![Ceramics Monthly / \ Pottery \ MAKER MONTHLY ~ ] Power Driven \~ Variable Speed Volume 19, Number 3 March 1971 $595O Letters to the Editor](http://data.docslib.org/img/0f6bdbe65528847fe5ab8c6dca46beef-1.webp)
f i! li I /i /! .>, / /I I /i i II ...j
• I ~i ~ ~ L =~ ,~ ~ ~ ~i!~=i~ ~V~ ~ i~~ ~ i~i ¸¸¸¸¸'I~!i!ii ¸ • ~i ~ ~L
~ ~,~:~i!ii~iL~!~i~ii~!::~~ ~ :~ !~!~ ~L~I~I ~ ~ ~!i~ ::i, i~::~i:~ i:~i~iiiiii~i!~ ;~i~i,~i~i~i~i~ii~i~m~ For Hobbyists • Schools • Art & Craft Centers * Institutions Manufactured by GILMOUR CAMPBELL 14258 Maiden - Detroit, Michigan 48213
KINGSPIN Electric Banding Wheel KINGSPIN Wheel
• Heavy Kinalloy 7-inch table NEW with Wagon Wheel Base • Top and base are cast Kinalloy • New m with height trimmer • Top measures 61/4', • Shipping weight 3 Ibs. • Solid cast aluminum case • 110 volt motor, 35 RPM Model W-6 only ...... $4.25 • On & Off switch, g-ft. cord • One-year service guarantee With 7 inch table • For light throwing Model W-7 ...... $5.25 Model E-2 ...... $21.95 With 8 inch table E-2T with trimmer ...... $23.95 Model W-8 ...... $7.25 Model E-3T...... $27.50 (More power for light throwing) With 10 inch table E-3 less trimmer ...... $25.50 Model W-10 ...... $9.50
KINGSPIN Kinolite Turntable KINGSPIN Kinalloy Turntable
New 12-1nch model with many uses • A 12-inch wheel for the price • 10" model of an g-inch • Made of KINOLITE m latest slnktop material used • Heavy KINALLOY Table in newest homes • Heavy Kinalloy round base • Just the thing to use on those lace dolls. • Heavy Kinalloy round base
• Easy Spinning With Wagon Wheel Base Model W-12 ...... $6.25 Model KR-7 ...... $6.25 With 7" Table With 12-inch Aluminum Table ~ Model KR-8 ...... $8.50 Model A-12 ...... $IS.95 With 8" Table
Model T-12 ...... $7.25 Model KR-10 (shown) ...... $11.25
KINGSPIN Lowboy Steel Wheel KINGSPIN Steel Wheel
• Our Economy Model • Kinalloy • Our Economy Model Bearing • Easy Spinning • Zinc • Kinalloy Bearing Plated-Rustproof • 7 °. Steel Top & Bottom • Highest Quality • • Knurled Stem Low Price • Easy Spinning
• Zinc Plated ~ Rustproof f" this new model may be used as a • 7" steel Top & Bottom mold stand, for clay modeling or ~i!ii~i¸~ii~ ~ :~ii ¸ as a decorating wheel in spray • Highest Quality booth. • Low Price Model S-L ...... $3.25 Model S only ...... $3.25
i ~ .
:~' ~ • , - ~i . :or ¸ ~ ~ . . • In Canada write: Vmuge Cer~nk Studio 14S8 Maiden, Detroit, Michigan 48213 4949 Dundas St., West Islington, Ont. ~ ~ ~ zO 0 • , il " ° i
..=..~_,^<~-; {3_..... o :,,:,{30. ~>~.|| ~ ~>. o< ~-'-~.=~==~.=,.~==~ ,, ,. = = ,.= ,,. "I" I- o o~ _<7 • 0 >- ~i -~>~o o, ~. ~ .! = o~ "~- =',..-: ~,,<,,t= : - - ~o~. oio ~, _.<. .t+!l.,gl o !+- ! !+ +! ~'-mz~" ~ I~.-.Sz- _. • :~ ~ - - • =.~ =,,~,,{3|-~ ~ ~-~. ~:~ ~,., o .-~ -I--{3:~,~ ~.:u ~..~ . ~ ~ o-o,i' ~I_ u i m ...... " < - <.< .... . i{31~u lli-O ~ uJ I l'-i" ~nlIUi l~.ci.-~ oZOl"~ {3 ~ CE ! 1 DE{J>, 3<-,~ 0<_<®~{3=o®,-', o~. ,,.,~-=~=,.,u,,< ,.. = !,u _ 0 ~ ,...ll.~o..=:~o~oool~,-ll.,<.~_<<,><,~ f,~i~; 0= _ _,~xw'- ..=, > d "J z o <~i ~ = ~: ~ ~ .... -~- -. ~>~=:'~<~<'=: o'o:~'z {3:~zl ~.=-°~m<~z:{3~':~:'°,~ .=-o,o=m<=:o =.._u~=:=:'m'~l<~i{3 ~ '~:m>km<===:<=~'°~'' ~. ,, ,, ,, = == E .J oS~ ~" .. >,. -.i= < .~ ~,~ ~, 0 . ~ ~ • ~,=o .. ~... ~ o_ ~-~ 0~.~t "~ -" o~,a= U~'~- ~ ~w c :~',0~ - "'~ ,', =<~:olt~, • ,~<: :~ ~c ) _o >" >- u) c ,, .-3 o u ~ ~ " " d -~ 5 -3} >' >., ~-. ;= ~'~ - = ,,, ,., i -- ~,:~ ,-_ .~>-~ < ,- ~| I_ ~ ~ >J ~-,,, ,., 0., 'g ~ .... t :~'' =-,, = "-' ~2 ===:,:] ,:,~oi~ ~-s,,.t --'z~'-'{3 ".-,=-.s<: ~io {3~: - ~w ~- ----.,3 .~.'~,=" <';i:<'=< -~E o~z=~l <~._.,`{3m =:~ ~ .~-{3,-{31. ooO:o~._ = == ,,,~=:- w.,:~0:~,., ~ _,._ ~Ii =.== m.{3= I i m E" cO ~} z~.~ .,, =,,.'~ -s.. ->- ....,, ~ ~ ~ ~'~ °' "" 3| ii u,a <='.3~o:- > w= ...... ,~ ...... ~ ...... _, oo ..o.',='.,. .-" =z- .... March 1971 3 Many schools pay twice for their kiln. First when they purchase it; again when they have to have it repair- ed. The unpleasant fact is that most kilns cost just as much to fix as they COIL originally cost to buy. When designing our line of electric school kilns, we gave primary consider- ation to this maintenance problem. In so doing, we incorporated several spe- cial features to keep repair costs down. We used tongue and groove bricking instead of the usual cement jointing UP (with our kilns you can replace one brick without removing another). We installed easy-to-remove elements for quick replacement and we faced the exterior walls with non-rusting tran- site rather than a standard sheet metal surface which might eventually de- WITH teriorate. When purchasing an electric kiln al- ways keep in mind the "full" cost and remember that this also includes the cost of repairs. Model 16-- 16 x 16 x 18 THIS Model 18-- 18 x 18 x 18 Model 20 -- 20 x 20 x 20 Model 22 -- 22 x 22 x 22 Model 24- 24 x 24 x 24 Model 30 -- 30 x 30 x 30 ONE W. D. BU RT ,'~,t~,~g c~. P.O. BOX 353, FAIRFAX, CALIFORNIA 94930 REWARD PRODUCTS Reward Ceramic Color Mfrs., Inc. 314 Hammonds Ferry Rd., Glen Burnie, Maryland 21061 4 Ceramics Monthly / \ POttERY \ MAKER MONTHLY ~ ] Power Driven \~ Variable Speed Volume 19, Number 3 March 1971 $595o Letters to the Editor ...... 7 F.O.B. less motor Answers to Questions ...... 9 Suggestions from Our Readers ...... 10 Professional features, versatile enough for advanced crafts- Itinerary ...... 11 men, yet simple enough for beginners' use. Precision built, John Novy, Third Generation Potter compact, portable. Mounts anywhere. New variable speed by Donald H. Sweetman ...... 13 reducer with adjustable foot controls provides speed range John Novy Demonstrates Centering With a from 38 to 130 r.p.m. Built-in water container, attached Leather Strap by Donald H. Sweetman ...... 14 wedging wire, reversible 9-inch throwing head with recess A Conversation with Don Reitz and Bruce for molding plaster bats. Ideal for school or home studios. Breckenridge by Catherine Brawer ...... 17 Also available for pottery maker is a new workbench with Ruth Rippon Retrospective Exhibition ...... 20 a convenient seat to allow operator to control position at Wis. Order by Electroformed Enamels by Polly Rothenberg ...... 22 all times. $22.50 each, F.O.B. Burlington, mail now . . . or write for complete literature. Rosy Gold Glazes by Richard Behrens ...... 26 Impromptu Plates by Robert F. Eilenberger ...... 27 Write for Balloon Forms from Buttered Clay by Frances Staryos __31 Lapidary Equipment CeramAetivities ...... 32 Literature Bu~lmgt~n, WIRoMk S310S Index to Advertisers ...... _38 On Our Cover One of the most extensive one-man shows in the western states this year is the Ruth Rippon retrospective on exhibit March 6 to April 18 at the E.B. Crocker Art Gallery in Sacramento, LOOK WHAT THOMPSON California. Miss Rippon's "Ship," pictured on our Cover, was made from grogged stoneware and washed with iron oxide; it measures 13 x 11 x 28~ inches. This piece dates from 1967. OFFERS YOU! Other excerpts from the showing of Ruth Rippon's work are pictured in the Show Time feature on pages 20-21 of this issue. Editor: THOMAS SELLERS Art Director: RO]3ERT L. CREAOER Circulation Manager: MARY RUSHLEY Editorial Assistants: CONNIE BELCHER, FRANCES SAWYER Would you believe that all of the items pictured above can be Publisher: SPENCER L. Davis yours . . . and get you started enameling . . . for only $49.50? Yes, that's correct, Thampson's catalog introduces a new Advisers and Special Contributors: F. Carlton Ball; Richard package consisting of an electric kiln (inside dimensions Behrens; Kathe Berl; Edris Eckhardt; Zena Holst; John Kenny; S" wide, 7" deep, 4" high) and including a CAREFULLY SELECTED group of enamels, metal shapes and supplies . . . Karl Martz; Ken Smith; Helen Worrall; Don Wood. everything you need to start enameling immediately . . . Western Advertising Representative: Joseph Mervish Associates, for only $49.50, plus shipping charges. Send your order to- day with payment for prompt shipment. 4721 Laurel Canyon, Suite 211, North Hollywood, California The new Thompson catalog, along with its famous Color Guide, 91607. Telephone: TR 7-7556, Area Code 213. is waiting for you . . .iust mail the coupon and it will be on its way . . . absautely FREE. Copyright 1971 Professional Publications, Inc...... Ceramics Monthly March 1971, Vol. 19 -- No. 3. Published monthly except July and August by Professional Publications, Inc. -- S. L. Davis, Thomas C. Thompson Co. Pres., P. S. Emery, Sec.: at 1609 Northwest Blvd., Columbus, Ohio 43212. Road Correspondence concerning subscriptions, renewals, and change of address Dept. CM-3m1539 Old Deerfleld should be addressed to the Circulation Department, Ceramics Monthly, Highland Park. Illinois 60035 Box 4548, Columbus, Ohio 43212. Second Class postage paid at Athens, [] Enclosed is payment for new kiln package. Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1971. All rights reserved. (Illinois residents add 5% sales tax.) The articles in each issue of Ceramics Monthly are indexed in the Art [] Please rush FREE Thompson Catalog. Index and The Readers' Guide to Periodical Literature. Microfilm copies are available to subscribers from University Microfilms, 313 Name N. First St., Ann Arbor, Michigan. Manuscripts and illustrations dealing with ceramic art activities are welcome and will be considered for publi- Address cation. Manuscripts should be typed double-spaced and range from 600 to 2000 words. Send manuscripts and correspondence about them to the City State. Zip Editor, Ceramics Monthly, Box 4548, Columbus, Ohio 43212. March 1971 5 ...... • ] GLASS TANK i :...... ME[ TING I FURNACE t[ i Gas Fired Alpine Glass Tank Melting Furnaces were especially designed to fill the nccd of studio artisans, schools and universities working with flw age old art of hand I)h~wn glassware art forms. Thcse furnaces are highly cfficicnl and designed for constant use and long life. 'Fh," lanks. ~hic'h are constructed of pure zircon fire- bri~'k, arc c',,nlamination proof and will provide many limes Itw life span of high alumina liners. The tanks are conslrueted to provide easy removal and replace- ~ " :7 7 nlCll|. All metal is shielded from the heat to prevent warpage and is of unusually heavv construction for this size fllrnact?. A fully insulated door is provided which can be opened to a full 20"Wx 13"H. For ow'rnite "holding" of the glass inch. the door is closed to conserve heat and fuel. Dept. B 3 5 3 C O" R A L C I R C L E EL SEGUNDO,'CALIF. 90245 AlIA COOK 12131 322-2430 / 772-2557 / 772-255l 6 Ceramics Monthly LETTERS Share your thoughts with other CM read- THE MAILING WRAPPER of some other magazines we receive, I ers-be they quip, query, comment or ad- The new mailing wrapper on Ceramics feel many an issue will arrive tattered and vice. All letters must be signed, but names Monthly is great. It gives a good place torn. will be withheld on request. Address: The to jot page numbers and article titles for If possible, go back to the closed Editor, Ceramics Monthly, Box ,$548, Co- reference at a later date. Thanks! envelope type of mailing, as we save all lumbus, Ohio 43212. Laura F. Kimball our copies for reference. Ceramics is a Oak Ridge, Tenn. new hobby for us and the magazine has FRANZ KRIWANEK really been a big help. Mrs. W. 1. Kerscher My January issue arrived in bad con- In reference to the article on Franz Toledo, Ohio dition with the corners frayed and bent. Kriwanek in the January 1971 issue of These magazines are precious to me; your magazine: We here in Silverton, could you please send them in the NOT SHADRACH Colorado, know what a fine craftsman envelope as before? Then, they did arrive It's called "Not knowing the Bible and and citizen Mr. Kriwanek is. His Silverton in perfect condition. A devoted reader asking someone of the same authority the Mountain Pottery is an asset to this com- Chicago, Illinois names of the Three Kings." They are not to Colorado, and we feel munity and Shadrach, Meshach, and Abednago, but having Mr. Kriwanek, his fortunate in The new method of mailing CM first Balthasar, Melchior, and Caspar. Sorry family as residents. We invite wife, and shocked, and then pleased me, although for the mistake in my article, "Slab Con- to visit all Cm~Amcs MONTHLY readers my wrappers will come off immediately struction Over a Newspaper Core," in drop in to see our famous in Silverton and because the covers are always so special. the December issue! James E. Kozlowskl Pottery. potter and his Silverton Mrs. S. G. Rochester, N.Y. Gerald R. Swanson Columbus, Ohio Mayor pro tem ON THE COVER Silverton, Colo. We have been enjoying CFa~^MlOS FINGERPRINTS MONraLY for a year now. But when the Let me take this opportunity to thank We have had many requests [or the January issue arrived in its new mailing you for producing such a fine periodical. address of the Kendall/Hunt Company, cover, my heart sank. Luckily, mail was This is one magazine that I know gets publishers of Mr. Kriwanek" s book, very light that day and it arrived in good much use . . one can tell by the many "'Keramos--The Teaching o/ Pottery." condition. No doubt this may be an clay fingerprints on the covers of CM! Kendall]Hunt, successor to the Wm. C. economy move to meet ever-increasing Really, it is our textbook as well as our Brown Book Company, is located at 131 costs, but I hate to think what some best resource. Sr. Leah Orr South Locust St., Dubuque, Iowa 52001. forthcoming issues may look like when we Ladywood School The price of the book is $3.00.--Ed. receive them. Judging from the condition Indianapolis, Ind. Few people know the true story of S the pressure upon William Tell when he shot the apple from his son's head. Tragic though it is, most storytellers leave out the most hair- splitting details. It seems that, in order to arouse the enthusiasm of the spectators, the challenge was made more a challenge. The lad was seated upon the wheel head of the great Shimpo-West RK-2 and then the wheel was sent spinning from one speed to another as the court jester moved the variable speed lever to and fro. Many would guess sweet William had nary a chance. But ALAS! William bolt- ed up his crossbow and, taking a deep breath, sent the projectile on its way. The Shimpo-West RK-2 was a precision instrument and did not stymy sweet William's judge- ment. The bolt split the apple neatly. Just as on that historical day years ago, today's potter requires the same smoothness and precision. The Free Shimpo-West RK-2 still offers pot- ters fulfillment of their every need. WESTWOOD'S FANTASTI C NEW CATALOGUE m W]g~'J.'wOOD GBnA]IIIG BUPPLY 00. 14400 I.OMITAI AVE., CITY OF" INIDUITRY, CALIF. $HIMPO-WEST P.O. BOX 2315, LA PUENTE, CALIFORNIA 91746 March 1971 7 The kit for hobbyist, student, amateur ceramic craftsman Included in the kit are: Aerosol Power Spray Unit Adapter for Graduated 4 oz. Jar 3 Polypropylene 4 oz. Jars 5 oz. Pro-Clear Glaze*--Cone 07-02 Price $9.00 "Spray any fine ground glaze Ship my order to: Send check wr money wrde~ to: THE ART SPRAY COMPANY Sanle P.O. BOX 4577 Walnut Creek, Calif. 94596 (415) 937-2333 Street (Calif. residents add 5% tax) City State Zip 8 Ceramics Monthly Answers to QUESTIONS Conducted by the CM Technical Staff 0 Is it possible to purchase a horizontal lathe such as is used heit is to multiply the Centigrade reading times 5, divide this m some Continental pottery studios and factories? 1 have by 9, and then add 32; the resulting number is the Fahrenheit been used to working with this type of lathe for making plaster equivalent. For example: 1060°C X 9 = 9540. Divided by five, models, but have been unable to locate a source in the United this gives 1908; by adding 32 to this, the answer is 1940°F. States.--H.U. We tried to locate a source, but learned that American I hope you can give me an answer to this problem: How factories that use such a lathe simply purchase a horizontal can I [ootrim a wide bowl that is too large to fit on the woodturning lathe and have the desired chuck made and wheelhead? My wheelhead is just 10 inches in diameter, and attached at a body shop. when I make a bowl with a lip diameter larger than this, I cannot trim it on the wheel.--D.R. 0 I have collected wood ash for some time to experiment with It is almost a necessity to have an extension wheelhead for ash glazes, but I cannot find adequate written information small wheels. I would suggest cutting a large circle from on the procedure. Can you help?--L.S.S. plywood and attach it to the wheelhead by smearing slip on the Add water to the ashes to make a very thin mixture, and bottom of the circle and on the wheelhead. Affix the wooden put this through an 80- or 100-mesh screen. Discard what piece securely to the metal wheel by rotating the one on the doesn't pass through the screen. Let the mixture settle, then other until it sticks. If necessary, you can use clay coils or wads gently pour off the water. This whole procedure should be under the large circle and attach them as you would to any repeated several times to remove as much soluble alkali as addition made to the top of the wheel. If your wheelhead is possible. After allowing the residue to dry after the last de- contained in a small enclosure or pan, it may be necessary to canting, the ash is ready for use. build up with plaster bats to attain the height needed, then add the large plywood circle to skirt the pan. Because ordinary 0 I.have a number of English books on ceramics and these plywood will warp when exposed repeatedly to water, use give temperatures in Centigrade. Is there a formula or rule marine plywood for making the circle. available [or converting Centigrade to Fahrenheit? This could be a real convenience to a person accustomed to thinking in All subscriber inquiries are given individual attention at CM; terms of Fahrenheit or cone numbers.--F.A.C. and, out of the many received, those of general interest are Most American books on ceramics do include a chart showing selected for answer in thts column. Direct your inquiries to temperature equivalents for cones in terms of both Fahrenheit the Questions Editor, CM, Box 4548, Columbus, Ohio 43212. and Centigrade. The rule for changing Centigrade to Fahren- Please enclose a stamped, self-addressed envelope. BETTERTHAN EVER Amaco's No. 2, the world's finest variable speed potter's wheel, now Ieatures a new solid state control (foot or knee) for smooth acceleration from 0 to 200 rpm. There are no pulleys or belts in this streamlined, powerful (even at low speeds) modern version of a potter's wheel. Instead, the direct drive mechanism with its 1/4 hp. motor Is completely enclosed for safety and quiet operation. For complete details, refer to the new Amaco ~ :'" t Ceramic Catalog No. 55--available upon re- ~] . 7, quest. Order through your regular distributor AMERICAN ART CLAY CO., INC. gmgGo4717 W. 16th St., Indianapolis, Ind. 46222 March 1971 9 For safety's sake SUGGESTIONS LEAD-FREE [rom our readers MORE ON WEDGING BOARD COPPER ENAMELS Concerning the article in the March 1970 issue about a portable wedging board: First, rather than cover the hand holes, get a couple of "baggies" and cram them into the holes For years a prime reason for ap- with a wad of clay in each to make deeper grips; second, drill two h/4-inch holes in the corner of the box and put bolts with prehension among craft instructors washers that extend into the box so that when you pour the has been the lead which is con- plaster it encases the heads; third, use wing nuts to hold the centrated in copper enamels. upright support -- this makes it demountable; fourth, a piece of chicken wire or coat hangers can be imbedded in the plaster to make it less likely to break; fifth, the board is a good idea, we use one all the time. --]ohn R. Williams, Irving, Texas The CERAMIC COATING COMPANY has now eliminated this hazard. POTS FOR CHUCKS Being both a gardener and a potter, I use earthenware You owe it to your own health and planting pots as chucks. They are inexpensive and come in that of your students to use the saf- graduated sizes. They also soak up moisture from the clay est product available. almost as well as a bat. --L. Saunders, Ghillicothe, Ohio PLASTIC BOTTLE CONTAINER Choose the safe enamels, write: Many uses of plastic items are made by potters. There is a clear plastic dish-washing-llquid container which opens and CERAMIC COATINGCOMPANY closes by simply pulling out or in on a plunger. I find that this P.O. Box 370, Newport, Ky. 41072 is indispensable in adding controlled amounts of water to stored clay to keep it moist. Wlth practice it can be used to drip Largest domestic manufacturer of enamels for both art & industry (shoot, really) glaze in a free pattern on a pot. Also it can be used to "shoot" a raised texture of sllp on a moist pot. For someone looking for unusual "cores" for handbuilding, this particular bottle also suggests a human form. Clay can be formed over the bottle, then the figure can be split down the sides, removed from the core, reformed, and a head can be added. Can you use this --Martha Hodges, Williamsport, Pa. ANALYZE THE WATER For those involved in glaze mixing with frustrating results, in your Studio or Classroom? I can report on a bit of information rarely, if ever, mentioned in your articles -- that of analyzing the mineral content of the water being used. I have recently moved to Florida from New York state, and almost all of my glaze results have changed, after many years of predictable results. A change in water can be very damaging, or it might give a whole new approach to a glaze which changes from smooth, seml-matt to dry, pitted matt suitable for sculpture instead of a bowl. Eleanor B. Heller, Sarasota, Fla. FOILED AT THE START If you've ever been tempted to use cardboard cylinders as forms for slab projects, such as vases, jars, or even mugs, but were deterred because of the effects of the damp clay on them, try wrapping the cardboard with aluminum foil, then proceeding Da you wish you could ~)UICKLY AND EASILY create a glaze or with the clay construction. The foil not only protects the card- modify an existing formula to achieve a new effect? This nine-inch circular calculator allows the craftsman to convert back and board and keeps it from getting soggy until the clay stiffens, but forth behveen molecular and batch formulas without becoming it also makes it easier to slip the cardboard cylinder out at the Involved in complicated arithmetical calculations. Accompanied by a 26-page "Guide to Designing Glazes." appropriate moment. The cardboard is removed when the clay will hold its shape but before much shrinkage takes place. Ac- TOO GOOD TO BE TRUE? MONEY REFUNDED IF NOT SATISFIED tually, other materials can be protected with foil in the same am am am am am am am m am am am am am am m am am m sum an manner and utilized as mold forms: tin cans, glass jars, and DIAL-A-GLAZE, Box 88, Davenport, Calif. 9S017 even sewer tiles (for large projects, such as lamp bases). Please send I:1 copies of DIAI.-A.GLAZE CALCULATOR --B. B. L., Athens, Ga. I enclose S7.95 13 Check [] Money Order Name Addres, DOLLARS FOR YOUR IDEAS City Stole Zip Ceramics Monthly pays up to $5 [or each item used in this Add 40¢ Sales Tax in California. Add S0c If paid In Canadian column. Send your suggestions to CM, Box 4548, Columbus, funds. DEALER INQUIRIES INVITED. Ohio 43212. Sorry, but we can't acknowledge or return unused m m am am am am mm m m am mum lie im m nm nm am am mm items. 10 Ceramics Monthly ITINERARY Send your show announcements early: Entry fee. For information, write: 17 GEORGIA, DECATUR "Where to Show," three months ahead Springs Director, P.O. Box 134, Mont- April 1-4 The 15th Annual Show of the of entry date; "Where to Go," at least gomery 36101. Georgia Ceramic Hobby Club will be held six weeks be[ore the opening. at the Decatur Recreational Center, 231 FLORIDA, JACKSONVILLE Sycamore St. Competition open to Georgia March 20-21 The llth Annual North WHERE TO SHOW and out-of-state ceramists. For informa- Florida Ceramic Show, sponsored by the LOUISIANA~ MANY tion, write Mrs. L. Evans, 3584 Glenwood Ceramic Art Guild of Jacksonville, will be Rd., Decatur. June 5-6 The Louisiana Arts and held at the Jacksonville Civic Exhibition Crafts Festival is open to all artists and Hall, 200 W. Water St. For information, ILLINOIS, MOLINE craftsmen. Prizes; Entry fee; Jury. Entry write: Evelyn Ellis, 2584 Orchard St., March 27-28 The Mississippi Valley fee and slides due May i. For informa- Jacksonville. Continued on Page 12 tion, write: Grant F. Kenner, Chairman, Louisiana Arts and Crafts Festival, Hodges Gardens, P.O. Box 921, Many 71449. •"N'EW YORK, CORNING May 13-16 The Eighth Annual South- ern Tier Arts and Crafts Show and Sale is open to all U.S. artists working in any medium. Jury; Prizes and purchase awards; Fee; Entry cards due April 27. For information, write: Southern Tier Arts and Crafts. Box 470, Coming 14830. NEW YORK, ROCHESTER May 16-26 Rochester Festival of Reli- gious Arts is open to all artists. Media include enamels. Jury; Prizes; Fee. Entry cards and work due April 10. For infor- mation, write: Mrs. Patricia Wygant, 50 N. Plymouth Ave. Rochester 14618. NEW YORK, TARRYTOXVN March 7-27 Westchester Art Society Exhibition includes crafts. Work due March 2. Jury; Fee; Prizes and Awards. For information, write: Westchester Art Society, 54 Main St., Tarrytown. OHIO, COLUMBUS April 2-25 "Liturgical Art III," spon- sored by The Liturgical Art Guild, is open to all artists and craftsmen working in the state of Ohio. jury; Prizes; Entry fee. Receiving dates, March 27-28. For information, write: The Liturgical Art Guild, 205 E. Broad St., Columbus 43215. OHIO, TOLEDO May 16-June 6 Toledo Federation of Art Societies Area Artists Annual Show is open to northwest Ohio artists and crafts- men. Jury; Prizes and purchase awards; Fee. Entry cards and work due April 2-3. For information, write: R. M. Riefstahl, Toledo Museum of Art, Box 1013, Toledo. PENNSYLVANIA, NEw CASTLE April 2-9 The First Annual Ceramics, Creative Crafts and Sculpture Show is open to artists and craftsmen 16 years Mini or maxl, MAYCO® COLORS are'perfect for any design or pattern. of age and older, living within a 60-mile There's a M.AYCO glaze or glaze combination to match every mood, radius of New Castle. Media include ceramics, sculpture, enamels, glass and hue, tint, shade or texture. Try it and see why MAYCO is the choice jewelry. Judge; Prizes, Entry fee. Entries of master ceramists everywhere. due March 18-19. For information, And that goes as well for MAYCO's One Stroke and write: The Hoyt Institute of Fine Arts, Underglazes. All MAYCO products are homogenized for 124 E. Leasure Ave., New Castle 16101. easy application and 15re at Cone 06. Send for free color chart. SPECIAL FOR HOBBYISTS ALABAMA, MONTGOMERY Mayco colors April 24-25 The 17 Springs Art, Craft America's Finest Colors and Hobby Fair is sponsored by the 20800 Dearborn Street, Chatsworth, California 91311 Young Women's Christian Organization. ~__ Dealerships Available. .j March 1971 11 :or The Discriminating Ceramist MODEL A-99B Fire immense loads daily This enormous 10 sided kiln |s 27" deep and 23%" 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 6m 2300*, everything from china paints to porcelain. Add a 4'/2" blank collar for full 31'/2tt depth. EXCLUSIVE! INCH OF BLOCK INSULATION IN LID AND BOTTOM Available in stainless steel or hammertone brown, Q with or without automatic shut off. Please write for catalog listing prices. / FREE.. crating., instruction manual All slze Kilns available / steel stand. to fill every' firing need \ Stop in at your nearest Paragon Dealer or write for your new catalog listing over 30 models to ~[~ ff~, ffJqtL. Dept. CM Box 10133, Dallas, Texas 75207 ITINERARY Juried competition. For information, write: CALIFORNIA, LACUNA BEACH Mrs. Continued from Page ll John A. Croes, 420 W. Clinch March 6-28 "Media Explored II," a Ave. 37902. juried crafts exhibit; at The Laguna Beach Ceramic Association will hold its 14th Art Association Main Gallery. Ceramic Show at the Y.W.C.A. For in- WHERE TO GO formation, write: Mrs. Eleanor Callahan, CALIFORNIA, LONG BEACH 132 E. 7th, Goal Valley, Illinois. Because listings are subject to change, through March 21 "Glass Art" shows dates can be verified by writing to the 50 works by 25 artists working with glass- LOUISIANA, SLIDELL sponsoring groups or galleries. blowing, annealing, and constructions of April 17-18 The 1971 Ceramics Arts glass; at the Long Beach Museum of Art. and Crafts Show, "Oriental Design," is ALABAMA~ MONTGOMERY sponsored by the Slidell Ceramic Club. through March 28 "Handicrafts of the CALIFORNIA, Los ANGELES For information, write: Claire Singer, Rt. Southeast," Smithsonian Traveling Exhi- through March 14 Ceramic sculpture 3, Box 83, Slidell 70458. bition; at The Montgomery Museum of by liana Lowengrub. Fine Arts. through March 15 "This is Mexico" MICHIGAN, BAY CITY includes ceramic and glass; both at the April 17-I8 The ALABAMA, UNIVERSITY Sixth Annual Ceramic California Museum of Science and Hobby through March 4 "Appalachian Corri- and In- Show, sponsored by the Michi- dustry. gan Professional Ceramic Association, will dors: Exhibition 2"; at the University of be held at Bangor Hall on Wheeler Road. Alabama. CALIFORNIA, PASADENA There will be continuous demonstrations March I4-April ALBERTA, MEDICINE HAT 25 "California Design in all phases of ceramic design. For XI"; at the Pasadena Art Museum. in- through March 13 Exhibition of ceram- formation, write: Teresa Maynard, Box ics by Luke Lindoe; at the Canadian CALIFORNIA, 125, Carrollton, Michigan 48724. SACRAMENTO Guild of Potters. March 6-April 11 Retrospective exhibi- OHIO, tion of ceramic CLEVELAND ARIZONA, PHOENIX work by Ruth Rippon; at April 2-4 The 16th Annual Competi- the E. B. Crocker Art Gallery. March 10-30 "Objects: USA," circu- tive Show, sponsored by the Ceramic lated by the Smithsonian Institution; at FLORIDA, ST. AUGUSTINE Hobbyist Guild of Greater Cleveland, will the Phoenix Art Museum. April 2-4 Arts be held at the Clifton Post American and Crafts Festival; at the St. Augustine Arts and Legion. For information, write: Lois CALIFORNIA, BAKERSFIELD Crafts Council. Wargelin, 188 Baker St., Berea, Ohio. March 12-14 The Ceramic and Hobby ILLINOIS, CHICAGO Crafts Show; at Bakersfield Civic Center, TENNESSEE. KNOXVILLE through March 7 Ceramic Jewelry by 1001 Truxton Avenue. Joan Fraerman; at April 16-21 The Y.W.G.A. Mud Hens the Edward Sherbeyn Gallery. Eighth Annual Dogwood Arts Ceramic CALIFORNIA, KENTFIELD Competition, open to all amateur and March 20-April 18 "British Designer through March 20 Ceramics by Takao professional ceramlsts, will be held at the Craftsmen," Smithsonian Traveling Exhi- Sakuma: at the Sherbeyn Gallery. Central Y.W.C.A., 420 W. Clinch Ave. bition; at the College of MaNn. Continued on Page 34 12 Ceramics Monthly John Novy V third generation potter by DONALD H. S~,VEETMAN / ]ohn Novy is pictured in his Spanish Village studio at Balboa Park, San Diego, Cali[ornia. THE SlON over John W. Novy's studio says "Third Gen- certain wheel projects, and then he must make the eration Potter," and his studio shelves are loaded with designed pieces from memory. The examiners then ask examples of pottery that testify to the thorough and each candidate to demonstrate certain projects on the exacting training he received from his father and grand- wheel, in order to study his skill and technique. Finally, father, both professional potters in Vienna, Austria, where the hopeful potters are examined orally. This is really John was born and raised. the tough part of the exam," according to John. Those John works in a small one-room studio in the who successfully pass this final hurdle are accepted into picturesque Spanish Village, a cluster of studios and the Guild as journeymen potters. shops arranged in the traditional old Spanish patio John continued to work in Vienna after passing his style, located in Balboa Park and just a stone's throw apprenticeship exams, then immigrated to Canada in from the famed San Diego Zoo. Since the zoo attracts 1957. He worked as a professional potter for a Canadian visitors from all over the world, the Village is an ideal dinnerware factory, then took a position as manager of place for artists and craftsmen. Just across the patio from a pottery in Rapid City, South Dakota. He finally ful- John's studio is the studio of the San Diego Potters' filled a lifelong dream when he moved to San Diego in Guild. John Novy teaches two classes a week in the 1968. In the two years that John has been in the San Guild studio, and he does all of his glaze firing in their Diego community he has been rapidly recognized as an large gas kiln. outstanding potter. His work has received numerous While John had been exposed to the potter's wheel awards in Southern California, including a first place in since infancy, he was not particularly interested during the 1969 Southern California Exposition. his early years. "I didn't really get serious about potting Novy's work exhibits a perfection of technique that until I finished high school," he says. "I decided then comes from the years he has spent as a professional that I would take up pottery, so I started a three-year potter. A novice potter watching him at work will almost apprenticeship under the direction of the Potter's Guild shed tears of admiration and envy as John raises a in Vienna." This apprenticeship is very intensive and shapely 18-inch vase in just a few minutes of apparently- covers every aspect of potter),, including the chemistry effortless work, with the wet slip on his hands the only of glazes, a thorough and comprehensive study and prac- wasted clay. The products of his efforts range through tice in throwing and trimming pottery, basic funda- a wide variety of functional pieces, and tend to follow mentals of art and design, and the design and construc- traditional rules for design and form, with clean, flowing tion of kilns. The apprentice works in the pottery studio lines that are pleasing to the eye. His years of work at five days a week and goes to class on Saturday. the wheel have dulled neither his productiveness nor his "Final exam week is a rough time for the apprentice originality. He likes to experiment with natural clays potter," John says. "The exam, which takes six days, in his search for new glazes, and some of his most begins with a written section in which the student is beautiful pieces are glazed in a rich, coppery brown -- required to exhibit his knowledge on any given phase of a glaze resulting from use of a clay found on one of his pottery. He is next asked to make full-color drawings of exploring trips. Most of his work is fired to Cone 10. March 1971 13 John Novy demonstrates John hand-wedges his clay. He holds the lump of clay in his hands, tears it apart, then vigorously throws the tom pieces together. He says that he prefers this Centering With a method to board-wedging because he can "feel" the consistency of the clay more easily than when using a wedging board and wire. Any lumps and bubbles in the Leather Strap clay can be felt when he tears the clay apart. While it is physically more strenuous to do it this way, he feels by DONALD H. SWEETMAN that it provides a better means of wedging. Centering is begun by throwing the wedged clay on the wheelhead and patting it until it is roughly centered on the wheel. Using his clenched fist and little finger knuckle, the potter pats a hole roughly in the center of the rotating mound of clay; this gives him a place to establish a hold with the leather strap, as well as a place to start opening. He then moistens the day, leaving a puddle of water in the depression. The correct way to hold the leather strap is as follows: Loop one end of the leather between the little finger and the ring finger of the left hand, and the other end between the fore and middle fingers of the THE PRACTICE of using a leather strap for clay centering right hand (See illustrations). Begin centering by bring- is a technique used over a hundred years ago by European ing the wheel up to speed, then slowly-but-firmly apply- potters and craftsmen doing production potting, accord- ing pressure with the leather between the center of the ing to John Novy. The technique was discontinued only clay mound and the bottom of the lump at the surface when machines were introduced into pottery factories, of the wheelhead. around the turn of the century, thus spelling the end of The position of the right hand is very important, nearly all handmade pottery. since it plays a major role in the centering operation. John says that his father used to tell him about how The right forearm is firmly braced on the right leg, with the potters of his day would use an ox tail to center the right leg acting as the main support for the entire huge lumps of clay. Other potters, who sat at the wheel operation. The right hand, holding the strap, is placed all day long throwing flowerpots, would use leather straps firmly against the clay lump at the bat, or wheelhead; for centering and opening. In those days a good potter the left hand, with the middle finger resting near the would turn out up to a thousand flowerpots a day, and center of the clay lump, and with the left thumb resting the leather strap saved a lot of skinned knuckles. against the right hand, thus benefits from the support Novy started using the leather strap for centering given by the right leg. The firmly-braced hands hold soon after he finished his apprenticeship and started to the leather strap tightly against the clay rim and act as work as a commercial potter. "Working at the wheel a clamp on the ridge of soft clay as it rotates, thus all day long, day after day, I soon developed some pretty forcing it into center. The right thumb and knuckle of raw knuckles from the grogged day," John said. "I tried the right forefinger are rigidly held against the bat, bandages, gloves -- anything to protect my raw knuckles. smoothing out any high points on the clay lump as it Then I remembered the stories my father used to tell rotates. about the leather strap method and I decided to try it." It is necessary to apply more pressure with the After some experimentation, John caught onto the right hand than with the left, because the left hand's technique and perfected it. As far as he knows, he is job is to keep the top true. It is also important to learn the only one using this method, except for the students he to apply pressure slowly. If too much pressure is applied has instructed in the procedure. before the roughest lumps have been smoothed out, this John says that the leather strap method has several may cause the leather to dig in and remove chunks of advantages. First, it is a knuckle saver when one is clay from the mass. doing a lot of wheel work, especially with grogged clay. When a dragging feeling occurs with the leather, ease Also, it makes for much faster centering and opening, as off and apply a bit more water. The leather should the two operations are done almost simultaneously; it is be kept well-dampened. Care should be taken to remove particularly good for working with large lumps of clay. and apply the leather very slowly, as sudden pressure Finally, because the clay is centered quickly, it remains changes can cause the clay to go out of round. Opening drier and thus permits the potter to throw much thinner the clay occurs easily and naturally while centering by walls than he would be able to do with wetter clay. this method, since the fingers of the left hand follow Because of this advantage, it is especially good for the center downward as pressure is applied during the throwing porcelain. centering operation. The leather strap John uses for centering is a sturdy After the technique is mastered and skill is acquired, but flexible piece of chrome-tanned leather, rough on one it is possible to center and open a lump of clay in a side and smooth on the other. It is about 10 inches long very short time. John Novy centers a 30-pound lump in and between 2 and 3 inches wide. It is used with the approximately three minutes. In the pictures on the rough side toward the clay, as the rough texture holds next page, Novy demonstrates how he pulls up a vase more moisture. shape from the centered clay. 14 Ceramics Monthly d' 1,2 \ V 3.4 5,6 1. The strap is held in the le[t hand between 2. The other end o[ the strap is looped between the little linger and the ring linger. [ore[inger and middle linger o[ right hand. 3. Clay is roughed out on the potter'~ wheel, 4. Pressure is applied between the center o[ the then moistened by dripping water [rorn the strap. mound and the base o[ the clay lump. 5. Hands are braced against one another as they 6. Finally, the opening is expanded [or hold the leather strap ]or ]inal centering o[ the clay. throwing a vase (See next page). d~larch 197l 15 After centering and opening the lump o[ clay, Novy demonstrates how he throws a vase 7. Alter the [irst [ew pulls, Novy maintains a constant wall thickness, with allowances [or shaping. 8. As the cylinder is being raised to the desired height, the top is kept necked in. 9. Shaping begins, starting near the bottom and working gradually upward. 10. Alter the shape o[ the vase is established, the top is collared in [or making the lip. 11. A [IexibIe steel rib is used to smooth the sur[aee and straighten any irregularities. I2. The rim is smoothed and excess clay is trimmed [rom the bottom with a thin-bladed knife. 16 Ceramics Monthly A Conversation With Don Reitz and Bruce Breckenridge by CATHERINE BRAWER Bruce Breckenridge (le[t) shows his parody of an English candy dish to Don Reitz. The two teachers [rom the University o[ Wisconsin currently are showing their work at the Elvejhem Art Center on the Madison Campus. The Elvejhem Art Center at the University o[ Wisconsin is currently exhibiting ceramics by two University pro- [essors, Don Reitz and Bruce Breckenridge. The show opened in February and continues through April II. The [ollowing conversation was recorded by Catherine Brawer o[ the Elvejhem stall while the two artists were preparing [or the exhibition. WHAT BECOMES IMMEDIATELY APPARENT in talking with Don Reitz and Bruce Breckenrldge is that ceramics as an art form affords a totally different experience for each artist. Even more striking is their enthusiasm for each other's work and their delight in analyzing their stylistic differences. In fact, they understand each other's inten- tions and work so completely that each feels perfectly comfortable in allowing the other to speak for him. "We'd really like to tell you about our differences," began Reitz. "My work is about what I am inside of me. I'm challenged by natural forces. I'm a romantic about heat and trial by fire--and that's what I'm telling you about--the heat of the fire, the quality of the clay, and the fluidity of a piece. "And Bruce is just the opposite. He doesn't really tell you about clay at all; he denies the physical qualities of the clay and really offers little chance for physical response to the material." "I'm not really a potter," elaborated Breckenridge. "I work with clay and I use pottery techniques. Don tries to draw everything out of the materials and his pieces depend on the materials' inherent qualities. He wants spots to come through. I don't. I wipe the clay out and use commercial materials, like granny china paints and decals and clear glazes that I don't have to calculate." "You see," said Reitz, "for me clay is tactile, total and immediate. I depend on spontaneity and directness. My March 1971 17 next piece is an extension of everything that has ever preconceptions as to whether they'll be tight or bulbous. happened to me." I work quickly. My pieces are basically thrown. I've "For Don it's a physical thing, but for me it's more gone back to working big and now I'm adding smaller removed, more contemplated. I've moved away from units. But I can still finish a large piece in one or two abstract expressionism. I'm not slashing at the clay to days at the most. Whereas Bruce will plan a piece out, make a point. Everything I put into a piece has already throw fifteen separate units and then assemble them. He been thought out and digested." might work on one piece for two weeks, but he always "These differences stem from our backgrounds," added Ires more of the end product in mind than I do." Reitz. "Take Bruce. His background is art history, "I think we've touched on another basic difference museums, painting. I started out as a meat cutter. I was between us," said Breckenridge. "As Don said, I'm more the best diver in the Navy. Anything I've ever been good additive. Don has his roots in functionalism. Now, I at has been physical. My training in ceramics has been would not start, let's say, with a jug, as Don would. more technical than Bruce's, but he can think things But he'll take the jug, or another well-known form, and through that I haven't got the patience for. Now, I live make it transcend its traditional function." on a farm with ten horses. That's where I get my work "Right. I think of a pitcher as a form with anatomical done. Bruce lives in town in an apartment and does most properties. It might have a sculptural feeling, but no of his work here at the University. possibilities for social or political commentaries as Bruce's "Our methods of working are really very different," pieces might." continued Reitz. "I sit down to work and I just /eel a "For example," explained Breckenridge, "I've been piece. I might decide to do pitchers, but I don't have any working with cups now for about six years. I like the cup shape: it's manageable and has great variety. But I'm not really interested in a cup; I'm concerned with what I can do to make it precious, like the Faberg~ egg, and to get it into the realm of sculpture. I want it to affect the space beyond it in the way the tiny Faberg6 egg overwhelms the surrounding space. I want to get the cup to go places, WOW.t Actually, I'm bothered by the size of the cup in relation to a gallery. I think one reason I started embedding cups in polyester was to get away from the fact that you can handle it." "Bruce is really a fetishist. But I want to add that Bruce's cups, like many of my jugs, have been removed from the realm of everyday use. "As I started to say before," continued Reitz, "our methods of working are very different. I guess that my major contribution to ceramics was extending the color range possible with salt glazing, which until about seven years ago, when I began exploring the color possibilities, had been limited to browns, greys and warm tones. DONALD REITZ received his training at Kutztown State College and Al[red University. He presently is Associate Pro[essor of Art at the University o[ Wisconsin. He has exhibited widely and lectured and conducted workshops in Ontario, Ohio, Pennsylvania, Michigan and Wisconsin. His work is in the permanent collections of the Smithsonian Institution, the Prieto Memorial Collection at Mills College, the Johnson Collection, and the University o[ Illinois Galleries at Carbondale. Mr. Reitz is seen with one of his recent works, a piece included in the Madison show. 18 Ceramics Monthly The way I work is to put the colored slips on the part of a white canvas. And whereas my colors are wet ware. I have a large outdoor kiln, with a 120-cubic- labeled and vary little after firing from the way they foot capacity, so I can fire between three and one look in the jar, Don has to work with a completely hundred pieces at a time, depending on their size. I abstract palate and see the final colors in his head." throw rock salt in the fire box and, as it melts, the salt "It's interesting," mused Reitz, "that despite all of vaporizes and the sodium combines with the silica in the these differences between us, our philosophies of teaching clay to form a clear glaze over the ware, which then has coincide. We agree that the success of our teaching de- the texture of an orange peel. Of course, I fire high-- pends on our remaining producing artists. We both feel at 2400°F. And I constantly experiment by adding students should have broad exposure to different art foreign materials like bricks, oil, wood or sawdust to forms. We want to create an atmosphere in which stu- increase the chances for accidental drippings and mot- dents are free to develop their own sense of aesthetics tling." and be able to evaluate their own work. They should "By contrast," said Breckenrldge, "my work is too think about form. They should think about their work precise to take accidents. I want control. I fire low, in conceptually. The product will always come. I love to oxidation, to make permanent what I have done so far start a class by passing around one of my finished pieces on a piece. Then I add dots or stripes and fire again, and when the students have finished handling it, I using commercial glaze, as I said." smash it on the floor. After they stop gasping, I ask "With me, firing is a one shot thing," said Reitz. them what they remember about it . . . which qualities "I'm looking for the kiln accident. The temperature of the piece stay with them . . . That's what Bruce and inside is uneven, and I use the hot spots to advantage. ! are both about." I might place two pots so they touch and then pull them apart so there will be a blush spot. But as the artist, I always make the final choice--and I might end up throwing out an entire kiln of ceramics, since I don't know until the firing is completed whether a piece will make it." "On the other hand," added Breckenridge, "I try to have as few variables as possible. I know well before the final firing whether a piece will work. If Don and I traded studios, the first thing I'd do would be to regulate his kiln." "And I'd take Bruce's paints and put dibs of this here and dabs of that there to change the colors. Just to -~ ~.,.\ experiment." F "Our use of color is another difference between us," said Breckenridge. "Don deliberately darkens his clay beeause the reduction during firing also changes colors-- it's an educated guess how much. But I work on a white ground, which I suppose you could say is the counter- BRUCE BRECKENRIDGE, a native of Chicago, received his B.S. degree at the University of Wisconsin and his M.F.A. at Cranbrook Academy of Art. He has served on the staff at Hunter College, the Brooklyn Museum Art School, the University of California at Berkeley, and was assistant director of the i Museum of Contemporary Crafts (1964-66). He has been Assistant Professor of Art at Madison since the fall of 1968. He has exhibited extensively and his work is in many private collections. Mr. Breckenridge is pictured with a pot by Don Reitz that is included in the exhibit. March 1971 19 RuthRippon !1 t! Retrospective Exhibition RUTH RIPPo.-,', one of California's foremost potters, is ~FJ ~'j being honored in a major retrospective exhibition at the E. B. Crocker Art Gallery in Sacramento, California from March 6 to April 18. This special show, centering attention on a single distinguished craftsman, is sponsored by the Creative Arts League of Sacramento and replaces the regular biennial California Crafts Exhibition. The Rippon exhibition is one of the most extensive one-man shows in the western states this year, being made up of over 250 ceramic pieces of widely innovative variation and occupying the entire first floor of the new wing at the Crocker Gallery. Miss Rippon was born in the Sacramento Valley. She studied sculpture and painting at the California College of Arts and Crafts in Oakland, and it was there that she first began work in ceramics. Finding fulfillment in this medium, she shortly became a teaching assistant with Antonio Prieto at Mills College; fellow craftsmen with her were Peter Voulkos and Robert Arneson. It was at this time that Rosanjin and other distinguished crafts- men-potters held workshops there that stimulated early abstract expressionist ceramics in California and stirred up sweeping repercussions. Although caught up in the creative energy of these experiments, and in the origins of pop and funk, she has maintained her own search in a steady individualism. Classical roots are apparent, especially in early pieces, but her work grows continually, interacting with con- temporary trends. In the midst of turbulence and chang- ing modes, she has steadily worked out her own phi- losophies in a feminine but nevertheless strong approach, disclosing her concern with humanity and nature and reflecting the humor and pathos of man's condition. Right, top: "Judgment o[ Paris," reduction-fired stoneware, iron oxide wash, is 16½ inches in diameter. Collection o[ Thomas Willoughby. Center: Covered Jar is 16 inches tall, reduction-fired stoneware with white matt glaze. Bottom: Covered Jar with Woman and Applied Seal is reduction-[ired stoneware, iron oxide wash; interior glaze o[ white matt. Opposite Page Top: "Northern Hemisphere" is oxidation-[ired bu[[ stoneware, 13~ inches by 18~ inches. White matt glaze and luster enamel overspray. Bottom: Tureen is wheel-thrown with twisted coil applique. Stoneware, reduction; [lat white glaze with iron flecks. 20 Ceramics Monthly % ~dlpll wr ,~ ~ ~ • ~. ~ ,~~ ~ ~~,~ ~ii!~~ ~ ~i~ ~ . i ~ " • ~ ~ - .~,~ ~ '~ ~ ~" ~ ~ "~ ~ ~1~ ~ ,~ ~v ~P ~ • ~ ~ ..... ~,~i~ ~ ~ ~'i ~ ~ ~ i !' ~ Ill ~J ~p m Electroformed Enamels by POLLY ROTHENBERG WHEN SILVERSMITH AUDREA KI~J~YE realized that her chemist-husband had the knowledge and skills needed to assemble some workable electroforming equipment, it was inevitable that she would incorporate this process with her metal work and enamels. Electrodeposition, when combined with enamels, pre- sents an approach entirely different from the concept of enamels as smooth and precious objects. The craggy formations that are created resemble natural encrusta- tions sometimes found on rocks and metal ores. In electroforming as controlled by the artist-craftsman, the creative imagination combines with the natural deposition process to produce heavily-textured formations that have exciting artistic possibilities. Electroforming, as used by the artist, is a form of elec- trolysis in which metals are transferred from an anode bar to an electrically conductive matrix (in this case, a copper object) by passage of direct current through an electrolytic bath or electrolyte. The number of copper particles and nodules that result is greater on raised surfaces and corners; very few occur in deep hollows. Mrs. Kreye uses a battery charger plugged into a household outlet for her direct current source. The copper object to be electroformed is suspended in the electrolyte and attached by a copper wire to the battery's negative pole (or cathode). The copper particles that are deposited on the copper shape are supplied by a piece of pure copper, the anode bar, which is suspended in the solution and attached to the battery's positive pole (anode) by a lacquer-coated copper wire. The wire is coated so that it will not be eaten away where it hangs in the solution. Any areas on the copper object which are not to be electroformed are usually stopped-out with lacquer or asphaltum varnish. Lacquer is easily removed later on Jewel box is made [rom two electro[ormed with lacquer thinner and, Mrs. Kreye reveals, is much pieces attached to perfectly fitting flanges less messy to remove from small and intricate pieces than and base. is asphaltum varnish. She even paints fingernail polish 22 Ceramics Monthly 1.2 3.4 5,6 1. A square shape is cut [rom 36-gauge copper 2. The [oil is shaped into a rough box shape [oil with metal shears. by means o[ a square wood stick. 3. The [oil material is given even more shape 4. A hole ia pieced in one edge o[ the [oil de[inition with a small tool. to accommodate a suspension wire. 5. A piece o[ lacquer-coated wire is attached 6. The prepared shape is suspended in Lewis to the [oil shape. Lye to clean it o[ grease and soft. March 1971 23 7,8 9,10 11,12 7. Two battery chargers are used with the 8. The wire used [or suspending the [oil shape is electrolyte to complete the electro[orming. removed with a jeweler's saw. 9. Liquid enamel is painted over the whole 10. An opaque blue enamel is wet packed into interior o[ the eIectro[ormed piece. the hollows o[ the exterior. 11. A[ter the piece is fired, [irescale is 12. The [inished demonstration piece was [ilIed scrubbed o[[ with a dry brush. with plaster to use as a paperweight. 24 Ceramics Monthly as a resist on very tiny areas when she wants to keep she lets it dry, then picks it off with a pointed tool. them plain for enameling. When all the inside area is covered, the enamel is dried Audrea Kreye's electrolyte is a solution of 250 grams thoroughly in preparation for wet-packing the exterior of copper sulphate dissolved in one liter of distilled water, areas that will be enameled between electroformed pat- to which she adds 40 cc's of concentrated sulphuric acid. terns. Interior and exterior enamel will be fired in one (Always pour acid into water, not water into acid, to firing. avoid damaging reaction.) This solution is for use with Small plastic spoons are used as containers for moist copper; other metals require different solutions. The enamels when Mrs. Kreye wet-packs them. All enamels amount of direct current required depends upon the have been washed thoroughly in preparation for wet total surface of the piece being electroformed and the inlay. The copper demonstration piece is propped on a results desired. small trivet in order to keep work areas horizontal. With The demonstration project is constructed of copper a small sable brush, she picks up bits of barely-moist foil. Since the crinklings in the foil for this particular enamel and packs them into place with a simple home- piece constitute a considerable area, two battery chargers made tool: The head of a straight pin is cut off; the are required, having a combined output up to 12.0 amps remaining stem of the pin is anchored firmly into a of current. For a simpler piece, such as a flat pendant, pencil eraser by inserting the pinpoint into the eraser; one battery charger is sufficient. the pin can be bent to any convenient angle by means A piece of 36-gauge copper foil, 4~ inches square, of jewelry pliers; the pencil becomes the handle of the is cut with metal shears. It is pulled and twisted with tool. With the headless pin stem, Mrs. Kreye works the fingers to get a design pattern started, then it is enamel into very tiny crevices formed by the foil crinkles. pressed into the approximate desired shape with the Excessively wet enamel will allow water to creep into end of a small square stick of wood. After this, it is electroforrned areas, carrying enamel grains with it, shaped further with a small tool so that the resulting causing burned enamel spots when it is fired. If any crinkles and folds are guided into design patterns. of the wet-packed enamel appears overly moist, she When the small copper foil shape is completed, Mrs. picks up the moisture with a slightly damp brush. As Kreye punches a small hole through one edge of the each area is tamped down, she draws off excess moisture foil so a copper wire can be attached for suspending and applies a drop of enameling gum into the area the piece in the electrolytic bath. First, however, the from the tip of a tiny brush. copper must be cleaned thoroughly of grease and soil, When all areas are wet packed, the piece is dried and this is done by suspending the piece in a strong thoroughly and fired at 1300 ° F until the enamel is solution of Lewis Lye for about 10 or 15 minutes. After shiny, then it is placed in a warm, draft-free place to this it is rinsed, then suspended in the electrolyte for cool. Firescale that has formed on the bare copper the electroforming process, and the battery chargers are nodules must be scrubbed with a dry toothbrush to clean turned on. When the copper formations have built to off the scale; Audrea Kreye does not use a scale re- the desired thickness, the piece is removed from the bath mover before she enamels on electroformed copper. and rinsed in water. After most of the scale has been removed with the stiff Because of the complexity of the shape, enamel must toothbrush, pickling solution is used to complete the job. be applied as thickly on the interior of the copper She repeats the enameling procedures for any additional folds as it is on the exterior in order to deter the colors, applying more counterenamel also, to keep ten- enameled areas from cracking some time later. Not only sions as equal as possible on both surfaces. When the has the foil become thicker due to electrodeposition, but enamel is fired and cool, the toothbrush is dipped into the combination of convex and concave areas sets up wet copper cleaner and used to scrub the copper nodules; many extra tensions. Unbalanced enameled areas certain- finally, they are rinsed twice to remove loose scale. After ly complicate the problem, and only experience can the piece is dried with an electric fan, a final finish is guide the application of enamels to an intricate piece achieved by buffing it with a fine steel brush on a motor that has been electroformed. spindle. Audrea Kreye applies a coat of a liquid flux enamel As the demonstration shape is to be used as a paper- on the interior of the piece. She spreads the liquid weight, Mrs. Kreye fills it with plaster, then glues a enamel around with a small soft brush, making it as piece of leather or fine wood against the plaster for a smooth as possible. Care is taken to prevent the layer base. She could use the piece as one half of an enameled of enamel from filling in depressions instead of following box, by soldering finely-wrought flanges to this and the contour of the copper folds. If some of the wet another box section in order to form a lidded jewel box enamel accidentally drops onto the electroformed nodules, or pill container. March 1971 25 Rosy Gold Glazes by RICHARD BEHRENS OF SEATTLE THE USE OF GOLD for lustrous em- of dry glaze, a 0.25% gold measure- bellishment as a colorant in pottery ment is obtained. extends well back into ceramic his- Considerable quantities of gold tory. While it has been generally chloride may be obtained by the pot- utilized for underglaze and overglaze ter who has had laboratory experi- work by some of today's craftsmen, ence by the conversion of dental and the artist potter has used gold less jewelry scrap into gold chloride. frequently as an in-glaze colorant be- Such gold may be refined by solution cause of its "precious metal" classifi- in aqua regia, ("royal water," be- cation. Since it has a very high tinting cause it dissolves the "royal metal," power, however, its use on the occa- gold). sional fine piece or as a smaller part The scrap gold should be placed of decoration applied to the pot may in a Pyrex chemical beaker or in a often be justified. In concentrations porcelain evaporating dish, and a NOW! as small as 0.1~, it can yield a rather mixture of 10 cc's of pure nitric acid strong coloration. The color obtained and 30 cc's of pure hydrochloric acid is close to that described as "rose poured over it. Needless to say, this A Good Kiln petal" in the Maerz and Paul Dic- operation should be carried out in an tionary o[ Color. This color is easily open space and only by someone ex- obtained, particularly with alkaline perienced in handling these volatile Need Not Be glazes in the Cone 015-04 firing materials. The gold should soon begin range. Fired at higher temperatures, to dissolve, with the evolution of a Expensive it tends to merge into a claret red. pungent-colored gas. When the metal Considerable inclusions of zinc in the has dissolved, some residue may be glaze formula may prevent formation left, consisting largely of silver chlo- Save up to 37% using a few of the red, it should be ride or other insoluble pleasant hours to fit together noted. matter. Warm- one of our easy-to-assemble One of the most common salts of ing may speed the solution and, kiln kits. Fun to do m efficient gold is gold chloride, which may be should the reaction die down, may be to use. Step by step instruc- purchased from the ceramic dealer, started again by further additions of tions for assembly and easy the chemical or drug supply com- the acid mix. When the action has beautiful firing. pany, or from photographic dealers. ceased, the clear colored liquid may A standard packaging is the 15-grain be poured off into another container These Are Kilns Made By (one gram) glass ampule, but gold by careful decantation. People Who Do Ceramics and chloride also is available in quantities This solution of gold and (usually) Know What A Kiln Has To Do. of one-eighth of an ounce and one copper chloride should be condensed ounce. Gold in this by heating Commercial Kiln Kit, form sells at rates the container over a of 24"x24"x27" deep ...... $195.00 approximately $3.00 and up per water bath (a double boiler effect) until it has Studio Kiln Kit, 15 grains. condensed to a syrupy A convenient 18"xl 8"x18" doop...... 99.50 method of measuring liquid. This may then be diluted with out the gold chloride is water and a solution Hobby Kiln Kit, to dissolve of green vitriol 12"x12"x131/2" deep ..... 62.50 15 grains in 100 cc's of water. By (made by dissolving 20 grams of fer- measuring out this gold chloride rous sulphate in 100 cc's of water), Send for free detail sheets. solution, one can obtain 0.01 gram which is poured into it gradually. of the chloride in each cc of the solu- The gold metal usually occurs in a POTTERY by DOT tion. The use of 10 cc's of this solu- brown powdered form or as small tion spangles of Dept. CM would yield a 0.1% gold level metallic gold. After some N.E. 72nd St. when added to a glaze that contains sedimentation, more of the ferrous Seattle, Wash. 98115 100 grams of the dried glaze. By the sulphate solution should be added addition of 25 cc's to the 100 grams Continued on Page 37 26 Ceramics Monthly Impromptu Plates molded on a carved base by ROBERT F. EILENBERGER PLATES OF A MASSIVE APPEARANCE can be made quite should resemble the underside of any utilitarian dish easily with the aid of some deeply incised or carved which has a small standing rim. Cork carves easily; in material that will serve to shape the underside and addition, it is not as messy to handle as plaster and create a base for the work. Except for the slight amount it is easier to control than sand. of preparation needed to make this support piece, the Impromptu hand pressures on the clay -- those which project allows the artist-potter complete freedom in have no definite design plan -- can bring the ceramic creating a plate that almost begs to be touched. The artist just about the best tactile qualities from his contours can be split and broken, or even dented, since material as it is possible to obtain. That part of the clay this piece is not intended to be useful but, rather, a which is to form the edge or rim of the plate will appear "muscular" celebration of the plasticity of clay. to be left untouched if the clay is flattened on a slant Various materials such as plaster of Paris, unfired with the palm of the hand in order to form an uneven leatherhard clay (covered with cloth), or even a box of length of slab. This should be done with unrehearsed loose sand might be used as a temporary base-mold on movements, as we are seeking vigor in the appearance of which the plate can be shaped while you create the the clay rather than smooth perfection. "public" side. I have chosen here a thick rectangle of For forming a 12- to 18-inch plate, I find that I need pressed cork for the base. My main reason for choosing five or six sections that are about 7 or 8 inches wide. cork is because of the irregular surface that remains after Tear these as strip-slabs and place them with the smooth it is cut. The appearance of the completed base-mold ends (the thinnest thickness) toward the center of the r Im ] 1. A thick rectangle of pressed cork is carved to 2. The cork is shaped to provide a tapered base serve as a mold for a slab plate. and a footrim for the under.ride of the plate. March 1971 27 3. Chunks o[ clay are pressed with the heel of the 4. Sections of the slab can be torn o[[ the main hand to give a slanted shape [or the plate. slab and used to make segments o[ the plate. .... ?l # liP'; t 5. Each section is placed on the mold base to 6. It is important not to lose the plastic character radiate [rom the center o[ the cork [ootrim. o[ each slab section as it is added. 7. If thick clay at the rim is removed, it is torn 8. Fingers can be used in groups to give indentations upward to maintain the original character. in keeping with the plate's plastic appearance. 28 Ceramics Monthly 9. Coarse coils can be incorporated in the surface 10. Heavy lines are pressed around the coil to to give additional decorative detail. create a deep well in character with the decoration. 11. When the clay has dried, the piece is lifted 12. The author used a heavy matt glaze and areas from the cork base and readied for fbing. of pooled glass to finish this impromptu plate. base-mold, from which they eventually will radiate. Put As your plate will serve as a decorative piece rather these in place temporarily so changes can be made if than for a utilitarian purpose, function gives way to desired. You will find that the manipulative quality of statement in manipulating the surface of the clay. Use the clay allows you to become so absorbed in the design your fingers for vertical or horizontal indentations that you are creating that expression transcends technique. are sculptural in character. If a higher elevation is As you work at placing the clay slabs around the desired for a particular area, add bits or coils of clay and base mold (with rough edges outward), you should press them down securely with your fingers or other decide what irregularities you want to leave in your tools in order to incorporate the two sections of clay. work. If you want to change the shape of the plate some- Above all, be careful not to clutter the design. what, take parts of the rough edges away, but at the When the piece is completed to your satisfaction, same time be sure you tear the clay upward toward you allow it to dry in the mold. After it has been bisque and thus maintain the original character. You may fired, it is time to select a glaze that will enhance the wish to have a torn area or two; if so, start from the plastic quality you have achieved with the clay. Gen- outward edge and tear the clay toward the center of erally, matt glazes in earthy colors seem to work best, the plate. As you smooth or manipulate the surface, be but sometimes highly colored and textured finishes can sure you do not press too hard and thus make any one be used effectively. I have used glaze overlays, sgraffito, area too thin for the rest of the plate. Also, it is neces- and even puddled or pooled glass for these pieces. You sary to keep in mind the contour of the base over which will know best how to enhance the quality you have you are working if you are to avoid disaster and disap- achieved with this fascinating free-wheeling handbuilding pointment later on. technique. March 1971 29 ORDER ANY OF THESESELECT TITLES ON OUR MONEY-BACKGUARANTEE. WE PAY POSTAGE. NATURE AS DESIGNER A POTTER'S BOOK STONEWARE AND PORCELAIN by Bertel Bager. This unusual and by Bernard Leach. Now in its tenth by Daniel Rhodes. Describes techniques stimulating book presents a treasured American edition, this book should be and materials used in high-fire pottery. collection of plant life which demon- in the library of every potter and stu- Includes sections on clay bodies, glazes, strates in a unique and very effective dent of ceramics! $8.75 colors, textures and decoration. $7.50 way the beauty of form in nature. The forms will suggest an infinite number MAKING CERAMICS RAKU: ART & TECHNIQUE of shapes and textures for pottery. An by Lis and Hans Lundkvist. This text by Hal Riegger. The first complete outstanding gift selection! $14.50 demonstrates some of the simplest meth- book on Raku. Covers clay and glaze MAKING POTTERY WITHOUT A WHEEL ods of handling and shaping clay. Con- preparation, kiln building and firing. tents include by F. Carlton Ball and Janice Lovoos. recipes for glazes, making Beautifully illustrated. $12.95 This comprehensive and richly plaster molds, firing, and directions for illus- building a raku kiln. trated book covers every phase of hand- $4.95 METAL ENAMELING building and decorating clay pieces. No CERAMICS by Polly Rothenberg. The emphasis in book has covered the subject of texture by Glenn C. Nelson. this book is on new methods of enamel- A new, revised and ing and and form more effectively. $9.95 enlarged edition of a favorite new applications of the age-old title. An techniques. Many outstanding handbook for potters of these unusual ex- DESIGN MOTIFS OF ANCIENT MEXICO and perimental projects have never teachers. 331 pages, hardcover. $8.95 before by Jorge Enciso. A compilation of 766 been published. $6.95 examples divided into geometric, na- SELLING YOUR CRAFTS tural and artificial forms. Includes de- CREATIVE CLAY DESIGN signs based on flowers, birds, by Norbert N. Nelson. In a concise, fish, hu- step-by-step by Ernst Rottger. A wonderful aid to man figures, etc. 170 pages. $2.50 presentation, this book those who leads you through are learning and those who the actual stages are teaching others how CERAMIC SCULPTURE necessary to sell successfully what you to explore the creative possibilities of clay. by Betty Davenport Ford. The author produce. Such diverse channels of sales $5.50 leads the reader to a high level of pro- as wholesale, retail, mail order and POTTERY & CERAMIC SCULPTURE fessionalism in the design and technique specialty markets are covered. $5.95 by Herbert M. Sanders. A new, thor- of an ancient craft. Animal, human. CERAMICS FOR THE ARTIST POTTER oughly revised edition of Mr. Sanders' plant and abstract forms. $6.95 best seller, by F. H. Norton. Ceramics Book. Completely The most complete up-dated with new material, including book on the subject, from choosing the section on how to build I' WE PAY POSTAGE I proper a potter's clay to putting the final touches wheel. Excellent for beginners. $1.95 on a piece, all clearly explained. Ce- STEP-BY-STEP CERAMICS ramics at its best! $9.75 THE WORLD OF JAPANESE CERAMICS by Jolyon Hofsted. In this complete in- CERAMIC GLAZES by Herbert Sanders. This handsome troduction to ceramics, the beginner--is book illustrates the forming and deco- by Cullen W. Parmelee. This invaluable rating processes and the unique tools led through all of the basic clay form- reference book completely covers glaze ing and decorating processes. There used by the potters of Japan. Includes making. Includes formulas and batch glaze formulas, glaze color charts, and are special sections on the Potter's recipes for glazes. 314 pages of technl- American equivalents of Japanese Wheel, Glazing, Firing a Kiln, Building cal information. $8.00 Your Own Kiln, Decorating Tech- glaze compositions. Has slipcase. $12.50 niques and Raku. $2.50 CERAMICS AND HOW TO DECORATE THEM MOSAIC TECHNIQUES HANDBOOK OF DESIGNS AND DEVICES by Joan B. Priolo. Mrs. Priolo gives de- by Mary Lou Stribling. This unique by Clarence Hornung. Over 1800 tailed descriptions and illustrations of book gives a glimpse of the tremendo.s sketches of basic designs and variations dozens of decorating techniques and potential of mosaics as a medium for including the circle, line, scroll, fret, shows how to use them. $6.95 personal expression, and will stimulate shield, snow crystals and many more CLAY AND GLAZES FOR THE POTTER the curiosity of be~:inner and profes- useful symbols. $2.00 by Daniel Rhodes. Two complete books sional craftsman alike. $7.95 CERAMIC DESIGN in one! Fundamental details on both ENAMELING ON METAL by John B. Kenny. Complete instruc- CLAY and GLAZES make this book by Oppi Untracht. Step-by-step photos tions for methods of forming and dec- a "must" for every hobby-craftsman, are used to describe fundamentals on orating ware are given, with step-by- student, teacher and potter. $7.50 through to newly developed experi- step photos to guide the designer along KILNS: DESIGN, CONSTRUCTION mental styles. This complete guide is a the way. Contains appendix, list of ma- major contribution to enameling. $7.50 terials, recipes, and glossary. $9.95 & OPERATION CERAMIC SCULPTURE by Daniel Rhodes. Everything you need POTTERY: FORM AND EXPRESSION to know about kilns -- setting up, by Marguerite Wildenhain. A truly by John B. Kenny. Contains over 1000 firing, various types of kilns -- is de- photos and sketches covering all phases beautiful book! Magnificent pictures of scribed and demonstrated in this first the author of the sculptor's art. A valuable aid for at work and of ancient and complete book on kilns. Over 100 contemporary all craftsmen. $9.95 pottery. An outstanding drawings and photographs. $10.00 gift selection for potters. $9.95 THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny. The "best seller" in Order Form m We Pay Postage the ceramic field! Step-by-step photo • BOOK DEPARTMENT Box 4S48, Columbus, Ohio 43212 lessons covet all of the pottery-making techniques. Clays, glazes, firing, plaster, [] Bacjer--Nature $14.50 ~.. Noble--Attic Pottery $25.00 [] Rhodes--Stoneware $7.50 etc. 242 pages $7.50 [] Ball & Lovoos--Pottery $9.95 ~ Leach--Potter's Book $8.75 ~ Riegger--Raku $12.95 [] Enciso--Desicjn $2.50 GLASS CRAFT [] Lundkvlst--Ceramlcs $4.95 [] Rothenber9 [] Ford--Sculpture $6.95 D Nelson--Ceramlcs $8.95 --Enarnelin9$6.95 by Kay Kinney. The complete book on [] Hofsted--Cerarnics $2.50 ~ Nelson--Selllng Crafts $5.95 ~ Rottcjer--Creaflve Clay $5.50 fusing, laminating and bending glass. [] Hornung--Designs $2.00 [] Norton--Artist Potter $9.75 ~ Sanders -- Pottery $1.95 Basic techniques, step-by-step projects [] Kenny--Desicjn $9.95 [] Parmelee--Glazes $8.00 [] Sanders--Japanese $12.50 and a "Glass Clinic." $7.50 [] Kenny--Sculpture $9.95 E] Prlolo~CerarMcs $6.95 ~'~ Striblincj--Mosalc $7.95 THE TECHNIQUES OF [] Kenny--Pottery $7.50 [] Rhodes--Clay & Glazes $7.50 [] Untracht--Enamelincj $7.50 PAINTED ATTIC POTTERY [] Kinney--Glass Craft $7.50 F'j Rhodes--Kilns $10.00 [] Wildenhaln--Pottery $9.95 by Joseph Veach Noble. This lavish NAME book unravels the methods used by the Athenian potters to produce the ADDRESS greatest pottery in ancient European art. Includes excellent information on CITY. STATE ZIP the famous Greek black glaze. $25.00 I enclose [] Check [] Money Order. {Ohio residents: add 4% Sales Tax}- 30 Ceramics Monthly Balloon Forms From Buttered Clay by FRANCES STARYOS THE TECHNIQUE of pouring slip over bottom of the balloon, then the bal- As the clay stiffened, some of the inflated balloons offers a means of loon was placed right-side-up on a air in the balloon was released to creating handsome clay forms with pat of moist clay that had been pre- compensate for the shrinkage; after a minimum of effort. This method pared on a plaster bat. The balloon the clay could hold its own weight, was demonstrated by Reinhold Marx- was also suspended from a hanger the balloon was completely deflated. hausen in an article in the May 1958 above, in order to give additional At this point, excess clay at the top issue of CM, and it seemed a ver- support and allow for easier butter- of the form was cut away to create satile classroom project, one which I ing. According to the finish desired, the kind of opening desired, and then attacked with enthusiasm. the thick slip can be patted on the the piece was allowed to dry com- For readers who didn't see this balloon with the haI:d to achieve a pletely for bisque firing. article, the author poured thick slip "frosting effect." or be applied with As should be obvious, the technique directly over an inflated balloon that a knife to create a "buttered" char- has many possibilities, and provides was suspended by string from the acter, or maybe smoothed with a flex- an excellent project that can be com- ceiling so that its bottom just touched ible tool to make a smooth surface. pleted in a series of short class periods. a plaster bat set on the table; the accumulation of slip at the base of the balloon provided a thick and stable base for the completed form. When the slip started to set and shrink, air was released from the balloon, and when the clay form was strong enough to hold its shape un- supported, the remaining air in the balloon was released. The deflated balloon was left in the object and burned out in the kiln. The enthusiasm with which I at- tacked the project was short-lived. however, since the process seemed rather involved and the clay sllp was too slow in drying for our short classroom periods. I re-read the Marxhausen article, in the hope that I might come up with an alternate method, and finally the light dawned! The technique that evolved from our experiments is one I would like to pass on to CM readers. Instead of pouring slip onto balloon shapes, try using slip that has been made (or allowed to become) as thick as soft butter, then "butter" the clay onto the balloon. This technique is actually easier and quicker than working with slip and, in addition, gives a clay form that stiffens and becomes firm in from one to two hours. The technique we finally used started by inverting a balloon in a container, so that the base was ex- posed for the initial "buttering." A dull knife or a finger was used to spread a thick layer of slip on the March 1971 31 ! Sculptors- Potters- Ceramists CERAMACTIVITIES CALL FOR people, places and things KEMPER TOOLS SKIDMORE QUALITY-UTILITY- DURABILITY SECOND INVITATIONAL Artists whose work is represented in the Since 1947 Skidmore College, at Saratoga Springs, show include John Burton, Larry Bell, New York, is currently staging its Second Andre Billeci, Fritz Dreisbach, Boris Dud- Usedin colleges, universities andschools thtoul[h Invitational Contemporary Crafts Show in chenko, Ruth Erllch, Robert Fritz, Bruce out the UnitedStates. Listed beloware just a few .¢ ,¢.. h.,.J.*.l..4 it ..... TAA[..... ;l~kla Hathorn Gallery, through March 7. Ac- George, Joseph W. Hawley, Curtis C. cording to George Kuebler, Gallery Di- Hoard, David Hopper, Kent lpsen, Karen rector, the show presents some of the Kline, Dominick Lablno, John Conrad finest work produced by outstanding artist- Lewis, Marvin B. Lipofsky, Harvey Little- craftsmen both in this country and abroad. ton, Fred Lucero, Fred Marcus, Robert Potters whose work is included are Rudy Ridley, Desmond Radnotl, Marjorle Autio, Clayton Bailey, Pat Bauer, Cynthia Scheid, James Tanner, James W. Wayne Bringle, Michael Cohen, Val Cushing, and Robert Willmore. Ruth Duekworth, Jack Earl, Bill Farrell, Ken Ferguson, Henry Gernhardt, David DON & EDITH & JAYE & RICHARD Gilhooly, ]olyon Hoisted, John ]essiman, Gallery One, Findlay, Ohio, is featur- Bruno La Verdiere, Charles Lako[sky, ing work by four potters in an exhibit Gertrude Natzler, Otto Natzler, Ted A. that starts March 7 and continues through Randall, Donald Reitz, Jerry Rothman, April 2. Participants include Don Duni- Paul Soldner, Rudolf Sta[[el, John Ste- [on, Edith Franklin, ]aye Bumbaugh, and phenson, Susanne Stephenson, Frans Wil- Richard Minck. denhain, Paula Winokur, Robert Winokur Don Dunifon, Assistant Professor of and William Wyman. Enamelers repre- Art at Wittenberg University, Springfield, sented are William Harper, Harold Hel- and an exhibitor in major area shows, is wig, Charles B. ]e[[ery, Tiia T. Sahni, and currently President of Ohio Designer Dorothy Sturm. The glass section features work by Andre Billeci, Maurice Heaton, Dominick Labino, Harvey Littleton, and Joel Phillip Myers. SOUTHWEST CONFERENCE The Southwest Regional Conference will be held at the University o[ Utah Art Department, Salt Lake City, from March 18-21 and includes workshop demonstra- tions in glass, metal, clay, fiber, and plastics. The Conference schedule coincides with the opening of "Object Makers 1971," a juried exhibition sponsored by the Utah Designer Craftsmen to be held at the Utah Museum o[ Fine Arts, March the LOCKERBIEPotter's Wheel 18-25. Information about the conference may be had by writing to the Art De- FINEST KICK WHEEL MADE partment, University of Utah, Salt Lake Used by colleges, schools and studio potters $175.00. City, Utah 84117. Write for new circular to Parfex Co. -- 7812 Boulder LEAGUE POTTERSANNUAL SHOW Ave., Highland, Calif. 92346 The Sixth Annual League Potters Show, sponsored by the Craft Students League of the YWCA, will be held March 24-April Please Mention CM 3 at 840 Eighth Avenue, New York City. when writing our advertisers Featured will be original ceramics, includ- Craftsmen. Edith Franklin trained at Bos- ing plaques, mirrors, planters, sculpture, ton Museum o[ Fine Arts and the Toledo fountains, wind chimes, and vases. There Museum School o[ Design and has ex- CERAMIC will be a preview on March 23, from 4 to hibited widely. She is the present Trea- 8 in the evening. surer of Ohio Designer Craftsmen. Jaye CLAYS Bumbaugh, of the Blu[[ton College art GLASS ART AT LONG BEACH faculty, was and a 1970 First Award winner The Long Beach Museum o~ Art is in the Toledo Area Artists Exhibition at GLAZE showing approximately 50 pieces of glass the Toledo Museum of Art. Richard by 25 craftsmen. The show, which closes Minck, well known Bluffton free-lance MATERIALS March 21, represents the traditional meth- potter and teacher, has been an award od of glass blowing as well as torch winner at Ohio State University, Toledo annealing and glass forms, and is con- Museum of Art, and Dayton Art Museum. Urittitg CERAMICSUPPLY, iNC. sidered the first survey in this country Pictured are works by the four co- which shows the parallels between glass operating craftsmen: the tall bottle is by 9016 DIPLOMACY ROW art and contemporary art expressions in Mr. Minck, the toadstool by Mr. Dunifon, DALLAS. TEXAS 75235 plastics, resin, and other industrial the bowl is by Mrs. Franklin, and the PHONE (214) 631-0540 ma- terials. sunflower by ,]'aye Bumbaugh. 32 Ceramics Monthly CRAFT COMMITMENT Special awards in the Rochester (Min- nesota) Art Center's "Craft 'Commitment" were .Jim Michael and Don Reitz, pottery, and Humphrey Gilbert, metalwork. Awards of Merit in clay went to David Middle- brook, .John Murphy, and Doug ]ohnson (The CM Purchase Award). Merit Awards in glass went to Curtis Hoard, Jim Tan- ner, and Eriks Rudans. Paul Donhauser, of the Wisconsin State University Art Department, was the awards juror for the show. He said: "What finally emerges from any artistic expression is a form of knowledge -- knowledge about the artist, the media, the technique, the times and their relative aesthetic considerations. 'Craft Commit- ment' in its final analysis is a purveyor of ... when it comes to getting the most out of Orton Cones--it takes three only does the exhibit all these aspects. Not to really do the job. present a proliferation of styles and at- titudes, it also gives a revealing overview The Guide cone tells you when your ware is approaching proper maturity. of the place of the 'craftsman' within the The Firing cone tells you when the firing cycle has reached its optimum point, arts. Thus, this particular exhibition gives and the Guard cone lets you know if you've gone beyond the best point in the testimony to the fact that metalsmiths, heat-time relationship. potters, weavers and glassblowers from the midwest are no longer shackled by a Take a tip from the pros...use three Orton cones with each setting. provincialism which was evident in the You'll find a complete range of cones at your dealer in the handy blister pack. past. The best work in this exhibit reflects Ask him for a free copy of "Cones for the Hobby Potter". the complex percepts and concepts that are brought to the respective problem C~ The solving situation. When the problems were The Edward ORTON Jr. Ceramic accepted standard best resolved, some compelling art forms FOUNDATION for over 70 years were created." 1445 SummitStreet • Columbus,Ohio 43201 • Phone(614) 2994104 Exhibition director for the show was .judy Ono[rio; she worked with Gerald Hanna, Director of the Rochester Art Center, and with Dean Myhr, Executive Director of the Minnesota State Arts Sold only Council, which commissioned the exhibi- by tion. In his statement, Mr. Myhr remark- Authorized Oscar-Paul ed: "Judy Onofrlo is to be commended for Dealers PROFESSIONAL her work as exhibition director. We are 1147 E. Elm also grateful to Mr. Robert Paul, consul- W. P. DAWSON, INC Funor*on,Calif. 92631 POTTER'S WHEEL tant in art education, and the Minnesota State Education Department for their participation in further enhancing the educational aspects of the program by providing financial assistance in helping to support the craftsman-in-residence pro- Art-Crafts Supplies, Inc. gram running concurrently with the ex- 235 N.E, 67th St. Miami, Fla. 33138 hibition." Distributor for: PARAGON Knns • DUNCAN, GARE & LECTURE SERIES AT CRAFT ALLIANCE DRAKENFELD MARX Brushes • JACQUELYN Stains A series of illustrated lectures on "Crafts in Primitive and Contemporary Societies" is being offered at the Craft Alliance in • Variable speed (19-1SS RPM) St. Louis, Mo. The current series, which started in .February and extends into • Full torque "Satellite Drive" April, covers such topics as the historical • Quiet operation development of clay forms, form and func- tion in clay, mosaics (March 9-10), col- • Compact size & light weight laboration between crafts and architecture (March 16-17), stained glass (March 23- • Floor space m 2 sq. ft. 24), blown glass (March 30-31), and craftsmen in industry (April 6-7). Ten • Optional table tops additional lectures, continuing this series, (flat or splash pans) will begin in September of 1971. • Smooth & uniform drive The lectures are being given by profes- sional craftsmen and specialists in the Patters and Dealers . . . write for more fields of architecture, archaeology, and intormatian and prices. sociology. Emphasis of the series is on the historical interaction of the crafts with the OSCAR-PAUL CORP. Continued on Page 34 ..... 89.0_0! 522 W. 182 St., Gardena, Calif. 90247 March 1971 33 CERAMACTIVITIES FOR Continued [ram Page 33 Electric High Fire IM C society in which they exist. Funds for this ambitious project were granted by the 2300 ° F ~ CONE 8 MODELING National Endowment [or the Humanities. There is no charge for the evening lec- Write for literature tures, which are held in the lecture hall SCULPTURE above the Craft Alliance Gallery, at 6640 L Delmar Boulevard, St. Louis 63130. AIM CERAMIC KILNS Niway 9 & grookside, Ben Lomond, CalH. 9S00S REPORT FROM MONTREAL Mall Address: P.O. Box 414C OR WHEEL The Visual Arts Centre, Montreal, Que- bec, has offered a full program of courses USE THE BEST m ceramics this year, with an enrollment GLASS BLOWERS KIT s13~ of over 200 in pottery classes that con- SPECIAL TR AL SIZE KIT FOR THE LEAST COST! ~ -~ Containsassorted crystal and colored glass with A tinue through March. This "~, completeinstructions, is double last diagramsand actual glass ~'%~\ model. Learn to make beautiful ships, birds, Cloys as low firing as year's participation, according to Dorothy ~z~/"| ~,\~bottles for fun and profit. Steward, secretary, and the demand for L/Ji~\ SENB $t3,95 TO Cone 06, also higher ~LI~ WILLIS GLASS SUPPLY CO. classes far exceeds space limitations for BOX 3460--ARTIST STUDI0mO firing cloys. this area of concentration. The Centre • - ~ ANAHEIM,CALIFORNIA 92803 also holds exhibitions, and work by mem- Y New Catalog - New Cloys bers Harry Vandelman and Virginia Mc- Clure was displayed in October and January...... ~i POTTERY Send news, and photos, i[ available, about BYRNE EQUIPMENT "People~Places--Things" you think will be o[ ceramic interest. We will be happy CERAMICS to consider them [or use in this column. SPECIALISTS LEADING LINES OF KILNS (gas and electric), WHEELS, 1451 Route 46, Ledgewood, N.J. 07852 ITINERARY TABLES, PUG (201] 584-7492 MILLS AND TRUCKS. Continued [ram Page 12 Southern Sales Office covering southeastern U.S. -- N.C., Tenn. and all states southl INDIANA, EVANSVILLE PAUL STROMGREN & ASSOCIATES through March 14 The 1971 Mid- 3919 Sevilla St., Tampa, FI. 33609 States Craft Exhibition; at the Evansville Write or call: (813) 831-8081, night or clay. Museum of Arts and Science. Sales & Service MARYLAND~ ANNAPOLIS March 14-26 Invitational Exhibit by Maryland, Virginia and District craftsmen, All Types sponsored by the Maryland Federatlon of STATUARY & CERAMIC ITEMS Art; at MFA Galleries. 3,000 items to choose from TOTAL INVISIBLE DOLL REPAIR MARYLAND, BALTIMORE with porcelain a specially March lS-April 15 One-man show of Missouri Valley Statuary & Ceramic Co. ceramics by Tom Supensky; at the Balti- P. O. Box 388 • Decatur, Ill. 62525 more County Campus of the University of Maryland. CERAMIC EQUIPMENT MASSACHUSETTS, CHELM SFORD ONE-STOP CERAMIC SERVICE WALKER pug mills • LOCKERBIE, March 27 Chelmsford Art Society's OSCAR PAUL and SHIMPO WEST First Annual Arts and Crafts Show; at Central New York Ceramic Supply potter's wheels. Send large stamped the Central Baptist Church. addressed envelope for brochures. 213-215 Second St. MASSACHUSETTS, LINCOLN Capital Ceramics, Dept. CM LIVERPOOL, NEW 2174 S. Main St., Salt Lake City, Utah 84115 through April ll "Toledo Glass Na- YORK 1:3088 tional III," Smithsonian Traveling Exhi- bition; at the DeCordova Museum. I I POTTER'S through March 13 "Massachusetts Ar- "LOTU., WHEEL tist-Craftsmen 1971"; at the Craft Center. NEW 83 (All Steel) Nationally through March 7 Contemporary Finn- ish Design by Tapio Wirkkala, Traveling \ ..~" ~ of Clays, Chemicals, Known for Exhibition of the Smithsonian Institution; ~ ,a~"-~ Glazes, tools, etc. QUALITY! at the American-Swedish Institute. ~ sent FREE to SCHOOLS, INSTITUTIONS and POTTERS. Ruggedly built to last longer. Used in M,NNES'+A, ST. PA'+L STANDARD the large colleges nation-wide. Send Jar fromthrough the March7Walker Art"Jades Center"; and Ceramicsat the /l [ CERAMIC SUPPLY CO literature and prices. Minnesota Museum of Art. . LTM Corp. through March 19 "Craft 855 South Telegraph Commit- Box 4435, Pittsburgh, Pa. 15205 Rd., Monroe, Mich. 48161 ment Exhibition," circulated by the Min- 34 Ceramics Monthly NEW CATALOG ITINERARY CLAYS No. 2.1 for '71 Continued [ram Page 34 GLAZES nesota State Arts Council; at the Student * Ceramics Center, University of Minnesota. TOOLS " Stained Glass .NEBRASKAj OMAHA through April 4 Exhibition of Antique • CERAMIC RAW MATERIALS e Lamp .parts, lighters Tureens; at the Joslyn Art Museum. mus,c boxes NEW YORK, CORNINO • ALPINE KILNS a Kemper tools through March "A Panorama of Carder Glass"; at the Corning Glass Center. WHEELS a Marx brushes a LOCKERBIE POTTER'S NEw YORK, GENESEO a Porcelain Flowers through March 13 Annual Faculty • WALKER PUG MILLS at the State University College of jewels, Show; o Rhinestones, Arts and Science. Starlites • OHAUS GRAM SCALES NEw YORK, NEW YORK • Jewelry Findings, through March 13 Ceramics by James • ORTON CONES porcelain blanks Makins and Byron Temple. March 5-20 Ceramics by Helga Hoenigs- " Crushed glass, marbles berg. " SHIMPO POTTER'S WHEELS • Copper enameling March 20-April 3 Cookware show. March 26-April 8 Ceramics by Sue • L & L KILNS • Plastics Ullman; all at Greenwich House. through March 20 Ceramic sculpture • THERMO-LITE GAS KILNS 134 pages of more, more, more/ by Jack Earl; at the Museum of Con- R.sb $1 for your copy today. temporary Crafts. -- PORTABLE March 24-April 3 The Sixth Annual League Potters' Show, sponsored by the Craft Students League; at the YWCA, 840 Eighth Avenue. NEW YORK, SCHENECTADy March 6-28 Ceramics by Regis Brodie; at the Schenectady Museum. Midwest's Newest NEW YORK, UTICA Ceramic Center March 7-May 30 Art Glass Exhibition; • Raw Materials at the Munson-Williams-Proctor Institute. of Shaker • Clays March 28-May 2 Exhibition at the Museum of Art. • Glazes Arts and Crafts; • Kilns NORTH CAROLINA, CHARLOTTE • Wheels through March 25 The Seventh Annual 45 Page Catalog Piedmont Craft Exhibition; at the Mint Free Upon Request Museum of Art. Paramount Ceramic, Inc. NORTH CAROLINA, HICKORY Exhibit of North 220 No. State Fairmont,Minn. 56031 March Traveling Carolina Crafts; at Lenoir-Rhyne College. CERAMIC & OHIO, CINCINNATI SCULPTURE through March 14 "Art Pottery from Cincinnati," a survey of the late 19th SUPPLIES movement; at CLAYS • TOOLS • GLAZES century women's ceramic RAW MATERIALS The Cincinnati Art Museum. __ KILNS a WHEELS Catalogs Sl (deductible with first $15 order] RICHLAND CERAMICS Inc. OHIO~ CLEVELAND ON Posf Office Box 3416, Co umbia, S. C. 29203 March 7-28 Ceramics by Jenny Floch; TARGET at Design Corner. EVERY TIME PACIFICA Potter's Wheels OHIO, CLEVELAND through May 14 Porcelain and Textiles, Unique gas and electric kilns offer --are half price, S106 at our 17th through 19th century; a Cleveland proven performance.., we guaran- plant Extension exhibit at the Cleveland Publlc tee reliability, economy and dura- •-are more rigid than most Library Art Gallery. bility . . . we have for 25 years. --easily dismantled for mov- write for our catalog Ing OHIO, FINDLAY ---have a unique system of March 7-April 2 Ceramics by ,aye adjustments so that they COMFORTABLY fit users Bumbaugh, Don Dunifon, Edith Franklin, from 4' to 6' 4" tall and Richard Minck; at Gallery One. All models now Nmdy for immediate shlpmemt OHIO~ MAS $ILLON Pboae: (41S) 841.S1U or March 1-31 Ceramics by Frank Susi; HED Industries, Inc. 08534 Write: Box 924, Dept. C., Ik)rkeley, CA. 94701 at The Massillon Museum. Box 176 • Pennington, NJ Continued on Page 36 March 1971 35 Kilns -- Potter's Wheels READ THIS ITINERARY Ceramic Tools Continued from Page 35 J WRITEFOR OUR I OKLAHOMA, BETHANY 70-71 FREECATALOGUE March 1-31 Southern Highlands Guild Traveling Exhibit; at Bethany Nazarene College. PRoDucvs OREOON~ EUGENE through March 21 Ceramics by Bruce 2618 S.E. STEELE STREET Wilde; at the Museum of Art, University PORTLAND,OREGON 97202 of Oregon. PENNSYLVANIA, PITTSBURGH March 20-April 15 "Appalachian Cor- ANDERSON CERAMICS COMPANY, INC. ridors: Exhibition 2"; at the Carnegie- 1950 S. McDuffie St. Mellon University. Anderson, South Carolina 29622 SASKATCHEWANj REGINA Complete Ceramic Supplies March 30-April 17 Ceramics by Jack Sures; at the Canadian Guild of Potters. | i HI SOUTH CAROLINA, COLUMBIA March 14-April 4 Artist Guild of Co- lumbia's Annual Spring Juried Show; at the Columbia Museum of Art. NEW 1970 TENNESSEE, MEMPHIS March 1-26 "1971 Connecticut Travel- Van Howe Ceramic Supply ing Craft Show," sponsored by the Society of Connecticut Craftsmen; at the Memphis SEND TODAY Guild of Handloom Weavers. 4/:11 Catalog $1 TENNESSEE. MURFREESBORO through March 14 The Fifth Mid-South Ceramics and Crafts Exhibition; at Middle Catalog Sent Free COMPACT-ADJ USTAOLE - RIGID-ALL STEEL-SPLASH PAN Tennessee State University• To Schools & Institutions TEXAS, HOUSTON March 20- April 4 "Creative Collabora- VAN HOWE CERAMICSUPPLY CO. tion," a juried exhibition of crafts and POWEREDVERSION ~ 149 33U- 11975 E. 40th. Denver, Colorado 80239 J . " • sculpture, designed for the architectural ' FOR INFOMATIONABOUT Tat QUAGMIREWHEIL likmliiJ setting; at Rice University. ESTRIN MFG. LTD.3651 Pt.Grey Vancouve~8 Canada" UTAH, SALT LAKE CITY March 18-25 "Object Makers 1971"; at Complete Line of Gare is dressed to kiln the Utah Museum of Fine Arts. • . . in stainleee steel jackets and a 2-year VIRGINIAj WILLIAMSBURG Kick and Power Wheels factory warranty on electrical components. Write for complete brochure. Check Garn'j net prices before you make your through March 21 "Mexican Folk next kiln purchase and make n killing. Art," Traveling Exhibition of the Smith- ROBERT BRENT POTTER'S WHEELS 1101 Cedar Street, Santa Monlca, Calif. 90405 Gare Ceramic Supply Co., Inc. sonian Institution; at the Abby Aldrich P.O. Box 830, Haverhill, Mass 01830 Rockefeller Folk Art Museum. WASHINGTON~ SEATTLE FRANCOISE CERAMICS through March 21 Japanese Art Trea- DISTRIBUTOR FOR: Paragon Kilns, Duncan Glazes. Coming Up sures from the John Powers Collection in- Underglazes, Bisq-Wox and Molds. IN STOCK: Large selection of Atlantic . Arnel • Ludwig Next Month in CM elude early pottery, tea ceremony wares Schmid • Holland, . White Horse • Fres-O*Lono and later porcelains; at The Seattle Art • Weaver and Kentucky molds. Complete line of SUMMER WORKSHOPS ceramic supplies. WHOLESALE AND RETAIL. Museum. 113 49th St. South St. Petersburg, Fla. 33707 through March 28 "Acquisitions of 1970"; at the Seattle Art Museum. WISCONSIN~ MILWAUKEE through March 17 The 50th Annum Wisconsin Designer-Craftsmen Show; at ,,,for the University of school Wisconsln-Milwaukee and Fine Arts Galleries. studio! IN A HURRY FOR CERAMIC SUPPLIES? CALL US (Tues. thru Sat.) We will fill your g Mill mix order immediately. 607-432-3812 Complete c drudgery general and mold catalogs N Send $1.00 r ¢r¢ltiY@ ztion. SEELEY'S CERAMIC SERVICE INC. 9 River St., Oneonfa, N.Y. 13820 36 Ceramics Monthly JEWELRY n PHOTOGRAPHY CERAMICS n WEAVING GRAPHICS -- FOUNDRY ARROWMONT BEHRENS 2 Four-Week Summer Sessions Offered to High School Upper Classmen Continued [rom Page 26 School of Arts & Crafts June 27 to July 22 July 25 to August 28 Held af The Hinckley School, Hinckley, Maine until no more gold separates out. For further information write to: This gold must be washed free of Erring H. Heisted, Director PI BETA PHI - UNIVERSITY OF TENNESSEE other metals in solution by pouring e HAYSTACK- HINCKLEY off most of the liquid covering it iewelry e very carefully, to avoid losing any enameling SCHOOL OF CRAFTS e of the heavy gold. Following this the ceramics 7C Highland Ave., Lebanon, N.H. 03775 sedimented gold should be washed e design in clear water, and this process re- o weaving peated five or six times. e textile design CRAFT o STUDENTS CERAMICS An alternate washing technique in- spinning Sixth Annual Show volves pouring the gold into a filter e dyeing LEAGUE of the vegetable YWCA LEAGUE POTTERS paper fitted into a glass funnel. By o macrame March 23 thru April 3 840 8th Ave. 4th Floor Gallery filling the filter paper 5 or 6 times • stitchery at 51xt, N.Y. Men, Women, Teenagers, (2'12) CI 6-3700 Day, Evening, Catalog C. with clear water, most of the impuri- - UNDERGRADUATE- NON-CREDIT ties may be removed from the gold. GRADUATE After this, the powdered gold may SESSIONS be redissolved in a minimal amount POTTERY CENTER FOR SALE June 14-June 18 July 19-July 23 California. Can pro- of aqua regia and again evaporated In Berkeley, -July 2 July 26-July 30 vide good income for several seri- on the water bath to a syrupy liquid. June 21 ous people in fascinating place. July S-July 16 Aug. 2-Aug. 6 particulars: It may then be weighed in the dish Terms cash. For Aug. 9-Aug. 20 Box 924, Berkeley, Calif. 94701 and diluted to the 1% or other known strength, for use in the glaze. FOR FOLDER WRITE Gold is most often alloyed with ARROWMONT School copper, but often with other metals BOX 567, GATLINBURG, TENN. 37738 L & L KILNS also. Gold jewelry that is stamped with the carat content usually con- most complete line! • . . the tains metal copper as the major alloy. The only kilns with patented DYNA-GLOW Applications are being accepted for full.time element holders. Write for information. Thus a 14-carat piece contains 14/24 or part-time insfructars, visiting lecturers L and L MANUFACTURING CO., Box 348 7/12 gold. Jewelry which is plated (demonstrations), assistant instructors, studio 144 Conchesfer Rd., Twin Oaks, Pa. 19104 or assistants, and apprentices in ceramics and contains so little gold that its pro- all other crafts. cessing is not worthwhile. THE CRAFT INSTITUTE OF AMERICA A short formulary of adaptable Cooper Square Art Center 37 East 7th Street, New York, N.Y. 10003 FNAMELIN6 SUPPLIES glaze compositions may be of interest Phones (212)254-$870 and 477-103S EVERYTHING FOR THE ENAMELISTI Decoupage ~ Leaded Glass to the potter interested in working CATALOG S1 (Decoupage Catalog S0c) with gold as a colorant. KRAFT KORNER $842 Mayfleid Road, Maylond Annex ROsE-PETAL RED GLAZE I (Cone 015) NOTRE DAME Cleveland. Ohio 44124 Phone (216)442-1020 Frit 3134 (Ferro) ...... 26.2% Frit 259 (Hommel) ...... 43.6 UNIVERSITY Lithium Carbonate ...... 10.0 SUMMER SCHOOL OF THE ARTS The Famous Nelson, B.C., Canada China Clay ...... 6.2 Brochure on request KLOPFENSTEIN Flint ...... 14.0 POTTER'S WHEEL Write for FREE Information 100.0% H. B. KLOPFENSTEIN & SONS This first Cone 015 glaze gives a Please Mention CM RFD. #2 Dept. A Cresfline, Ohio 44827 bright rose petal red with 0.1, 0.25, when writing our advertisers and 0.5% gold chloride additions. ROsE-PETAL RED GLAZE II (Cone 015) Frit 259 (Hommel) ...... 57.1% Lithium Carbonate ...... 13.4 China Clay ...... 4.8 DOING WELL Barium Carbonate ...... 19.4 • • • A BUSINESS IS CLAYS Flint ...... 5.3 GLAZES 100.0% TOOLS bright KILNS This Cone 015 glazes gives a FOR Schools and ;nstitutions write for rose petal red color when tinted with FREE li~'era~'ure. 0.i, 0.25, or 0.5% of gold chloride. SALE Because the raw barium carbonate is 2410 E. 38th St., Minneapolis, Minn. 5S406 Continued on Page 38 March 1971 37 Advertisers Index March 1971 INTERACT AIM Kilns ...... 34 BEHRENS Alpine Kilns ...... 6 Continued [rom Page 37 American Art Clay Co ...... 9 INTERART ~,nderson Ceramics Co ...... 36 Arrowmont School ...... 37 SUMMER RESIDENTIAL toxic, it should be handled with spe- Art-Crafts Supplies, Inc ...... 33 cial care in the studio. Art Spray Co., The ...... 8 PROGRAMS IN B & I Mfg. Co ...... 5 THE ARTS Banff School of Fine Arts ...... 38 ROSE PETAL MATT GLAZE (Cone 06) Bergen Arts & Crafts ...... 35 28 June-27 Aug. 1971 Frit 14 (Hommel) ...... 46.0% Billiken Press ...... 36 Brent, Robert, Potter's Wheels ...... Magnesium Carbonate ..... 3.0 36 Burt, W. D., Mfg. Co ...... 4 CERAMICS -- for the beginning and Whiting ...... 1.0 Byrne Ceramics ...... 34 advanced potter. 3 - two week China Clay ...... 18.5 Campbell, Gilmour ...... Cover 2 sessions. Flint ...... 31.5 Capital Ceramics ...... 34 Central New York Ceramic Supply ...34 100.0% Ceramic Coating Co ...... 10 D. LONG & T. POLLARD Craft Institute of America ...... 37 This first Cone 06 glaze is a bright Craft Students League YWCA ...... 37 Creek-Turn ...... tuition 2 wks - $ 90 matt of good rose petal red color 32 4 wks - $140 Cress, ].J ...... Cover 3 with from 0.1 to 0.5% additions of Dawson, 6 wks - S180 W.P ...... 33 gold chloride. Dial-A-Glaze ...... I0 Duncan's Ceramic Products ...... 3 Many other workshops in visual and Elliot Lake ...... ,BRIGHT ROSE PETAL GLAZE 38 performing arts. Room & Board in (Cone 06) Estrin Mfg. Co ...... 36 residences at modest rates. Frit 25 (Pemco) ...... 38.1% Francoise Ceramics ...... 36 Gare Ceramic Supply Co ...... 36 Frit 54 (Pemco) ...... 23.8 Haystack ...... 38 Write Lithium Carbonate ...... 9.5 Haystack-Hinckley School of Crafts .... 37 China Clay ...... 19.0 Kemper Mfg. Co ...... 32 Flint ...... 9.6 Klopfenstein, H. B. & Sons ...... 37 CEHTRE FOR Kraft Korner ...... 37 100.0% L & L Mfg. Co ...... 37 CONTINUING EDUCATION Lotus ...... 34 Here is a bright transparent Cone 06 Marshall-Craft ...... 33 Elliot Lake, Ontario, Canada glaze that gives a rose petalred when Mayco Colors ...... 11 Minnesota Clay Co ...... 35, 37 colored from 0.1 to 0.5~b gold chlo- Missouri Valley ...... 34 ride. Nancraft ...... 36 New York Craftsmen ...... 38 BANFF SCHOOL OF FINE ARTS CLARET Notre Dame University ...... 37 In the heart of the Canadian Rockies RBD GLAZE (Cone 4) ]gth Summer -- April through September. 1971 Ohio Ceramic Supply ...... 37 Frit 25 (Pemco) ...... 38.0% Orton Ceramic Foundation ...... 33 CERAMICS COURSES -- JUNE 21 TO AUGUST 28 Frit 54 (Pemco) ...... Oscar-Paul Corp ...... 33 Weavers Workshops, Lilly lohiin, Dublin, Ireland 5.9 Nepheline Syenite ...... 6.9 Paciflca Potter's Wheel ...... 35 Other courses: k(us;c, Ballet. Theatre Arts, Painting, Paragon Industries ...... Whiting ...... 12 Creative Writing, Photography, French, Figure Skating. 7.7 Paramount Ceramic ...... for calendar and further particulars write 35 Banff School of Fine Arts, Booff. Alberta, Canada China Clay ...... 18.5 Parfex Co ...... 32 Flint ...... 23.0 Pottery by Dot ...... 26 Reward ...... 4 lOO.O% Richland Ceramics ...... 35 Rovin Ceramics ...... 4 The addition of from 0.I to 0.5% Seeley's Ceramic Service ...... 36 gold chloride to this opaque Cone 4 Shimpo-West ...... 7 annual Skutt Ceramic Products ...... 36 glaze gives a claret color. :raft seminar Standard Ceramic Supply Co ...... 34 Stromgren and Associates ...... 34 ~tate University CLARET RED GLAZE (Cone 6) Tepping Studio Supply ...... 34 )f New York at Albany Thermo-Lite Frit 3223 (Ferro) ...... 12.6% ...... Cover 4 ~pri116 & 17, 1971 Thompson, Thomas C., Co ...... 5 Potash Feldspar ...... 13.9 For information write to: Trinity Ceramic Supply ...... 32 New York State Craftsmen, Magnesium Carbonate ..... 2.0 Unique Kilns ...... 35 Box 733, ithaca, N.Y. 14850 Whiting ...... 17.5 Van Howe Ceramic Supply ...... 36 Walker China Clay ...... 12.8 Jamar Co ...... 36 Westwood Ceramic Supply ...... 7 Calcined China Clay ...... 8.3 Willis Glass Supply Co ...... 34 Flint ...... 32.9 HAYSTACK 100.0% Back Issues DEER ISLE, MAINE 04627 The [ollowing back issues o] Ceramics This final glazc gives an opaque Monthly are still available at sixty cents 21st Annual Summer Session claret red when tinted with 0.I, 0.25 per copy (Ohio residents pay 4% sales Paolo Soleri or 0.5% of gold chloride. tax). We pay postage. Arcological Seminar 1962 February with Pottery June 28-July 10 1968 October, November Robin Welch RICHARD BEHRENS, a graduate 1969 June British Potter July 12-August 20 chemist whose avocation is pottery, 1970 February, June Please send remittance (check or money Paulus Berensokn spends much o[ his time exploring the August 22-Sept. 11 order) with list of issues desired. [ield o[ glaze technology in his work- Folder Available on Five Departments CERAMICS MONTHLY shop. Box 4548, Columbus, Ohio 43212 38 Ceramics Monthly o t Cress Model C-30-FH High Fire Kiln, Outside: 40x46x67". Inside: 24x24x30". 10 cu. ft. capacity. Up to 2300 ° F. Voltage: 230. Amperes: 60. Complete with two half shelves, 6 posts, peep-hole plugs and instruction's. Elements on three sides and the door for uniformity of temperature. Seven input power controls for precise adjustment of heat in each section. Refrigerator type latch on door. Heavy steel frame..Timer and relay (shown) are optional. $1153.50 or with automatic shut-off $1215.50. Weighs 1200 pounds. J You can't beat a CRESS At colleges and universities all over the the money than any other electric kiln on world, you will see the highly efficient CRESS the market. This can't-be-beat value has High Fire Electric Kiln (as above) or some made CRESS one of the world's largest other of their 19 models. Styles and sizes for manufacturers of kilns for firing and glazing. home hobbyists, commercial, school or Write for free catalog illustrating our full institution use. Prices from $89.50. line of quality constructed kilns for Feature for feature, CRESS offers more for ceramics, glass and enameling. J. J. CRESS COMPANY, INC. 1718 Floradale Avenue, South El Monte, California 91733 A uilm wl zm 1 f . . o t % / L..- Art-Pak Products Inc. Duncan Ceramic Hobby Supply Sterling Sales Inc. P.O. Box 17356 5649 East Shields Ave. 417 Delaware Street 8106 N. Denver Fresno. Calif. 93727 Kansas City, Mo. 64105 Portland, Oregon 97217 Geonells' Ceramic Supply Paul Stromgren & Associates 3525 Victor Street 3919 Sevilla Street Blokely Ceramics Tampa, Florida IS00 Evergreen Avenue Santa Clera, California 95050 33609 Pittsburgh, Pa. 15209 Teppincj Studio Supply Co. Houston Arts and Crafts 3517 Riverside Drive 2048 Marshall Dayton, Ohio 45405 Capital Ceramics Houston, Texas 77006 2174 South Main Street Salt Lake City, Utah 84115 Van Howe Ceramic Supply Co. Leslie Ceramics 11975 E. 40th Street From Cone 10 reduction to Raku, in 1212 San Pablo Avenue Denver, Colorado 80239 Central Ceramic Art Supply Co. Berkeley, California 94706 your back yard or in a mountain retreat, Batavia Road, East of Rt. :¢59 Van Howe Ceramic Supply Co. Warrenville, Illinols 60555 Minnesota Clay Co. of Albuquerque this low cost portable gas unit has all the 2410 E. 38th Street 4216 EdTth N.E. advantages of an electric Ceramics Hawaii, Ltd. Minneapolis, Minn. 55401 Albuquerque, N.M. 87107 kiln with the 629 C Cooke Street flexibility and heat range Honolulu, Hawaii 96813 The Potters Wheel WAY-CRAFT that only a gas 1022-B No. 3rd St. 394 Delaware Street kiln can offer. Available from 23 distrib- Clay Art Center Milwaukee, Wisconsin 53203 Imperial Beach, Calif. 92032 40 Beech Street Rovin Ceramics Wes~wood Ceramic Supply Co. utors and many dealers throughout the Port Chester, New York 10573 6912 Schaefer Road 14400 Lomitas Ave. Dearborn, Mich. 48126 City of Industry. Calif. 91744 United States. Coast Ceramics Ltd. 3739 West 10th Avenue Sherry's Ceramics Wishing Well Ceramic Supply Vancouver 8, B.C. 790 Old Country Rd. 722 Southwest Blvd. Canada Belmont, Calif. 94002 Kansas City, Mo. 64108 ~ = m~z < ~o~ .m._u<< :~o ~ o~ ~_u.~ E ~>~<~ .~o~__m,~{3~-.~S~m|~E=~.~..: = =am . "3u; <~" ~.i~_~a= - ~ (j o.==:,~z'~...,~{3.,., > o -m . m ~:~ ,..,o ~o <~gz~ .c< o- =='z.,.-x,-,~ z"'~-u~ • ~O,J ,~z~