• ,_~ ~ :< • i t .,~ } ))tit li i ,, ~-.'~ . ~:>>F.'J,, ., .", \ J sj ,<+,l~ 2 \ s ~ ,\ • . <>:~ / / ~i ~ Concentrate on the clay. Rely on the wheel. Contact your local Shimpo-West Representative. SHIMPO-WEST P.O. BOX 2315, LA PUENTE. CALIFORNIA 91746 Why More and More People Everywhere are Mixing Clay with the PUG MILL I • Stainless steel -- no rust -- long lasting • Quiet totally-enclosed dust proof pare motor and gear box • No special wiring -- uses 115 volt current Mixing clay by hand wastes time and effort. Buying pre-mixed clay wastes money. • Instructors and potters throughout the nation, and in many foreign coun- tries, have found the better way to mix clay. They're using this modern machine that releases time and talent for teaching, learning, cre- !izi ative production and experi- ment. • They've discovered, too, that the Walker Pug Mill pays for itself. • Return the postage-free postcard stitched into this publication. You'll receive more information and detailed Walker Pug Mill specifications by return mail. A single pass through the Mill renders clay of consistency perfect for throwing or modeling. ! Load~i~~Dry Clay ~~'~ ~ AddG'°gj i ~ "AddWMer ~ ~ Use°rSt°r Send us your name now and we'll rush further information, detailed specifications and a list of satisfied users. October 1975 3 ~~i ~i~ i ii!~iii~i ~i!i!~i> ~i NEED MORE FIRING SPACE? Consider Our Portable Gas Kilns to 12 cu. ft. Front Loaders to 35 cu. ft. Envelopes to 200 cu. ft. PROFESSIONAL CERAMIC EQUIPMENT P.O. BOX 1012, NOVATO, CALIFORNIA 94947 4 CERAMICS MON TI-ILY MONTHLY Volume 23, Number 8 October 1975 Letters to the Editor .............................. 6 Itinerary ........................................ 13 Answers to Questions ............................. 17 Suggestions from Our Readers ..................... 19 Pity the Poor Potter by William C. Alexander ........ 23 The Ceramic Bells of Paolo Soleri by Elena Karina-Canavier ....................... 24 Objects and Crafts ............................... 28 A Pottery in Thailand by Jerrilynn C. Polissar ......................... 30 Functional Ceramics 1975 ......................... 36 Scripps College Exhibition ......................... 44 The Camera & the Craftsman ...................... / 46 Early New England Potters by Suzanne Amanda ..... 48 Sculpture at Evanston ............................. 52 The Handle by Robert Fournier .................... 53 Architectural Commissions by Don Lewis ............ 56 Portable Containers by Erik Gronborg .............. 58 Nepheline Syenite Glazes by Richard Behrens ........ 59 CeramActivities .................................. 87 New Books ...................................... 89 -+e - Index to Advertisers .............................. 90 .fo+ On Our Cover "1200," a stoneware form by Dick Hay, Brazil, Indiana, o ÷ received the Indianapolis Museum of Art grand prize in "Objects and Crafts 1975." Other prize winners in this exhibition of works by Indiana craftsmen are featured ?#t4 on pages 30 and 31. Publisher and Acting Editor: Sp~Nc~ L. DArts Managing Editor: W[LLt^SZ C. HC'NT Copy Editor: Do~xa WOLFZXS,~RG~R Art Director: ROS~RT L. CRWAOC~ Circulation Manager: M~RY RUS~L~Y Advertising Manager: Cox~z¢ BeLCheR Editorial, Advertising, and Circulation Of/ices: 1609 Northwest Bh'd., P.O. Box 12448, Columbus, Ohio 43212. (614) 488-8236. West Coast Advertising Representative: Joseph Mervish Asso- ciates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. (213) 877-7556 Copyright 1975 Pro[essional Publications, Inc. All rights reserved. C~R~.CS .~.IONTIIIV is published monthly" except July and August by Pmf~ional Publications. Ine g I. Davis. Pres P S Elner`'. See.: 1609 Northwest BI,d. Columbus, Ohio 43212. Correspondence con~erni.~ sub- scripti~,ns, re.lepta|s, aIld cha.Te of address should he mailed to the Circulation Department, C~RAMlCs Mnx FIIL~. I~.X 12448, Columbus. Ohio 13212. Se(ond Class postage paid at Athen~, Ohio. t'.s ~. Suh~riptions: O.e `'ear $8: 'I',~ years $I4: Thr~ yea~ $19. Add $1 per ".ear outside u,s.~. The articles irl each issue of C~M~cs ~'.~[~NrHI5 are indexed in the Art Index and the Reader,' Guide t~ I'(..d~al I.iterature. Mic.~fi[m copie~ are a,ailable to subscrib~e~ from L'ni~er~t~ Microfihus. 300 N Zeel. Rd. Aim .~.rl,or. Michigan 41~1C~ Manu~(ripts and illustrations dealing ~ith ~era.d~ art a(tl~ die, are ~,,'h,,me :,nd ~,ill he l(,ns~dered fi~r publicati~.. A l~klet is a~adable ~ithout cost to p~tential authors, des(zihi.~ pr,,- ~edure~ for die preparation and submission at a manuscript. Send manu~cripls and corresixmdence al~,.~ thelll ! to zhe Editor. (:~R^~IC~ ~.'|OSrHLY, Box 12148, Columbus. Ohio 43212 October 1975 5 LETTERS SALT GLAZING WITH BORAX flood to illuminate pottery evenly. Al- flood illumination. There are two ways I In reference to "Throwing a Hanging though this would work highly success- solve this and still achieve the even illu- Planter," in the June 1975 issue, the article fully with black-and-white film, it poses mination suggested by the article. One brings up some interesting characteristics of some problems in color. Different light way is to eliminate the sunlight and just salt glazing with borax. Additions of borax sources have different color temperatures use two photofloods--one stationary (to to the salt lower the temperature at which and therefore must be considered when provide illuminatiion and highlights) and glass or glaze forming occurs, but converse- choosing color film. I've found that when one waved (to provide fill light and ly do not increase the orange peel texture. I've mixed indirect sunlight (from an un- eliminate harsh shadows). With this sys- It does form more of a smooth glaze surface shaded window) and tungsten light (pho- tem I also use tungsten-balanced film on the exposed clay body. Borax introduced toflood) that there is a minor, but notice- (High-Speed Ektachrome, Tungsten, ASA into the kiln atmosphere alone or in a able, difference in colors between areas 125) or daylight-balanced film with a No. mixture with salt affects the future firings. high in sunlight and areas high in photo- Continued on Page 9 Unvolatilized material lingers in the kiln firebox and walls and might react again in the next firing. Jell Zamek Great Barrington, Mass. IN SPITE OF EVERYTHING Your profi]es on potters are most inter- esting but in some cases the explanation of their techniques leaves something to be de- sired. They don't seem to be telling the whole story. It's like giving a recipe and leaving out one of the ingredients. This may be for the potter's protection but it's rather frustrating to get all fired up (par- don the pun) about trying something and then find there is inadequate information on it! In spite of this, nobody's perfect--I love your magazine. Violet Roth Livonia, Mich. ADVICE FOR NON-PHOTOGRAPHERS The Ruth Chin article ("Photographing Ceramics," June 1975 CM) presents some interesting information and helpful sug- gestions for a non-photographer wanting to make a photographic record of his pot- tery. But as a photographer doing port- folio work for several local potters, I noted some ambiguities and inaccuracies in the article which could cause beginning photographers a great deal of wasted time and money. First was the suggestion that "for color slides Kodachrome II, Daylight, ASA rating 25 is recommended." In fact, Ko- dachrome II is no longer produced and, at least on the West Coast, is almost im- possible to find. Kodak replaced that film with Kodachrome 25, which has the same ASA rating. This new film seems to give even better color reproduction and, if anything, is finer grained. Second was the mention of buying film in bulk lengths (50-foot rolls or 100-foot rolls). This might tend to confuse non- photographers for a couple of reasons. Even though buying film in bulk is less CREATIVITY COMES EASIER expensive per picture than factory-packed rolls, to use bulk film you would need a True creativity is never easy, but it's a lot easier for the ceramist supply of reusable cassettes and a bulk who uses Mayco Colors. That's one of many reasons why the most film loader, a completely light-tight dark- exacting craftsmen as well as beginners prefer Mayco's quality room, or a light-tight film changing Glazes, Underglazes, One Strokes or Accents. They're homog- bag .... Add this additional cost to the enized for extra smoothness and easy firing at Cone 06. And now Mayco Colors has developed a line of glazes containing no lead fact that the potter wishing pictures of at alll Safe for use in schools and hospitals. Send for your free his work has little need for tremendous chart of America's finest colors/ amounts of film and it is easy to see that o bulk loading should not really be con- sidered by the beginner. MAYCO COLORS The third point involves the suggestion 20800 Dearborn Street Chatsworth, Calif. 9131f ° Dealerships Available of mixing indirect sunlight and photo- 6 CERAMICS MONTHLY NEW SKUTT DC-1 POTTER'S WHEEL THE QUIET REVOLUTION . BRUTE POWER WITH PERFECT CONTROL! THROWING FEATURES Extremely quiet and free of vibration and hum. Truly Powerful. 1 H.P. special duty D.C. motor easily handles 100-pound throws. 12 amps max. current. Accurately holds any speed even with heaviest forming operations. It's no longer necessary to pot standing on one foot while you try to delicately compensate for Speed Sag with the other. Full 25 ° pedal travel for 0-240 RPM with low speeds ideally spread out. Unrivaled smoothness and power at low speeds--perfect for all decorative operations. Cast aluminum speedhold!ng pedal is integral with rigid burnt orange fiberglass pedestal which in turn is Permanently Wedded to cast aluminum crib. Pedal friction is adjustable so you can "settle" your foot fully, then change speed with absolute control.