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D e c e m b e r 1969 3

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T E A C H . . . t h e e a s y w a y

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H A R T

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M O N T H L Y

Volume 17, Number 10 December 1969

Let te rs to the Edi to r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Itinerary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Answers to Questions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Vocational Ceramic Training in Japan by Mark S. Zamantak is . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Thomas Shafe r by Roger D. Bonham . . . . . . . . . . . . . . . . . . 14

Tom Shafer Demons t ra tes Building a Jar by Roger D. Bonham . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Portfolio: Objects : U S A . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Gem Making for the Enamel is t by Louie S. Taylor . . . . . 27

Crea t ing Facade Fo rms by Rober t F. E i l enberger . . . . . 30

Chromium, the Swinging Glaze Colorant by Richard Behrens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

CeramAct iv i t i es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Ceramics Monthly Index: January-December 1969 . . . . . 41

New Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Index to Adver t i se r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

On Our Cover

Stoneware Box by Verne J. Funk is a part of "Objects: USA," the Johnson Collection of Contemporary Crafts. Mr.

piece, which is approximately 6 inches square and 13 inches high, is black,

Funk'Sstitution in Washington, D.C., and is cur-

decorated with bronze luster. The 308- piece collection of crafts, which was assembled by Lee Nordness for the Johnsons, was first exhibited at the Smithsonian In-

rently on view in Boston (see the "Itin- erary" columns). "Objects: USA" is the subject of a special CM Portfolio starting on page 19 of this issue.

Editor: THOMAS SELLERS

Art Director: ROBERT L. CREAOER

Business Manager: SPENCER L. DAVIS

Circulation Manager: MARY R U S H L E Y

Editorial Assistants: CONNIE BELCHER, FRANCES SAWYER

Advisers and Special Contributors: F. Carlton Bail; Richard Behrem; Kathe Berl; Edris Eckhardt; Zena Holst; John Kenny; Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish Associates, 4721 Laurel Canyon, Suite 211, North Hollywood, California 91607. Telephone: TR 7-7556, Area Code 213.

Copyright 1969 Professional Publications, Inc.

Ceramics Monthly December 1969. Vol. 17 - - No. 10. Published monthly except Ju ly and Augus t by Professional Publications, Inc. - - S. L. Davis, Pres . . P. S. Emery, Sec.; a t 1609 Northwest Blvd., Columbus, Ohio 43212. Correspondence concerning subscriptions, renewals, and change of address should be addressed to the Circulation Department , Ceramics Monthly, Box 4548, Columbus, Ohio 43212. Second class postage paid at Athens, Ohio, U.S.A. Subscriptions: One year $6; Two years $10; Three years $14. Copyright 1969. All r ights reserved.

The articles in each issue of Ceramics Monthly are indexed in The Readers ' Guide to Periodical Li terature. Microfilm copies are available to subscribers f rom Univers i ty Microfilms, 313 N. F i r s t St., Ann Arbor, Michigan. Manuscripts and il lustrations dealing with ceramic a r t activities are welcome and will be considered for publication. Manu- scripts should be typed double-spaced and range f rom 500 to 2000 words. Send manuscr ip ts and correspondence about them to the Editor, Ceramics Monthly, Box 4548, Columbus, Ohio 43212.

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December 1969 5

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6 Ceramics Monthly

ROVIN C.ERh IC,5 6912 Sr. ER

Share ),our thoughts with other C M readers--be they quip, query, comment or ad- vice. All letters must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, Box 4548, Co- lumbus, Ohio 43212.

REMARKS FROM ENGLAND I am a great admirer of Ruth Duck-

worth and appreciate your article and p h o t o g r a p h s ("Ruth Duckworth," by Thomas W. Collins, September 1969 CM). However, three statements were made concerning the way potters work in England which are the complete opposite of the truth.

(The article says) "There (England) ceramic artists work exclusively with electric kilns." Nowadays studio potters. schools and colleges use gas . . . and oil kilns much more often than electric kilns.

" . . . the England method of working with ready-prepared clay bodies, . . ." Again--many potters prepare from dry powders, using dough-mixers.

" . . . England, where the recipes of individual potters are closely guarded." This is laughable! The Craftsmen Potters Asso- ciation of Great Britain has for eleven years nurtured and demonstrated the value of mutual interchange of knowledge and ideas. All the leading potters and indeed all people who make pots are always ready to help with specific technical ad- vice.

Perhaps Ruth Duckworth was mis- quoted by Mr. Collins or she must be a little out of touch with potters in Britain.

Mrs. Janet Hamer Ponthir, Monmouthshire, England

KIMPEI NAKAMURA In your article about Kimpei Nakamura

by Michael and Miki Zimmerman (Sep- tember 1969 CM), you mention the use of simple ash glazes. As I do a lot of textured work, I would like to know where I could find some information on these glazes. The article was very interest- ing and I enjoyed the pictures of the potter's work. Cecelia Leisero[[

White Plains, N.Y. Many of the standard ceramic books on

glazes and bodies give in[ormation on ash glazes. C M has had several articles, the most recent appearing in the January 1969 issue. I t was by Richard Behrens and titled "'Ash Glazes /or Cone 6." - - E d .

A SURE THING While I 'm sending in my renewal, I

want to add a few words to let you know how delighted I am with both the magazine and the handbook, "Ceramic Proj- ects," which I ordered at the same time I subscribed. Please consider me a lifetime subscriber. I shah recommend the magazine and the book to my friends, that's sure! Mrs. Floyd l ohn

Springfield, Ore.

GLAZE CORRESPONDENCE I have just received copies of Cr.RAMXOS

MONTHLY, for which I thank you. A1-

LETTERS though I have not yet had time to digest these issues, I am delighted with them and eagerly await the next. We do not have any publication in England comparable to yours. I would very much like to correspond with a person interested in glazes, especially. Mrs. J. ]oyce

37 Rosslyn Hill Hampstead, N.W. 3, England

STANDARDS SEEM HIGHER I have been subscribing to CM for

about four years and have been inspired by something in every issue. Each year your standards seem higher, your photo-

graphs and articles more informative. I sincerely hope that this high standard continues.

I would like to see you stress creativity, to show the reading public how to make clay work for you, but to create your own thing. The method is the message. They say "there is nothing new under the sun," but I think if we turn to nature for our designs and shapes, more potters would come up with more original work. Can we say more to encourage people in this di- rection ?

Petronella Cochnar Silver Spring, Md.

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The earliest evidence of fire-cured pottery has been found in Turkey at the archeological site of Catal Huyuk; a crude soft earthenware estimated to have been made around 9000 BC and most likely fired on an open pile. By 6500 BC, more advanced pottery developed, burnished and hard-fired probably in a closed kiln. An actual earthenware up-draft kiln, dating from 3200 BC, has been uncovered at Ur with the last batch of pots stacked within. Kiln temperatures probably did not exceed earthenware heat before the Chinese invention of down-draft multichambered climbing kilns around 500 BC. Modern fuels are today utilized for purity and convenience. Poster size reprints of this series in color are available without charge.

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D e c e m b e r 1969 7

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The WCS 500 is a very special p iece o f pot- t e ry e q u i p m e n t m a d e for t he t e ache r or profes- s ional p o t t e r whose work load requ i res more t h a n the typ ica l " g o o d " p o t t e r ' s wheel can offer . The WCS 500 has power : a ful l horse power ' s ra t ing and di rec t gear drive. I t has a pe r fec ted AC/DC speed con t ro l t h a t n o t on ly gives a var iable speed range of 0 to 200 r p m bu t p rovides ful l t o r q u e at all speeds wi th auto- ma t i c c o m p e n s a t i o n for weight a n d pressure. This is a wheel m a d e to s t and up u n d e r con- t inua l hou r s of use in e x c e p t i o n a l l y demand- ing s i tua t ions . If you are an i n s t r u c t o r or a profess ional po t t e r , it i s well w o r t h you r whi le to l ook in to t he WCS 500.

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8 Ceramics Monthly

ITINERARY Send your show announcements early: "Where to Show," three months ahead o[ entry date; "'Where to Go," at least six weeks be[ore the opening.

WHERE TO SHOW

CALIFORNIA, NORWALK February 24-March 18, 1970 "Cerritos

Ceramle Annual '70" will be held at the Cerritos College and is open to all artists working in ceramics and ceramic sculpture. Fee; Jury; Prizes; Work due January 31. For information, write : Roland Shutt, Cerritos College, 11110 East Alondra Blvd., Norwalk 90650.

MASSACHUSETTS, BOSTON March 16-April 17, 1970 Boston City

Hall "Crafts 1970," National Invitational Exhibition and Northeast Region Jurled Show, all-media, co-sponsored by ACC Northeast Region and Boston Institute of Contemporary Art at the new Boston City Hall Galleries. Competition open to craftsmen in Maine, New Hampshire, Vermont, Massachusetts, Rhode Island, Connecticut, New York, New Jersey, Delaware, Penn- sylvania, D.C.. and Maryland. Entries due February 12; Entry fee. For information and forms, write: Mrs. Carney Gold- berg, 300 Allandale Road, Chestnut Hill, Mass. 02167.

MASSACHUSETTS, FALL RIVER May 3-24, 1970 The 14th Annual Na-

tional Show will be held at the Greater Fall River Art Association. The mediums will be painting, ceramics, graphics, glass, sculpture and weaving. Slides of work must be in the Art Association by Febru- ary 18, 1970. For applications, write: Mrs. George Sandler, Fall River Art Association, 80 Belmont St., Fall River 02720.

MISSOURI, ST. LOUIS March 1-28, 1970 "Enamels 1970," na-

tional competition-exhibition of enamel work. Juror: Charles Bartley Jeffery; Awards; Entry fee; Slides due January 10, 1970. For entry forms, write Mrs. Nancy Pate, Craft Alliance, 4738 Mc- Pherson Ave., St. Louis 63108.

NEw YORK, WHITE PLAINS February 15-March 8, 1970 Annual

Juried Photography, Graphics, and Crafts Exhibit sponsored by the Westchester Art Society. All artists; Fee; Jury; Cash awards. Work due February 1-2. For pro- spectus, write: 35 West Post Rd., White Plains 10606.

OHIO, COLUMBUS June 18-July 26, 1970 The Fifth Bien-

nial Beaux Arts Designer/Craftsmen Ex- tfibition is open to craftsmen in Illinois, Indiana, Iowa, Michigan, Minnesota, Mis- souri, Nebraska, North Dakota, Ohio, South Dakota, and Wisconsin. Jury; Entry fee. Entry forms will be available late

in January, 1970 from Designer/Crafts- men Exhibition, Columbus Gallery of Fine Arts, 480 East Broad Street, Columbus.

O I-IIO~ YOUNGSTOWN January I-February 22, 1970 The 22nd

Annual Ohio Ceramic and Sculpture Show, sponsored by the Butler Institute, is open to present and former residents of Ohio and includes work in ceramics, enamels, glass, jewelry and sculpture in any medium. Jurors: Mr. and Mrs. Ed-

ward R. Burroughs; $I,000 in purchase prizes; Entries due November 1 through December 14. For information and entry blanks, write: Butler Institute of Ameri- can Art, 524 Wick Avenue, Youngstown.

TENNESSEE. OAK RI f lE February 7-March I, 1970 The Third

Biennial Craft Exhibition of the Tennessee Artist-Craftsman's Association will be held at the Oak Ridge Community Art Center

Continued on Page 37

f

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J December 1969 9

A n s w e r s t o

QUESTIONS C o n d u c t e d by the C M T e c h n i c a l S ta l l

I have a clay body that is advertised by the supplier as a Cone 06 clay. I[ I tried [iring this to Cone 04, is there any

chance that the ware would be harder? When it is [ired at the recommended temperature, the clay has a tendency to chip quite easily.--E.M.H.

In all probability the clay will fire quite satisfactorily at Cone 04, and it certainly will be less likely to chip. The higher firing will result in a more mature, harder clay body.

{~ Since the melting points o[ pyrometric cones may vary as much as 50°F, depending upon whether large or small cones

are used, why do so many writers about glazes Jail to speci[y which size cones they have used [or best results? Our current text, "'Ceramics" by Glenn Nelson, contains a list of temperature equivalents [or both small and large cones which is clear enough, but this is [ollowed by seven pages o[ glazes and the cone num- bers at which they will mature, with no indication o[ which size cones to use. Authors in CERAMICS MONTHLY have been guilty o[ the same thing. Rhodes, in his "Clay and Glazes [or the Potter," does not even mention cone size. I would appreciate your opinion. --Mrs. M.G.R.

CM authors assume that the larger size cones will be used in connection with the glaze recipes listed in the magazine. We sent copies of your letter to Mr. Nelson and Mr. Rhodes, and their replies follow:

"All glaze and body recipes are given with the assumption

that large cones will be used . . . . In high firing, the small cones are very hard to see, and are rather impractical for this reason." --Daniel Rhodes.

"The glazes in the back of my text are all calculated with the larger cone size in mind. The small sized cones are not used too frequently as they are extremely hard to see at the higher temperatures." --Glenn Nelson.

In using vinegar to moisten both edges of a broken piece o[ greenware be[ore putting them together again, I [ind

that there always is a seam that shows, even when the repair is otherwise quite success[ul. Is there any way to avoid this, or can you suggest a good method to repair the repair?--V.].L.

Have a small quantity of powdered clay ready and nearby when you assemble the two pieces of clay. As soon as they are together, scoop up some of the dry clay powder and rub it over the vinegar-soaked seam. Enough of the powder will be absorbed with the vinegar to give a build-up of clay at the repair line; when the day is absolutely dry, the area can be scraped smooth. Of course, You should use the same clay for the repair as was used to make the clay piece!

All subscriber inquiries are given individual attention at CM; and, out o[ the many received, those o[ general interest are selected [or answer in this column. Direct your inquiries to the Questions Editor, CM, Box 4548, Columbus, Ohio 43212. Please enclose a stamped, sell-addressed envelope.

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10 Ceramics M o n t h l y

Operat ing from one of the most modern facilit ies of its kind, A. D. Alpine, Inc. has special ized for more than a quarter of a century in the design and manufacture of gas and electric kilns, pottery wheels, and a complete line of ceramic equipment. Alpine supplies professional potters, schools, and institutions, throughout the entire United States. We •manufacture forty-eight di f ferent models of high f ire gas and electric kilns. In pottery wheels w e have designed an electronical ly control led model with variable speed and constant torque, but we still manufacture the old "KICK WHEEL" too.

Also available free of charge is our book. let "Planning a Ceramic Studio or an In- stitutional Ceramic Arts Department,"

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December 1969 11

Vocational Ceramic Training in Japan by MARK S. ZAI~IANTAKIS

Above: A group o/ students work on the standard hand wheels.

A student working on an in-line :checI throa'~ off tbc lump.

Student working on a hand wheel puIl~ clay out into a bou'l shape.

12 Ceramics Month ly

THE HIYOSHIGAOKA UPPER SECONDARY SCHOOL, built in 1949 on the Hiyoshigaoka Hill, is one of Kyoto's "Syn- thetic-System" schools, and its arts and crafts course is one of its component parts. The Synthetic-System is Ky- oto's senior high school educational program under which ordinary and vocational courses coexist on the same campus. The primary aim of art in this school is to develop efficient craftsmen to fulfill the needs of the community. Along with the basic aims in art, students are guided toward a well-rounded education in academic areas and character building through an interrelationship between teachers and students of both courses.

There are seven specialized departments in the school: Japanese painting, Urushi art ( lacquer), Euro- pean painting, ceramic art, sculpture, costume design, and design. Each department tries to develop an artistic sense from its unique point of view through proper knowledge and experience. It is believed that the inborn artistic and aesthetic talent should be promoted as far as possible, and that the aesthetic sense will assume a concrete form only if it is guided carefully and trained properly. The aim of any one of these courses is not just to endeavor to teach the students a specialized subject, but also to try to develop in them an enlightenment toward better understanding in the area of the plastic arts. Therefore, the major purpose of this course in art is to inspire the student to become a competent art specialist and, perhaps, gain that knowledge and practical skill which enables him to seek and study further as a unique artist in his community.

Entrance to this high school is limited to the highly talented student who can meet three qualifications: 1. Graduate from a junior high school; 2. Successfully pass the examination for high school entrance; 3. Pass the

necessary aptitude examination in art. The total number permitted to enter in all seven categories is limited to 100 students.

There are 23 students in the ceramics program, and they are divided into first, second, and third year work. All students are permitted to throw on tile potter 's wheel and, by the third year, they are highly competent in this work. By the end of the three-year course, the student also is able to prepare his own clay, mix his glazes, and stack and fire the kiln.

Kyoto, and most other pottery centers in Japan, are interested in this unique program and offer employment to tile potter-graduates.

The photos show students at the school throwing on the wheel. The wheels showing tile smaller heads are rigged into a series of four in a straight line, and these operate together from a single electric motor. They are so designed that each individual wheel can be disengaged simply by changing its pulley system. The larger wheels pictured are tile traditional hand wheels.

Working and teaching on an exchange basis at this school has been a most rewarding experience for me, and I shall be returning to the United States with a new per- spective of a most unique people- - the Japanese.

M A R K Z A M A N T A K I S is on an exchange teacher's leave [rom George Washington High School, Denver, while he serves on the [aculty o[ the Kyoto Municipal Hiyoshigaoka Upper Secondary School, the only school of its kind that oilers Japanese high school students pro- ]cssional training in the arts and crafts. This exchange program was made possible by the Kyoto Educational Committee and the Denver Public Schools.

Delicate handling o[ the clay is needed [or shapiny, the wall of tile bowl.

A chamois skin is used to smooth the lip o[ the bowl.

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December 1969 13

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Thomas Shafer b y R O G E R D . B O N H A M

IN A DAY when professional potters are being influenced by Pop Art and other offshoots of modernism, Thomas Shafer finds much of his inspiration in medieval and Renaissance ceramic art. Partially out of his interest in Spanish majolica and luster pottery, this studio potter from Bowling Green, Ohio, has created a "look" that is immediately recognizable, and quite different, from any other ceramics being created today.

The 31-year-old Sharer, who has been a full-time potter since 1965, already has an established reputation. He has won awards in the Ceramic National Exhibition, Fiber, Clay and Metal Show, Iowa Artists Exhibition, Craftsmen USA '66, California State Fair and Exhibi- tion, Ohio Ceramic and Sculpture Exhibition, Designer Craftsmen of Ohio, and the Massillon Museum Annual Show. He has also been accorded a number of one-man shows.

Perhaps most impressive of all, his work is in tile private collections of the Everson Museum in Syracuse, the St. Paul Art Center, the Butler Institute, Massillon Museum, California State Exhibition, Columbus Gallery of Fine Arts, Syracuse University, Ohio Dominican Col- lege, and Bowling Green State University.

Tom Shafer makes two basic types of ware: the purely decorative pieces, which are usually hand built;

14 Ceramics Monthly

Tom Sharer is pictured at work on the wheel in his studio.

and the functional items such as bowls, cups, teapots, and jars, which are usually wheel thrown. Either kind, however, may be a combination of slab and thrown ele- ments. And the non-functional items ofter can be used because they are always containers of some kind, even though they are conceived as decorative rather than functional pieces. At present, most of his production is in the form of small jars and bowls, simple shapes with elaborate in-the-glaze decoration.

In examining a display of Shafer's pottery, one is struck by the way he has utilized rich enamel-like colors in contrast with earth tones. Actually, he uses several distinct decorating techniques. One is the majolica, or in-glaze decoration, in which he paints the design in rich colors over an unfired opaque white glaze which has air-dried on bisque ware. Another Sharer style is the adding-on of a colorful, enamel-like glaze design to a body of earth tones. The design is made using thin coils of clay; glaze is applied within the resulting "cells," and usually on the raised parts of the design as well. The resulting affect is reminiscent of the cloisonn6 technique used in enameling.

Tom, a native of Iowa, studied art at the University of Iowa, where he developed an interest in ceramics. After receiving his degree, he went into the Army, where

he was able to continue work in making pottery at army craftshops. After his discharge, he spent eight months touring Europe, then returned to the University of Iowa, where he says his real ceramic education began under James McKinnell. He received his MA degree in 1965.

Following graduation, Tom and his wife Yvonne migrated to the redwood country of northern California. Tom set himself up as a full-time potter, but also taught an evening class at the College of the Redwoods, a junior college near Eureka. Yvonne, meanwhile, taught at Hum- boldt State College at Arcata. They moved to Ohio in 1967, when Yvonne received a teaching appointment in the Theatre Department at Bowling Green State Uni- versity.

The Shafers live in a narrow frame house that is just a short walk from the campus. Examples of Tom's work are displayed in every room of the house, along with pieces made by his friends. Tom's main workspace is a fair-sized, well-lighted room in the back of the house. An adjoining space, which might have been a utility room for previous tenants, is used for glazing and storage. In this area stands the small electric kiln he uses for firing low-temperature oxidation glazes. A 35-cubic-foot pro- pane-fired kiln, which Tom built himself, is located out- doors, under a shelter roof behind the garage. This larger kiln is reserved for bisque and Cone 10 reduction firings.

Some artists find the studio potter's life a lonely one, but T o m seems content with it. Yvonne, when not in class or at her office, works at home too. Tom also likes to work outside when the weather is pleasant.

T o m is a thoughtful person and a careful worker; as a consequence, his rate of production is not high. On the other hand, he sells nearly everything he makes. Since moving to Ohio, in fact, he has had to do very little merchandising. He left some of his work at outlets on

the West Coast and also has some on sale at America House in New York City. Of course, a good share of the pottery shown at his exhibitions is purchased; twice he has staged a sale with Floy Shaffer, another Bowling Green potter, at the Sharer home. Tom also attends art fairs at Ann Arbor and Old Town in Chicago.

Although the Sharers live a comparatively settled life most of the year, the truth is they are incurable travelers. In the summer of 1968 the couple toured most of the countries of western Europe--I ta ly, Spain, France, the Scandinavian countries, and England. Partially because of Tom's interest in majolica, they spent some three weeks touring Spain. They made a special pilgrimage to Valencia, where majolica ware is still made, and since T o m speaks Spanish, he was able to converse with the potters there. The couple also returned to Spain this past summer, then hurried home to prepare for one-man shows during October and November at the Toledo and Massillon Museums.

Is Tom influenced by what he finds on his travels? Having moved a bit and traveled extensively, T o m has thought a lot about the matter of influences, which he discusses as follows: "While I have been in the last five years an Iowa potter, a California potter, and a Midwest potter again, this has not been an important factor af- fecting my work. In most cases what influences me is the thing I am ready to be influenced by. Two or three years ago Spanish medieval pottery meant little to me, but as my own development began to move in that di- rection, I became very interested in the Hispano-Moresque ware and my current work is influenced by it."

Whatever the influences or reasons for them, it seems clear T o m Shafer has created a pottery quite unlike any other being made today, and certainly in contrast to that being influenced by modern trends.

Pieces by Sha[er included slab jars with thrown necks and lids, a teapot and bottle with applied ornaments, and tiles done in the Hispano-Moresque style.

Thrown bowl was bisqued, dipped in white glaze, then decorated majolica-style over wax resist. Cone 10 reduction firing.

December 1969 15

Tom Shafer demonstrates Building a Jar by ROGER D. BONIIAM

THOMAS SItAFER believes in building on his previous work-- l i teral ly! For this demonstrat ion he uses a finished, fired piece as a form on which he builds a globular lidded j a r .

The pot ter begins by rolling out several slabs of grogged stoneware clay between guide strips. In this case tie rolls out tile clay on a plyboard surface, which im- parts the wood's texture to the clay. Sometimes he rolls the clay oil a backyard concrete walk slab, and this produces a rough, pitted texture.

Some of the clay slabs are rolled to a 3/8-inch thickness; the remainder are made 1/2-inch thick. The thicker pieces will be used in building the lower port ion of the jar, where greater support is needed. The slabs of clay are sliced into strips and wrapped in plastic to keep the clay workable during tile several hours that the piece will be under construction.

Shafer up-ends a 20-inch-high jar which will serve as his form. A bisqued pot can be used instead of a partially glazed one (as in the demonstrat ion) and in such a case the clay can be applied directly to the pot with no protective material in between. In tile demonstrat ion the lower section of tile pot is covered with a "cap" made from thin sheet plastic such as a dry-cleaner 's bag. Paper towels can be used, and indeed are preferred by Shafer because they absorb excess moisture f rom the added-on clay and release more easily later on. No mat te r what is used between pot and clay, it will facilitate removal of one f rom the other when the proper time comes.

After forming and leveling the base, T o m begins adding strips of clay for tile wall. For convenience and efficiency, he works on his potter 's wheel. Since tile clay is usually fairly stiff, the edges of the strips are scored with the tines of an old fork before the slip is painted on and the joint is made.

As each strip is added, Toni paddles the pot 's ex- terior to secure the joint and smooth up the contour. In doing so, slip usually squishes out at the joint, and this feathered design is left intact on the pot 's su r face- -aga in for reasons of texture and design. In fact, he does the paddl ing gently so that texture of the slabs and lines of the joints are not obliterated.

Because he is striving for a handmade look to his piece, T o m is not concerned that the strips being added are not of equal width. Wha t is more, if a strip does not reach around entirely, he simply will tear off a piece from another strip and make the patch, which is then paddled to make it fit into the shape. "Sometimes I ' l l deliberately shorten a strip, to make a patch necessary. I t adds something to the design of the pot 's surface," he explains.

When the body of the piece is slightly more than

16 Ceramics MontkIy

half formed, and has stiffened enough to support itself, T o m inverts the form and its clay "shell." The jar is r emoved- -ca re fu l ly ! - - a long with the plastic protection. This operat ion must not be done too soon, or too late. I f too earl),, the piece will collapse; if left too long on the mold, the piece will be too stiff to work with. And if it shrinks too much, the clay will split.

After the piece is inverted and the inner form removed, the construction sequence continues by scoring. painting on slip, and adding more strips of clay. Now. after adding t w o - - o r at most, three--s t r ips of clay clear around the pot form, T o m leaves the work for a short while in order to allow the clay time to set up.

1,2,3

7

4,5,6

He uses such "down time" to throw the neck of the

jar and the lid. These pieces are thrown separately. Dur-

ing one of the later time intervals he may tram the lid,

giving it a rounded contour. Between times, the neck and

lid are covered with plastic to keep the clay relatively soft.

When the jar has reached the proper height, the

hole is t r immed and the pre-thrown neck added. Of

course both pieces are scored and slip is added to effect

the join. Tom used his thumb to blend the neck and body

and thus make a continuous line. Fit of the lid is checkect

and an)" necessary tr imming and adjusting are done.

For this piece Tom adds lugs--simply clav strips that

are arched and joined to the shoulder of the bottle. He

I. Clay slabs are rolled and attached over a large

jar which serves as a [orm [or the new pot.

2. As each clay strip is added, it is paddled to secure

the joint and smooth up the contour.

3. Slip, used to attach the slabs, squashes out and

gi~,es the sur/ace a leathered design.

4. When the pot is hall /ormed, it is in~'erted and

the jar is care[ully remoeed.

5. Construction continues by scoring, painting on slip,

and adding more strips o[ clay.

6. Neck and lid are thrown separately and the top

o/ the lid is t r immed on the wheel.

December 1969 17

7. The thrown neck is trimmed to fit the top of the jar, then scored with the tines of a fork.

8. Slip is added, then the neck is removed from the wheel and attached to the top of the jar.

9. Clay in the neck and pot is "'thumbed" after joining in order to give the jar a continuous line.

I0. The pot is finished by adding simple lug handles and pressing on an ornamental stamped seal.

also applies an add-on ornament of a Greek religious motive said to be used for stamping sacramental bread. Now, if he wished, the potter could of course press the carved-wood stamp directly into the clay body. However, Tom Shafer prefers the stand-out effect of an added-on design. To make the ornamental seal he rolls out a thin piece of clay and presses the wooden mold into it. The clay adheres to the mold. Any excess clay is trimmed off and the mold is then pressed onto the bottle, to which slip previously has been applied. If the clay is of the proper consistency, the clay design pulls away from the mold while adhering to the pot.

Sharer uses other means of decoration too. Strips are sometimes added to the body to form designs; perhaps patterns are incised into the leather-hard clay; or designs may be painted on with glaze after bisque firing.

Tom has been staining these pots with iron oxide or

18 Ceramics Monthly

manganese dioxide, or a mixture of the two. The stain is brushed on, then partially sponged off, leaving a heavier deposit in the lines and pits of the surface. Where the colorant is heavier, the fired color is darker, accenting the surface. As a result, the pots are predomlnately brown, but where the manganese dioxide is heavier, the surface shows black, or is sometimes black with brown showing through.

In addition, a yellow stain and a blue slip are sometimes used on smaller areas; occasionally, parts of the jars are glazed. The pots are reduction fired to Cone 10.

And then comes the exciting moment savored and feared by all potters--the moment when the kiln door is opened and the piece is delivered from the heat. There it stands: a brown and black beauty--a bottle that in its turn may become the "parent" of yet another Tom Shafer jar!

to support a Faberge. Just the same, a few arhsans kept their hands in. Bellamy carved eagles, Wilhelm Schimmel carved and painted wooden figures, and George Hubener made and decorated ceramic plates. But the heritage of folk art that these craftsmen left us was mainly a rural exercise practiced by a dwindling few. In their frail state of health the American crafts were easily done in by the Industrial Revolution. and erstwhile craftsmen went into factories or turned their talents to teaching and industrial design. The crafts were dead, interred by the machine. But after a hundred-year sleep they suddenly began to emerge again. As if the end of World War II were a signal, kdns were fired and looms turned again, in California. New Mexico, Ohio, and New England College-educated hands picked up the chisel, the lathe and the blowtorch What emerged was a new breed of craftsmen Where once American crafts were rooted in tradihon, the contemporary craftsman has broken w~th the past Where the earlier craftsmans eye was naive, the contemporarys ~s sophisticated The bucolic has given way to thecosmopohtan Famdiar with the art forms of many ciwbzations, at home in the Prado and the Parthenon, versed ~n Pinter and Freud. today's craftsman is more often than not on the faculty of aco i l ege He~satwent ieth century man whose environment includes t~qe computer, the rocket stop. and the lunar landing

• Obiects: U S A is unmistakably twentieth century It was the work of two dedicated crafts connoisseurs with in-depth encyclopedic knowledge of the f ield LeeNordness. whose gallery has hosted many craft exhibits, assembled the pieces: and Paul Smith, under whose aegis the Museum of Contemporary Crafts has become a creative force, acted as consultant. In putting the collecbon together. Nordness and Smith selected what they considered the best of contemporary crafts and commissioned a number of distinguished original works In sponsoring the enttre collecbon. Mr. Samuel C Johnson followed a tamdytradltion More than 30 years ago h~s father commissioned Frank Lloyd Wright to design what was

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Gem Making for the Enamelist by LouIE S. TAYLOR

GEM MAKINO is truly a fascinating pastime and a very

satisfying phase of enameling. The tremendous variety

of form and design and the endless choice of color make

it one of the more gratifying pursuits associated with the

enameling art. If you haven't made gems, you have missed

a lot of real enjoyment.

After having mastered the technique of thread draw-

ing (October 1969 CM) , gem making is a natural follow-

up and offers exciting possibilities for the creative indi-

vidual. This implies that the successful making of threads

is essential to gem making and, to a certain extent, this

is true because many of the techniques and procedures

are the same.

Gems are little wafers or jewels especially made to

use as embellishments on pieces of enameled work. The

gems are placed on enameled surfaces, then fired in the

kiln to melt them and make them a part of the finished

surface. Beginning enamelists often use threads and

lumps to produce a form of decoration, and the firing

of gems is used in this same way. Flower replicas oi"

Gem wa/ers made by the method

described here were placed on an

enameled tray and fired to create a

floral pattern on the sur[ace.

flower forms seem to be tile most appropriate and suit-

able gems to undertake, especially in the beginning.

The design, shape and color of the gem are first

conceived and it is then actually constructed with dry

powders, lumps and threads in the same kind of little

cup mentioned in the article on thread making. A thread

is drawn up in the same manner, except that in this case

it will have an internal design or combination of colors

which make its sections suitable for use as gems.

To begin with, the cup is placed upright in a stable

position and filled with the enamels that will eventually

compose the gems. Before beginning, it is necessary to

have an understanding of what actually happens when

two or more colors are blended or combined in the cup

and a thread is drawn out. The color that is placed in

the bottom of the cup will, when drawn, become the

center of the finished gem. The second color will be next

in order and any additional colors, according to their

position in the sequence, will be closer and closer to the

rim, or border, of the gem. As an example, take two

colors such as red and white and place them in the cup,

with the white occupying the bottom half and the red

filling the remaining, or top, half. The thread produced

from this mixture will appear red and will be red on the

outside. Upon examination, however, it will be found

to have a white center. Most gems cut from this thread

will make red circles with white centers or white dots

with red borders. To further illustrate, suppose that the

cup is filled with two colors arranged side by side. Each

color occupies one half of the cup from top to bottom,

December 1969 27

the right half blue and the left half green. A thread produced from this combination will be half blue and half green, and the colors will not be arranged in concentric circles as in the red and white thread.

Many other types and forms of gems may be made, depending upon one's imagination and ingenuity. A few will be mentioned here in order to stimulate interest and assist in guiding the craftsman in further exploration. To make a daisy form, for instance, requires several procedures. First, place about 1/4 teaspoon of dark brown opaque enamel powder in the bottom of the cup. Level it out and pack it down slightly. Fill the remainder of the cup to within 1/8-inch of the top with an opaque yellow powder and press it down to level it. The second step requires the use of a thread that is about 1/32-inch to 1/16-inch in diameter. This must be made in advance from the same brown that was used in the bottom and cut into about twenty pieces, each about 3/8-inch long. When these have all been cut and sorted for size, they should be placed on top of the yellow surface in a radi- ating pattern, with the pieces touching near the center and pointing outward toward the rim of the cup. Be somewhat particular in arranging these, for they become the spaces between the petals of the finished flower. Pro- ceed from here to fuse the enamels as outlined in the thread-making article and draw a thread to the desired diameter. When the thread is cut into gems you will have a pleasant surprise.

A different flower form may be made by placing some color in the bottom of the cup and then arranging small lumps of a different color on the surface in a definite pattern. Use about sixteen to twenty lumps, each about the size of a small pea. Fill in the space around and in between the lumps with clear flux. The results will amaze you. Each time this technique is used the results will be different, but this is part of the fun because the gems will be of great variety. The fill-in color for the foregoing technique may be the same as the background color to be used on the finished enamel piece; thus it becomes obscured and the

finished work shows only tile first color and the lump color. This technique makes for a more distinct flower. One other method for making gems is to use the "cutting-in" procedure. Fill the cup to within 1/8-inch of the top with one enamel color; either an opaque or transparent enamel may be used. Pack the enamel down firmly with a palette knife to prevent it from caving in, and then proceed to "cut in" the petals. This is accomplished by parting the enamel with the palette knife in several places and filling ill the spaces with a contrasting color. Make one cut or parting at a time and fill it up full before cutting in the next one. The width of the groove will determine tile spaces between the petals when the flower is finally finished. Usually six or eight cuts will produce the best results.

In order to produce gems from the threads it is necessary to cut tile thread into thin wafers. The best tool to use for this is the tile worker's nippers. To prevent the small pieces from flying away when they are cut it is advisable to attach an "apron" to each side of the nippers. This can be accomplished by shaping two small pieces of copper (or other metal) so that they fit the nippers, and fastening them with small bolts or machine screws. Drill the proper size hole through the center of the fulcrum rivet and tap it with threads to fit the bolt. Be sure that the hole is not so large that the rivet will be removed and thus cause the nippers to separate. Proceed to attach the "apron" pieces, using one screw on each side. A closer fitting job can be made after the parts have been assembled. Gems may now be cut without being scattered about. Cutting thickness should be about one third of the diameter of the thread. Often the first part of the thread will contain only a single color, as a certain amount of enamel must be drawn before the inside colors appear.

The gems that you make in the beginning will not all be as good as you expect them to be, but do not be discouraged. Even the poorer ones might make beautiful and surprising decorations when used as embellishment on an enameled piece.

PhMos: Susan E. Maurer

Gems are cut into fiat wa[ers by the use o[ tile nippers [itted with protective "apron" pieces.

28 Ceramics Monthly

t~tue and green powdered enamels, arranged side-by-side,

produce a thread that is hal.[ blue and ha l /g reen . Or a daisy-[orm gem can b~" made bl' arrallging lengths

o[ thread against a contrasting color o[ enamel.

i ........

Still another gem can be madv v: . . . . . . . . ~ t , , ~ - , - u t ~ e

shapes in the enamel and [illing them with a contrasting

color of enamel. " "

I ne cup ts heated with a torch to melt the ('Ham~,l,

then the thread is drawn up on the tip o[ a steel rod

that has been preheated.

December 1969 2 9

Creating Facade Forms by ROBERT F. EILENBERGER

1. A grille-like [acade is planned to break up the sur[ace o[ a handbuilt pot. 2. A clay slab is used/or the outer wall and it is per[orated with large regular openings. 3. The cut-out circles are used inside the zoall to hold the grid away [rom the pot. 4. The completed grid is li[ted on the rolling cloth in order to give it all possible support.

30 Ceramics Monthly

BY DEFINITION filigree is ornamental openwork of deli-

cate or intricate design. The word might conjure up in

our minds some object made from silver or gold wire,

or it might suggest a grille or screen made up of a design

element that has been repeated many times. Certainly

most of us would not think of using common clay to

achieve a filigree or grille effect, yet this potter's material

can be manipulated in such a way to give a screen-llke

effect of dramatic contrasts.

In the project demonstrated here, the filigree or

grille treatment came to mind while I was searching for

a new way to break up the flat surface of a handbuih

pot. I had considered the standard techniques of sgraf-

fito, wax resist, and carving but rejected each one. Then

I remembered the filigree-like wails used by architects

to shield window walls from strong sunlight, and thought

that some variation of this idea could be used effectively

to give a dramatic contrast to the wails of my pot.

I t took a bit of trial and error before I came up with

a grille-like pattern that seemed to fit the pot. I t in-

volved an outer wall made from a clay slab, and this

was perforated with a large number of regular openings

made with an ordinary household juice glass. The rim

of the glass I used measured 1 ½ inches in diameter. (The

smaller the holes, the greater the number that can be

used. And the more openings, the more the finished effect

will resemble some kind of a filigree.)

After some experimentation I realized that just plac-

ing this slab against the pot would not produce the

"look-in" feeling I was after, so I decided to have it

project away from the wall in some manner.

First I decided on the size and shape of the added

slab in relation to the pot's wall, then I rolled out a

clay slab on cloth, and cut the shape needed for each

side of the pot. Next, I planned the exact number of

cut-out circles I wanted and used the rim of a glass,

just as a cook would a cookie cutter, to cut the openings

in the slab. I saved the "cookies" to use as the projecting

supports back of the grid wall, and these were attached

with slip between alternating rows at the crossbars of

tile cut-out slab.

The next step involved dampening the raised

"cookies" with slip and water, and also treating the

wall of the pot in the same way. Then the grille was

lifted, on the cloth, and the circles attached firmly to

the pot. The grid wall must be pressed in only where

the circles support it, otherwise the new wall will not

stand out from the pot. The primary purpose of the

decorative wall is the interest that results from the light

and shadow thus created.

The outer edges of the slab were pressed down so

as to blend with the original wall surface. It is necessary

at this time to give the grille wall the feeling that it is

part of the pot and not just an add-on surface.

There are as many ways to use this technique as

there are different pot ters--and each potter can come

up with a variation each time he works with it. Still

more variations come about when glazing is considered,

for there are numberless combinations that could be

attempted. Indeed, this is an unusual technique that

every potter can use with great individual effect.

~Photos continue next page)

r . ~ , ,

December 1969 31

5. Tlle ]acade wall is care[ully attached to the waU of the handbuilt pot.

6. Outer edges o[ the slab are pressed down to attach them to the original wall sur[ace.

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7. The slab clay is blended to the pot to make it seem a part o[ the original structure.

8. Purpose o[ the grid wall is to produce a dramatic contrast of light and shadoa,.

32 Ceramics Monthly

Chromium, the Swinging Glaze Colorant by RICHARD BEHRENS

CHROMIUM IS DISTINGUISHED among

the glaze colorants by its ability to

produce rather brilliant yellows, reds,

browns, and greens. The exact color

produced by the use of this colorant

in the glaze depends largely upon the

composition of the glaze and, to some

degree, on the mode of firing.

As a colorant, chromium is general-

ly introduced into the glaze in the

form of the water-insoluble green

chromium oxide. Occasionally it is

added as a yellow lead or barium

chromate, and sometimes as a stain

constituent. Due to its low solubility

in most glazes, much of what is added

to the glaze disperses as an opaque

pigment. Since green chromium oxide

behaves in a manner similar to alumi-

na, it tends to reduce the fluidity of

the glaze in which it is used during

the firing cycle.

Among the most brilliant chromium

glaze colors are the coral reds pro-

duced in high-lead-containing glazes.

Since such reds are only possible when

the chemical composition of the glaze

is basic, a lower-than-desirable con-

tent of silica must be maintained•

Overfiring must be avoided since the

red coloration darkens to a chrome

green. It is best to fire no higher than

Cone 07. While such glazes provide

the artlst-potter with an easy method

for obtaining the warm coral red,

such pottery should not be used with

liquid foods - - particularly those

containing fruit acids• Normal hand-

ling cautions should be observed in

working with the raw lead glaze.

A bright coral red glaze which ma-

tures well at Cone 015 may be made

from the following:

CONE 015 CHROME RED GLAZE

White Lead . . . . . . . . . . . . . . 78.4%

Lithium Carbona:e . . . . . . . . 5.6

Flint . . . . . . . . . . . . . . . . . . . . . 16.0

100.0c/c

To condition this glaze for easier ap-

plication to the pat, you may want

to add 1% of bentonite and, if neces-

sary, some gum.

The following percentage additions

of green chromium oxide give these

different red colors:

0.5% fires to a Venetian red matt

10cb fires to an Indian red matt • /

2.0% gives an opaque tangerine

3.0% fires to an opaque geranium red

3.0% chromium and 1.0% antimony

oxide results in a t e :tured hol- ly-berry red.

3.0% chromium and 1.5% titanium

oxide yields a nasturtium red matt

3.0% chromium and 0.2% copper

carbonate produces a redwood

effect

3.0% chromium and 1.0c~ red iron

oxide gives a raspberry red

3.0% chromium and 6.0cb tin oxide

results in a brilliant lacquer red.

Another Cone 015 base glaze yields

a number of bright colors with the

addition of various colorants:

CONE 015 BASE GLAZE

Frit 33 (Homrnel) . . . . . . . . 46.4%

Frit 25 (Penwo) . . . . . . . . . . 53.6

100.0% Bentonite . . . . . . . . . . . . . . . . . 1.5%

Green Chromium Oxide . . . . 3.0%

To the formula above, with the 3.0%

of chromium, the following additions

can be made:

8.0% titanium oxide produces a sage

green satin vellum

6.0% tin oxide gives a sea-moss green

0.5% cobalt carbonate yields a

chrome green color

The above glaze, without the green

chromium oxide, yields a deep chrome

yellow color with the addition of 3.0%

of yellow lead chromate.

Generally speaking, tile red and

yellow chromium colors are produced

at Cone 07 or lower. At Cone 06, a

good spinach-green opaque glaze can

be made from the following:

CONE 06 SPINACH GREEN GLAZE

Gerstley Borate . . . . . . . . . . . . 24.1%

Frit 33 (Hommel) . . . . . . . . 39.1

China Clay . . . . . . . . . . . . . . 36.8

Add : ]-00.0 Q'~

Green Chromium Oxide .. 0.5%

The next Cone 06 glaze gives a fine

satin matt grapefruit-green glaze:

CONE 06 SATIN MATT GLAZE

Lead Monosilicate . . . . . . . . 64.0%

Lithium Carbonate . . . . . . . . 8.7

Barium Carbonate . . . . . . . . . 15.6

Flint . . . . . . . . . . . . . . . . . . . . . 11.7

100.0cA Add: Bentonite . . . . . . . . . . . 1.5%

The addition 0.5% green chromium

oxide gives the grapefruit green color.

Additions of 1%, 2c~, and 3% will

give progressively deeper colors.

Chrome provides strong colorations

at Cone 4 firing:

CONE 4 BISON BROWN GLAZE

Lithium Carbonate . . . . . . . . 2.5%

Wollastonite . . . . . . . . . . . . . . 6.8

Lead Monosilicate . . . . . . . . 72.7

China Clay . . . . . . . . . . . . . . 12.2

Flint . . . . . . . . . . . . . . . . . . . . . 5.8

100.0% Add: Green Chrome Oxide . 2.0%

Another Cone 4 glaze that yields

a good opaque spinach green is this:

CONE 4 SPINACH GREEN GLAZE

Gerstley Borate . . . . . . . . . . . 50.0%

China Clay . . . . . . . . . . . . . . . 15.0

Flint . . . . . . . . . . . . . . . . . . . . . 35.0

'100.0cf The addition of from 1% to 2%

green chromium oxide gives excellent

coloration.

The final glaze is a fine satin matt :

CONE 4 SATIN MATT GLAZE

Zinc Oxide . . . . . . . . . . . . . . . 22.0%

Whiting . . . . . . . . . . . . . . . . . . 4.6

Lithium Carbonate . . . . . . . . 10.0 China Clav

• • . . . . . . . . . . . . . . 17.7 Flint . . . . . . . . . . . . . . . . . . . . . 38.3

Titanium Dioxide . . . . . . . . . 7.4

~00.0~ To this add 1.5% green cllromium ox-

ide for a good shadow-green coloration.

All color designations listed above

are based on color charts to be found

in "A Dictionary of Color," by A.

Maerz and M. Rhea Paul, McGraw-

Hill Book Co., Inc., New York, 1950.

December 1969 33

CERAMACTIVITIES people, places and things

LEE NORDNESS AND "OBJECTS: USA" Lee Nordness, who is represented in

this month's Portfolio feature by an ex- tended quote from the catalog for the exhibition, "Objects: USA," is the director of the Lee Nordness Galleries, Inc., of New York City. Mr. Nordness took over Madison Square Garden for an exhibition of contemporary art in 1945; its success led to his choice of the New York Coli- seum as the site for a similar exhibition in 1959. Mr. Nordness came to the attention of the S. C. Johnson ~ Son Cor- poration and he was commissioned to formulate a fine arts project, the result of which was "Art: USA," a collection of contemporary America paintings.

As a result of his interest in the development of objects being made by American artist-craftsmen, Mr. Nordness was asked by the Johnson Corporation to inaugurate a program that would encourage American craftsmen. This led to the current "Ob- jects" collection. In connection with the show, Mr. Nordness has written a book entitled Objects: USA, to be released by Viking Press in the near future.

"Objects: USA" had its first showing at the Smithsonian Institution in Washing- ton, D.C. On its tour of 19 museums across the country, the exhibit opens December 3 at the Museum of Boston. Subsequent showings, through December 1971, will be at the Memorial Art Gallery, Rochester, New York; Cranbrook Academy, Bloom- field Hills; Herron Gallery, Indianapolis; Cincinnati Art Museum; St. Paul Art Cen- ter; University of Iowa at Iowa City; Arkansas Art Center, Little Rock; Seattle Art Museum; Portland Art Museum; Oak- land Art Museum; Phoenix Art Museum; University of Nebraska at Lincoln; Mil- waukee Art Center; George Hunter Gal- lery, Chattanooga; Carnegie Institute, Pittsburgh; Columbia, S.C. Art Museum; and the High Museum in Atlanta. Dates for current showings will appear in CM's Itinerary columns.

MORAVIAN pOTTERY DEDICATED The Moravian Pottery and Tile Works

in Doylestown, Pennsylvania, where the late Dr. Henry Chapman Mercer revived an old-time craft to produce world-re- nowned decorative tiles, was dedicated on August 16. Following a dedication cere- mony, a large section of the unique reinforced-concrete building was opened, en- abling visitors to see some of the kilns, molds and tools used by Dr. Mercer and some examples of his work.

The Tile Works was purchased by the Bucks County Commissioners two years ago, to enable the County to save and restore the site as a historical and cultural attraction.

Dr. Henry Chapman Mercer, born in Doylestown, Pennsylvania, in 1856, first

34 Ceramics Mon th l y

became famous as an anthropologist and archaeologist. As the Twentieth Century approached, he acquired two other in- terests, gathering and preserving the handmade tools and utensils that the machine age had begun to render obsolete, and constructing buildings in the revolutionary medium of reinforced concrete. In collect- ing ceramic dishes and bowls made by Pennsylvania Germans whose skills came from the Black Forest, Dr. Mercer was impressed by the beauty and workmanship of the products, and lamented that the potter's trade was dying out. Unsuccess- fully, he tried to restore an old pottery to productive operation. Then he became an apprentice potter, spending many years learning the art, including the secrets of glazing. He built kilns and established the Moravian Pottery at his family home in 1898.

Because Bucks County's soft clay was more appropriate for tiles than utensils, Dr. Mercer made bright decorative tiles. Many of them depicted scenes from the Bible, history, songs and legends. The name Moravian was given to the pottery because Dr. Mercer used the stove plates of the Pennsylvania Germans for his original designs. The reintroduction of fireplaces pro- vided a ready market for Mercer Tiles to decorate them. Mercer Tiles were also used on the floors, ceilings and walls of many fine buildings throughout the nation and in Canada, Europe and Egypt. Four hundred tile mosaics depicting episodes in the history of Pennsylvania and its people are found in the corridors and rotunda of the state capitol in Harrisburg.

In 1911 Mercer purchased land to build the present Moravian Pottery and Tile Works. Believing that good art came only from religious faith, Mercer designed the

home for his artistm enterprise as a com- posite of the Spanish Mission Churches of Southern California. The building, like Mercer's other architectural accomplish- ments, is of reinforced concrete. In Oc- tober 1912 its five large down-draft kilns were fired for the first time.

At the dedication ceremonies in front of the Pottery (pictured), Robert R. Mac- donald, curator of the Mercer Museum and authority on Dr. Mercer, delivered an address entitled, "Dr. Mercer's Pottery and The Twentieth Century."

VOULKOS AT ST. LOUIS Peter Voulkos, professor of ceramic de-

sign and sculpture at the University of California, Berkeley, will lecture on contemporary ceramics on December 2 at the St. Louis City Art Museum, under the combined sponsorship of the Museum and the Art Coordinating Council for the area. In addition, Mr. Voulkos will give a demonstration on ceramic techniques on December 3 at the Museum. Both programs begin at 8 P.M. and are open to the public free of charge.

GLASS SCULPTURE AT CORNING A special exhibition of glass sculpture

is currently on view at the Corning Glass Center, Coming, N.Y., through January 11. The twenty-seven sculptures included in the exhibition are all by Mr. Andre Billed, instructor of glass blowing at the College of Ceramics of Al[red University and were created by the artist working alone at his furnace during the last six months. Most were produced by manipula- ting the material in its hot state and only in a few eases has he resorted to cutting and grinding.

Paul N. Perrot, Director of the Museum, said that "Mr. Billeci is primarily interested in exploiting the many optical effects which can be achieved with glass by combining colors and juxtaposing solids and voids. This gives a particularly lively appearance to his pieces." In describing the works in the exhibition, Mr. Perrot stated, "Mr. Billeci's approach is different from that of the majority of artists currently working in glass: none of his pieces resembles utilitarian forms: they are not vases or bottles which have lost their practical functions. They are true sculptures, conceived as masses and without any reference to glass forms made in the past. They also depart from the work of most of the other contemporary artists working with glass in that they are all heavy and many have variegated colors which are magnified by air bubbles which enhance the refractive qualities of his glass."

Since 1963 Mr. Billeci has been on the staff of Alfred University where he found- ed the department of studio glassmaklng. A major exhibition of his glass and that of his students was shown at the Coming Museum in the winter of 1968. Several of his works were included in the Toledo Glass National, and in 1968 he received two Jury Awards and one Purchase Award.

BALTIMORE GUILD NEWS The Potters Guild o/ Baltimore (Mary- land) opened its 15th season on October

19 with a two-man show featuring the work of potters Pat Nyburg and Pat Kazi at the Guild quarters at 201 Home- land Avenue. The work of these two worn-

en was chosen from a competition juried

by Mr. Paul Smith, of the Museum of

Contemporary Crafts. Mrs. Nyburg, a

former president of the Guild, has been

active in crafts for several years and her

present work in ceramics is in the area of

salt-glazed stoneware. Mrs. Kazi is work-

ing with oxidation-fired stoneware. She

was represented in the "Young Americans

1969" exhibition by a stoneware cup.

Ceramics by other members of the group

are being displayed and are for sale in

the newly-renovated Guild gallery.

FLORIDA EXHIBITION

The 19th Annual State Craft Show

sponsored by the Florida Craftsmen cur-

rently is on exhibit at the Jacksonville

Art Museum. Instead of the usual two-

week showing, the Museum this year was

able to extend the exhibition time to

six weeks. The show opened November

15 and continues through December 31.

STONEWARE BY CHARLES SCOTT

An exhibition of 75 stoneware pots by

Charles C. Scott is the December attrac-

tion at The Other Side Gallery, Marietta,

Ohio. The craftsman uses native West

Virginia clay mixed with fireclay, and

glazes his pieces with celadon, iron, and

wood ash glazes. Mr. Scott is a member of

the art faculty at Glenville State College,

Glenville, W. Va. He has exhibited widely

and his work is in the private collections

of such distinguished individuals as former

President Lyndon B. Johnson, Jesse Stu-

art, and Cecil Underwood. A teapot by

Mr. Scott was featured on the CM cover

for the May issue of this year.

DELAWARE ART CENTER EVENTS

The 13th annual Contemporary Crafts

Exhibit opened on November 16 at the

Delaware Art Center, Wilmington, and

will continue through December 12. In

connection with the exhibition, a talk was

given on November 23 by Marjorie Schief,

of Kansas State College, on "Concerns of

a Contemporary Jeweler." ]olyon Hofsted

will lecture on January 22 on the topic,

"Contemporary Ceramics and Where It Is

Today." Following Mr. Hofsted's talk

he will give a critique on the Ceramic

National Exhibition and a program of

craft films will be presented.

WESLEYAN POTTERS

The annual exhibition and sale of craft

work by the Wesleyan Potters will be held

through December 6 at the group's head-

quarters at 75 Pease Ave., Middletown,

Conn. In addition to work by more than

100 New England craftsmen, this year's

sale is featuring work by Indian crafts-

men from North and South America.

Officers of the Wesleyan Potters are

Mrs. Carmelo Mazzotta, Jr., president;

Mrs. Earl Hanson, vice-president; Mrs.

John Yaglowski, Jr., secretary; and Mrs.

Alfred Blanchard, treasurer. Publicity is

being handled by Mrs. John Paton.


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DESIGN MOTIFS OF ANCIENT MEXICO by Jorge Enciso. A compilation of 766 examples divided into geometric, natural and artificial forms. Includes designs based on flowers, birds, fish, hu. man figures, etc. 170 pages. $2.25

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THE COMPLETE BOOK OF POTTERY MAKING by John B. Kenny. The "best seller" in the ceramic field! Step-by-step photo lessons cover all of the pottery-making techniques. Clays, glazes, firing, plaster, etc. 242 pages. $7.50 CERAMICS FOR THE ARTIST POTTER by F. H. Norton. The most complete book on the subject, from choosing the proper clay to putting the final touches on a piece, all clearly explained. Ce- ramics at its best! $8.50

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36 Ceramics Monthly

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[ ] Rhodes---Clay & GTazes $7.50 [ ] Kinney~iass Craft $7.50 [ ] Leach~Potfer's Book $8.75 Enc;s~Daslcjn $2.25 [ ] Parmelee---Glazes $8.00 [ ] Hofsted~eramlcs $1.95 F~] Untracht~EnamelincJ $7.50 [ ] Hornung--Designs $2.00 [ ] Bager~Nature $14.50 Rottcjer~reative Clay $5.50 [ ] Priolo--Ceram;cs $6.95 [ ] Lundkvist Nelson--Ceramics $8.95 [ ] Rhodes~Kllns $10.00 ~Makincj Ceramics $4.95 ~ Kenny~Pottery $7.50 [ ] Ford~Sculpture $5.50 [ ] Rothenberg

Kenny--Sculpture $9.95 [ ] Stribling~Mosaic $6.95 [ ] Halson~Sellincj Crafts $5.95 --Enameling $6.95 Norton--Art;st Potter $8.50 [ ] Wildenhaln--Poftery $9.95 [[~ Kenny--Desicjn $9.95 [ ] Sanders~Pottery $1.95 [ ] Leach--Potter's Work $10.00 [ ] Rhodes--Stoneware $7.50 [ ] Ball & Lovoos~Pottery $9.95[] Sanders--Japanese $12.50

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ITINERARY Continued [ram Page 9

Gallery and is open to all professional and

non-professional craftsmen residing in

Tennessee. Entry fee; Juror. For informa-

tion, write: Sherry Rader, College of

Home Economics, University of Tennessee, Knoxville 37916.

WHERE TO GO

Because listing~ are subject to change,

dates can be verified by writing to the

sponsoring groups or galleries.

CALIFORNIA, SAN FRANCISCO

December 13-January 11, 1970 "14

Years of Danish Glass," Smithsonian Ir

stitution Traveling Exhibition; at the

H. deYoung Memorial Museum.

CALIFORNIA, SAN MARCOS

December 4-6 Christmas Pot Sale; a

the Palomar College Art Gallery.

CALIFORNIA, WALNUT CREEK

December 12-January 6, 1970 Mexica]

art from pre-Columblan to modern times at the Civic Arts Gallery.

CONNECTICUT, MIDDLETOWN

through December 6 Annual exhibitior

and sale of craft work by the Wesleyar Potters; at 75 Pease Avenue.

DELAWARE, WILMINGTON

through December 12 The Thirteenth

Annual Contemporary Crafts Exhibit; at the Delaware Art Center.

FLORIDA, JACKSONVILLE

through December 31 Florida Crafts-

men 19th Annual State Craft Show; at

the Jacksonville Art Museum.

ILLINOIS, CHICAGO

December l-January 4, 1970 Group

Show with ceramics by Don and Marge

Pilcher, Nancy and Tom Malone, Ken

Vavrek, Don Reitz, Joan Fraerman, Tim

Mather and Sue Nickle; glass by Kent

Ipsen, Jim Daring and Audrey Handler;

at Edward Sherbeyn Gallery, 2952 North Clark Street.

ILLINOIS, CHICAGO

through December 14 Ceramics by

Ruth Duckworth and Glass by Kent F.

Ipsen; at The Art Institute of Chicago.

MARYLAND, BALTIMORE

through December 23 Annual Christ-

mas Show, ceramics by members; at the Potters Guild of Baltimore.

MARYLAND, BETH ESDA

December 5-14 Annual Christmas Ex-

hibit and Sale sponsored by the Bethesda

Ceramic Guild. For location, contact Mrs.

Davis Shaw, 9724 Bexhill Dr., Kensington, Md.


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38 Ceramics Monthly

ITINERARY Continued [rom Page 37

MARYLAND, STEVENSON through December 24 Jewelry by Mari-

luise Barz; at Galleries Grief.

MASSACHUSETTS, BOSTON December 3-23 "Objects: USA"; at

the Museum of Boston University.

MICHIGAN, DETROIT through December 28 The 21st Ex-

hibition for Michigan Artist-Craftsmen; at the Detroit Institute of Arts.

MINNESOTA, ST. PAUL through December 21 African art from

the collection of William W. Brill; at the Art Center.

MissouRI, ST. Louis December 7-27 Sixth Annual Holiday

Group Exhibition; at the Graft Alliance Gallery.

NEW HAMPSHIRE, NASHUA December 1-17 Exhibit and sale of

work by Peruvian Craftsmen, organized by the Peace Corps; at the Nashua League of Craftsmen, 62 E. Pearl St.

NEW JERSEY, FAIRLAWN through December 7 Fall exhibition of

New Jersey Designer-Craftsmen; at the Lillian Kornbluth Gallery.

NEW JERSEY, NEWARK through December Exhibition of Deco-

rative Arts with emphasis on New Jersey ceramics, furniture, and glass; at the Newark Museum.

NEW JERSEY, SOUTH ORANGE December 5-6 Fair-Exhibition of work

by members of First Mountain Grafters, Inc.; at First Presbyterian and Trinity Church.

NEW M~xlco, ALBUQUERQUE through December 2 Pottery by Betty

Casteel; at 10 Craftsmen.

NEW MEXICO, ALBUQUERQUE through December 24 Jewelry and

small sculpture by Tom Thomason; at The Studio Gallery.

NEW YORK, CORNING through January 11, 1970 "Sculpture

in Glass," 27 pieces by Andre Billeci; at the Cornlng Museum of Glass.

NEW YORK, GREAT NECK December 1-24 Exhibition of work by

members of Artist-Craftsmen of New York; at the North Shore Community Art Center.

NEw YORK, NEW PALTZ through December 28 "Mexican Folk

Art," Smithsonian Traveling Exhibition; at State University College.


Back In Print

NATURE as DESIGNER by Bertel Bager

This unusua and stimulating book presents a treasured collect!on of p.lant life which demonstrates in a unique and very effective way the beauty of form in nature. The illustrations are of seed pods, lichens, grasses, mosses and other fascinating items of the woods and fields that the author has collected in walks through the countryside. The designs and "collectible" forms ot beauty assembled here will suggest an infinite number of shapes and textures for pottery. All of the photographs selected for use in this volume are of exceptional quality, and those potters who share an interest in photography or nature will find this book of special interest. Every po',ter will find an astonishing new vocabulary of forms in this introduction to the obvious in nature which often escapes our attention. This superbly illustrated volume was originally published in Sweden and has met with great success abroad among artists, designers and craftsmen (particularly potters). We are happy to have this title back in stock andready for shipment to our readers. This book would make a wonderful gift for a potter friend. Be sure to treat yourself to a copy, too I Price: $14.50

CERAMICS MONTHLY Book Department Box 4548, Columbus. Ohio 43212 Please send me ~ copies of NATURE AS

DESIGNER @ $14.50

Name

Address

City State _ Z i p . - Ohio residents add $8c per copy sales tax.

I enclose [ ] Check [ ] Money Order We Pay Postage ~ Money-Back Guarantee

Automatic shut-offs are great but let's face it sometimes they fail I. T H E N E W

KILN-FUSE* IS A F O O L P R O O F H E A T FUSE T H A T P R E V E N T S C O S T L Y K I L N D E S T R U C T I O N .

Use KILN-FUSE also to back-up your Shut- Off. Cuts power at kiln's temperature limit. KILN-FUSES for all kiln makes and models.

All your electric power lines have electric fuses to protect against overload; now all kilns can have a "heat fuse" to protect against destructive heat "overload".

PATENT PENDING Distributorships and Dealerships OPEN. Inquire:

T E P P I N G S T U D I O S U P P L Y C O . Factory distributor for KILN-FUSE and KILN-KARE 3517 Riverside Dr., Dayton, Ohio 45405

Gare is dressed to kiln • . . in stainless steel jackets and a 2-year factory war ran ty on electrical components. Check Gare's net prices before you make your next kiln purchase and make a killing.

Gare Ceramic Supply Co., Inc. P.O. Box 830, Haverhi l l , Mass 01830

P l e a s e Mention CM when writing o u r advertisers

C E R A M I C E Q U I P M E N T WALKER pug mills • LOCKERBIE, OSCAR PAUL and SHIMPO WEST

potter's wheels. FREE brochure on request

C a p i t a l C e r a m i c s , D e p t . C M 2174 S. Main St., Salt Lake City, Utah 84115

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I T I N E R A R Y Continued [ram Page 38

NEw YORK, NEw YORK through December 4 Glass Sculpturc

by Marvin Lipofsky; at the Lee Nordness Galleries.

December 27-January 15, 1970 Ceramic Sculpture by Hui Ka Kwong; at the Nordness Galleries.

N E w YORK, SCHENECTADY December 7-31 The 2nd Regional

Craft Show; at The Schenectady Museum.

NEW YORK, SYRACUSE through December 7 Invitational exhibi-

tion and sale of ceramics, enamels, jewelry and other crafts organized by the Everson Museum; at the Museum.

NEW YORK, UTICA

through February 8, 1970 "White's Utica Pottery," an exhibition of stoneware made from 1834-1906; at Munson- Williams-Proctor Institute.

NORTH CAROLINA, ASHVILLE December Guild Traveling Exhibit; at

the Art Museum.

OHIO~ ADA

through December 17 The 25th Ce- ramic National Exhibition; at Ohio Northern University.

OHIO, FINDLAY

through December 5 Ceramic sculpture and prints by Darvin Luginbuhl; at Gallery One.

OHIO~ MARIETTA

December 1-31 Pottery by Charles Scott; at The Other Side Gallery, 220y2 Putnam St.

OHIO, TOLF.DO December 7-February l, 1970 "Trea-

sures for Toledo I I " includes ceramics and glass; at The Toledo Museum of Art.

OHIO, ZANESVILLE December 1-30 Pottery Exhibition by

George Hageman; at the Zanesville Art Institute.

OKLAI-IO~iA, TULSA December 2-28 Oklahoma Designer-

Craftsmen Exhibition; at the Philbrook Art Center.

ONTARIO, KINGSTON December "Invitation I," circulated by

the Canadian Guild of Potters; at the Agnes Etherington Art Centre, Queens University.

ONTARIO, TORONTO through December 2 "Christmas Gift

Show and Crafts"; at the Design Canada Centre•


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CATALOG $1.00 Refundable on first order. Catalog sent free to

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VAN HOWE CERAMIC SUPPLY CO. 11975 E. 40th, Denver, Colorado 80239

December 1969 39

• Ceramics

• Stained Glass

• Lamp .parts, l ighters music boxes

• Kemper tools

• Marx brushes

• Porcelain Flowers

• Rhinestones, jewels, Sfar l i tes

• J e w e l r y Findings, porcelain blanks

• Crushed glass, marbles

• C o p p e r enameling

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I T I N E R A R Y

Cont inued f rom Page 39

~EN NSYLVANIA~ CHELTENHAM

through December 20 The Annual

Craft Fair: at the Cheltenhain Art Centre.

PENNSYLVANIA, HARRISBURG

through ]anuary 4, 1970 Ceramics by

.lack Troy; at William Penn Memorial Museum.

PENNSYLVANIA, PHILADE, LPHIA

through January 4 C h r i s t m a s c ra f t s ex-

h i b i t i o n ; at Art Alliance.

TENNESSEE~ MEMPHIS

through February 15 The glass collec-

tion of Josephine Lewis; at Brooks Me-

morial Art Gallery.

TEXAS, ABILENE

December 21-January 1l, 1970 Ex-

hibition of Picasso Ceramics and Posters,

circulated by the American Federation of

Arts; at the Abilene Fine Arts Museum.

WAS I-IINGTON~ SEATTLE

through December 19 Ceramics by

Robert Sperry; at the Northwest Craft

Center.

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LIVERPOOL, NEW YORK 13088

the LOCKEBBIE Potter's Wheel FINEST KICK WHEEL MADE Used by colleges, schools and studio potters $175.00. Write for new circular to Parfex Co. -- 7812 Boulder Ave., Highland, Calif. 92346

K I L N S • . . t h e most complete l ine ! The only kilns wDh patented DYNA-GLOW element holders. Write for information. L and L MANUFACTURING CO., Box 348 144 Conches, ter Rd., Twin Oaks, Pa. 19104

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CLAYS GLAZES

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Schools and institutions write for FREE literature.

WISCONSIN, PLATTEVILLE

December 1-20 P o t t e r y by R o g e r Got t s -

chalk; at the Wisconsin State Student Center.

WISCONSINj WAUSAU

December The Wisconsin Designer

Craftsmen Traveling Show; at the Wis-

consin Mara thon County Historical So- ciety.

C E R A M A C T I V I T I E S

Continued from Page 35

APPOINTMENT AT UT

James B. Foster has joined the faculty

of the University of Texas Art Depart-

ment as instructor in ceramics. Mr. Foster

formerly was on the teaching staff at

Abilene Christian College.

TEMPLE IN MICHIGAN

The Michigan Potters Association has an-

nounced the make-up of its 1969-70 Board

of Directors: John Glick, Phyllis Ihrman,

]ulie Larson, Elna Marsh, Joan Pasman, Peter Petrie, and Eleanor 8hieko. Mr.

Gliek, who is also serving as program

chairman, reports that the Association had

Byron Temple, production potter from New

Jersey, as special guest speaker and demon-

strator for the November meeting at

Wayne State University.

Send news, and photos, if available, about "People--Places--Things" ;you think will be o/ ceramic interest. We will be happy to consider them [or use in this column.

EHAHELIHG SUPPLIES EVERYTHING FOR THE ENAMELISTI

Decoupage D Leaded Glass CATALOG $I (Decoupage Catalog 50c)

KRAFT KORNER 5842 Mayfield Read, Maylund Annex

Cleveland, Ohlo 44124 Phone (216| 442-1020

ANDERSON CERAMICS COMPANY, INC.

1950 S. McDuffie St.

Anderson, South Carolina 29622

Complete Ceramic Supplies

MOVING SOON? U.S. Post Offices will no longer forward magazines, even if they have your new address. Your magazines will be returned to the publisher at a charge of 10c each. ff you move, please notify us at least 4 weeks in advance, giving both n e w a n d old addresses, and send addressed portion of your mailing envelope to Ceramics Monthly, Box 4548, Columbm, Ohio 43212. (Don't forget to include your ZIP number on new address.)

443 Ceramics Monthly

CERAMICS MONTHLY INDEX Clay Ceramic Belt Buckles, Mar., p 10 Cone 6 Stoneware, Behrens, Mar., p 32 Crackle Glazes, Behrens, Oct., p 23 Junior High Students Can Throw Big Pots, Rash, Sept., p 22

Oven and Range-Top Bodies and Glazes, Behrens, Sept., p 27 Porcelains of Kit Snyder, The, Wandres, Oct., p 12 Red Clay Renaissance in Finland, Willcox, May, p 13 Testing Clay Bodies, Behrens, May, p 26

Decoration Barbara's Birds, Colson, Apr., p 14 Coiling a Pot in a Pot, Cyr, Jan., p 12 Creative Slip Casting, Goldman, Apr., p 25 Decorating with Coils, Eilenberger, May, p 20 Folding Method for Large Slab Constructions, The,

Chamness, Nov., p 14 News Pots, Taylor, Jan., p 15 Parliament of Owls, A, Bonham, Jan., p 23 Pravoslav Rada, Cyr, Apr., p 17 Stoneware Medallions, Nidor[, Feb., p 26 Tom Sharer Demonstrates Building a Jar, Bonham,

Dec., p 16

Enameling Combining Enameled Copper and Wood, Rothenberg, Jan.,

p 28 Combining Enamels and Plastics, Berl, May, p 23; June,

p 18; Oct., p 31 Enameled Masks, Berl, Feb., p 22 Enameled Stones, Rothenberg, Mar., p 31 Found Objects as Stencils, Rothenberg, Sept., p 28 Gem Making for the Enamelist, Taylor, Dec., p 27

Mary Sharp Demonstrates Cloisonne Techniques, Rothenberg, Nov., p 24

Thread Making for the Enamelist, Taylor, Oct., p 20

Glass Casting with Glass, Pollman, Jan., p 26 Glass National II, Feb., p 23

Glazes and Glazing Ash Glazes for Cone 6, Behrens, Jan., p 31 Chromium, the Swinging Glaze Colorant, Behrens, Dec., p 33 Cone 6 Stoneware, Behrens, Mar., p 32 Crackle Glazes, Behrens, Oct., p 23 Decorating with Coils, Eilenberger, May, p 20 Hollow-Built Sculpture, Eilenberger, Mar., p 25 Oven and Range-Top Bodies and Glazes, Behrens, Sept., p 27 Raku Glazes, Behrens, Nov., p 29 Water Whistle Sculpture, Eilenberger, Feb., p 16

Hand Building Balloon Pots, Heidt, Oct., p 26 Ceramic Drinking Horns, Hageman, Nov., p 27

Changing the Base on a Wheel-Thrown Pot, Baldwin, Nov., p 2O

Coiling a Pot in a Pot, Cyr, Jan., p 12 Creating Facade Forms, Eilenberger, Dee., p 30 David Crespi's Weed Pots, Cyr, Mar., p 20 Folding Method for Large Slab Constructions, The,

Chamness, Nov., p 14 Hollow-Built Sculpture, Eilenberger, Mar., p 25 News Pots, Taylor, Jan., p 15 Parliament of Owls, A, Bonham, Jan., p 23 Slab Pots from Block Forms, Johnson, Feb., p 20 Sundials, Brand, May, p 18 Tom Shafer Demonstrates Building a Jar, Bonham,

Dee., p 16 Water Whistle Sculpture, Eilenberger, Feb., p 16 Wedging Board Pots, Persiek, June, p 13

Miscellaneous Ceramic Necklaces, Nickle, June, p 16 Making Bamboo Handles, Miller, Oct., p 28 Shard Mosaics, Gilbreath, Mar., p 23

J a n u a r y 1969 - - D e c e m b e r 1969

Stoneware Medallions, Nidor/, Feb., p 26 Sundials, Brand, May, p 18

Portfolios Harrison MeIntosh, Petterson, June, p 19 Objects: USA, Dec., p 19

Potters and Pottery Arikara Indian Ceramics, Brown, Mar., p 16 David Crespi's Weed Pots, Cyr, Mar., p 20 Family Pottery, Roberts, June, p 28 Interview with Raymond Gallucci, An, Wandres, Feb., p 12 Kimpei Nakamura, Zimmerman, Sept., p 14 Perth Potters' Club, The, Ewers, Apr., p 28 Porcelains of Kit Snyder, The, Wandres, Oct., p 12 Pravoslav Rada, Cyr, Apr., p 17 Red Clay Renaissance in Finland, Willcox, May, p 13 Ruth Duckworth, Collins, Sept., p 18 Thomas Shafer, Bonham, Dec., p 14 Victor Spinski, Kriwanek, Oct., p 24

Potter's Wheel Barbara's Birds, Colson, Apr., p 14 Ceramic Drinking Horns, Hageman, Nov., p 27 Changing the Base on a Wheel-Thrown Pot, Baldwin, Nov.,

p 2O Creatures Made from Collapsed Pots, Kozlowski, Oct., p 16 Harrison Melntosh, Petterson, June, p 19 Junior High Students Can Throw Big Pots, Rash, Sept., p 22 Teapots, Woodman, Mar., p 12 Variations in Form and Technique, Paradis, Apr., p 22 Vocational Ceramic Training in Japan, Zamantakis,

Dec., p 12

Sculpture Creatures Made from Collapsed Pots, Kozlowski, Oct., p 16 Hollow-Built Sculpture, Eilenberger, Mar., p 25 Parliament of Owls, A, Bonham, Jan., p 23 Pravoslav Rada, Cyr, Apr., p 17 Ruth Duckworth, Collins, Sept., p 18 Water Whistle Sculpture, Eilenberger, Feb., p 16 Wedging Board Pots, Persick, June, p 13

Show Time Cerritos, Fort Wayne, Oeneseo, San Francisco, June, p 30 Craft Dimensions Canada, Nov., p 18 Creative Crafts VI--Pacific Dimensions, Sept., p 31 DePauw Ceramic Show, Mar., p 29 Glass National II, Feb., p 23 Mid-South Ceramics and Crafts Exhibition, The, May, p 24 Twenty-fifth Ceramic National Exhibition, The, Jan., p 19

Studios, Tools and Equipment Interview with Raymond Gallucci, An, Wandres, Feb., p 12 Making Bamboo Handles, Miller, Oct., p 28 Mary Sharp, Rothenberg, Nov., p 23 Raku Glazes, Behrens, Nov., p 29 Sack Casting, Wood, Sept., p 24 Testing Clay Bodies, Behrens, May, p 26 Thread Making for the Enamelist, Taylor, Oct., p 20

Teachers, Articles for Arikara Indian Ceramics, Brown, Mar., p 16 Balloon Pots, Heldt, Oct., p 26 Barbara's Birds, CoIson, Apr., p 14 Films on Ceramics, Feb., p 28 Junior High Students Can Throw Big Pots, Rash, Sept., p 22 New Books, Jan., p 38; June, p 42; Sept., p 37; Dee., p 42 Red Clay Renaissance in Finland, Willcox, May, p 13 Shard Mosaics, Gilbreath, Mar., p 23 Summer Workshops, June, p 27 Variations in Form and Technique, Paradis, Apr., p 22 Vocational Ceramic Training in Japan, Zamantakis,

Dee., p 12 Wedging Board Pots, Persick, June, p 13

December 1969 41

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Write for complete Kemper Catalog enclosing SOc (coin or stamps) for postage and hand]ing. Please include your Zip Code Humber with address.

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A subscription to CERAMICS MONTHLY makes an ideal gift for any occasionl Simply fill in the subscription blank in this issue, mark it "g i f t , " and tell us how you want it signed. We'll an- nounce your present with a handsome gift card ;n your name.

If the recipient of your gift is already a subscriber to CERAMICS MONTHLY, we will extend the current subscription.

CRAFT STUDENTS

LEAGUE YWCA

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A T TENTION New York Dealers and Teachers/ You are invi ted to visi t Long Island Ceramic Center 77 Wes t Merrick Road Freepor t , New York 11520 (516) 378-8288 New York's Newest and Most Complete Ceramic Hobby Center

NEW BOOKS EUROPEAN POTTERY by Maria Penkala Maria Penkala, a well known connoisseur of ceramics, a linguist and contributor to international periodicals, has written this comprehensive reference book for collectors and dealers of European pottery. She includes a brief history of all potteries or factories in nineteen European countries, along with 5,780 indentifying pottery marks reproduced in actual size. Her book also contains an index to reproduc- tions, and a bibliography. In addition there are 72 black and white photographs of representative pieces of pottery from nine of the countries. 472 pages; $15.00. Charles E. Tuttle, Rutland, Vermont.

EUROPEAN PORCELAIN by Maria Penkala Again Maria Penkala has created a reference book which offers a pictorial review of 4,000 marks of European porcelain, and is oriented to dealers and collectors. This volume is structured the same as the author's European Pottery, and includes a brief history of factories producing proce- lain. Nineteen countries are represented. 256 pages; 32 halftone photographs; $12.50. Charles E. Turtle, Rutland, Ver- mont.

A FIRST BOOK OF CERAMICS by Paul Villiard Mr. Villiard's introductory book on ceramics discusses tools and equipment, coil and slab work, mold making, slip casting, throwing on the wheel, glazing and decorating, making a kiln, and firing. There are step-by-step instructions for each section, good illustrations, and a glossary and index. 175 pages; black-and-white photographs; $5.95. Funk & Wagnalls, 380 Madison Ave., New York, N.Y. 10017.

BASIC CRAFTS by Lindbeek, Duenk, and Hansen The authors have written this book as a text to be used in a general crafts program at the junior high level. Of interest to CM readers will be the section on Ceramic Craftwork prepared by Marc Hansen, as- sociate professor of art at Western Mich- igan University, at Kalamazoo. This eight- section unit includes, in addition to general clay work, information on glazing and firing, glass etching, stained glass, slump- ed glass, and mosaic tiles; it concludes with a discussion of ceramics in industry--275 pages; color and black-and-white photos; and diagrams. Charles A. Bennett, Inc., Peoria, IlL 61614.

C E R A M I C & S C U L P T U R E S U P P L I E S CLAYS • TOOLS • GLAZES RAW MATERIALS KILNS • WHEELS

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Advertisers Index December 1969

AIM Kilns . . . . . . . . . . . . . . . . . . . . . . . . 38 Alpine Kilns . . . . . . . . . . . . . . . . . . . . . . 11 American Art Clay Co . . . . . . . . . . . . . . 10 Anderson Ceramics Co . . . . . . . . . . . . . . 40 Arts-Crafts Supplies, Inc . . . . . . . . . . . . . 37 B & I Mfg. Co . . . . . . . . . . . . . . . . . . . 4 Bergen Arts & Crafts . . . . . . . . . . . . . . 40 Brent, Robert, Potter's Wheels . . . . . . . 6 Burt, W. D., Mfg. Co . . . . . . . . . . . . . 6 Byrne Ceramics . . . . . . . . . . . . . . . . . . . . 38 Campbell, Gilmour . . . . . . . . . . . . Cover 4 Capital Ceramics . . . . . . . . . . . . . . . . . . 39 Central New York Ceramic Supply . . . 4 0 Craft Students League YWCA . . . . . . . 42 Craftool Co . . . . . . . . . . . . . . . . . . Cover 2 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 37 Dawson, W. P . . . . . . . . . . . . . . . . . . . . . 37 Duncan's Ceramic Products . . . . . . . . . . 3 Estrin Mfg. Co . . . . . . . . . . . . . . . . . . . 37 Francoise Ceramics . . . . . . . . . . . . . . . . 37 Gare Ceramic Supply Co . . . . . . . . . . . 39 Kemper Mfg. Co . . . . . . . . . . . . . . . . . . 42 Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . 37 Klopfenstein, H. B. & Sons . . . . . . . . . . 38 Kraft Korner . . . . . . . . . . . . . . . . . . . . . 40 L & L Mfg. Co . . . . . . . . . . . . . . . . . . . . 40 Long Island Ceramic Center . . . . . . . . 42 Mayco Colors . . . . . . . . . . . . . . . . . . . . . 9 Minnesota Clay Co . . . . . . . . . . . . . . . . . 35 Ohio Ceramic Supply . . . . . . . . . . . . . . 40 Orton Ceramic Foundation . . . . . . . . . . 35 Oscar-Paul Corp . . . . . . . . . . . . . . . . . . . 39 Pacifica Potter's Wheel . . . . . . . . . . . . . 40 Paragon Industries . . . . . . . . . . . . . . . . . 4 Parfex Co . . . . . . . . . . . . . . . . . . . . . . . . . 40 Pottery by Dot . . . . . . . . . . . . . . . . . . . . 37 Reward . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Richland Ceramics . . . . . . . . . . . . . . . . . 42 Rovin Ceramics . . . . . . . . . . . . . . . . . . . 6 Skutt & Sons . . . . . . . . . . . . . . . . . . . . . 7 Tepping Studio Supply . . . . . . . . . . . . . 39 Thompson, Thomas C., Co . . . . . . . . . . 5 Trinity Ceramic Supply . . . . . . . . . . . . 40 Unique Kilns . . . . . . . . . . . . . . . . . . . . . 40 Van Howe Ceramic Supply . . . . . . . . . 39 Walker Jamar Co . . . . . . . . . . . . . . . . . . 39 Westwood Ceramic Supply . . . . . . . . . . 8

Back Issues The following back issues o] Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 4% sales tax). We pay postage. 1960 November, December 1962 January (9-year Index issue), February,

April, May 1968 June, October, November 1969 June Please send remittance (check or money order) with list of issues desired.

CERAMICS MONTHLY Box 4548 Columbus, Ohio 43212

42 Ceramics Month ly

he el

T - -

c ~

,,?

The newest title in a series of quality Handbooks on Ceramics All mater ial for POTTER'S WHEEL PROJECTS has been selected

from feature art icles which appeared or ig inal ly in CERAMICS

MONTHLY magazine. The projects selected have been ar-

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a wide variety of special throwing techniques, with each

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THROWING ON THE POTTER'S WHEEL by Thomas Sellers

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KINGSPIN Electric Potter's Wheel N e w L a r g e W a f e r T r a y e A N e w P r o f e s s i o n a l W h e e l a t a P r i c e you can aff_orcl__e .M_ore ~ i ~ " i ' ] p o w e r f u l • Easy t o Use • Ba l l B e a r i n g s • Easy f o C l e a n • Easy t o S t o r e . SPEED V::Jrl:eb " w i t h f o o t p e d a l -- s m o o t h as an a u t o m o b i l e . PORTABLE -- c a r r y i t w i t h y o u a n y n . ~ ~ I Ba ts f i t o u r hand w h e e l s ~ e a c h s t u d e n t m a y h a v e his o w n b a t and p l a c e i t on t he hand w h e e l w i t h o u t l os ing c e n t e r . 110 V o l t A C . DC. One y e a r s e r v i c e w a r r a n t y , i ~ " ~ ' i ~

M o d e l E-6 Sl19.50 "THE LITTLE M A C H I N E Ke0 S~ooe"e T H A T T H R O W S BIG PIECES" s~ P o ~ M, .... k~, w ~

KINGSPIH Electric Banding Wheel ....... * - Heavy Kinalioy 7-inch tabte • '~:~ • i ~ ' ~ e e N e w - - with height trimmer

: , , ~ • Solid cast aluminum case ~,i~ ,~:, • 110 volt motor 25 RPM

On & Off sw tch, 8-ft. cord , i ~ ' ~ ' ~ e e One-year service guarantee

Model E2-T $22.95 Model E-2 less tr immer $19.95 Also Model E-3T with heavier motor (35 RPM) for light throwing . . . . . . . . . . . . . . $26.50 Model E-3 less trimmer $23.50

KINGSPIN STEEL WHEEL • Our Economy Model • Kin- alloy bearing • Knurled Stem • Easy Spinning • Zinc Plated --Rustproof • 7 " Steel Top & Bottom • Highest Quality t Low Price.

Model S only ~ . q l ~ T m - - v

KINGSPIN Kinolite Turntable New 12.inch model with many uses • A 12-inch wheel for the price of an 8-inch • Made of KINOLITE - - latest sinktop material used in newest homes • Heavy Kinalloy round base • Just the thing to use for those lace dolls.

Model T-12 $6.95

KIHGSPIN Potter's Hand Wheel

With Height Trimmer Rest tools and brushes on the height trimmer - - results wil l amaze you.

Model KH-7 $ 8 . 0 0 (With 7" heavy Kinalloy table.}

Model KH-8 pictured with bat

With 8" heavy Kinalioy table Model KH-8 . . . . . . . $9.25 Bats recessed for 7 " . . . . $ .85 Bats for 7" & 8". . . . . . . . $1.00

KINGSPIN Wheel

NEW with Wagon Wheel Base • Top and base are cast Kinalloy • Top measures 61/4 ' ' • Shipping weight 3 Ibs.

Model W'6 only $3.95

Wlfh 7" table [model W-7) $4.95

KINGSPIN Lowboy Steel Wheel • Our Economy Model • Kin- alloy Bearing • Easy Spinning • Zinc Plated.Rustproof • 7" Steel Top & Bottom • Highest Quality • Low Price

Model S-L only $2.95 This new model may be used as a mold stand, for clay modeling or as a decorating wheel in spray booth.

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