturing Co. eye. When present in the glaze in fired on a firing ring supported in a P.O. Box CM-II substantial amounts, it may appear bisqued saucer form. (The firing ring S4S, Dept. as Chino, California 91710 segregated islands in the glaze and and saucer were described and pic- yield an interesting pattern. Titanium tured in Marc Hansen's article, can form colored compounds with a "Zinc Silicate Crystal Glazes," in the number of oxides, such as the yellows April 1966 issue of CM.) formed with lead, nickel, and several GLAZE V (Cone 6) other metallic oxides. When added to Frit 33 (Hommel) ...... 49.0% lead-containing glazes, a yellowish Nepheline Syenite ...... 11.4 Whiting ...... pigmentation results. Through its 2.6 Lithium Carbonate ...... 3.8 opacifying effect, Beginning it often produces Flint ...... 23.0 pleasing nuances of color when used Titanium Dioxide ...... 10.2 with the usual oxide or carbonate 100.0% colorants. Cobalt colors are often Add: 2.5% Copper Oxide and 2.0% Molybdenum December 1 thrown to the green side, while cop- Oxide per tends to move to the blue-green A brilliant crystal-producing glaze. side. Should be fired and cooled as describ- A number of glazes which typify ed for Glaze V. NEW the influence of titanium dioxide in GLAZE VI (Cone 6) the glaze are as follows: Potash Feldspar ...... 41.3% Whiting ...... 14.9 HOME OF GLAZE I (Cone 03) Zinc Oxide ...... 12.0 Lead Monosilicate ...... 52.7 % Kaolin ...... 4.9 Zinc Oxide ...... 7.5 Flint ...... 26.9 Whiting ...... 3.1 Barium Carbonate ...... 6.3 100.0% Add: 5% Titanium Dioxide Van Howe Kaolin ...... 13.8 Flint ...... 16.6 Number VI is a light opaque glaze. 100.0% .~- "*~'~'~,e"~/. ,,f~ ' *~ ~"-~ ,. ~lllk~ ~'~';d, ::,~ Add: 5% Titanium Dioxide Ceramic Supply Co. This glaze gives a pleasing titanium matt. 1197S East 40th Street GLAZE II (Cone 2) DENVER, COLORADO Nepheline Syenite ...... 69.3 % Frit P-54 (Pemco) ...... 10.2 80239 Whiting ...... 20.5 100.0% Add: 5% Titanium Dioxide Macrophoto o/ glaz, ~4, [icc times Corner of Interstate 70 & Peoria This glaze results in a smooth opaque normal size, shows clusters o[ needle- white coating. like crystals. November 1968 31 I TINERARY 11,LINOI6, CHAMPAIGN la; at the Chevy Chase Galerie. Continued [rum Page 11 through December 8 "'Tunisian Mo- MASSACHUSETTS, LEXINGTON COLORADO, DENVER saics," circulated by the Smithsonian In- November 15-16 Annual Fair of the The Sixth Annual Ex- stitution; at Krannert Art Museum. November 3-23 Lexington Arts and Crafts Society; at hibition of Colorado Artist Craftsmen, ILLINOIS, CHICAGO the Art Center, 130 Waltham St. the Rocky Mountain joint show with through November 17 "Art of the at Tenlple Buell College Weavers Guild; Korean Potter," at the Chicago Art Insti- MISSOURI, SPRINGFIELD Fine Art Center. tute. November 3-December 1 The 38th An- at COLORADO, DENVER nual Ten-State Regional Exhibition; I NDIANAj GREENCASTLE the Springfield Art Museum. through November 17 "140 Years of November 24 December 18 The Danish Glass," circulated by the Smith- Seventh DePauw Ceranfic Show of work NEVADA, LAS VEGAS sonian Institution; at the Denver Art by Indiana residents; at the DePauw Uni- November 3-Deeenzber 2 The 12th An- Museum. versity Art Center. nual National Art Round-Up includes Las Vegas Art COLORADO, PUEBLO work in ceramics; at the INDIANA, INDIANAPOLIS League. Novenzber l Eighth Annual "Own November 10-24 The !lth Annual Your Own" exhibition and sale; Southern "Art for Religion" Exhibit shows work NEW JERSEY, NEWARK Colorado State College. in liturgical crafts; Bethlehem Lutheran through March 30, 1969 Amlash Pot- Church. tery; at the Newark Museum. DELAWARE . WILMINGTON November 17-December 19 "Contem- IOWA, MASON CITY NEW JERSEy, SOUTH ORANGE porary Crafts for Christmas Giving," the through November 6 The All-Iowa November 22-23 Crafts Exhibition and 12th annual show of the Wilmington So- Crafts Exhibition and Fall Crafts Festival; Sale by members of the "First Mountain ciety of the Fine Arts; at the Delaware at MacNider Museum. Crafters," at the First Presbyterian and Art Center. Trinity Church. MANITOBA, WINNIPEG FLORIDA, DELAND November-December "Invitation I," NEW MEXICO, ALBUQUERQUE November 9-27 The 18th Annual Flori- circulated by the Canadian Guild of Pot- Continuing Indian Pottery Exhibition, da Craftsmen Exhibition, a juried show ters; at the Winnipeg Art Gallery. a major show of Pueblo pottery, covers that includes work in ceramics, glass, a time span of 1500 years and contains enamels and tither crafts. At Stetson Art MARYLAND, BETHESDA nearly 300 examples. At the University Gallery. through December Pottery by Petronel- of New Mexico Museum of Anthropology. DECORATING POTTERY with clay, slip and glaze by F. Carlton Ball Many techniques for deco- these other famous rating pottery are presented order for those who want to ex- CM Handbooks plore the possibilities of sur- THROWING ON THE POTTER'S WHEEL face enrichment but lack by Thomas Sellers skill or confidence in draw- Here's a complete manual on how to use the pot- ing and painting. The meth- ter's wheel. Covers all basic steps [ram wedging clay to making specific shapes. 80 pages $4.00 ods devised by Mr. Ball provide some simple means CERAMIC PROJECTS edited by Thomas Sellers o| decorating with clay, slip, Outstanding group of projects for the classroom, and glaze. Beautifully il- home and studio. Fountains, planters, jewelry, bot- tles, and bowls are included. 64 pages $2.00 lustrated. 64 pages $3.00 UNDERGLAZE DECORATION by Marc Bellalre m This complete handbook has all the answers on ma. ter;als, tools and technique. Step-by-step projects [ --WE PAY POSTAGE i are profusely illustrated. 64 pages $3.00 CERAMICS MONTHLY Book Department I 4175 N. High St., Columbus, Oh;o 43214 I COPPER ENAMELING Please send me the following: by Jo Rebert and Jean O'Hara I [] DECORATING POTTERY @ $3 I"--] POTTER'S WHEEL @ S4 I [] U.DERGU~ZE DECO,~T,ON e " [] CERA.,C PROJECTS e S2 Recognized as the best in basic instruction, this I co,'.tR ENA.ELING ~ S2 [] "RUS. OECORAT,O. ~ S3 I elaborate handbook has over 200 photographs. In- valuable to teachers and students alike. I Name I 64 pages $2.00 Address BRUSH DECORATION FOR CERAMICS I City State Zi .,':. I by Marc Bellalre I enclose [] Check [] Money Order A fascinating book with easy-to-follow instruction (Ohio Resldenrs add 6% sales tax.) on the use and care of brushes. Excellent for be- DEALER INQUIRIES INVITED I ginners. 64 pages $3.00 L I 32 Ceramics Monthly NEW YORK. CANTOX through November 10 "Islaniic Art from the Collection of Edwin Binney IIl," circulated by the Smithsonian Institution. to do the job at St. Lawrence University. Three 0rt0n cones are the NEW YORK, NEW YORK best firing insurance you through November 10 Jex~elry by Arline can I~ave. The guide cone Fisch and Ceramics by James Leedy; at the Musemn of Conteniporary Crafts. lets you know the ware is ' approaching maturity, and NEW YORK, NI::~A" YORK the firingcone lets you through Junu,,zry 19, 1969 Guatemalan know the firing is at the Exhibit features selected examples of Maya ceramics and ~ther crafts presented on the correct point. Deformation opening of the 23rd Session of the Gen- of the guard cone indicates eral Assembly. The United Nations. At you have gone beyond the the Metropolitan Museum of Art. • I ~."~ I Af Firing best point in the time-and- NEW ~'ORK, SYRACUSE k~L [ ~' "V Cone temperature relationship. Guart ~11~1#~ Guide = Cone November 24-January 12, 1969 The '~g" Cone Orton cones are small, and require a rain- 25th Ceramic National, sponsored by the imum of kiln space. Plaques of cones Everson Museum: at the new Museum placed so they may be observed through building. the peep holes give you an indication of The Edward firing progress. These, and others, placed throughout the setting or used in conjunc- NORTH CAROLINA, RAI,EIGH ORTON tion with automatic shut-off devices, may through November 3 "Craftsmen of the be examined after firing is completed to Jr. Ceramic give you a detailed picture of conditions City," Srnithsonian Institution show; at in all parts of the kiln. North Carolina State University. FOUNDATION Learn more about 0rton Standard Pyromet. 1445 Summit Street ric cones and how they can help you to NORTH CAROLINA, ~VINSTON-SALEbI better, more uniform firing results. Ask November 15-16 The Fifth Annual Columbus, Ohio 43201 your dealer for a free copy of "0rton Crafts Fair of the Piedmont Craftsmen, Cones and their Importance to the Hobby P0tter". Inc., will he held at Memorial Coliseum. OHIO, CLEVELAND through November 24 Art of the Yflan Dynasty: Chinese Art under the Mongols: at the Cleveland Museum of Art. OHIO, COLUMBUS November 17 - December 20 Ceramics IW Clyde Burt, Bruce Chesser, and Tom Shafer: at Wehrle Gallery, Ohio Domin- ican College. OHIO r TOLEDO through November 17 The Second To- ledo Glass National: at the Museum of Art. TEXAS, AUSTIN through November 17 "Art of Ancient Iran" covers the period from 1000 B.C. to 1000 A.D.: at the University of Texas Art Museum. TEXAS, DALLAS through November 24 "Southwest Craftsmen 1968," competitive regional 5,400 sq. feet of manufacturing space for the KILN-SITTER show; at the Dallas Museum of Fine Arts. OUR. THANKS .... to the ceramic industry for VV'ASHINGTO N, SEATTLE through November 24 "Chinese Trea- helping us grow into our new, modern plant sures from the Ave D. Brundage Collec- tion," at the Seattle Art Museum. WISCONSIN, PLATTEVILI.E W. P. I)AWSON President November 24-Deceniber 14 Pottery by Ava Fernekas; at the Student Center LEWIS BUR3IEISTEI", Galleries, Wisconsin State University. Vice-president & General Manager WISCONSIN, ~,~rAU SAU November-December Wisconsin Design- 1117 East Ehn Street er-Craftsmen Traveling Exhibition; at the Fullerlon, California 92631 Marathon County Historical Society. Phone: (714) 525-7713 .Vovcmbcr 1968 33 Potters • Sculptors • Teachers • CERAMACTIVITIES YOU cannot afford people, places and things without PIEDMONT CRAFTSMEN FAIR Parsons, writing in behalf of the Crafts The Piedmont Cra[tsmen, Inc., will group, reports that the Fair is "a Christ- nation on present their fifth annual Crafts Fair mas shopper's paradise." November 15-16 in Memorial Coliseum, CLAYS & Winston-Salem, N.C. The crafts group is TEXAS DESIGNER-CRAFTSMEN NEWS a Southeastern regional organization com- ]ohn Mason, ceramist from Los Ange- posed of 117 craftsmen and 79 associate les, was the guest speaker at the annual GLAZES members; its purpose is to promote the conference of the Texas Designer-Craftsmen crafts of the area and provide the crafts- in Austin on April 20th and 21st. The by men with a sales outlet for their work. conference meetings were conducted at the Traditional and mountain crafts will University of Texas art building, with Paul be shown at the Fair, but the majority of P. Hatgil, outgoing president of the organi- CREEK- the crafts are contemporary, one-of-a-kind zation, presiding. On April 21st the Uni- items. These include pottery, jewelry, versity of Texas Art Museum opened the enameling and glass. One of the highlights T.D.C. exhibition of ceramics, textiles, TURN jewelry, will be the Craftsmen's Choice booth, stitchery, and enamel-work in the Room where each craftsmen will show what he 17 Gallery. The exhibit was on GET ACOUAINTED view ccnsiders to be the finest example of his through June 1. New WITH OUR CUSTOM craft. Another popular booth will be the officers elected at the conference CLAYS & GLAZES SERVICE were Mrs. Richard ]. Gonzalez, president; Dena Todd, vice-president; and Mary E. Heickman, secretary-treasurer. All the new WHEELS KILNS TOOLS officers, who will govern the T.D.C. for a two-year term, are from Houston, Texas. Free Brochure Mold Catalog 50c Outgoing officers were Paul P. Hatgil of Austin, Texas, president; Barbara Roberts CREEK-TURN of San Marcos, vice-president; and Betty Culley of San Marccs. secretary-treasurer. HAINESPORT, NEW JERSEY 08036 A native of Nebraska, John Mason (pictured) was educated at the Otis Art Institute and the Chouinard Art Institute, Christmas Boutique, which features un- both in Los Angeles. He is an associate the LOCKERBIEPotter's Wheel usual items made by both associate, and craftsmen members. Pictured is an overall ~ FINESTKICK WHEEL MADE view of the 1967 Craft Fair. Used by colleges, schools and studio potters $175.00. In addition to the annual Fair, Pied- Write for new circular to mont Craftsmen sponsor a Craft Shop Parfex Co. -- 7812 Boulder located at 614 South Main Street in Ave., Highland, Calif. 92346 Old Salem. This shop is open year around. Mrs. Millie Crutchfield is executive vice president of the group; Mrs. Robert El- berson is chairman of the promotion com- MOVING SOON? mittee. U.S. Post Offices will no longer forward VERGETTE SHOW AT PADUCAH magazines, even if they have your new address. Your magazines will be returned Nicholas Vergette, ceramist and asso- to the publisher at a charge of 10c each. ciate professor of art at Southern Illinois If you move, please notify us at least 4 weeks in advance, giving both new and old University's Carbondale campus, will take addresses, and send addressed portion of part in the Arts Festival at the University your mailing envelope to Ceramics Monthly, 4175 N. High St.. Columbus, Ohio 43214. of Kentucky Community College at Padu- (Don't forget to include your ZIP number cah. He will conduct workshops and give on new address.) several lectures and, in addition, have a professor of art at the University of Cali- one-man exhibition of his own work for fornia at Irvine. His work has been exhibit- this November event. ed widely in the United States and in In September and October Mr. Vergette international shows in Europe, South held a one-man exhibition of large ceramic America and Japan. Mr. Mason's ceramics pieces designed as architectural sculpture are represented in the collections of the at Kansas State Teachers College in o ° °~OF Chicago Art Institute, Pasadena Art Mu- Emporia. This past summer Mr. Vergette school seum, Museum of Contemporary Crafts, conducted the ceramic workshop at the and in numerous private collections. In and New Harmony Summer Craft Center. studlo! addition to the address he delivered at the T.D.C. banquet, Mr. Mason presented LEXINGTON FAIR ANNOUNCED a public slide-lecture at the university The annual Fair of the Lexington under the sponsorship of the Art Depart- (Mass.) Arts and Crafts Society will be ment. ~r Pug Mill mix held at the Art Center, 130 Waltham Founded in the early 1950s by a group ninate drudgery Street, on November 15-16. All work for of Texas craftsmen, the T.D.C. sponsors a te for creative sale is handmade by the nearly 400 mem- yearly conference ...... i~struction. and exhibition to pro- bers who support the Society. Proceeds vide a forum for the exchange of tech- from the sale of the donated articles help niquest and ideas among the practicing support the Art Center. Mrs. Bernice artisans from all over the state. 34 Ceramics Monthly NCMA OFFICERS CHOSEN A SPECIAL ANNOUNCEMENT The National Ceramic Manu/acturers Association held its annual membership meeting and Trade Show in New Orleans in July and selected officers and directors. Re-elected to serve as President was T. E. The Chilton Book Company has just announced that their new Greenstreet; Frances Darby, Secretary; book by Daniel Rhodes, Kilns: Design, Construction and Firing, will and Florence Roberts, Treasurer. The new be available in about 60 days. Mr. Rhodes, as most readers of Ceramics Monthly know, is the author of two highly successful books in the Chilton Art and Craft series, Stoneware and Porcelain and Clay & Glazes. As soon as this new book is ready, the Chilton Company will be rushing copies to us for our Book Department customers. If you would like to reserve a copy from this first shipment, we would suggest that you send in an order now. We will pay postage and shipping charges on all orders and, of course, the book will carry our usual money-back guarantee. The book is priced at $10.00 per copy. Vice President is ]ack Kemper. Elected to I a three-year term on the Board of Direc- CERAMICS MONTHLY Book Department J tors was ]ay Cress, as was Greenstreet and 4175 N. High St., Columbus, Ohio 43214 Mrs. Darby. William MacMillan, ]r., is the Please send me, as soon as available, copies of group's Executive Secretary. Pictured are ADVANCE Kilns: Design, Construction and Firing by Daniel Rhodes {10 per copy, postpaid. I enclose [] check [] money order. the new officers and Board members of ORDER NCMA. Seated, front row, left to right, Name [ are Jack Kemper and T. E. Greenstreet; FORM Address standing are: Jules Bayer, Phil Skutt, Frances Darby, Frank Hollendonner, Flor- City. State Zip__ ence Roberts, ]. ]. Cress, and George (Ohio residents add 40c per copy sales tax.) Klinetsky. I YUAN WORK IN CLEVELAND More than 300 works of art from the Yuan dynasty (1279-1368 A.D.) are be- ing shown at the Cleveland Museum o[ KRAFT KORNER 5842 Mayfleld Road Maylaed Annex WHY SETTLEFOR LESS THAN Art in a major exhibition, "Chinese Art Cleveland. Ohio 44124 Phone (216) 442-1020 Under the Mongols." Despite the fact that this 90-year period was one of the "EVERYTHING for the ENAMELIST" \ 2 zr wo-z,n' ] QUALITY most creative and productive in Chinese Klyr Kate end Klyr Fyre cultural history, the Yuan art has not Decoupage Headquarters ~ Paintincj Supplies been the subject of such a presentation as Catalog $1 (refunded with $10 order) is being given in Cleveland. The show, which was assembled by Dr. Sherman E. Lee, the Museum director, and Wal-kam Ho, Curator of Oriental Art, consists of 306 works, many of which are being STUDIO shown publicly for the first time. Included are ceramics, metal objects, and sculpture. OWNERS... Political life in the Yuan period was 2" You con make extra dollars by selling controlled by the Mongols, but the art single copTes of CERAMICS MONTHLY and of the time remained stubbornly Chinese. taking subscriptions on a commission bas;s. • :- ': 4;:/,~ : The importance of the period, according WRITE to: Circulation Dept. to the Museum, lay in its power to change the nature of Chinese art, bring- CERAMICS MONTHLY ing about important innovations in porce- 4175 N. High St. a Columbus. Ohio 43214 Look No More For the Electric lain, lacquer, and painting; at the same Kiln Buy You've Dreamed About: time, the dynasty's artists forged the aesthetic standards for its well-known Outstanding Features--Low Prices] Ming and Ch'ing successors. A. Heavy steel frame painted inside and out. The exhibition remains on view in SPAREX B. Transite used for outer shell, Cleveland until November 24; then it will C. Firing chamber constructed of tongue and travel to New York and appear at Asia Pickling Compounds groove fireback. This "Individual Brick" construction allows chamber to expand House from January 9-March 2, 1969. The easy to use, SAFE replace- and contract without cracking brick re- ment for dangerous sulfuric acid. placement is a simple procedure. CERAMIC SPECIALIST NAMED Use SPAREX Nu. i for cleaning D. Lid is held together using steel rod bolts. ]ohn Ruddley, Director of the West- iron and steel. Use SPAREX No. chester Art Workshop in White Plains, New Send /or Free Brochure showing York, has announced that Charles Hindes, 2 for copper, brass, siJver and many models. High in quality. For a graduate of the Rhode Island School o[ precious metals. every need. Design with a BFA and MFA in ceramics, Order from your supplier has joined the faculty of the Workshop OUIMBY & COMPANY W.D. BURT ~~ Go. as ceramic specialist. In addition, Phyllis 60 Oukdole Rood. Chester. H. J. 07930 P. O. Box 3~3 Continued on Page 36 Faiffax, California 94930 November 1968 35 Have you sent for our GLASS TECHNIQUNS? CERAMIC #4~May... send stamped, CERAMACTIVITIES RAW MATERIALS self-addressed envelope. Continued from Page 35 ALUMINUM OXIDE THRU ZIRCON Baker Hammond, a graduate of Tufts A...... THRU...... Z Are you doing DECOUPAGE FOR University and the Boston Museum School, GLASS? Have you seen our and James Howard, a graduate of the OHAUS GRAM SCALES,KILNS, GLAZES "TILTING TUMBLERS" ? Uniz~ersity o[ North Carolina, will join the SCULPTURE CLAYS, THROWING CLAYS Catalog: $1 postpaid within U.S.A. faculty and specialize in teaching ce- (Canada add $1) ramics. CORKS, TEA POT HANDLES ELECTRIC POTTERYWHEELS, ETC. KAY KINNEY- CONTOURED GLASS CLEVELAND MAY SHOW 725 Broadway, Laguno Beach, Calif. 92651 The 50th May Show of the Cleveland MINNESOTA CLAY CO. Museum of Art opened on May 1 and 2410 E. 381h St. Minneapolis, Minn. 55406 displayed a diversity of expression and medium. The exhibition was made up of The Famous 259 works produced by 190 Northeastern KLOPFENSTEIN Ohio artists and craftsmen. A seven-man ANDERSON CERAMICS COMPANY, INC. jury selected the show from 2620 entries. POTTER'S WHEEL 1950 S. McDuffie St. Write for FREE Information Among the judges were E. ]. Wiener, Anderson, South Carolina 29622 H. B. KLOPFENSTEIN & SONS New York jeweler; ]. C. Schlanger, potter RFD. #2 Dept. A Crestllne, Ohio 44827 from New Rochelle, N.Y.; and Thomas Complete Ceramic Supplies Kyle, Museum of Contemporary Crafts, New York. Among the prizes awarded in all categories was a special $1000 prize CERAMIC & that went to Letitia Eldredge of Cleveland SCULPTURE for pottery. Her entry, "Parasite Lost," ONE-STOP CERAMIC SERVICE SUPPLIES CLAYS • TOOLS • GLAZES Central New York Ceramic Supply RAW MATERIALS ¢,! KILNS • WHEELS 213-215 Second St. Richland Ceramics PO. Box 3307 LIVERPOOL, NEW YORK 13088 Columbia, S.C. 29203 FRANCOISE CERAMICS DISTRIBUTOR FOR: Paragon Kilns; Duncan Glazes, Underglazes, Bisq-Wax and Molds; Ceramichrame Glazes and Underglazes. IN STOCK: Large selec- tion of Atlantic-ArneI-Ludwig Schmid-Holland and White Horse molds. Complete line of ceramic supplies. WHOLESALE AND RETAIL. 113 491h St. South St. Petersburg, Fla. 33707 NEW FROM GARE glazed stoneware, is pictured. Cited for VERY MOLD-Y. Send 50¢ for Special Jury Mention in crafts was Claude Gare's latest mold catalog. Schools Conover, Cleveland. are sent catalogs free upon request. 4175 North High St., Columbus, O. 43214 With a half-century of history tucked Gare Ceramic Supply Co., Inc. behind it, Museum Director Sherman E. 165 Rosemont St. Haverhill, Mass. 01880 Lee noted that the May Show has become ;...... increasingly a competent reflection of the i' The midwesl's largest warehouse of most up-to-date innovations advanced at |' ceramic and artist materials: other and more important art centers. He i observed, "This current exhibition is the :| CENTRAL CERAMIC ART SUPPLY CO. ' 29W 555 Batavia Rd., Warrenville, nl. 60555 first I have seen that reveals awareness of i , Tues.-Sat. 9 a.m.-S p.m.; what is happening at the same time the ' Tues. & Thurs. 7-9 p.m. exhibition takes place. In a general sense ', Sun. 10 a.m.-4 p.m. this cannot but be welcomed. Quality with- |...... J in a style is all that counts; but artists have almost always valued the new idea, the up-to-date." Dr. Lee explained that vast and immediate visual communication systems are in part responsible for keeping abreast and for the development of artistic You owe it to yourself to get our ideas. Dr. Lee also pointed out in the story before you buy any kiln. introduction to the show catalog that it CLAYS is becoming unfeasible to categorize ob- Aim for an AIM K/In GLAZES jects as paintings, sculpture, prints, textiles, TOOLS etc. Media are increasingly mixed or un- KILNS classifiable. [l.,..li.. N..,.v,.,. Schools and ;nsfifufions write for CERAMIC KILNS FREE literature. Send news, and photos, if available, about "People--Places--Things" you think will Hiway 9 & Brookside be of ceramic interest. We will be happy Ben Lomond, Calif. 95005 to consider them /or use in this column. Mall Address. P.O. Box 414C 36 Ceramics Monthly CERAMIC Oscar-Paul CLAYS STACKIN(; TIlE KILN PROFESSIONAL and Continued [ram Page 25 GLAZE POTTER'S WHEEL MATERIALS go so far as to plan to stack lids on the shelf directly above their respec- tive jars. We like to stilt practically all be- SUPPLY, INC Urinit!/0ERAM,0 ginners' low-fire projects, even though they have bare foot rims. There are 9016 DIPLOMACY ROW • DALLAS, TEXAS 7523fi MElrose 1-0540 many beginners who get back projects on which the glaze has flowed around the cleaned feet. Maybe it Art-Crafts Supplies, Inc. and under results from too thick an application; " Variable speed (1%155 RPM) 235 N.E. 67th St. Miami, Fla. 33138 maybe a mixture of incompatible Disfributar for: glazes; maybe a low-low-fire glaze * Full torque "Satellite Drive" PARAGON Kilns • DUNCAN, SYMPHONY, CERAMICHROME and DRAKENFELD from some other school or from a e Quiet operation MARX Brushes • JACQUELYN Stains well-meaning friend. The aim in stilting is to get the • Compact size & light weight stilt marks as far inside the edge as * Floor space -- 2 sq. ft. possible, yet close enough to the edge tops to support the piece. Think about the e Optional table (flat or splash pans) effect of gravity, the strength of the bottom, and where the thick foot • Smooth & uniform drive ~7A (108 pg) Ceramic Supplies .... S0c m nfight be. ~7B (38 pg) Enamel Supplies ...... 25c m area Potters and Dealers . . . write For more Costs refundable with coupon m (FREE ta Schools and Institutions) [] Usually three support points are information and pr;ces. TEPPING STUDIO SUPPLY CO.[] enough. If you think you need more, rofessional staff l use more. Sometimes when stacking OSCAR-PAUL CORP. 522 W. 182 St., Gardena, Cafif. 90247 an awkward piece, or stacking in a difficult location, it's easier to set 5 or more support points, then lower Order Books Now the piece onto the three it happens to for Christmas Giving reach first. For a very wide or flat, thin piece, plate pins placed in a circle work quite well. You'll want to The Infermounfain Area's Largest set them where they'll give the most Ceramic Supply Center with the least involvement of GREAT support SpecTal affenffon ~o the needs fluid glazes. institutions of schools and If you use the three-pointed tri- is the word for Capital Ceramics, Dept. CM angles, you'll probably find that they 2174 S. Main St., Salt lake City, Utah 84115 work best if you place them on the BERGEN'S NEW project, then lower project and stilt together into position on the shelf. CATALOG No. 19 Many times the finger can slide under Whether you're in the market two together. the stilt and hold the for basic supplies llke clay, After placing, check the piece gently glazes, enamels, copper, glass, to make sure it is stable on the stilt. kilns, and brushes--or if you're A cup with a handle, or an as)~n- looking for items like nlchrome metrical form, needs one point of wire, tree lites, lamp parts, support under the side that carries music boxes, pen inserts, rhine- The Supply House for the the handle or extra weight. stones (or any of a hundred this Creative Ceramist Don't stilt high-fire projects unless other things), you need the maker insists on it. At the high- GREAT New I12 page cata- Hand Modeling log with crushed "glass color fire condition, most clay bodies get chart. Sculpturing soft enough that they slump down Throwing around the support points. So--Rush 50c (refundable on first order) today for your copy. Tools - Glazes You must have ¼ inch clearance around and above each glazed project. DEALERS -- request discount Clays - Kilns list. If necessary, check it with a piece of Midwest Ceramic Center paper passed around behind the proj- 722-728 Southwest Blvd. ect. In a deep kiln, sometimes the Kansas City, Mo. 64108 Continued on Page 38 Not'ember 1968 37 "4 Advertisers Index November 1968 AIM Kilns STACKING THE KILN ...... 36 American Art Clay Co ...... 4 Continued from Page 37 Anderson Ceramics Co ...... 36 Art-Crafts Supplies, Inc ...... 37 only way to get adequate clearance is to move the piece slowly into the kiln, B & I Mfg. Co ...... 6 Bergen Arts & Crafts ...... 37 then, when the project touches, back Brent, Robert, Potter's Wheels ...... I0 it out about ~ inch before you set Burr, W. D., Mfg. Co ...... 35 it down. A better way is to hold the Campbell, Gilmour ...... Cover 4 project so that your finger reaches Capital Ceramics ...... 37 the obstruction first. When you set Central Ceramic Art Supply ...... 36 POTTERY: FORM AND EXPRESSION Central New York Ceramic Supply .... 36 by Marguerite Wildenhain the project down and remove your hand, there'll be the space of a finger Ceramichrome ...... 10 Through clear text and large beautiful Craft Students League YWCA ...... 38 photographs, this impressive volume gives ex- width. Be careful not to rub off glaze Craftool Co ...... Cover 2 cel]ent basic technical information about with your finger. Creek-Turn ...... 34 processes and materials. In addition, it con- tains examples of pottery chosen not only for Before stacking, plan how to miss Cress, J. J ...... 7 excellent artistic qualities, but also as expres- the thermocouples so you won't break Davis Publications, Inc ...... 9 sions of ancient and contemporary cultures. them with a shelf, or fuse a pot to Dawson, W. P ...... 33 An outstanding gift selection. $9.95. Duncan's Ceramic Products ...... 3 ...... them with glaze. Before closing the door, sweep any loose kiln wash Estrin Mfg. Co ...... 36 CERAMICS MONTHLY Book Department and 4175 N. High, Columbus, Ohio 43214 other debris out of the kiln doorway. Francoise Ceramics ...... 36 After stacking, consider Please send __ copies oF POTTERY: FORM whether or Care Ceramic Supply Co ...... 36 not the door will close properly, leav- and EXPRESSION @ $9.% each, postpaid. House of Ceramics ...... 6 ing ¼ inch clearance for the pots Name and ample room for expansion when Kemper Mfg. Co ...... 31 Kinney, Kay ...... 36 Address the door gets hot. If you are doubtful Klopfenstein, It. B. & Sons ...... 36 City State Zip about clearance, press a small ball of Kraft Korner ...... 35 plastic clay on the shelf or any piece L & L Mfg. Co ...... i enclose 38 [] check [] money order that sticks out. Very slowly close the (Ohio residents add 40c Sales Tax) Mayco Colors ...... 11 ...... door, then open it to see if and how Midwest Ceramic Center ...... 37 much you compressed the ball of clay. Minnesota Clay Co ...... 36 CRAFT HANDCRAFTED Ohio Ceramic Supply ...... 36 STUDENTS GIFTS Orton Ceramic Foundation ...... 33 LEAGUE Unique and Reasonable Oscar-Paul Corp ...... 37 DECEMBER 2.21 STATEMENT OF OWNERSHIP. MANAGEMENT YWCA Mon.-Fri. 11 a.m.-8 p.m. AND CIRCULATION (Act of October 23, 1962; Paragon Industries ...... 12 840 8th Ave. Sat. 12 noon-4 p.m. Section 4369, Title 39, United States Code]. I. Parfex Co ...... 34 at 51st, N.Y. Ceramics, Sculpture Date of Filing: October 2, 1968. 2. Title of (212) 246-3700 Classes Publication: Ceramics Monthly. 3. Frequency of Pottery by Dot ...... Cover 3 ssue Monthly except July and August. 4. Loca- tion of known office of pub cation: 900 E. State Quimby & Co ...... 35 St., Athens, Ohio 45701. 5. Location of the head- Reward ...... 4 Europe's Finest ~luarters or general business offices of the pub- ishers 4175 N. High St., Columbus, Ohio 43214. Richland Ceramics ...... 36 Names and addresses of publisher editor and managing editor. Publsher: Professional Publica- Rovin Ceramics ...... 6 THE LEACH WHEEL tions, Inc., 4175 N. High St., Columbus, Ohio. Editor: Thomas Sellers, Columbus, Ohio. Manag- Shimpo-West ...... 8 Now American made -- $169.00 f.o.b. St. Paul, Minn. ing editor: none. 7. Owner (if owned by a cor- poration its name and address must be stated Tepping Studio Supply Co ...... 37 WRITE FOR FREE BROCHURE and also immedately thereunder the names and Thompson, Thomas C., Co ...... 5 D. M. VARS addresses of stockholders owning or holding I 825 W. Minnehaha, St. Paul, Minn. 55104 percent or more of total amount of stock. If not Trinity Ceramic Supply ...... 37 owned by a corporation the names and addresses of the ndividual owners must be given, if owned Unique Kilns ...... 37 by a partnership or other unincorporated firm, its name and address, as well as that of each indi- Van Howe Ceramic Supply ...... 31 vidual must be given): Professional Publications, Vars, D. M ...... 38 Inc., 4175 N. High St., Columbus. Ohio 43214. L ,L KILNS Spencer L. Davis, Worthington, Ohio 43085. 8. Walker Jamar Co ...... 34 • . . the Known bondholders mortgagees, and other secur- most complete line! ity holders owning or holding I per cent or more The only kilns with patented DYNA-GLOW of total amount of bonds, mortgages or other se- element holders. Write for information. curities, lit there be none, so state): None. Back Issues L and L MANUFACTURING CO., Box 348 The average number of copies each issue during 144 Conchester Rd., Twin Oaks, Pa. 19104 preced ng 2 months are A Total number of copes printed: 16,070 iBI) Paid circulation The [oUowing back issues of Ceramics through deaers and carriers, street vendors and Monthly are still available at sixty cents counter sales: 089" B2) Pad crcuaton throuqh per copy (Ohio mail subscr ptions ' 4, 26; C) Total paid c[r- residents pay 4% sales cu at on 5, 25; D Free distribution by mail, tax). We pay postage. carrier or other means: 130; E Tote dstHbu- tlon 15,345" F Office use, eft-over unaccount- 1956 August ed, spa ed'affer printing: 725 (G) Total: 16,070. 1958 June. The number of copies for the slncjle issue near- 1960 December A subscription to CERAMICS MONTHLY makes 1961 December an ideal gift for est filing date are [A) Total number of copies any occas|onl Simply fill in the printed: 17,000 [Bt) Paid circulation through 1962 January (9-year Index issue), February, subscription blank in this issue, mark It "g)ft," dealers and carrers, street vendors and counter May sales: I 84 B2) Paid circulation through mail 1963 June and tell us how you want it signed. We'll an- 1964 November nounce your present with a handsome subscr;pt ons 4,619 [C Total paid circulation: gift card 5,803" [D] Free distribution by mail, carrier or 1968 June in your name. other 'means: 133" (E) Tote distribution: 15936" Please send remittance (check or money If the recip;ent of your gift is (F] Off ce use, left-over, unaccounted, spoile~ already a after p Hnting. 1,064; (G] Total: 17,000. order) with list of issues desired. subscriber to CERAMICS MONTHLY. we will I cerhfy that the statements made by me above extend the current subscription. are correct and complete. CERAMICS MONTHLY (Signed] Spencer L. Davis 4175 N. High St. Columbus, I Business Manaqer Ohio 43214 38 Ceramics Monthly -y .~5::~.:: .-=.~:::-"~-..-':. "---'. --.---- ~". :- :~:.., '! ...:" .,:..*':.~ ~ •:7 : .~.:E~ :.. ':~ !: ..:~.:': -:. :::~,:' ,:.: !~ ":.":: .:!U:/'[~;: .. COMMERCIAL KILN HOBBY KILN WE FEATURE KITS FOR ABOVE KILNS You Can't Improve Upon Perfection! Kilns so well designed that, 20 years and 6000 kilns later, finished kiln prices. Kits available as follows: we've found no reason to change them. This year's parts x 27" deep) .... $195.00 and elements still work in those 1948 models! Super Commercial Kiln (24" x 24" 18" x 18" deep) ...... 99.50 And now--kits for the above kilns are easier to assemble Studio Kiln (18" x than ever and you save about one-third of the price of the Hobby Kiln (12" x 12" x 131~" deep) ...... 62.50 ORDER FROM THIS AD OR WRITE FOR DETAIL SHEETS 408N.E. 72nd St., Dept. CM POTTERY by DOT Seattle, Washington 9811S KINGSPIN Electric Potter's Wheel New Large Water Tray • A New Professional Wheel at a Price you can afford • More powerful • Easy to Use • Ball Bearings • Easy to Clean • Easy to Store. SPEED VARIES with foot pedal ~ smooth as an automobile. PORTABLE ~ carry it with you anywhere. Bats fit our hand wheels- each student may hove his own bat and place it on the hand wheel without losing center. 110 Volt AC. DC. One year service warranty. "THE LITTLE MACHINE Model E~ Sl19.50 Ken Stanelle THAT THROWS BIG PIECES" sK Potter;eL Milwaukee, w;sc. KINGSPIN Electric Banding Wheel KIHbSPiH Potter's ~:;!~,~ • Heavy Kinalloy 7-inch table ~i'~ ...... • New -- with height trimmer Hand Wheel • Solid cast aluminum case With Height THmmer :,,0 vo,t motor 2~ .~M Rest tools and brushes on the On & Off sw fch, 8-ft. cord height trimmer w results will i~ ..... One-year service guarantee amaze you. I; Model E2-T $22.95 Wheel only ...... ~)b.UU (7" Aluminum Model K-7) !i !!:~ Model E-2 tess trimmer $19.95 Also Model E-3T wlfh heavier Wheel with Trimmer motor (3S RPM) for light Model KT-7 ...... $7.00 throwing ...... $26.50 With 7" heavy Kinalloy table Model KH-7 ...... $8.00 i Model E-3 less trimmer $23.50 With 8" heavy Kinalloy table Model KH-8 ...... $9.25 Bats recessed for 7". .... $ .85 Bats for 7" & 8" ...... $1.00 KINGSPIN STEEL KINGSPIN Wheel WHEEL • Our Economy Model • Kin- NEW with Wagon Wheel Base alloy be•ring n Knurled Stem Top and base are cast • Easy Spinning • Zinc Plated inalloy t Top measures 6t/4 .. --Rustproof • 7" Steel Top & n Shipping weight 3 Ibs. Bottom n Highest Quality • Low Price. Model W-6 only $3.95 Model S only $2.95 Also available with cast alumi- num head (Model SA) ..$3.95 KINGSPIN Kinolite Turntable KINGSPIN Lowboy Steel Wheel New 12-inch model with many uses t A 12-inch wheel for • Our Economy Model o Kin- the price of an 8-inch • Made alloy Bearing • Easy Spinning of KINOLITE -- latest sinktop • Zinc Plated-Rustproof • 7" material used in newest homes Steel Top & Bottom • Highest • Heavy Kinalloy round base Quality • Low Price • Just the thing to use for those lace dolls. Model S'L only $2.95 [his new model may be used Mode, T.12 $6.95 as a mold stand, for clay modeling or as a decorating wheel in spray booth. W]fh 12 ;n:h Alurn'num Tdbl,= Model A.r2 ~14 ?S Prices F.O.B. Detroit See your Dealer or Distributor or write: Village Ceramic OUR CAMPBELL In Canada write: 4943 Dundas St. West, Islingtou, Ont. Maiden, Detroit, Michigan 48213