Ceramics Monthly - August 1955 - Network Home · A Complete Departmentin, . . Copperforms,...

I|I V I | • • • mm.i. •

.6-,~ ¢

~~~,/9'~._,~-"

Economical ~t-8, ~o, Chamber 15 high,

TOP-LOADING ,1,9,, lumbus, cl

ELECTRIKILNS ,sy . . . . t e r Save your t i m e . . , cut power costs! These Elect r iKi lns are de- s igned for the special needs of hobbyis t and teacher. Fast-firing up to 2300 ° F . . . . hea t - sav ing . . . l o w power input . Hea t ing e lements scientifically a r ranged to assure u n i f o r m hea t dis t r ibu- tion and long life.

TOP-LOADER.~ c a p a c i t i e s f r o m 4 8 6 0 cu. in. to 7 8 6 cu. in.

Mult i -Purpose

SIDE-LOADING ELECTRIKILNS Part icular ly sui ted to school- room and studio, as wel l as to h o b b y i s t n e e d s . R u g g e d con- s truct ion, bu i l t w i th wide safety f a c t o r . . , mode l s fir ing up to 2,000 ° F., 2175 ° F., 2500 ° F., 2700 ° F. Open type hea t ing elements for longer l i f e . . , placed under hea r th and on sides to insure even heat d is t r ibut ion.

SIDE-LOADERS bench and floor models with capacities from 9 6 8 0 cu. in. t o 2 1 6 cu. in.

Model 819, Inside Firll high, 2000 ° F. $664.25 f.o.b. Columbus, crating $25, pyrometer included.

Reliable

HARROP SUPPLIES Jus t b rush on H A R R O P Series B Liquid Underg laze c o l o r s . . , solve mos t any p rob lem in slip pa in t i ng green or bisque ware. Smooth , even coverage . . . intense colors in a p leas ing r a n g e . . , concentrated, may be th inned wi th water .

J o m o . . .

Jdarrop Ce,'am c Serace Co. I--I .abbyis, Art Studio DEPT. E, ELECTRIKILN DIVISION Owner

35 E. GAY ST. COLUMBUS 15, OHIO ~ 1 Public School

Teacher

PLEASE SEND ME YOUR GENERAL CATALOG ~ Private Class OF ELECTRIKILNS AND ALL SUPPLIES U Teacher

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All types Colors and Finishes, Clays and Plasters, Pot tery Tools , Ki ln Furniture and S u p p l i e s , P a i n t i n g a n d A i r - B r u s h Equip- ment , Sericrafters wa te r -mount Decals, Etch- all Cream for r emov ing fired gold and china paint , Ceram-Ink, Craftool power wheel, Ceramic Ne t s and Laces.

FILL IN AND MAIL THIS COUPON TODAY!

A Complete Departmentin, . .

Copperforms, Jewelryfindings& Copper Enamels

DEALERS.* CONTACT YOUR NEAREST DISTRIBUTOR

DISTRIBUTORS: WE INVITE YOUR INQUIRIES

a ~ cata~g avaitabee upon request

AUGUST, 1955 I

POTTER'S WHEEL [ ] T R A Y - - - T H R E E C O A T 5 O F V I T R E -

O U S P O R C E L A I N E N A M E L - - W A T E R T I G H T - - E A S Y T O C L E A N - - S H E L F A T R E A R .

[ ] H E A D - - T W E L V E I N C H - - R E - I N F O R C E D , C A S T A L U M I N U M T H R O W I N G H E A D - - R E M O V A B L E D R I V I N G K E Y .

[ ] S E A T - - R O O M Y - - C O N T O U R E D FOR C O M F O R T - - L E A T H E R C O V - E R E D - A D J U S T A B L E F O R H E I G H T .

• S H A F T - - O N E P I E C E - - H Y D R A U L -

I C A L L Y F O R M E D S T E E L , O N E Weight 250 pounds--Price F O B I N C H D I A M E T E R - - M A C H I N E T O L E R A N C E T O P L U S O R M I N U S R i v e r Rogue, Michigan $179.50-- .aDz. Crating charge $8.50.

• F R A M E - - A L L S T E E L - - E L E C - P E N S I O N - - O T H E R B E A R I N G S T R I C A L L Y W E L D E D C O N S T R U C - A L L O I L I T E .

T I O N . • F I N I S H - - T H E T R A Y B R I L L I A N T

• B E A R I N G S - - S H A F T IN S E L F Y E L L O W - - T H E F R A M E I N A T - A L I G N I N G B A L L B E A R I N G S U S - T R A C T I V E M A T B L A C K .

THE M O M E N T you si t a t the new Fos te r Po t t e r ' s Whee l - -you get the fee l ing t h a t now, for the f i rs t t ime, you did not have to compromise---- you know you are work ing wi th the finest tool a pot tery c r a f t s m a n can h a v e - - a complement to the best work of the serious a r t i s t - - e x p e r t aid for the novice, ama teu r and s tudent .

Your unique s i t t i n g pos i t ion a t the Fos te r Wheel pe rmi t s you to work in an equ i l i b r an t pos ture t h a t is relaxed, r e s t fu l and al lows the uCmost freedom of the hands and arms.

The rugged mass ive cons t ruc t ion of the Fos te r Wheel is f a r super ior to the heav ies t demands of cons t an t wear and use. I t alone meets al l s t andards of both a r t i s t and engineer .

r a v i n c e r a m i c s 7456 Fenton • Dearborn, Mich. • Phone Logan 3,2906

HAND PAINTING COLORS for GLASS READY MIXED FOR INSTANT USE ALL COLORS COMPATIBLE

10 Beautiful Colors, Gold, Ice, Ruby Luster, Oil Enough material to do 100 plates . . . $S.00 Pp.

Torrance Copper Enamels KIT No. 1

10 Bril l iant Colors Red--Green--Yellow--Light Bl~e--Black

Dark Blue--White--Brown--Turquolse--Clear COPPER CLEANER • ENAMEL GUM • INSTRUCTIONS

$5.00 postpaid

KIT No. 2 Transparent Colors as above $5.00 Postpaid

TORRANCE GLASS & COLOR WORKS 22922 South Normandie Avenue - - Torrance, California

2

NEW/ DIFFERENT/ SAFER Stackers interlock Firmly MORE

COMPACT: Stacks up to 14 Tiles in Kiln only 11 inches high BETTER

RESULTS: T a p e r e d inner sM,es prevent glaze sticking. Per fec t air circulation.

ESSEX Tile Stackers Make Tile Firing Practical

IN STUDIO KILNS BETTER/

i~: ....... ORDER FROM NEAREST PLANT ESSEX CERAMICS CORP. ESSEX CERAMICS CORP.

30 Canfield Road 936 N. Cicero Ave. Dept. CM-9 CEDAR GROVE, N.J. Dept. CM-9 CHICAGO 5, IlL

• 1 Doz. (3 Sets of 4) . .$ 1.50 Send Gheek or M0neyOrder • 4Doz. (12 Sets of 4) $ 5.25 Add 20c on Bach doz. for

• postage & packing " 1 Gross (36 Sets of 4) $14.50 (li l inols--Add 2% Occupa-

tional Sales Tax)

TEACHERS Time Tested r o W e still call it CLAY and we

decorate it with GLAZE. The test of time has proven we can't make a better product by merely giving it a fancy name.

Pre-TestedmEvery batch of every material we ship is tested and approved by a qualified engineer.

School Tested- -More and more teachers are specifying WARD'S on their requisitions.

S. PAUL WARD, INC. 601 MISSION STREET

SOUTH PASADENA, CALIFORNIA Tels: SYcamore 9-2131 - - PYramid 1-2552

CERAMICS MONTHLY

in th is issue

Letters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Itinerary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Suggestions from Our Readers . . . . . . . . . . . . . . . . . . . . . . 7

Nine Shows, 1955 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Throwing Tips: Make a Chuck by Tam Sellers . . . . . . . . . . . 14

Bonnie's Bracelet by Phil Al len . . . . . . . . . . . . . . . . . . . . . . . 15

Enameling: Lines in a Design by Jo Rebert . . . . . . . . . . . . . 16

Cast Ware Combinations by Lee Levy . . . . . . . . . . . . . . . . . 18

Feather Trailing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

CM Briefs: Peg Board for Jewelry . . . . . . . . . . . . . . . . . . . 22

Flower Former . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Catch Overspray . . . . . . . . . . . . . . . . . . . . . . . . 24

Portable Damp Box . . . . . . . . . . . . . . . . . . . . . . . 24

Answers to (~uesfions conducted by Ken Smith . . . . . . . . . . 23

Overglaze Page: Know your C o l o r s by Zena Hoist . . . . . . 25

Plaster Series: Horizonfal T e m p l a t e by Dorothy Perkins . . . 2 7

Enameling: Dots and Chunks by Jean O ' H a r a . . . . . . . . . . . 29

Ceram-Activlties . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

State Directory: Where to Buy Supplies . . . . . . . . . . . . . . 31

Advertisers Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

E d i t o r : Lou i s G. F a r b e r Bus iness M a n a g e r : Spence r L . D a v i s

Assoc ia t e E d i t o r : M a r y El l iot t Ed i to r ia l A s s o c i a t e : T h o m a s Sel lers

A r t D i r e c t o r : Rober t L. C r e a g e r

Advisory Ed i t o r s : Ca r l ton A t h e r t o n ; J . Sheldon C a r e y ; J o h n B. K e n n y

Special C o n t r i b u t o r s : H e n r y B e l l m a n ; E d r i s E e k h a r d t ; Z e n a S. H o i s t ; J e a n O ' H a r a ; Doro thy P e r k i n s ; Jo R e b e r t : K e n n e t h E. S m i t h

Cover by Rober t L. C r e a g c r

Ceramics Month ly is publ ished each m o n t h a t t he L a w h e a d P r e s s , Inc. , A thens , Ohio, by P ro fe s s iona l Pub l i ca t ions , Inc . , S. L . Dav i s , Pres . and T r e a s . ; L . G. F a r b e r , V. P r e s . ; P . S. E m e r y , Secy.

S U B S C R I P T I O N P R I C E in U . S . A . and P o s s e s s i o n s ; one yea r , $4 ; two years , $7 ; th ree years , $9. C a n a d a and P a n A m . add 50 cen t s a y e a r ; f o r e ign , add $1 a year . C u r r e n t issues, 50c; back issues, 60c.

A L L C O R R E S P O N D E N C E ( a d v e r t i s i n g , subsc r ip t ions , ed i tor ia l ) should be sen t to t he edi tor ia l off ices a t 4175 N. H i g h St . , Co lumbus 14, Ohio. En t e r ed as second-class m a t t e r a t t he post off ice a t A the ns , Ohio, as g r a n t e d unde r A u t h o r i t y of t he Ac t of M a r c h 3, 1879. Copyr igh t 1955 by P ro fe s s iona l Pub l i c a t i ons , Inc . Al l r i g h t s r e se rved .

RE-WARD YOURSELF!

Reward yourself to a ceramist's dream of simplicity and ver-

satility. Imagine a soft dull finish so smooth, you too will call

it "VELVET."

Used as an underglaze Velvet assumes a modern dull finish

when fired, or by applying Re-Ward's transparent matte glaze,

it takes on a soft glowing and protective finish.

Velvet's versatil ity makes it a very practical product to have

around. It is a superb colorlzer, and can be intermixed to

produce new shades. It is excellent for coloring:

(a) C lear glazes for jewel lilce tones

(b) Lace Sllp, Porcelain or Clay

(c) Spill and Drip Glazes

(d) Bead Glaze

Velvet's natural soft finish enhances the roughness of Sgraff i to.

Or for a beautiful watercolor effect, dilute Velvet with water

and apply. Think of the fun with this product!

Instructions: Apply with soft camel's hair brush on dry green-

ware or soft bisque and fire at Cone 06--05. For modern

dull finish, do not glaze. For soft glow or protective glaze

finish, use with REWARD'S transparent matte glaze. "VELVET"

is manufactured in 28 colors.

• VELVETS • BEAD • TRU-TONES • SUEDE

• MAGIC MENDER • CHINA PAINTS

If your dealer doesn't stock RE-WARD

"VELVET" send us his name and address

I "Imitated But Never Duplicated"

:a';

PUZZLE POSED Gen t l emen :

Perhaps some reader more skilled in ceramic ar t t h a n this average po t te r will be able to answer the "how ' s it d o n e ? " quest ion posed by the p h o t o g r a p h here- with.

This adver t i s ing ash t ray has a per fec t replica of the newspape r m a s t h e a d - - I ' d

say, abou t one-ha l f the size of the or iginal cl ipping. I t appa ren t l y is under a clear glaze and the torn edges a re very real.

M y inqu i ry of the n e w s p a p e r in ques t ion resul ted in this answer :

" W e were reques ted to fu rn i sh the kiln at Mi lan , I ta ly, wi th a c lean press proof

of our f ront page and f rom tha t po in t on the p rocedure seems to be a wel l -guarded secret•

"You m i g h t be in teres ted to know tha t the mold of the t ray costs $1,100 and the m i n i m u m order is 1,440 trays. Each t ray costs $2.90, wh ich pr ice absorbs the $1,100 for the mold . "

H o w abou t it, C M r e a d e r s - - a n y b o d y know the answer?

NEIL A. GALLAGHER Rochester, N.Y.

• Inspection of the ash tray seems to indicate that the decoration is either an underglaze decal or silk screen in underglaze. Of equal interest to us is the high mold cost [or this rather simple piece. No doubt, the original model was made by Picasso--or was it G ina?- -Ed .

"RARE BOOK" DEPT. G e n t l e m e n :

Renewa l of m y th i rd year of CER- AM[GS MONTHLY wen t fo rward to you recently.

I n the F e b r u a r y 1955 issue, I note your c o m m e n t r ega rd ing shor tage of back number s . Please no te t ha t I have a copy of your or iginal first n u m b e r , Vol. 1, No. 1, ( J a n u a r y 1953) , con ta in ing the sp lendid art icle on copper reduc t ion- red glazes by H a r d i n g Black. I will sell this for $20.00, or I will inc lude it wi th a complete set of V o l u m e I, twelve issues, for $35.00.

Should you have any inquir ies for the above I will be glad to h av e the in- format ion.

WM. G. WHITFORD 20595 Hel len ic Drive

O l y m p i a Fields, Ill.

GLASS FORMING, ANYONE? Gent l emen :

Congra tu la t ions on the fine m a g a z i n e . . . T am glad to see the series on p l a s t e r - - a series long overdue.

I would like to see an article (or two) on the fo rmat ion and decora t ion of glass ware on molds in the kiln. Such an article m igh t cover the type of glass used, molds, mater ials , f ir ing procedures . . . I t has surpr ised me how m a n y of m y cus tomers are in teres ted in l ea rn ing s o m e t h i n g of glassware format ion .

FRED P. WOODS Creat ive Ceramics Studio

Brentwood, Mo. • This subject is certainly within the scope o[ C M ; whether or not space is devoted to glass [orming and decorating depends on reader interest. Comments inv i ted . - -Ed.

BOHROD, TIME & CM Gent l emen :

• . . I t m a d e me migh ty p roud for C M to see the Aa ron Bohrod cover on T I M E magaz ine coming out a lmost s imul- taneously wi th his article in your J u n e issue . . .

ETHEL VERNIER San Francisco, Calif•

Gentlemen : • . . Glad to see Bohrod and TIME

traveling in such good company . . . HARRY MIKOS

Chicago, III.

A R TIS TS- CHINA PA INTERS MA YCO One Stroke COL ORJ are the colors for you These advanced type ceramic colors are designed especially for fin( work. They are brilliant, high-fire colors that you can use without cole You can mix and blend to your own color taste, and these colors will firt ally without change in tone or shading.

Mayco One Stroke can be sprayed and sponged. Use these concentrah for nice spattering effects.

Send 50c for Mayco's 20 page mold catalog. Includes literature on Underglaze colors, One Stroke colors and Hazel Wiggins Patterns.

4. C E R A M I C S M O N T H L Y

The Finest . . . Safest

KILNS On ~h~

Market /

J L A P P R O V E D FOR YOUR PROTECTION!

Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electr ic appl iance Others claim that wire and switches are UL approved, but their kilns are not!

ILN Feature-packed models from h to choose . . . all qual- :onstructed . . . all popu- , priced. Only in a DYNA- q will you find DYNA- O W PORCELAIN ELE- ,IT HOLDERS . . . PILOT -IT . . . 4 W A Y SWITCH 2 PEEP HOLES . . . TOP

kLITY CONSTRUCTION. ,'re good looking, and 're uncondit ionally guar- ed!

MODEL E 49

Chamber:

4 " x 8V2" x 8 ¼ "

$68.00 Plus $2.00

crating chg.

A New, High Qua l i ty

E N A M E L I N G K ILN

Never before have there been so many features . . . so much qual i ty built into a kiln at such a price. It has a PYRO- METER for visual temperature reading, an INPUT CONTROL SWITCH, G R A V I T Y DOOR - - COUNTER WEIGHTED, PILOT LIGHT, DYNA- G L O W PORCELAIN ELEMENT HOLD-

ERS, and it's attractive . . . Plug it in anywhere!

-qp

QUALITY B THROUGH(

DELIVERED ANYWHERE

IH THE UNITED STATES • NO HIDDEN COSTS! • NO SHIPPING CHARGES! • NO CRATING CHARGES! • ALL RISK INSURANCE

INCLUDED IN PRICE!

D O O R Hinged to open u - - easy to insert remove pieces

CASE All-steel welded constructic

I N T E R I O R Made of finest insulating firebricl

ELEMENTS Completely enclos give out true enan h e a t - - not radia! temperature - - dc shock eliminated

HEAT RESISTAN P A I N T

" U L " APP

" U L " APP

~Q~8~ MODEL (E66) AVAILABLE CHAMBER SIZE: 6 " x 6 " x 6 ' "

Ptiee DELIVERED ANY- O n / ~ ~ 7 0 0 • • • WHERE IN U.S.A.

WRITE FOR LITERATURE

Electr ic Kilns

Manufacturing Co. Chester 11. Pa.

D E A L E R I N Q U I R I E S I N V I T E D

AUGUST, 1955 S

IT/II.IAN S I]1tll l fi

It's s i m p l e . . , d i f f e r e n t . . . a N E W approach to

B E A U T Y !

Bring fresh loveliness to your copper enameling with Italian Scrolling on our special Kay Harrison Infra-Red Craffint Kiln . . . the ONLY small kiln with the protected element that provides the heat necessary for this amazing new process. All electrical plug connections are separ- ated and properly insulated from the intense heat of the heating element. The Standard kit (see illustration) consists of: (1) Infra-Red Kiln with tempered glass cover, (2) grid, (3) asbestos pad, (4) trlvlt, (S) 6-ft. cord. Specially deslgned stainless steel scrolling tools (6) are also available. Special converter element (7) for your present Craftint Kiln adapts it for Italian Scrolling. FREE step-by-step instructions on Italian Scrolling included with order for kiln, tools or converter element.

~ ~ ~:~ ~ '~" I

I INFRA-RED SCROLLING CONVERTER KILN KIT TOOLS ELEMENT

$10.50 $2.00 $3.00 postpaid postpaid postpaid

VACATION'S OVER!

VELVA-PLY orders will be filled

starting August 1

Visit our spec|al studio display of original ceramic-copper combinations.

KAY HARRISON STUDIOS 8744 W. McNichols, Detroit 21, UN 2-9222

COPPER ENAMELISTS! Learn to do . . .

Send show announcements early--Where to Show: three months ahead of entry date; Where to Go: at least six weeks before opening.

WHERE TO S H O W

"knational competition

INDIANA, Indianapolis August 31-September 9

Indiana State Fair Ceramics Exhibit. En- tries due by Aug. 10; fee. Write Director of the fair for book of regulations.

LOUISIANA, Baton Rouge Sept. 11-Oct. 2

La. State Art Commission 14th Annual Art Exhibition. For state's artists and ceramists. Jury; prizes. No fee. Cards and work due Sept. 2. For details: Jay R. Broussard, dir., La. Art Comm., Old State Capitol.

MINNESOTA, St. Paul November 13-December 23

"A'Fiber, Clay and Metal competition for American craftsmen sponsored by Saint Paul Gallery and School of Art. Prizes, $1000; entry fee. Work due Oct. 15. Write the Gallery, 476 Summit Ave., for details.

WASHINGTON, D. C. Sept. 1-23

Fifth Biennial Exhibition of Ceramic Art sponsored by Kiln Club of Washington and Smithsonian Insti tution - National Collection of Fine Arts. Includes foreign entries, invited American entries, and a juried section for artists residing in the District, Maryland and Virginia. Thi rd section work due Aug. 19. For details: George Beishlag, chairman, 2044 Ft. Davis St., S.E., Washington, D. C.

WHERE TO GO

CALIFORNIA, P o m o n a September 16-October 2

Arts in Western Living at Los Angeles County Fair (Fine Arts Bui lding) ; ceramics incorporated with other crafts in specially designed rooms and areas. No competitive exhibition.

CALIFORNIA~ S a c r a m e n t o Sept. 1-11

California State Fair, Depar tment Twelve - -Ar t s , includes ceramics and enamels section.

CALIFORNIA, San Francisco through August

California Designed (home furnishings and accessories) at M. H. De Young Museum; simultaneously, at Long Beach Art Center.

CANADA, T o r o n t o through September 30

Canadian Ceramics of 1955 at Royal Ontar io Museum of Archaeology under auspices of Canadian Handicrafts Guild and Canadian Guild of Potters.

GEORGIA, Atlanta September 6-27

Atlanta Art Association--85 pieces from Third Annual Ceramic Exhibit sponsored by Ceramic League of Miami.

ILLINOIS, Chicago September 17-18

Midwest Designer-Craftsmen Craft Fair (second annual) on the East Terrace, Art Institute of Chicago.

MAINE, Five Islands August 20-23

Five Islands Community Club Assn. Art Show and Exhibition. Includes ceramics.

MAINE, K e n n e b u n k August 3-28

Annual exhibition and sale including crafts. At Brick Store Museum, 117 Main.

MASSACHUSETTS, Rockport August 13-September 18

Rockport Art Association's 35th Annual Exhibition at Old Tavern. Includes crafts.

MINNESOTA, D u l u t h through August 15

Italian Arts and Crafts (contemporary) at Tweed Gallery, University of Minne- sota. (Duluth Branch) .

NEBRASKA, O m a h a September 16-October 14

Design in Scandinavia: Over 700 mass- produced items selected by top Scandi- navian designers. At Joslyn Art Museum.

NEW HAMPS HIRE, Gilford August 2-6

Annual Craftsman's Fair sponsored by the League of New Hampshire Arts and Crafts. At Belknap Mt. Recreation Area.

NEW MEXICO, S a n t a Fe August 21-Sept. 30

42nd Open-Door Exhibition (The Fiesta Show) at the Museum of New Mexico Art Gallery.

NEW YORK, Brooklyn September 2-October 2

Enamels by Oppi Unt rach t at Brooklyn Museum of Art.

NEW YORK, Ithaca August 18-20

Second annual York State Craft Fair of jury-selected items. At I thaca College. Sponsor: The York State Craftsmen.

NEW YORK, New York through Sept. 7

Young Americans Sixth Competitive Ex- hibit at America House, 32 E. 52 St.

TEXAS, S a n A n t o n i o Oct. 9

Annual River Art Show concurrent with Arneson River Theatre Competition.

VIRGINIA, Abingdon through August 15

Virginia Festival of the Arts includes Crafts Department with demonstrations and exhibits.

VIRGINIA, Charlottesville through September 15

Chinese Porcelain exhibition at the Uni- versity of Virginia.

CERAMICS MONTHLY

EN~oMo~LIHg~olSIEI~o~LSculil r ~RI~P~~M~i~i~ered tha t the enamel ing? If so, you'll find it ready-made at the station- er's or office-supply store that handles gummed labels. The rings, dots, stars, and many of the odd shapes that are available can be used as stencils, ei ther singly or in combinat ion, for a great variety of patterns.

There ' s a trick to handl ing these little treasures: with a small drop of airplane glue a t tach a short piece of thread to the center of each stencil. Also, before sifting on the enamel, coat the top with gum (or oil) . With these precautions you will be able to grasp the thread with tweezers and lift the stencils vertically wi thout disturbing the outl ine and wi thout spilling the unfired enamel. This string trick will be found useful on larger stencils as well, in which case you use more than one thread.

-- lohn G. Imhoff Cerami Center

Cincinnati , Ohio

WOVEN TEXTURE For an unusual texture ask

your handweaver f r iend to weave some pieces of pa t te rn work on his loom. He should use carpet warp or other fairly heavy thread. Of course, the color makes no difference, and the size will depend on your purpose. Roll your slab of clay on this cloth, reverse it, remove the woven piece and you will have a most unusual pa t te rn in the clay. The cost should be very little for the weaver can use scrap tl~read and the end of his warp, and the edges require no finishing. One of the samples weavers often make to test various borders can be very effective.

--Mrs. H. L. Stevens Carlisle, Ark.

small ca rdboard containers in which ground mea t is sold are most useful as small d rape molds or guides for ash trays and small bowls; the longer ones for f lower containers. Cot tage-cheese containers are wonderful as a guide for bui lding a small pot. A small circle of clay for the bot tom, a slab (or coils) for the sides, and success can be guaran- teed for even beginners.

--Mrs. Herbert Marsh Savannah, Ga.

CRACK FINDER To check your ceramic

pieces for cracks before set- t ing them in the kiln, brush a slightly dampened sponge lightly over the surface. This will po in t up any tiny cracks which may otherwise be too small to be noticed.

--Grace A. Reinhardt Peterborough, Canada

DECORATIVE EFFECT For a novel t r ea tment of

underglaze---or e n g o b e ~ e c - ora ted pots, try textur ing wi th a wire brush. Use the brush with a brisk movement , carrying out the contour of the piece to be decorated. The effect will differ somewhat on green ware f rom that effect created on bisque ware.

--Irving and Lee Levy Levi t town, L. I., N. Y

CLAY TRIMMER A very handy tool for

dressing and t r imming clay projects, especially coil work, is a common ki tchen tool found in near ly every h o m e - - the pota to or carrot peeler.

This type of peeler takes an even, thin slice and is very easy to control. I have also found it is very useful for beveling corners on molds.

--Duane H. Harris Canisteo, N. Y.

M a r k e t F o r I d e a s Send your bright ideas to Ceramics Monthly, 4175 N. High St., Columbus 14, Ohio. @M pays $1 for each item used in this column. (Sorry, but we can't acknowledge or return unused items.)

O CER/~d~AIC C O L O R S ~

NATIONAL AGENTS for

• STEWART'S Watermount Decals Decorative Decals Gold Book Decals

• FORMA Products Forma Leaves Forma Animals

• HOUSTON'S Bisque Press Molds PM I thru PM I1 approx. $1/4 " x SI/2"

New Junior Molds J-S1 thru J-S4 Both Sides approx. 31/4" x 31/4"

DISTRIBUTORSHIPS IN MANY AREAS STILL AVAILABLE--WRITE FOR DETAILS.

New Ceramichrome Patterns t Lucille Henderson's Fruit and Floral Patterns for

Cake Plate Decor. Set of 10--$I .50

• Bob Baldwin's Sponge, Brush, Sgrafflto and Glaze Techniques Set of IOtaS1.00

• Each Set contains complete color scheme.

• Write for your FREE Pattern price list.

AN OPEN INVITATION--When in California visit Cerami- chrome's beautiful Display Rooms--featurlng exotic colors in beautifully finished decor on many of the latest mold creations of leading mold companies.

KERNIAN KRAFTS M a n u f a c t u r e r s of C e r a m i c h r o m e Products 2111 W. Slauson, Los Angeles 47, California

AUGUST, 1955 7

F O R Easier and Better Firing Low Cost Operation Money-Saving Prices Factory Guarantee

, S P E C I F Y A

PARAGON KILN C o m p a r e these O u t s t a n d i n g V a l u e s

HOI)EL R-3

Max. Temp. 2 0 0 0 ° F . $160.00, n o c r a t i n g c h a r g e , f. o. b. Dal- las. F ir ing C h a m b e r : 17" across x 20" high. 19 amperes at 230 volt~ ping we igh t ( lbs.

M o d e l A - 5 5

M o d e l R - 3

HODEL A-55

Max. Temp. 2 3 0 0 ° F . $ 6 0 . 0 0 , no e r a t i n g c h a r g e , f. o. b. Dal- las. F ir ing C h a m b e r : 11" across x 1 3 ½ "

Requires one amp. 115 volt

u i t . Sh ipping W e i g h t only 68 lbs.

MODEL A-66 Max. Temp. 2300°F. $72.50, no crating charge, Lob. Dallas. Firing Chamber 14 '3/8" across x 13 1/2" high. 13 amperes at 230 volts. Shipping Weight only 90 lbs.

MODEL H-17S Max. Temp. 2400°F. for cone 10 firings. $291.50 no crating charge, Lo.b. Dallas. Firing Chamber: 17" x 17" x 18" high. Maximum Power Consumption 6000 watts at 230 volts. Shipping Weight 500 lbs.

FREE CATALOG: complete informatioa on 24 models of Paragon Kilns.

PARAGON INDUSTRIES P. O. Box 4 6 5 4 • Dallas 6, Texas

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L '%ii!iiiii!iiiii! iiiiiiiiiiiiiiil ENAMELING... =

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i!iill The ideal Kiln !i!i~ for beginner .... and professional. iiii WlJJ fire any

:':':':':':':': piece up to 4~e" iiiiiiiiiiiiiii indiameterandll /2"

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Get Kiln--Enamels-- Illustrated Text-- from THOMPSON! W e are the leading manufacturer of enamels for metal and have more than 150 shades ready for immediate delivery. You can make many a r t i c l e s - - p l n s - - buck les - -ash t r a y s - - s m a l l bowls, etc.

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• Controlled fusing temperature

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: . : . : . : . : , : . :

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Used everywhere by: i~i~:::::: Schools--Hobbylsts--Enamel Artists--Hospitals ::::::::::::::::::::

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Write Dept. CM For Complete Information

Thomas C.Thompson Cq 1539 Deerfield Rood • Highland Park, I I 1 ~

. ' : : : ; ] : : t : : : :

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T E X T ::i~i~!~i~i~i~ i::i~i~i::i!iil . : , . ' . : . : . : . : .

ON ~!iiiiiii!!!': ENAMELING ~i~

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by Thomas E. Thompson. ~iiii~!~ Send for your copy of :::i:~:~:~:~:

= page = = iiiiii!iii text on metal enameling. Techniques--tools--eq uip- ment--types of enameling--firing--fin;shes, etc . ~!~i~ii~!~.:.:.:.:.:.:.

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.-. . , . . , . , , . , . . , . , . . . . . . . . . . . , . . , . . . , : . . , . . . ,- . . . . . . •

8 CERAMICS MONTHLY

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NINE SHOWS 955! i ' ............. i iiiii

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American Craftsmen 1955 University of Illinois March 13--April 3 (invitational)

Peter Voulkos, Los Angeles

Paul D. Holleman, Boston

Frans Wildenhain, Rochester, N. Y. (l) Charles Lakofsky, Bowling Green, O. (ctr, 2) Marguerite Wildenhain, Guerneville, Cal. (r)

Theodore Randall, Wellsville, N. Y. (1) H a r v e y K . L i t t l e t o n , V e r o n a , W i s . ( r )

Gladys D. S ta rk (1) ; M a r g i a Abbot t ( r)

Pau l Be l l a rdo- -mosa ic (16" x 40 tl)

Pottery Workshop of Boston

School of the Museum of Fine Arts

i

. . . . : : : : : .

Northwest Ceramics Oregon Ceramic Studio, Portland May 13--June 11

J a m e s McKinnel l , Helena , Mont. (plate, left) and Iva ro se Bovington, Seatt le (compote, c t r ) - - $50 a w a r d ( shared)

N a n McKin~el l , Helena , Mont . $50 for g roup (bot tom, 1)

Be t ty W. Feves, Pendle ton , Ore. " T h r e e F igures :~:4"--$t00 scu lp ture a w a r d

I O C E R A M I C S M O N T H L Y

Indiana Ceramic John Herron Ar t Museum,

Indianapolis May 15--June 12

Karl Martz, Bloomington, Ind. - - First in Creative Ceramics, $200, for group of three including v a s e (r) and "Stall ions" bowl (inside detail, l)

Oklahoma Artis ts Philbrook Ar t Center, Tulsa

April 5--27

::ji::::ii::ii:: ::i!::!i::ii . . . . . . : :~:~:~:~:~:

%

Roger D. Corsaw, Norman, Okla. ( l ) - -F]rs t in Decorative Arts, $75 Idress Cash, Stillwater, Okla. ( r ) - -F i r s t Honorable Mention

. . . . . . . . . . . . . . . - . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ` . . . + : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : + : + : . : . : + : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : , : . : . : . : . : . : . : + : + : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

............ ~ilililiiiiiT::ililililili~:::,:,:,:iiiiiiililil ~ ......... : . : . : . : . : . : : . : . : . : . : . : . : . : . : . : . : . : . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . : . : . : . : . : . : . : . : . : . : . : . : . : + : . : . : .

~i~ii!i!i: i!i!i!i!iil ~ :::::::::::: ........... : . : + : . : . : : . : . : . : + : . , . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : . : ,

:~:[:~:~:~:. ~:i:i:~:~:: :~:~:~:~:~:!

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Toledo Area Art is ts Toledo Museum of Ar t May 1--31

Naoma Powell, Toledo, First in Ceramics

A U G U S T , 1955 I I

W i l l i a m M. McVey " M a n and B e s s t " F i r s t in C e r a m i c Scu lp ture

V i k t o r S c h r e c k e n g o s t - - I"ir

~iiiiii~ii~Sliiii?jiiiiiiiiil

iiiiiiiiiiiiiiiiii!~iljiiij; American Artists in Silver, Jewelry & Ceramics State University of Iowa June 13-August 10 (invitational)

Karl Martz, Bloomington, Ind. (l) Mai ja Grotel], Bloomfield Hills, Mich. (ctr)

Charles Lakofsky, Bowling Green, O. (r)

J . Sheldon Carey, Lawrence, Kan. (1) F. Carl ton Ball, Carbondale, Ill. (ctr) J . T. Aberna thy , Ann Arbor , Mich. (r)

Carl E. Paak , Mt. Vernon, Iowa (l) George Pappas , Cedar Falls, Iowa (ctr) Donald E. Fr i th , Champaign , Ill. (r)

AUGUST, 19SS

Edwin and Mary Scheier, Durham, N. H.

F r a n s Wildenhain, Rochester, N. Y. (1) J . T. Aberna thy , Ann Arbor , Mich. (ctr) Stephen Polchert . Omaha, Neb. (r)

Mai ja Grotell, Bloomfield Hills, Mich. (1) Kar l Martz, Bloomington, Ind. (etr) Stephen Polchert , Omaha , Neb. (r)

rowing DM SELLERS

Tips

for tooling and foot- rimming bottles.... M A K E A CHUCK

H ave you been wondering how a small-necked bottle or vase is fastened upside down to the wheel head so that its foot rim can be cut? The answer is quite simple: the bottle is set in a container (called a chuck or cradle) which is then fastened to the wheel head. This container can be a glass or pottery bottle or jar; straight walls, however, may mar the soft clay of the pot. You will have greater success if you make a chuck specifically for the job.

The chuck is easily thrown on the wheel. I prefer to make mine in the shape of an hourglass with either end a different size and shape. The usefulness of the chuck is thus doubled because it will fit two different types of bottles. The hourglass shape or slanting wall holds the pot at its shoulder, giving good support which is just as important a detail as keeping the small neck off the wheel head. The height and specific shape of the pots you throw will, of course, dictate the type of chucks you need. If you throw long-necked bottles, you will need taller chucks. And if you throw a wide variety of shapes, several chucks, each of different shape and

size, will enable you more easily to find a comfortable or secure fit for the different bottles.

How ~o make if

Routine throwing procedures are used to make the chuck. It can be thrown without a bot tom; but it is more safely lifted f rom the wheel head, when finished, if the bot tom is left in. When the pot is leather hard, the bot tom can be cut out, and the rim tooled smooth and finished inside and out. In throwing, the top rim should be left slightly thick so it will be less fragile and more easily secured to the wheel head when in use. Also, bevel the top rim slightly toward the inside and then sponge it smooth.

Do not fire the finished chuck to full ma tu r i t y - - a slightly porous body is more easily fastened to the wheel head. Usually, I fire two cones lower than the normal bisque temperature.

How to use it

First the chuck is roughly centered, and then the pot to be foot r immed is inverted and set in place. Get down at eye level with the base of the pot and make sure it is absolutely hori-

zontal. Sight along the base, lining it up with a horizontal line on an opposite wall. Then press a clay key around the entire pot at the point of contact with the chuck. Press the key very carefully against both pot and chuck, holding the pot down from the top so as not to disturb it. Then center the pot while it is in the chuck, testing the centering at the top of the pot and moving the chuck for adjust- ments. When centered, the chuck should be keyed down firmly with large wads of clay and then the pot is ready for tooling and foot rimming.

A word of caution. You will find it is slightly more difficult to center the piece for tooling so be prepared to spend a little extra time on this detail. Moreover, the setup is not as sturdy as it would be if, for example, a bowl was fastened directly to the wheel head; so maintain careful control and proceed with caution. In the beginning, tool your bottles while the clay is slightly softer than what you consider normal tooling hardness, and take small, careful bites with your tools. I t is all too easy to gouge into the clay and pull the entire assembly apart. •

T H R O W I N G the chuck requires routine throwing techniques. Hourglass shape, each end a different size, gives added usefulness.

TOOLING is done when chuck is leather hard. The bottom is left in when thrown to facilitate lifting the chuck from the wheel.

IN USE bottle is fastened in chuck which is then centered. Care is needed in tooling to prevent pulling the entire assembly apart.

14. CERAMICS MONTHLY

J

1

!

5

AUGUST, 1955

B O N N I E ' S by PHIL ALLEN

W hen she dresses up for special occasions these days, Bonnie is apt to wear a most attractive blue and white ceramic bracelet. If it's admired (and it's bound to be), she explains with justifiable pride that she made it. All it takes, she says, is some clay and glaze, a jar about as big as your wrist and a bit of arithmetic. Let her show you how it's done.

1. The bracelet is composed of links. Bonnie measures her wrist and figures out how many links of a certain size will be needed to go around. Then she cuts them from a flat, rather thin piece of clay, using the same paper pattern for each link so that all will be approximately the same size.

2. The links will have to be strung together when finished, so Bonnie makes provision for cord by piercing holes at the four corners of each one. She uses a pointed tool and performs the operation while the clay is still rather soft; if done too late, pressure of the tool might split the clay. The holes should be larger than you really want them to be, she knows, because clay always shrinks as it dries; and a little glaze getting into the openings may further diminish the size. More- over, it's easier to string the links if the holes are good and big.

3. The bracelet will feel good and look better if the links fit snugly in an easy curve round the wrist. Bonnie knows a simple way to shape them permanently. She finds a jar approximately the size of her wrist, wets the back of each link ever so slightly,

B R A C E L E T

presses it to the side of the jar, and pats it gently to conform to the curving glass.

4. The links must be held in place until they stiffen firmly to shape so Bonnie wraps a layer of heavy construction paper around the jar and fastens it with rubber bands. The bands hold the links and the paper prevents the bands from marking the still soft clay. When leather hard, the links are removed, smoothed if needed, and eventually bisque-fired.

5. Now we are ready to decorate. The technique Bonnie uses has a big name (majolica) but it's really very s imple--a base glaze that is light- colored, opaque and non-flowing, with darker-colored underglaze decoration on top of it. She covers each link with white glaze and sets it aside to dry thoroughly. Then she mixes a small amount of dark blue underglaze with the white glaze (about 1 part glaze to 3 parts color). With this mixture, she paints her designs on the now dry, white-glazed links. The decoration is rather squiggly--doodl- ing she calls i t - - and nicely fitted to the shape of the links. A glaze firing follows which completes the ceramic part of the process. The links may be put together with cord or heavy yarn; or, better yet, with elastic cord.

Bonnie is cautious with her ceramic bracelet. Being breakable, it won't stand rough treatment. That is why she wears it only on the special occasions when she is being extra ladylike. •

15

ASHTRAY with llne drawing on copper, clear flux overall

d ~ ~ . . E N A M ELS

LINES I N A DESIGN Solid, Inlaid, One-fire Type for Rich and Deep Effect

L ines .of various types play an important par t in de- signing for enamels, and there are many ways of applying them, each method usually producing a different kind or quality of line. The design, of course, should be the deciding factor when you choose the method of application. The particular method to be demonstrated here is one that I find very useful for producing a rich, deep, solid, inlaid line. Any enamel color may be used for the purpose.

The oils used in mixing the enamel for this line make it very rugged when it has dried; consequently, because the line will stand a lot of handling, you can achieve great variety in the width of line.

The method of application is versatile, too. I t may be used for lines under or over enamel, or on bare copper. The procedure for mixing the enamel to be used, applying it, scraping it, etc., is the same in all cases. The only difference is when you apply the line.

In the demonstrauon on these pages,.~the line is applied to bare copper. When covered with a t~ansparent design (wet inlaid), the finished piece has a lovely, watercolor quality plus depth. Since enamel colors look quite different over copper than when used over flux, white or foil, you should be sure to match preliminary color sketches with your enameled samples.

The metal shape is prepared by counterenameling the underside, and cleaning the top side. The lines you plan to make may be traced, according to your design, through red carbon with a hard tool such as a blunt pointer (a pencil is too soft to register the red carbon satisfactorily.) Now we are ready to demonstrate the making of solid, inlaid lines as part of the design on a pair of dress clips.

1. The enamel to be used must be ground very fine so that you will be able to paint the lines on with a brush; and mixed with squeegee oil (which acts as a binder) and lavender oil (a thinning agent). A small quanti ty of the enamel is placed in a mortar and ground with a circular motion until it becomes a fine powder. Then it is sifted through a fine screen (100 or 120 mesh) onto a palette and mixed with the oils.

The following proportions may be used as a guide to the mixture but any of the ingredients may be increased or decreased if necessary for smooth appl icat ion: l heap- ing teaspoon o[ [ineIy ground enamel; about 15 drops o[ squeegee oil; and perhaps 50 drops o[ oil o[ lavender. The blend seems better if the mixture is allowed to stand for a while before it is used.

DARK LINE accents on these pin-and-earrlng sets were inlaid on top of metallic foll and enamel design. All pieces shown on these pages are the work of the author.

2. The enamel is pushed in place on the traced line with a very small brush. The application is made heavier than you want it to look when finished so that there will be enough material for shaping the line later. Any spilling or messy spots may be cleaned up before the enamel dries: a bit of cotton dipped in lavender oil is used for the purpose. The piece is then set aside in a warm place to dry at least over night.

3. When completely dry (so that excess grains of enamel can be blown off easily), the llne is cleaned up at the sides with a dull pointer (a toothpick may be used). A very sharp tool could leave scratches on the copper which would show through the transparent coat to follow. Dur ing the shaping process, the width of the line may be

CERAMICS MONTHLY

1. Mixture for solid, controlled line is made of fine-ground enamel and oils.

4. Final cleaning is followed by firing until lines are smooth and shiny.

2. The wet enamel is pushed into place on the bare copper with a small brush.

S. A short acid bath loosens firescale, then the metal is cleaned until bright.

3. When dry, the line is cleaned and shaped with a blunt-polnted tool.

? ! ? 6. Rest of design is superimposed on fired lines, ready for transparents.

7. Dark leaf area is inlaid and outer areas are filled with lighter color.

8. After firing, pieces are stoned and edges polished; findings are added last.

Finished clips: dark lines show through layer of two transparent colors.

varied; and you can make other alterations to add interest, such as scratching for texture, etc.

Had it been applied over an enameled base, the line could be scraped extremely thin if desired. But lines on bare copper should be left a little heavier because they tend to burn out in the first firing.

4. It is easier to see the work if you dust off excess enamel occasionally--with a soft camel-hair brush; and in order to avoid unwanted fired-in specks, the entire piece must be dusted carefully before the firing. It is then fired gently at around 1400 ° to 1450°F. When the line is rather smooth and shiny, the pieces are immedi- ately removed from the kiln. (Overfir ing causes heavy scale to form making prolonged cleaning in acid necessary which in turn eliminates some of the line along with the scale! If this should happen, the line may be patched and retired gently.)

5. The duration of the acid bath depends on the a-

moun t of fire scale that has formed; the less time, the' b e t t e r - - a s with any counterenameled piece. A few minutes usually suffices. Removed from the bath, the pieces are cleaned with fine steel wool and detergent. Now you want the metal to be very bright so that the transparent coat of enamel, to be applied directly over the copper, Will be very brilliant.

6. Making ready for the transparent enamels, the rest of the design is superimposed on the already-fired lines. More than one color is to be applied, so the transparents are to be wet inlaid. Each enamel is washed very clean (if you want brilliant color), and a little is scooped onto a palette ready for the wet application. ( I f the enamel has been washed previously and is in dry form, you sift a little onto a wet mixing palette and spray with water until saturated.)

7. The dark leaves of the part icular design used for (Please turn to Page 28)

AUGUST, 1955 17

CAST WARE COMBINATIONS N e w L o o k f o r O l d S h a p e s

by LEE LEVY

top: Two bowls set rim to rim plus one inverted cup plus a section of another cup made this one.

ctr: Tumblers joined at the rims grew into a twelve-lnch vase.

below: Footed bowls came from the wedding of cast bowls and sections of cast tumblers.

C ombining two or more cast shapes to make one object, and adapt ing the re- sult to new functions, is a challenge to your inventive ingenuity. I t is fun to do and it definitely multiplies the use to which you can put your molds. Simple shapes are best for the purpose. They lend themselves to more pleasing and varied combinations than would complicated shapes. All of the quite different pieces shown here, for example, are combinations of simple, basic shapes shown above - - a tumbler, bowl and wine cup.

The tall, striped vase, with an overall height of twelve inches, is composed of two twelve-ounce tumblers. It is a project executed quickly and easily if you have two tumbler molds. Casting the pieces simultaneously is de- sirable because it assures uniform thickness, shrinkage and drying. ( I f you have only one tumbler mold, you can solve the problem by stowing the first casting in a plastic bag until the second casting is out of the mold.) Castings for combinations should be slightly heavier than normal because extra thickness is needed for additional strength in handling and for stability in the finished piece. When both castings are firm enough to handle without danger of distort ion-- just as the leather-hard stage begins--they are ready for the joining process. The top rims of both tumblers are dipped into the casting slip to a depth of about ~ inch. Excess slip is allowed to drain off; then the joining is made, rim to rim, with a slight twist of the wrist to insure a proper bond between slip and tumblers. When the slip at the joining has lost its shine and the clay has become somewhat firmer, excess slip is smoothed over with a modeling tool. A rubber rib and a damp sponge are also very helpful for working over the area to complete the joining and smoothing.

The next step for this tumbler-vase is an opening at the top. Here, you have a wide choice of possibilities for adding interest and variety. The opening should be cut with a sharp tool for it is important to avoid rough edges and excess handling of the piece. Now the inside seam where the joining was made is accessible and it must not be overlooked. I t should be worked together and smoothed, a small bit of damp sponge secured to the end of a dowel stick being very helpful at this point. Care must be taken, however, not to strain the wall by too much pressure; excessive strain can show up later in the bisque or glaze firing. A final sponging, and the piece is set aside to dry; whatever decorating is desired may be done when the clay is leather hard. The transformation of two tumblers into one slender, graceful vase is well on the way.

18 CERAMICS MONTHLY

A couple of two-ounce wine cups formed the combinat ion for each of the shakers in the barre l -shaped, salt- a n d - p e p p e r set (shown below) . T h e cups were cast and jo ined in essentially the same manne r as the vase. Since there was no way of working the inside seam, however, ext ra care had to be given to the outside seam. In addi - t ion to the slip used, a thin coil of clay made f rom scrap slip was worked into and over the joining. This coil he lped to weld the top and bot tom sections of the piece more firmly. A pour ing hole was cut in the base of each shaker and the area indented so the piece would sit level when the cork was inserted. For bor ing holes in the tops of the shakers, a nail of suitable size proved excellent.

Small cups, such as those used for the salt and pepper shakers, can be joined in numerous a t t rac t ive combinations. Cut an opening at the top and you have a small bud vase; f la t ten the side, and the object might be used as a novel planter . There is p lenty of room for ingenuity.

Footed bowls in endless variety can develop when you combine different sized bowls with inver ted tumblers. Again, casting and jo ining processes are the same. But if the base of the bowl and the base of the tumbler are not the same size (as in the case of the footed bowls shown) you have to do a bi t of modeling. This means adding a coil at the joint and working it in careful ly to preserve continui ty of line and design. Decora t ive t reat- men t - - cu t t i ng , carving, p ie rc ing- -g ives you fur ther op- por tuni ty for individual i ty in such pieces.

In the speckled, squat bott le (opposite page) we see an entirely different combinat ion of cast ware. Yet the same cup and bowl molds were used for this one: two bowls were joined r im to r im; an opening was cut in the upper bowl and an inverted wine cup a d d e d for the neck. The base of this cup was then cut away and a small section of another wine cup added to make the mou th of the bottle.

Simple shapes, secure joinings, smooth l ine - - these are the ingredients for success. Look over your own stock of molds and have fun concoct ing combinat ions of cast ware. •

The author will be remembered [or her article "'Ceramics [or Children" (CM, Oct. 1954). More details in Ceram- Activities, page 30.

Salt-and-pepper shakers evolve: two wine cups are welded together at the rims. the joining sealed securely with a clay coil.

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THE HOBBY DECORATING PROJECT

a unique decoration with underglaze or slip

FEATHER T R A I L I N G

T he feather-trail ing technique, also called slip comb- ing, is just wha t the name implies: a feather or comb can be pulled through different-colored slips or underglazes to produce the feathery, trailed patterns shown here. Whether you use a feather, comb, or any other tool is, of course, immaterial . T h e principles of this old, Eng- lish technique remain the same.

This type of decoration was originally developed for use with slips and engobes. Experiments with prepared liquid underglazes, however, have shown that these, too, can be used to produce feather-trai led decorations. The technique works best on a flat, wet-clay surface; a rolled- out slab of plastic clay is, therefore, used for the demon- stration here.

1. The slab of clay to be decorated lies on a piece of cloth so it can be picked up later, cloth and all, without disturbing the decoration. Here , a layer of underglaze (it could have been slip) is being spooned onto the clay surface. The consistency of the underglaze is extremely important . I f it is too thin, it will be difficult to build up a thick enough layer; of even greater impor t ance - - t he second color when laid on will run in with the first, giving a marbleized rather than a trailed decoration. If the underglaze is too thick, it will be too difficult to work with. There is no specific rule or formula regarding the consis tency-- t r ia l -and-error exper iment is the best sug- gestion that can be offered.

2. The coating is spread over the entire piece of

clay with a wide brush. Make sure the covering is fairly heavy; don ' t brush it off the clay, merely spread it. This is allowed to stand a few minutes so it will set up. Some of the water will evaporate and some will soak into the clay, put t ing it in a better condition to receive the contrasting color.

3. The second color is trailed on with an infant 's ear syringe. (A glass tube or a plastic squeeze bottle would work equally well for this procedure.) The success of the operat ion depends heavily on the consistency of the color. I f it is too thick it will come out of the syringe in spatters and spurts; and (as ment ioned above) , if too thin, it will flow and blend with the first coating instead of holding its sharp line. (Sometimes adding glycerine or one of the synthetic gums or even wave set to the clay slips helps them flow more smoothly and retain crispness.)

I f you haven ' t had too much experience with slip trailing, by all means practice on a washable table top, newspaper, or cloth. (The slip trailer is filled by removing the nozzle and letting the bulb suck up the underglaze after which the nozzle is replaced.) As you practice you will find that quick movements of the slip trailer give fine, straight lines; slow movements give heavier and irregular lines. These can be used in combinations to produce a wide variety of combed effects.

4. As soon as the contrasting color is trailed on, the feathering process begins. Here, a piece of comb with only two teeth (widespread) is used for the feathering.

1. Spooning underglaze or slip on wet clay is the first step in feather trailing.

2. Spread the coating with a wide brush, then let stand for a few minutes to set up.

3. Trail on the second color. Consistency of each color is one of the keys to success.

20 CERAMICS MONTHLY

The comb is run through both colors in a straight line, with care being taken not to dig into the soft clay.

Any pointed object can be used for the feathering: a bird feather, a hat pin, a row of needles stuck in a cork, a sharp pointer, etc.

5. When feathering is completed, the wet surface or even the slab of clay should not be disturbed until the shine has disappeared from the wet underglaze or slip. Once the surface has set the clay can be given its final shape. I t can be slung in a hammock; or laid over a plaster hump. Remember that both the piece and h u m p should be picked up and that, in a sense, the h u m p is laid on the freshly decorated surface-- the reverse of the usual procedure of draping the clay over the hump. This is to insure placing the clay in the proper position and to avoid any unnecessary movements which would smudge the feather-trailed decoration. When the clay is t r immed and the piece is thoroughly dry, it is clear glazed and fired.

As usual, many variations are possible. You can try this technique on shallow bowls, al though you will find that it is more difficult to control the decoration on a slanting surface. Several colors can be combined as shown in the test tiles (above left). And pieces need not be finished with a clear g laze--very interesting results can be obtained by glazing overall with a semi-matt glaze.

You can also produce good results by working on a freshly cast plate or other very shallow pieces instead of a slab of clay. You can conveniently use some of the same casting slip for the trailing and feathering, mixing in some prepared or dry underglaze for the contrasting colors. •

tarp tool pulled through vet colors produces the .~red or combed pattern.

5. Pieces are finished by shaping over plaster hump, then g l a z l n g and firing.

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AUGUST, 1955 21

briefs Have you ever s topped

to realize j u s t how much

P e g B o a r d t ime is lost in h an d l i n g small ceramic i tems, such

f o r Jewelry as ea r r ings , beads, but- tons, broaches and the like? How of ten a momen ta r i ly c lumsy f i n g e r

ruins some pa ins t ak ing work? Or how often a piece has to be re-glazed because of glaze loss due to the neces sa ry touching wi th the hands ? I decided to do someth ing about it: the ou tg rowth was a peg board and the use of a candle.

Anyone can make the peg board wi th li t t le effort . All t h a t is required, in the way of mater ia l , is a shor t l eng th of 2 x 4 or a couple of sho r t sect ions of 1 x 4's and two fee t of 7/16-inch hardwood dowling. I p r e f e r us ing two lengths of I x 4's because then the re is no guesswork involved in ge t t ing equal dep th fo r the peg holes.

Take one sect ion of 1 x 4 (13 inches long) and m a r k i t off wi th two equ id i s t an t l ines lengthwise , then cross w i th r igh t angle lines, one inch apar t . Next , drill 5 /8- inch holes a t each line in te rsec t ion and nai l or f a s t en wi th sc rews to the o ther length of 1 x 4 (which may be a t r i f l e longer t h a n the top, say 14 inches long) . When completed, you should have a peg board which has 24 holes, evenly spaced.

Now, cut the dowling in two- inch lengths mak i n g enough pins to fill all holes in the board.

I t is only the work of a momen t to drop a spot of hot wax on the end of a peg and press your small b iscui t piece in place. I t sets f irm in a few seconds. Then, when you are glazing, you do not have to touch your ware. You may t u r n the peg any way you wish to get a t every par t , unders ide as well as topside, and when you are wa i t i ng for glaze to dry, mere ly set the peg in a convenient hole! To remove the glazed piece, p ry gen t ly wi th a thin , meta l blade. The opera t ion can be done r igh t in the kiln.

And the board works equally well fo r overglaze dee- orat ion. I t can also be used fo r g reen ware though a word of caution m u s t be inse r ted here. Wax does n o t adhere to unfired clay wi th the same degree of t enac i ty which it ex- hibi ts wi th biscuit .

Fo r g r e a t e r accessibi l i ty and ease of handl ing, the peg board should be placed as t r ide a band ing wheel. When not in use, the board may be set on a nea rby shelf, out of the way.

A f t e r every two or th ree us ings (p re fe rab ly a f t e r each sess ion) , the excess wax should be scraped f r o m the dowel ends to insure a be t t e r s t icking a r e a . - - R e x Eidson, Por t land, Ore.

22

Flower

Former

The shap ing of t iny f lowers can be a chore and also can produce lots of scrap clay as a by-product . Here is a me thod I worked out which enables me to shape the t iny pieces wi th a very min imum of b reakage resul t ing.

1. Slip is poured on a p las t e r ba t unti l the desi red th ickness is buil t up. The dry p las t e r will absorb w a t e r f rom the slip quickly and it will set up in a m a t t e r of minutes . The des i red shapes ( s t a r shapes in this case) are cut or p ressed out, us ing a shaped cu t te r made for tha t purpose.

2. The cutout shapes are t r a n s f e r r e d on the end of a knife blade to the f la t surface of a soft , cellulose sponge t h a t is s l igh t ly dampened.

3. The shap ing process follows. P r e s s the e raser end of a pencil gen t ly into the center . The sponge "g ives" under the p ressu re and the edges of the clay shape will curl up into the desired cup shape. I f holes in the center of these shapes are desired, run a small drill th rough them while they are stil l on the sponge.

4. Slide the pieces off the sponge on a knife blade and set them aside to dry.

The c lus ter of f lowers shown in the sca t te r pin above was made in th is method. (Tha t ' s a small bead fixed in the center of each f l o w e r . ) - - P e g Townsend, Townsend 's Ar t Craft and Hobby Shop, Tucson, Ariz.

~iiii ~ ~i~i:~ 4~:~ ,~ ~iii~i!!~ ~ ~:~:

CERAMICS MONTHLY

~). Are there any objections to bisque and glaze firing in the same kiln at the same time?

A° T h e r e is no d i s a d v a n t a g e to b i s q u e a n d g laze f i r i n g

a t the s a m e t i m e if the w a r e c a n c o m e t h r o u g h the s u b s e q u e n t

g laze f i r i n g w i t h o u t c raz ing . I t is bes t to s e p a r a t e the b i s q u e a n d

g l azed p ieces in the k i l n to p r e v e n t a n y g laze v o l a t i l i z a t i o n f r o m

a t t a c k i n g the b i s q u e a n d f o r m i n g v i t r e o u s a reas . I f you h a v e h o t

a n d cool sec t ions in y o u r k i ln , set the b i s q u e p ieces in the coo l e r

p l aces a n d the g l azed w a r e in the h o t t e r spots .

~). I have about [ive gallons o[ slip which is quite old, has darkened in color, and has settled out rather badly. I t can be worked up all right but it has a tendency to stick to the mold leaving it a dirty yellow color. The slip fires out to a clean white bisque; I wonder, however, i[ there is anything I can do to make it easier to work with and eliminate the mold stains.

A. T h e d a r k co lor a n d s t a i n i n g of the m o l d w i t h y o u r

s l ip is d u e to e i t h e r a n o v e r d o p e d s l ip ( too m u c h e l e c t r o l y t e ) o r

a c o m b i n a t i o n of th is a n d excess ive a m o u n t of l i g n i t e p r e s e n t in some of the ba l l clays.

I t is d i f f i cu l t to sugges t a r e m e d y w i t h o u t k n o w i n g e x a c t l y

w h a t t he p r o b l e m is. T h e bes t a d v i c e I c an g ive is to s u g g e s t

a d d i n g s m a l l q u a n t i t i e s of th i s s l ip to f r e sh s l ip a n d in t h a t w a y g r a d u a l l y use i t up .

Q. What kind o/ medium should I use with underglaze~ [or silk-screen work on ceramic ware?

A. A l m o s t a n y one of the o r g a n i c m e d i u m s s u c h as the

s y n t h e t i c g u m s used to s u s p e n d a n d i m p r o v e the b r u s h a b i l i t y of

g lazes wi l l work . T h e i m p o r t a n t f e a t u r e is e x t r e m e l y f ine g r i n d -

i ng of the co lo r w i t h the m e d i u m . U n l e s s y o u h a v e the e q u i p -

m e n t for th is g r i n d i n g , i t w o u l d be b e t t e r to o b t a i n r e a d y - m i x e d

colors. Y o u wi l l e v e n f ind the w a t e r - b a s e , p r e p a r e d , l i q u i d u n d e r -

g laze co lors q u i t e s a t i s f ac to ry fo r s i l k - sc reen work . S o m e m a n u -

f a c t u r e r s do s u p p l y these co lors e x p r e s s l y for th is p u r p o s e .

~. Can you recommend a paint [or the outside metal casing o[ my kiln where small rust spots have appeared?

A. A l u m i n u m h e a t - r e s i s t a n t p a i n t is g o o d for the m e t a l

cas ing of y o u r k i ln . F i r s t r e m o v e a l l r u s t a n d sca le w i t h a w i r e

brush, c l ean t h o r o u g h l y a n d t h e n b r u s h the p a i n t on.

Q. Am I right in assuming that plates which chip easily on the edge are insufficiently fired and~or too thin at the edge? Or is there some other [actor in their design that is responsible?

A. W h e n t he c l ay ch ips easi ly , i t m a y be c a u s e d by in-

co r r ec t des ign , u n d e r f i r i n g , o r by i n c o r r e c t c o m p o s i t i o n of the

body. T h e edges of the p l a t e s h o u l d be r o u n d e d a n d e v e r y b i t as

t h i ck in a l l p a r t s as the wa l l . H i g h t a l c bod i e s a re s o m e w h a t

p r o n e to c h i p p i n g a n d if the w a r e is n o t n e a r l y v i t r e o u s , i t wi l l ch ip easily.

All subscriber inquiries are given individual attention at C M I and, out of the many received, those of general interest are selected far answer in this column. Direct your inquiries to the Questions Editor: please enclose a stamped, self-addressed envelope.

Exclusive fully enclosed, safe design - - no exposed mechan;s

Whether amateur or skilled artisan . . . you'll find the smooth motorized operation . . . ease of control in the BIG, all.steel precision built MASTER POTTER'S WHEEL enables you to originate beautiful, distinctive pottery excelling anything you've ever done before. Massive steel construction completely encloses mechanism to exclude clay and moisture . . . assures operator safety and provides vibration-free performance. Other features ordinarily found only in expensive wheels include: pre-lubricated bronze bearings for quiet, long service, convenient arm rests, adjustable wedging wire, large 18" throwing table with plenty of working space and a removable water cup. 10" throwing head has joggles for easy centering, underside reverses for casting plaster bats. You have complete hand freedom at all times . . . smooth instant change of speed from 30 to 150 rpm is controlled by a foot pedal. Easy to use, even for handicapped persons. Use any V4 HP motor. Standard V4 HP motor $16.95" when purchased with Master Potter's Wheel. MASTER POTTER'S WHEEL Floor Model, I tem 47b, Wt. 90 lbs. Lists at $ 1 7 5 . 0 0 - - F a c t o r y pr ice . . . . $89.95 MASTER PO'I ' rER'S WHEEL Bench Model, I tem 47a, Wt. 45 lbs. Lists at $125.00--Factory price . . . . . . . . .

10 DAY M O N E Y B A C K G U A R A N T E E

DEPT. 95-K Bur l ington, Wis .

THIS IS

"IRIS".

Two beautiful and class- ical poses, H-522 (illustrated) and H-$23.

These figurines have just been completed and ready for your summer sales. Also, ask to see "Daisy" H-514 . . . truly exquisitely modeled!

/ 1 L Look for the Dutch Kids, our registered . ~ . ~ Trade Mark, th.is is your assurance of a genuine HolJand Mold.

Ask for our FREE catalog!

'1040 PENNSYLVANIA AV, TRENTON N. J. tX 2-7032

AUGUST, 1955 23

*C briefs

Ha-hum, rockin' chair t ime!

Take it easy, Frlendsi

To REST ALL SUMMER is no crime,

For all too s o o n ~ i t ends!

Relax, be gay, enjoy yourselves

Whi le we clean up the store,

And when vacat ion t ime is done

We' l l rush to greet you a t the door.

So, tood le -OO 'ti l l summer's sun

Is not so hoe*, Dear Friends.

Sure hope you all have lots of tun

For all too soon it ends.

ANOTHER Shop to Serve You beginning Sept. 12th at 32480 Northwester Hwy. Farmington, Mich.

Tet. VErmont 8-1088

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Ceramics Monthly 417S N. High St. Columbus 14, Ohio

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Catch

Overspray

E v e r y once in awhi le when you w a n t to s p r a y a piece, you are f aced w i t h the p rob lem of h a v i n g e i t h e r a smal l q u a n t i t y or a ve ry special g laze or both , and you are re- l u c t a n t to lose any of i t in the f o r m of overspray . Here is one idea t h a t le ts you have your cake and ea t it , too!

Set up a ba f f l e in the s p r a y booth (as shown in the photo) to ca tch t he overspray . The baf f le in th i s case is a shee t of w r a p p i n g p a p e r spread unde rnea th , and propped up behind, the piece to be sprayed. I t ca tches the bulk of the overspray . W h e n the glaze is comple te ly dry, i t can be b r u s h e d off the p a p e r baf f le and r ec la imed . - -Dolo res Tom- kins, A t l an t a , Ga.

Portable ,

Damp Box

Not a l l of us a re f o r t u n a t e enough to have the space in our h o m e s or s tud ios to accommoda te a p e r m a n e n t damp box. As a resu l t , m a n y t e m p o r a r y se tups to keep t h e i r work damp h a v e been d r e a m e d up by po t t e r s and sculptors .

The mos t common, of course, is mere ly to d rape damp c loths a r o u n d the work in p rog re s s and cover overal l w i th p las t i c or oi lc loth to help r e t a i n the mois ture . W h e n f ine, de ta i led work is involved, however , these cloths can m a r the sur face . In such cases, the c loths a re usua l ly p ropped up so t h a t t h e y do no t touch the surface , s t icks held in place w i th wads of clay b e i n g used as props.

The p rocedure shown in the ske tch above is one t h a t I f ind m o s t workable . I use a s t r ip of copper window screening ro l led in to a tube of the desi red d iameter . This tube is he ld t o g e t h e r w i t h s t r i n g and p a p e r clips and fo rms an exce l len t f r a m e w o r k a round the sof t piece of po t t e ry or sculp ture . A f t e r a d j u s t i n g the tube, I sl ide i t over the piece, d rape d a m p e n e d c lo ths a round and over it, and then i n v e r t a l a rge p las t i c b a g and slide i t like a sleeve over the en t i r e setup.

The c loth does no t touch the clay; the copper screening, however , p e r m i t s p e n e t r a t i o n of the mo i s tu re and, of course, i t is ru s tp roof .

U s i n g th i s technique , I have kep t newly th rown pieces and tal l , s l ender scu lp tu re mois t fo r ex tended periods.

Make sure the screen cyl inder is t a l l e r t h a n the object and, fo r g r e a t e r r ig id i ty , use a s t r ip long enough to roll a- round i t se l f twice. I f you are wor r i ed abou t i ts t ipp ing over, t h u m b some clay a r o u n d the b a s e . - - R o s e M i g d a l , H i g h l a n d P a r k , Ill.

24 CERAMICS MONTHLY

Overglaze Page

by ZENA HOLST E N A M E L I N G EXCEPT THE KITCHEN SINK[ Each item tested and proven in our e n a m e l i n g classes. C o m p e t i t i v e l y priced and easy to order. . .BY MAILg Know Your Colors

The following question, which a reader has put to Mrs. Hoist, is based on the common notion that the mineral content of china painting colors is the sole factor governing their firing requirements. Pointing out that mineral content is only a small part of the information necessary for successful painting, our overglaze expert discusseg the subject at length in the hope that many decorators w|ll be helped to a better understanding of the colors they work wlth.--Ed.

4" We have a large palette o/ assorted china colors including Limoges , Fry, Bis- choff, Pence, etc. Is there a book publ ished showing the mineral content o[ china paint ing colors, and their f ir ing requirements? To illustrate: dark brown: contains iron oxide; fire at . . . degrees or cone . . . . ; last f iring only, or can be f ired 2 or 3 t imes wi thout losing its original strong color . . . . You wou ld be most help[ul i[ you could lead us to as comple te an answer to this firing problem as possible.

It would really be quite a waste of time to try to classify colors according to mineral content for the purpose of making decisions as to the firing temperatures. First, the maturity of the colors depends upon the glaze and ceramic body that is decorated. Second, there are too many phases involved in the development through the firing cycle of overglaze decoration for anyone to be able to say that a certain color should be fired to a certain temperature. This was ex- plained in my earlier article on firing (CM, April 1954): the firing chart therein gives the annealment temperatures for overglaze painting on various ceramic ware and was arrived at through extensive experiments. It is taken for granted that good pigments which will withstand a range of temperature from 1157 ° F., to 1517" F., are used.

No Two Alike

If you have a selection of colors from several manufacturers you will find that there are no two alike as to strength, dependability and development through the firing process. If you are not acquainted with the comparative qualities of the colors

under different trade names, then you should make your own tests. Each manufacturer has his own for- mulas and the compounding of pigments for china painting are not standardized. Vials of brown from various sources may look the same, but no two be the same in composi- tion. I could tell you that a brown contains manganese and to fire at cone 013 because I know that if that brown is good it is composed of manganese and will stand a temperature up to 1517 ° F. This advice, however, would be given only i[ you were using the brown on a piece of hard porcelain since no color, however good, can be taken to cone 013 when used on an art body. On the other hand, another brown that looked the same, but was from another source of manufacture, might fade completely at cone 013 on hard porcelain. Because the latter brown was weak in endur- ance through the firing cycle, I would say that it was not good quality and no doubt contained a portion of iron which is often used in browns. A good brown is d

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