MARCH, 1964 60c - Ceramic Arts Network...magazine display rack is supplied free studio selling...

MARCH, 1964 60c

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Send the moving men home! The sections of your Skutt Ceramic Kiln are

lightweight and easy to disassemble. This means

you can move your kiln from one spot

to another in a jiffy. The easy disassembly

makes maintenance a snap, too!

~ ~ J r ~ " , , r~ Please write ~or more information. C E R A M I C K I L N S • 2618 S. E. STEELE STREET •

0 PORTLAND 2, OREGON

/~lar~h 1964 3

I I

T E A C H E R S . . .

FOR DET j6dLED CERA~v~JC D E C O R A T I N G "~.~*~ I,1

USE M A Y C O ' S ® I

UNOE G'AZE CO,ORS #/] and ONE STROKE

Regardless of the way your students form their clay pieces, ~ ~ ~~~"~ ~ ~

the final decorating step can be done easily and beautifully with MAYCO UNDERGLAZE and ONE STROKE colors. ~ v ~ /

Students love to use them. They are in liquid form, ready-to- use, and economical. You II love them too. Ask about -~-

MAYCO'S unusual, easy-to-apply glazes.

AMERICAS FINEST COLORS

DEALERSHIPS AVAILABLE: See Your Nearest MAYCO Distributor or Write Us.

Acclaimed Everywhere by Teachers and Professionals for Performance

This N a t i o n a l l y Recognized Power -Dr i ven Precis ion Wheel

only $57.50 [Shipped complete

Less Motor)

Ideal for school, stud;o, home use . . . The famous B & I

Pottery Maker, first in the field, is still first in value and ;n

price! Simple operation, rugged construcfion, with all fhe

versat;I]ty required by professional workersl Many built-ln

features . . . ADJUSTABLE arm rests; BUILT-IN water con-

toiner; VARIABLE speed drive; QUIET bronze and bobbit

beorings; ADJUSTABLE foot-pedal control; U N U S U A l size

range.

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• . . Our pr;ce is stiff the best in the field!

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factory, Burlington, Wisconsin, for only $$7.S0.

B & I Mfg. Co. Dept. C. Burlington, Wisc. "Originators and Makers of famous II & I GEM MAKERS"

4 Ceramics Monthly

FREE. . for dealers only. This attractive heavy-wire magazine display rack is supplied free to every studio selling single copies of Ceramics Monthly. It is part of a "full-service" program we offer ceramic studios everywhere. Learn more about this program now send the coupon below or write on your letterhead.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ci rcu la t i on M a n a g e r

CERAMICS MONTHLY

417S N. H igh St., Columbus, Ohio 43214

Please send us i n fo rma t ion on your single copy sales

p r o g r a m m f o r dea lers only.

l STUDIO_

I

i ADDRESS I

I C ITY/STATE

M O N T H L Y

V o l u m e 12, N u m b e r 3 M a r c h 1964

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

Answers to Quest ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

I t ine ra ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Enamel o]1 Copper Repousse by Helen Worral l . . . . . . . . . . 12

Project Possibi l i t ies for Junior High School ( P a r t 2) by Anne Miller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Charles Brown, Po t t e r by Hal R iegger _ . . . . . . . . . . . . . . . 18

Throwing of f the Lump by Anne Apple ton Clarke . . . . . 22

Show Time: Texas Craf t s . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Ceramic Eas t e r E g g s by Teresa Schober . . . . . . . . . . . . . . 26

Three Decora t ing Techniques demons t r a t ed by Marc Bellaire . . . . . . . . . . . . . . . . . . 28

Enameled Room Dividers ( P a r t 3) by Ka the Berl . . . . . . 30

Reductiou F i r ing by F. Carl ton Ball . . . . . . . . . . . . . . . . . 31

CeramAct iv i t i es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Ceramic Shopper . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

h ldex to Adver t i s e r s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

()n Our Cover

This month's cover photograph shows potter Charles Brown at work on a sculptural form in his studio at Mandarin, Florida. Mr. Brown's handbuilt bottles and planters have captured much attention and won numerous awards in regional, national and international exhibitions. Author Hal Riegger's profile story on Charles Brown begins on page 18 of this issue.

Editor: THo,~t^s SELLERS Art Director: ROBERT L. CnE^OER

Business Manager: SPENCEa L. DAvis Circulation Manager: MARY RUSHLEY

Advisers and Special Contributors: F. Carlton Ball; Marc Bel- laire; Kathe Berl; Edris Eckhardt; Zena Holst; John Kenny; Karl Martz; Ken Smith; Don Wood.

Western Advertising Representative: Joseph Mervish Assoc., 5000 Lankershim Blvd., North Hollywood, Calif. TRiangle 7-7556.

Copyright 1964 Pro/essional Publications, Inc. CERAMICS M O N T H L Y March 1964. Vol. 12 - - No. 3. Publ ished month ly except J u l y & A u g u s t by Profess iona l Publ ica t ions , I n c - S. L. Davis, Pres . , P. S. Emery , Sec.; a t 4175 N. H igh Street , Columbus, Ohio 43214. En te red as second class m a t t e r a t the post off ice a t Athens , Ohio. U .S .A. Subscr ip t ions : One year $6; Two Years $10: Three Years $14. Copyr igh t 1964. Al l r i g h t s reserved. M A N U S C R I P T S and Illus- t r a t ions dea l ing wi th ceramic a r t ac t iv i t ies are welcome and will be considered for publ icat ion. Manuscr ip t~ should be typed double-spaced and range f rom 500 to 1200 words. Send manusc r ip t s and correspondence about them to the Edi tor , C E R A M I C S MONTHLY, 4175 N. High Street , Columbus. Ohio 43214.

I M A C C O C E R A M I C C L A Y S a re p r e p a r e d f rom na tu ra l C a l i f o r n i a c lays. The fo rmu las for our whee l c lays have been used for ove r 35 years, a lways g i v i ng our customers a d e p e n d a b l e , uniform clay b o d y for the i r ce ramics and a r t work. The Pyrometr ic Cane Equivalent chart shown below is the result of considerable testing in our e lectr ic kiln.

OUARRY TILE (Red) Cone 04 to 8 SPECIAL MIX {Buff) Cone 6 to 10 50/50 MIX (Quarry Tile & Special Mix) Cone 04 to 10 SCULPTURE CLAY ISuff) Cone I fo 10 NAVAJO WHEEL CLAY [Dark Red) Cone 04 to 8 MISSION SUP (Buff) Cone I to 8 NAVAJO SLIP (Red) Cone 04 to 0 RETAIL PRICES (FOB Florin, Ca l i f o rn ia )

QUANTITY * PUGGED & DE-AIRED DRY CLAY 2-25## Bags (M;n. Sale} $4.80 $4.50 3 fo 79 Bags $1.75 per 25# Bag $1.25 per 25# Bag 80 or more Bags $1.55 per 25# Bag $1.05 per 25# Bag

• I Bag consists of 25 Ibs of clay packed in a heavy mois- ture-proof Poly Bag. 2 Bags per package for shipping.

Mr. David R. Schalchli, who has devoted 48 years to the ceramic arts and industry as a technical and ceramic engineer, has recently developed for us the new clay bodies listed below:

STONEWARE #5 (Light Cream) Cone 6 to 62 STONEWARE #9 ILight Brown) Cone 4 to 12 STONEWARE #6-C (Sandstone) Cone 4 to 8 STONEWARE .~3-P [Dark Brown) Cone I to 8

The above colors developed from Cone 6 to maximum filing range.

ORDER YOUR CLAY SUPPLY TODAY! Quantity discount to dealers and schools.

IHDUSTBIAL MINERALS & CHEMICAL CO. 836 Gilman St. • Berkley 60, Calif. • Phone 524-2100 • Code 465

March 1964 5

A Special Selection from the Ceramics Monthly Book Department

A POTTERY SKETCHBOOK by Aaron Bohrod

This inspiring book contains a fascinat-

ing collection of sketches for decorating

pottery taken from a series of Aaron

Bohrod's sketchbooks. A page from the

book is reproduced here to illustrate the

character of the work and excitement

created by the hundreds of sketches in

the book.

Design based on a natural form is a recurrent theme in

this work by Bohrod. He typically prepared a ga'eat number

of variations of a basic thought so that the best and most

f i t t ing material could be selected for final use on the

pottery to be decorated.

Mr. Bohrod, one of America's distinguished painters, is well

known in the pottery field for his decoration of pottery

thrown by Carlton Ball. Many of the pots created through

this partnership are illustrated in the book.

This is truly one of the great books available in the ceramic

art and craft field and one you'll be turning to time after

time for inspiration and instruction. Send for your copy

now! $7.50 per copy.

W E P A Y P O S T A G E - - M O N E Y - B A C K GUARANTEE

I l l m m m m m m m m

CERAMICS MONTHLY BOOK DEPT.

4175 N. High St.. Columbus. Ohio 43214

P l e a s e send me . . . . copies of POTTERY

SKETCHBOOK by Aaron Bohrod (¢l $7.50

Name . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Address . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

City/State . . . . . . . . . . . . . . . . . . . . . . .

1 enclose [ ] C h e e k [ ] Money O r d e r

O h i o Resident add 3% Sales Tax

m m m m m m m m

6 Ceramics Monthly

-s 'n wo,k".. . t ' ~ .ue5 _ _ , - t , l I N l , $

takes t~eoh~lC ~E/x out at ~,cv,,~.-

\ C e r a m i c c l a s se s should bea joy to teach instead of a drudge,

that is why we, at DUNCANS, a r e constantly consulting with

t eachers so that we can learn o f y o u r c e r a m i c problems and

then help you co r r ec t them. Won't you le tus help you?

FREE INSTRUCTION M A N U A L This manual gives you detailed information on the cha rac t e r i s t i c s and appli-

cation of all Duncan g lazes and o ther

c e r a m i c products plus the reasons for

mos t g laze imperfect ion problems.

FREE PRINTED COLOR CHARTS This is a 4 -pageb rochureshowingDun-

can ' s complete c e r a m i c color line, 220 in all, g losses , marts , c rack les , s a -

tins, lavas , speckles, special effects,

a r t s plus opaque and t ranslucent under- g lazes . All a r e ready to use r igh tou to f

' the jar . CLASSROOM PROJECT IDEAS

F r o m t ime to t ime Duncans offer suggested project ideas such as coil, slab

and sand mold techniques. Each is com-

plete with photos and s t ep -by- s t ep in- s t ruct ions .

FAST DELIVERY SERVICE tn . . . . . . r~:_._.~L.itor s a r e eve rywbere

stock of supplies,

) r the d is t r ibutor nea r - your F R E E Instruction ted Color Char t ,

= , : CERAMIC PRODUCTS, INC., 5673 E SHIE{OS AVE. FRESNO ?7. CALIFORNIA

For Better More Consistent

Results

ORTON Standard Pyrometric

CONES O r t o n cones a r e y o u r g u i d e to m o r e u n i f o r m l y

f i red w a r e . H e r e is a l e a f f r o m i n d u s t r y ' s book

t h a t y o u c a n use . F o r c o m p l e t e d e t a i l s on t h i s

e c o n o m i c a l c o n t r o l m e t h o d see y o u r d e a l e r o r

w r i t e d i r ec t .

Request your free copy o~ "'PTopcrtics and UJcs o~ Pyroraetric C o n e s "

The E d w a r d O r t o n , Jr . C e r a m i c F o u n d a t i o n

144s Summit Street Columbus I, Ohio

Share your thoughts with other CM readers---be they quip, query, comment or ad- rice. All letter~ must be signed, but names will be withheld on request. Address: The Editor, Ceramics Monthly, 4175 North lfigh St., Columbus, Ohio 4.7214.

THE LEACH ARTICLE Your J a n u a r y article on Bernard Leach

was most sat isfying and I enjoyed it as thoroughly as I did the one on H a m a d a (in the Oc tober 1962 C M ) .

Mrs. Paul Cullom Scottsdale, Ariz.

As ;~ past ~qJprentice with Bernard l ,each. I fmmd your article a delight . I do find it ironic that the photo on your front cover most p rominen t ly shows pr)ts not by Bernard I,each bu t by his wife .Janet! Byron Temple

New Hope, Pa.

I greatly apprec ia te your articles on Bernard Leach and H a m a d a . Please let 's have more of this type!

Mrs. J. IV. Su'i[t Webster Groves, Mo.

INDEX Do you publ ish an index of the contents

of earlier copies of CE~AMmS MONTHLY? I feel sure that there would be several

LETTERS issues I would like to own but there are no back copies present ly avai lable in any nearby library. Judith Reynder~

Maywood. N.J.

A nine-year index, cocering the year~ 195.? through 1961, was published in the January 1962 issue of CM. Since then the i)tdex for each )'ear has been published in the December i~sue. Ed.

CM IN BANGKOK ;, I look forward at the beginnin~-~J~ each

m o n t h to CM. I t is a great , o ~ e of inspirat ion and in format ion wh ich ~ a n n o t be found in Bangkok because pot ;cry is little known and hardly apprec ia ted out here. 1 enjoy C M very m u c h indeed.

Mi~ Vimon Vibulmongrol Bangkok, T h a i l a n d

It may interest our readers to know that thi~ issue i~ bei,~ read in 58 foreign countries, from A (Arabia) to Z (Zealand, New). Ed.

AID TO INDUSTRIAL ARTS H a v i n g just en tered the field of ceram-

ics as an industr ia l arts teacher , I have found tha t your magaz ine is an excellent aid to everyone connec ted with ceramics.

Robert A. BostIey I,iverpool. N.Y.

MORE ON MASHIKO T h e T o m M a r s h article on the Folk

Potters of Mashiko (Oc tober 1962) was one of the very best th ings I have read in CM, and I have been wa tch ing each issue since tha t t ime for ano the r article by him. Any hope? Betty Glass

Kansas City, Mo.

l'es! Mr. Marsh had a very serious ac- cident in ]apan just before his article appeared in CM, and is just now resuming his work in that eountry.--Ed.

WANTS RAPID ACTION Good grief, has my subscr ipt ion expired ?

Have you gone out of publ ica t ion? H a v e the mails be tween C o l u m b u s and Kansa s City been shut down? W h e r e is my C M ?

In lieu of any h a n d y C A R E packages, I am sending money. If indeed m y sub- script ion has expired, please un-expi re it and. if possible, s tar t it at the 1963 "Back- to Work" issue and con t inue f rom there. If not, send the avai lable issues anyway and I 'll send more money. But I mus t have them. Hur ry ! Th i s is an emergency. I 've been wi thou t an issue since June . H o p i n g for rapid action.

Mrs. M. Bunker Shawnee Mission. Kan .

SEND FOR

C A T A L O G

T O D A Y !

6 1 0 V E N I C E

Instructors-Teachers- Students W e are now offering an EARTHENWARE T H R O W I N G BODY, with or without grog, which has a temperature range of cone 06 to 04. (Low-fire glazes are also available.) This is in addition to our famous cone S and cone 10 clay bodies. All of our earthenware and stoneware clay bodies are available with or without grog, dry or pugged and de-aired. Try some!

Have you tried Westwood's Cone 5 Stoneware Glazes? (color may be added)

W 501 Lido Satin (mottled beige) W 504 Italian Straw (mottled beige) W 502 Semi-Clear Matt W 505 Polar Bear (eggshell white) W 503 Moonmist (opaque white) W 506 Horizon (opaque white gloss)

16 Transparent

or our Cone 10 Glazes?

White Waxie G Matt 3 Stony White MG-2 (White Matt) Chun PM-S Eggshell

:~ 16 Transparent

POTTER'S WHEELS and KILNS

B L V D . V E N I C E , C A L I F O R N I A

M a r c h 1964 7

12th ANNUAL EASTERN

(ERgml( E

HOW Sponsored by CERAMIC LEAGUES, INC.

M A Y 1 4 - 1 7 , 1 9 6 4

CONVENTION HALL, ASBURY PARK

NEW JERSEY

ATTENTION

• Closed Circuit i"II wil l project Booth Demonstrations by Leadinq Manufacturers to comfortable Congregation Area . . • Another f irst at the Eastern Show for 1964.

u Buyers Cards fo be honored of the Eastern and Chicago Ceramic Shows now available . . . Write for yours today • . . Wholesale Hours: 12 to 1 P.M. daily.

• Hobbyists and Beginners are invited to attend the fabulous "Pageant of Techniques" from 9 A.M. to 12 Noon dally . . . free admission.

m m m m m m m m m m m m n mr

m SPECIAL CLASSES - - EASTERN CERAMIC SHOW OF 1 9 . II CONVENTION HALL m ASBURY PARK, N.J. I

I Please send teaching schedule for Pro-Registored Classes to be I conducted at the 1964 Eastern Ceramic Hobby Show . . . i wish

I to make a reservation. I

l NAME. [please prlnt) l

I STREET I

I c , . • STATE I

m m m m ro l l m m m m m m m m

I NATIONAL CERAMIC AMATEUR EXHIBIT I James A. Boice, Chm., 25 Abington Ave., Marlton, N. J.

I Please send _ _ Entry Forms. I plan to exhibit in the: Notional I

i Amateur Exhibit (check); Professional ExhlbH. (check).

I I NAME

[please print) I

! STREET I

I CITY & STATE I

TEACHERS .

HAPPY RES

Ever wonder wky Reword glazes ~ mid colors are used in more schools and craft centers than any other brand? The reason is PRE. TESTING of every botch at the factory before it leaves Maryland. To make results more certain, colors and finishes are checked for ease-of-application and fool- proof firing charooteristics. I f yon want fo encourage ceramics in your classes or com- munity, insist upon the REWARD brand. Over 400 colors and textures to suit every teaching and student requirement.

Reward glazes and colors f i re at "stand. ard temperatures" (Cone 06-04) in regular school and institution kilns. Available in 2 oz and 4 oz jars or economical pint, quart and gallon sizes. Write for prices and free literature.

R E W A R D CERAMIC COLOR MFRS., INC.

6811 Washington Blvd., Elkridge 27, Md.

NEW PRODUCTS GEM-ENAMEL 4.oz. tar: $1.00

The perfect product for creating pictures and panels of crushed colored glass. Crystal clear, to retain the brilliance and true shades of cathedral and other colored glass. It can be heat-treated in a kiln or kitchen oven. This is the equivalent of the French enamel for famous Gemmaux paintings. Instructions included.

BLACK GEM-ENAMEL )/2-oz. 50c Used in conjunction with Gem-Enamel, this

black is excellent for borders, outlines or other designs where a strong accent is needed. Gem-Enamel Solvent: Use for thinning and for cleaning brushes. 4-oz. jar: 50c

JUMBO JEWELS ] lb. pkg.: $3.00 Imported domed ewels with flat backs. /ks- ] " .

sorted sizes from I/2" to I/4 daameter. Will fire on most sheet glass without fracturing. Can also be heat-set on panels with Gem-Enamel. Colors: Orange, green, yellow, turquoise, blue, purple: ranging from light to deep shades. /ks- sorted only. Instructions included.

Minimum shipping order : $5.00. A d d 20% for postage.

Glass Cata log: 50c

Kay Kinney Contoured Glass 72.5 Broadway, Laguna Beach, Calif. (ZIP) 926S1

8 Ceramics Monthly

Answers to

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 f f

0 The student~ in my ceramics class have modeled sculptures (usually less than 12 inches in height) #om blocks of clay

and hollowed them when leather hard. In many ways they [ind thi~ approach more free, expressive and satisfying than by the use o[ other methods. However, during the drying process cracks appear on the inside wall. In some instances these are large cracks. We dry by placing each piece on two low wooden sticks and maintaining a plastic wrapping on the outside so that the drying is fron, the inside. Can you tell us what we might be doing wrong? Mrs. E.L., Petersburg, Alaska.

This method of hollowing ceramic sculpture makes it diffi- cuh to produce an even wall thickness and this is one probability for the appearance of the cracks. The addition of grog to the ('lay should allow better passage of air through the wall as it dries and thereby redt,ce or eliminate the cracking. Either a fine or coarse grog could be added in amounts of from 5 to 15%.

Another reason for the cracking might be that the drying is MI taking place from the inside. Try loosening the plastic wrapping on the outside so that some air circulates on the outside of the piece as well as inside.

{~ Why is the term "'throwing" used in re[ere.nee to working on the potter's wheel?--Mrs. A.D., Reading, Pa.

The generally-accepted theory is that this name comes from Ihe first action the potter uses in his work at the wheel - - that of throwing the lump of clay down onto the center of the wheelhead to make it adhere firmly.

Can you explain the term "so# solder" as it applies to enameling on copper?--Mrs. G.S., Berkeley, Call[.

Soft solder is made up of half tin and half lead; because of its composition, it needs very little heat to cause it to flow. Soft solder is used on enameled pieces which cannot be subjected to the higher temperatures needed for hard soldering because of the risk to the metal finding and to the enamel itself. The area to be soldered must be cleaned, then it should be covered with a soft solder flux. Small pieces of the soft solder should be cut and placed under and around the finding in place on the metal, then a torch can be applied until the solder flows.

When glaze runs down the sides of an object during the /iring, pooling in the bottom of the inside and dripping o[[

the pot on the outside, what is the matter?--H.H.W., Wey- mouth, Mass.

The glaze ahnost certainly is being fired too high in this case. Check the firing instructions on the glaze bottle to see what firing range is recommended. If you are following instructions correctly and are firing by a pyrometer, there is a possibility that your pyrometer is not registering properly and needs to be corrected by means of a firing that includes the use of cones. There is also the possibility that your kiln continues to build up heat after it is turned off when the desired temperature is reached. Check this either by the use of cones or pyrometer. If this is happening, it may be necessary to terminate the firing earlier than you have been doing.

All subscriber inquiries are given individual attention at CM; and, out of the many received, those of general interest are selected ]or answer in this column. Direct your inquiries to the Questions Editor, GM, 4175 N. High St., Columbus, Ohio 43214. Please enclose a stamped, sell-addressed envelope.

D i s c o v e r g r e a t e r c r ea t iv i ty . . . e n j o y n e w d e p t h s of colors a n d shades w i t h o v e r 200 samples of o p a q u e , t r a n s p a r e n t , opa l a n d c rack le e n a m e l s to choose f r o m . B e g i n n e r s as wel l as expe r t s c a n n o w b r a n c h o u t in co lo r . . . g ive i n t e r p r e t a t i o n s to work n e v e r b e f o r e possible u s i n g t h e la tes t colors by T h o m p s o n . . . l e a d e r in the f ield of e n a m e l s for o v e r 70 years.

Hobby i s t s c a n easily select t h e prec ise co lor to sui t t h e i r exac t n e e d by o r d e r i n g d i r ec t ly f r o m the fu l l -co lor r e p r o d u c t i o n s i n t he " C o l o r G u i d e " . . . a specia l sec t ion in t he n e w T h o m p s o n ca ta log .

Also f e a t u r e d a re in- s t r u c t i o n books c o v e r i n g

i, eve ry p h a s e of p o r c e l a i n e n a m e l work a n d glass-

c raf t . Too l s , m a t e r i a l s

a n d suppl ies a re p i c t u r -

e d a n d a c c u r a t e l y de- sc r ibed fo r f u r t h e r ease

of o r d e r i n g .

S h o u l d you be in t he

m a r k e t fo r a n e w ki ln, t he specia l M o d e l B-9

will b e of p a r t i c u l a r in -

terest . K i l n r eaches t e m p e r a t u r e s of 1500 ° in o n e h o u r . . . c a n be p l u g g e d i n t o a n y 115 vo l t ou t le t . P r i ce F . O . B . H i g h l a n d Park , I l l inois , or Da l las ,

T e x a s . . . on ly $35.

F o r you r F R E E copy of the n e w T h o m p s o n ca t a log w i th t he n e w " C o l o r G u i d e , " s imply m a i l t he coupon . W h y n o t d o it t o d a y ?

THOMAS C. THOMPSON CO. - - DEPT. CM ] 1539 Deerfleld Road, Highland Park, II1., 60036

Please rusk my FREE cafalog of complete enameling and craft J supplies with Color Guide today.

N A M L I

I ADDRESS__

I CITY__ ~ [ O N E _ _ S T A T E -

M a r c h 1964 9

M O N T H L Y

H A N D B O O K S U s e d b y t e a c h e r s e v e r y w h e r e . I d e a l f o r h o b b y g r o u p s , s c h o o l s ,

a r t a n d c r a f t c e n t e r s . T h r e e - c o l o r c o v e r s ; p r o f u s e l y i l l u s t r a t e d s t e p - b y - s t e p p h o t o t e c h n i q u e .

CERAMIC PROJECTS by Thomas Sel- lers. An outstanding selection of projects for the classroom, home and studio. Fountains, planters, jewelry, bottles. bowls and other items. 64 pages, $2.00 COPPER ENAMELING by Jo Robert and Jean O'Hara . Recognized as the best in basic instruction, this elaborate handbook has over 200 photographs. In- cludes fundamentals and illustrated how- to-do-its on jewerly. 64 pages, $2.00 UNDERGLAZE DECORATION by Marc Bellaire. This complete handbook has all the answers on materials, tools and

~-- techniques. Step-by-step projects are ~ profusely illustrated. 64 pages, $3.00

THROWING ON THE POTTER'S WHEEL by Thomas Sellers. Here 's a complete manual on how to use the potter 's wheel. Covers all basic steps from wedging clay to making specific shapes. Over 200 photos. 80 pages, $4.00

DEALER IN~)UIRIES INVITED

i- - - - - - - - - 3 i CERAMICS MONTHLY Book Department I

4175 N. High St., Columbus 14, Ohio

I Please send me the following: I

- - - - c o p i e s of CERAMIC PROJECTS @ $2 II . . . . pies of COPPER ENAMELING @ $2 • | _ _ c o p i e s of UNDERGLAZE DECORATION @ $3 !

copies of THROWING ON THE POTTER'S WHEEL @ $t

I N a m e I

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10 Ceramics Monthly

E V E R Y A R T C L A S S N E E D S . . .

T H E Fabulous N E W , w a t e r s o l u b l e d e c o r a t i n g m e d i u m f o r u s e o n :

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WATER SOLUBLE - Brushes and reals clean v, ithsoap and water. After BISQ-WAX has thoroughly' dried it becomes a very perma-

, l~nen t , washable finish.

'1 NO SPRAYS are needed regardless ~f the typeof decorating tech-

n ique used.

TNLIMITED DECORAFING TECHNIQUES: Use BISQ-WAN as you use oils, water colors, poster paints. Excellent also for antique and grained techniques.

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other. Fire from cone 06 to cone 6 or any temperature in between. Color requirements vary from person to person and school to school but when you

use CERAMICHROME'S go-together and intermix- able colors, every requirement can be met. CERAMI- CHROME can give you all the colors and textures you ever wanted, and they are available from local sources in most areas throughout the United States.

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Send your show announcements earl~,': "Where to Show," three months ahead o/ entry date; "Where to Go." at least r,x weeks before the openin£.

WHERE TO SHOW

FLORIDA, ~TINTER PARK March 6-8 The Fifth Annual Sidewalk

Art Festival of Central Florida includes entries in crafts, sculpture and paintings. Entry fee; Over $2400.00 in cash awards. Jury includes Hal Riegger, James Camp and Kenneth Donahue. For information and entry blanks, write: Sidewalk Ar'~ Festival, 346 North Park Ave.. Winter Park.

KANSAS, WICHITA April S-May S The 18th Decorative

Arts---Ceramics Exhibition, sponsored by the Wichita Art Association, is open to all American craftsmen in the following media: ceramics, mosaics, enamel, glass. jewelry and metal arts, weaving, and wood, ceramic and stone sculpture. Jury: Sheldon Carey, John Paul Miller and Alice Parrott. $2000.00 in awards and purchase prizes; Entry fee. Entry cards and fees due March 4; Work due March 9. Write: William Dickerson, 401 N. Belmont, Wich- ita.

MASSACHUSETTS, BROCKTON April 13-May 3 The Seventh National

Show of the Brockton Art Association

ITINERARY includes work in pottery, jewelry, sculpture, silversmithing and weaving. Entries close March 31. For full details and entry forms, write: The Brockton Art Associa- tion. Box 533, Brockton.

.~'EW YORK, PI.ATTSBURGH April 8-29 Third annual "Jewelry, '64"

exhibition is open to jewelry craftsmen in the United States and Canada. All media; Entry fee: Juror ; Awards. Entry cards and work due March 15. For entry blanks and information, write: William Benson, Di- rector of Art Exhibitions, State Univer- sity College. Plattsburgh.

SPECIAL FOR HOBBYISTS

CALIFORNIA, LONG BEACH March 6-8 "California Wonderland of

Ceramics," sponsored by the California Hobby Crafts Associates, Inc., will be held at the Lafayette Hotel and will feature a hobby competition. For information, write: Mary Davis or Doug Miles, 3859 Boyce Ave., Los Angeles 39, Calif.

[OWA, DAVENPORT April 4-5 The Seventh Annual Ceram-

ic Show sponsored by the Mississippi Val- ley Ceramic Association will be held at the Masonic Temple. Proceeds of this show are used for the Scott County and Rock Island County Association for Re- tarded Children. For show details, write: Mrs. Schroder, Box 206, Blue Grass, Iowa.

KANSAS, SALINA May 2-3 The Central Ceramic and

Hobby Show, sponsored by the Salina Ceramic Art Society, will be held at the 4-H Building. For information, contact: Arlene Munson, 1926 Simmons, Salina.

MISSOURI, INDEPENDENCE May 1-3 The Fourth Annual Show of

the Ceramic Association of Greater Kan- sas City, Missouri, will be held at the National Guard Armory. Show Chairman is Audrey B. McBride, 1308 Vista Drive, Independence.

NEw JERSEY, ASBURY PARK May 14-17 The 12th Annual Eastern

Ceramic Show, sponsored by Ceramic Leagues, Inc., will be held at Convention Hall and feature classes, demonstrations and an amateur exhibit. For entry forms, write: James A. Boice, 25 Abington Ave., Marlton, N.J.

NEW YORK, TONA~'ANDA April 25-26 The 14th Annual Exhibi!

of the Kenmore Ceranfic Guild will be held :It the Buffalo Savings Bank, Town of Tonawanda, New York. Publicity Chair- man for the group is Genevieve B. Dendt- ler, 339 Oakdale Blvd., Kenmore 23, N.Y.

OHIO, CLEVELAND March 14-15 The Eighth Annual

Show of the Ceramic Hobby Guild of Greater Cleveland will be held at the

Continued on Page 36

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WHEELS, KILNS, CLAYS, GLAZES, SUPPLIES

H O R I Z O N T A L TREADLE

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3[arch I0~4 I1

Helen Worrall's wall pare'l, "'Loaa'cs and Fishes," is made by the repoussd method described in the text. The enamel colors are gold shading into green, with some accents o[ white and brown. The panel measures 14 by 32 inches.

Opposite Page

Tooling is done by placing the copper on a wooden block and striking a punch against it with a series o[ blows [rom a hammer. In the [oreground are some hand-made punches and a sampler showing textures made with them.

12 Ceramics Monthly

ENAMEL

ON

COPPER

REPOUSSE by HELEN WORRALL

THE IMAGINATIVE ENAMELI~.T, l ike all other creative craftsmen, is constantly searching for new ways of exploit- ing his craft. Presented hexe is a method which we shall call "enamel on copper repouss6." The enameling is done on tooled nletal which has been hammered into low relief. The design here is completely developed in the metal rather than in the enanlels and tile color serves only to enhance tile inetalwork.

The design chosen may be representational, abstract or a complete study of surface textures. Investigation of recent work being done in creative stitchery and textm'al ceranfic panels might be very helpful in stimulating our thinking toward ilnaginative tooling. Nature offers an unlimited wealth of ideas if we study the patterns found in such objects as lichen bark, tortoise shell, butterfly wings, cobwebs and frost crystals.

For the metal work 20- or 22-gauge copper is used, depending upon the size of the project being under- taken. Tooling the metal serves to strengthen it, much as corrugating stiffens and strengthens cardboard. Th~.s permits the use of the lighter weight nletal which is so advantageous in this type of work. Tooling also retards warping, which would he a problem in working with these gauges of copper.

The tools needed for the metalwork include a hammer, a set of chasing tools, a board, a fiber or race,- hide mallet and a sandbag. While all of these tools may be purchased, it is possible to make your own tools. Hard- ware stores have available round and rectagular steel rods in three-foot lengths; these can be sawed into convenient lengths of about six inches and tools or punches of your own design can be fashioned from them by grind- ing them into shape on a motorized emery wheel. The sharp edges should be removed with a file and further refined with emery cloth. A file may also be used to score grooves, notches and serrations. Suggestions for beginning shapes are the square, rectangle and triangle in various sizes. When these have been made and tested,

more imaginative punch shapes may then be attempted. The design for the repouss6 is first traced onto the

metal with carbon paper, then scratched into the metal with a scriber so that the lines will not be lost during the progress of the work.

The next step is to place the metal on a wood block or board and select an appropriate punch for outlining the design. The lines of the design are depressed by holding the punch vertically against the metal and striking it smartly with the hammer, repeating with a series of blows as vou lllOVe the punch toward you.

Metal hardens as it is worked and m u s t be softened or annealed after each course of hammering. Annealing can be accomplished very simply by placing the piece in the enameling kiln and heating it to a dull red color, then cooling it in the air or quenching it in water. When this is done, hammering can be continued.

The design is further developed by using different shaped punches to texture the areas. Tooling may be done first on one side of the metal, then on the other until the desired effect is created.

When the tooling is completed, the piece may be

further coaxed into desirable contours or relief by use of the mallet. The mallet can be used to form and stretch metal without leaving marks; it will not remove the tool marks already established. Areas of the design may be stretched and pillowed or pushed forward by a gentle tapping from the reverse side. When the mallet is being used for stretching metal, place the work over a sandbag. But when the mallet is being used only to flatten the metal, place the metal over a board and tap it with the mallet.

When the tooling is complete, the metal is cleaned and enameled. Needless to say, the work must be counter- enameled in order to equalize the stress on the metal. Firing enamel on both sides at once is difficult, but it is desirable in this instance because it is a further help ill reducing warping.

In making a decision about tile type of enamel to use, remember that transparent colors depend for their beauty upon the reflection of light off the metal beneath. Repouss6 metal is an ideal surface for transparent colors. In my opinion, it is preferable to use one color or a mingling of related colors, rather than attempt to intro-

March 1964 13

~Y

°.4

14 Ceramics 21lonthly

A/ ter all tooling is complete, sections o[ tim design can be

pressed [orward by tapping with a mallet [rom the re-

verse side. This is done over a sandbag, u'hicb "gives" as the metal stretches.

When the metal work is [inidled, th," piec," is cleaned

and enameled on both sides. Because it reflects the light

so well, repoussd metal makes an ideal surface for the use of transparent colors.

The depressions- in the back o/ the enamel, 'd piece are

[illed with plaster to protect the raised design, thett the

back is covered with an adhesive and dropped into position in the [rame.

duce defined color areas which would only serve to

compete with the design already established in the metal.

Washing the enamels and repeated firing will bring greater brilliance to the finished piece.

If some textural interest in the enamel is desired,

small areas of a soft opaque enamel (such as white)

may be placed underneath the transparent color. This

will bubble through and give a speckled texture.

If the repouss~ work is to be mounted on wood to

form a plaque or wall panel, it is desirable to fill the

underside of the nletal where it was stretched upward

into relief. Some of the resistant materials which can

be used for this purpose are plastic steel, wood putty

and plaster of Paris. In the "Loaves and Fishes" panel

illustrated here, plaster was used to fill the voids. When

this was done, the underside of the completed enamel

units were spread with an epoxy adhesive and set into depressed areas in the wood frame.

For those craftsmen who enjoy working with metal

and appreciate the brilliance which can be achieved by

the light-reflecting quality of the tooled surface, making

a piece of enamel on copper repouss6 can be an extremely rewarding experience.

: .... Helen Worrall l,'arncd en- . . . . . . ameling from ~lr. Kenneth

Bates, to whom size re/ers as the "'dean of American enam- elists and father of Americml enamelers." She earned b,'r undergraduate d,'grce at Ohio University, Athens, Ohio, and her M.F.A. degree at Cran- brook Academy, where she did research in , 'namding. Miss Worrall has evhibited in nearly every major cra[t exhibition in this country and has won a number o[ award, attd pu,-

chase prizes. Her e n a m d work is in the permanent collections o/ the' Wichita Art Museum and the 7'homas C.

Thompson Co. At preaent she is teaching art in the

public schools at Reading, Ohio: during the .~ummers ~t~e instructs in enameling at th,, Cra/t ll'ork~hop at Gatlinburg, Tennessee.

PROJECT

POSSIBILITIES

for Junior High School

Part 2

by ANNE MILLER

~ i ~ : ~ ~ i ~ i . ~ i ~

SLAB "~VORK is excellent for use in the junior high school

classroom and has an advantage over coil building in

that it progresses a bit faster.

Slab projects need not be just boxes! Students can

make a variety of pottery forms and sculptures. The),

may even try to do portrait heads. Whatever is attempted,

the students should be cautioned to have a definite idea

in mind and, if possible, a paper pattern prepared before

starting to handle the clay. This preparation can prevent

the clay from drying out too much during actual work

on the project itself.

Clay slabs should be rolled out on canvas so that

the), can be picked up easily when ready for use. It ;s

sometimes difficult to lift slabs from the wooden surfaces

on which they have been rolled; paper used as a separa-

tor becomes wet and tears easily. A heavy cloth material

holds up best of all.

To make clay slabs of an even thickness, we use

wooden guides on either side of the clay for adjusting

the height of the roller. Specifically, we use 18-inch

rulers that are too mutilated for use in drawing straight

lines. The use of these gives slabs that are thick enough

to be handled with ease by the students.

For rolling the clay slabs, we use several devices.

We have a discarded rolling pin, several 1-inch wooden

dowel rods cut to lengths of 18 inches, and we also use

round glass bottles for this purpose.

If there is plenty of room in the classroom for the

storage of equipment, I would suggest equipping some

old drawing boards with tacked-on canvas and with

side strips nailed into place. Such "roiling-out" boards

would be ready for use at any time and would eliminate

the handling of different loose pieces. However, in the

normal classroom situation there are ahvays too many

students waiting to use each piece of equipment and

not enough space for the storage of special pieces of

equipment. With the loose rulers and canvas, ten "sta-

tions" can be set up quickly and easily, and these can

be easily moved from place and place.

One of the easiest beginning slab projects makes use

of some sort of hump mold. This may be a plaster mold

or it may simply be an interesting, water-rounded rock

used as a mold. The rolled-out slab of clay is draped

over the mold and pressed down to conform to the shape

beneath. This, by the way, is a good project for the introduction of grog.

The use of grog in the clay allows the students to

build with thicker walls, offers less chance for explosions

in the kiln, and presents definite textures that gain in

interest when used with glossy glazes. A grogged, leather-

hard piece nlay be wiped with a damp sponge to permit

the grog to stand out more prominently on the surface.

This technique is particularly effective if the clay body

and the grog are of contrasting colors. And if a piece

is paddled to shape it into flat surfaces, the grog will be

forced back to the same level as the clay to give still another effect.

Grog can be purchased or be made in the class-

room. I f it is made, I would suggest the use of grog

made from discarded greenware rather than crumbled

bisque ware. This is much easier to handle in the class-

room. Discarded pieces can usually be found around the

March 1964 15

art room, and these can be crushed with a mallet, then pulverized with the rolling pin to produce very small pieces of rather uniform size. When these are bisque fired and graded through screens or sieves, they are ready for use as grog. This can be added to the clay by wedging it into the clay or by sprinkling it on the surface when the slabs are rolled.

Since pieces made on plaster or improvised hump molds usually are of a bowl shape, students like to add some sort of foot treatment. This may be the addition of a coil or slab ring at the base of the piece, or it might be the incorporation of balls of clay. Whatever is used, the added clay must be attached to the piece before the clay in the body becomes too hard.

Another slab project that can be combined effec- tively with texture is one formed in a sling or hammock. In this, a slab of clay is cut into an abstract shape and placed on a piece of cloth that is suspended in some sort of frame. The weight of the clay in its hammock forces it into a bowl or tray shape, determined by the weight of the clay and by the arrangement of the sling in the frame. The frame may be a sturdy cardboard box and the cloth attached to its sides by the use of clip-on clothes pins.

There are two methods for slinging the clay in the frame. The hammock can be made first and fastened in the box frame, then the slab carefully taken up and placed in the hammock. The other method involves rolling out the clay on the cloth intended as the hammock, then lifting the cloth and slab together and ar- ranging them in the box.

Texture can be added to the sling piece by imprint- ing when the slab is rolled. A fine texture can be made by the use of a material such as linen cloth; a coarser imprint will result from the use of burlap or a potato or onion sack. This material is stretched over the slab and imprinted by going over it with the rolling device.

A balloon may be used as a forming device for use with clay slabs and this is a quick and easy method that can be developed into an extremely creative project. The clay is first cut into patterns that cover an inflated balloon, then the slabs are fitted and blended around this improvised mold. As the clay dries, air is released from the balloon to accommodate the shrinking; when the clay is firm enough to support the shape, all of the air is released from the balloon, which is then drawn through the opening in the piece and removed.

There are many possibilities for the use of a basic shape made on a balloon. While the clay still is workable, ears and feet may be added to a shape to create a piece of animal sculpture; a handle and spout may be attached to form a jug or pitcher. At any time that such attachments are made, however, particular attention must be given to their size and shape if they are to enhance the basic form of the piece.

A particularly interesting project that can be created on a balloon mold is a pinata shape that is left open at the top for filling. This opening is covered with paper later on. Students should be reminded that holes must be bored in the clay forms to accommodate the ropes that will be used to suspend their works of art! The pinata can be bisque fired or left in the greenware con-

16 Ceramics Monthly

dition. If left unfired, the walls should be made from ~,~ to % inch thick. If the pinata is to be bisqued, the walls should be thinner and the piece fired no higher than 1500°F.

All slab projects are not as complicated as those involving the balloon mold. A paper pattern of an animal can be designed in the style of a bear skin rug and cut from a slab. This is turned into a three-dimensional standing figure by putting a prop of some kind beneath the figure to hold it erect until the clay stiffens enough to hold its shape. Details can be added at this stage.

Clay toys that have counterbalanced movable parts are ahvays interesting to students and these make easy and fascinating projects. Once the students understand the principles that are involved, they enjoy the challenge to "invent" new creatures from slabs.

Students usually aren't ready to explore the decorating techniques until after their original splurge with glaze color. Since adolescents enjoy decorating their clay pieces, it is convenient to have some sample pieces available for quick reference in the art room. I have a collection of small tiles showing the different methods of decorating clay, both with clay and with decorating colors. (My samples would be more useful if each had a hole drilled in it for lacing onto a shoestring or some other stringing material.)

The photograph shows a few of the sample tiles. The techniques include sgraffito, in which a leather-

J JaJ JJ

IL~ ~, ~;.-~-!~ ? ~':?!I~S' ;~ ~i~iii~ ~!~:

hard tile made flora buff clay is covered with a thin

coat of red clay slip. As soon as the slip surface is dull,

a figure is drawn through the top color, back to and exposing the base clay color. This techinque is the one

most used by the students because they feel a sense of confidence with this definite line decoration that is

similar to their two-dimensional work. Impressing is done when the clay still is soft and

impressionable. Objects that can be used for this purpose include the top prongs of a woman 's change purse, a

paper clip, and the point of a pencil. Clay can be applied to clay, either in the form of

coils or as cut-outs. Slip is used to insure that one piece

of clay will adhere to another. The fish in the sample was modeled before it was applied to the soft clay tile

and additional modeling was done after the pieces were joined.

Incising can be used in a variety of methods. In- cised lines may depend for contrast on the action of a

part icular glaze. Incised lines may be filled flush to the

surface with slip of another color and referred to as

inlay. The cat is done in this technique. Clay may be

completely pierced with a design, leaving an effect of

open work. If the openings are filled with glaze, the leehnique is known as .gombroon.

Excising, which is done after the clay starts to harden, consists of cutting away some of the background

in order to make the design stand out. Slip trailing

is done by filling a plastic detergent bottle with slip and

forcing the color out through a fine nozzle. This tech-

nique is done on a leather-hard tile. Extrusion is the process of pushing soft clay through

a kitchen sieve or some other open object to obtain strings

of clay for hair or beards. This is part icularly intriguing for students doing ceramic sculpture!

This last technique illustrated is that of mishima, in which an incised line is filled with slip of a contrasting color.

The techniques which I have discussed in these two articles are all interesting to the student who is exploring

the field of hand-made ceramics. The objects he makes

reflect his ways of thinking and working, and each will

involve the other before the final firing has cooled!

Teachers suggest, guide and praise, but they never touch

the clay given out to a student. T h e clay reflects the hand that shapes it and it is up to us to see that it is a true reflection.

Mrs. Miller re[ers in this article to several projects and techniques that have appeared in the pages o[ Ceramics Monthly. Among these are: "Balloons as Molds" by Reinhold P. Marxhausen, April 1956; "Ani- mals [rom Clay Slabs" by Alice Lasher, March 196,3; and "'Clay Toys that Move" by Earl Hassenp[lug, Sep- tember 1957. Most o[ these articles are included in the CM Handbook, "'Ceramic Projects,"

March 1964 17

CHARLES POTTER BROWN, b y H A L RIEGGER

Above: Charles Brown's 22-inch handbuilt planter has a carved relief design of figures. The background is glazed a blue-green color; the raised design exposes the rich color of the clay.

THE CAt, EElS of all successful potters do not necessarily begin in their youth. To cite an instance of this, Florida potter Charles Brown did not start working in ceramics until he was in his mid-forties but he has attained a success that is measured by high artistic standards and numerous awards, sales and commissions.

Charles Brown was employed as depar tment manager in a large produce firm in Jacksonville and com- lnuted for many years between there and his home in Mandarin, Florida. About a )'ear ago he decided not to wait until his normal retirement date and therefore quit his job in order to have time for what had become his most completely absorbing and rewarding activity ---making pottery.

Although Charles Brown is largely self-taught, he does acknowledge a great debt to Freda de Castro, his first and only teacher. "Her gift to me was the gift of enthusiasm and interest in pottery. She was such a wonderful person that I did nay best to please her." After about a year and a half of night classes with Mrs. de Castro, he started to work on his own.

Through patient devotion to his work he has mas- tered handbuilding and a variety of decorative techniques. Asked about wheel throwing, he cautiously re- sponds, " I feel there is a rigidity to thrown pots. Tha t is why l like handbuilding and the various little incon- sistencies that result. I like a pot to look handmade and

18 Ceramics Monthly

:i i! ~ii!iii!~il !

I have, so far, never been interested in throwing on the potter's wheel."

Charles Brown has worked with a variety of shapes

and sizes and become known for his handsome bottles

and planters. These are the pots which have brought

him numerous awards in regional, national and international exhibitions. Two )'ears ago his work was repre-

sented both in the Ceramic National and in an exhibi-

tion sponsored by the United States Information Agency

to tour European countries. More recently he was hon-

ored as one of the American potters invited to show

their work in the Ninth Annual Invitational Ceramic Show sponsored by the Kiln Club of Washington, D.C.

He has received many awards in the Florida Crafts- men's Annual and the T a m p a State Fair.

In 1959 the Florida branch of the American In-

stitute of Architects sponsored a competition in which

Mr. Brown won a purchase award. This was an im-

portant factor in his receiving a commission for the group of ten handsome planters which now enhance

Jacksonville's new Universal-Marion Building. The at-

tention these planters received has brought additional

commissions from increasingly-distant cities. He recently

has h a d important commissions for works of a religious

nature, and among his recently completed pieces are a three-foot altar cross, a baptismal font, a candelabra, vases and a six-foot hanging cross.

Indicative of this potter's individuality is his choice of low temperature for firing his work. He fires in the

cone 04-03 range and uses a low-fire commercial grogged

clay. The large hand-built pots are constructed with thick walls that allow for the removal of considerable masses of clay in the carved decorations. The surface

of his pottery, is characterized for the most part by strong,

primitive and almost child-like figures in high relief.

These are handled in a fashion so as to form a running

panel or vigorous texture around the pot. Sometimes

the figures merge into what might seem to be symbols,

many of them taking on an almost religious qualitv. Glazes are often used to accent a design. These

appear thick in the background and have a rubbed-off effect on the raised portions of the design. In certain

areas the rough, grogged quality of the clay is preserved

The two planters pictured below are about 12 inches high and a~e decorated with deeply carved reliefs.

The planter on the opposite page has a background of rich yellow glaze; the textured clay design is a reddish-

brown color. The background of the heavily-textured planter below was first brushed with a black glaze; this

was scraped off and a yellow glaze containing ilmenite was sprayed on. All glaze was scraped front the raised design before the piece was fired.

March 1964 19

Charles Brozcn'~ Ba]dismal t:ol~t ]or a ~hapcl in S:caMs- borough, Georgia, was handbuilt in two sections.

because, as Mr. Brown says, " I want people to know that my pots are made of clay and not just something covered all over with glaze." Much of the richness of Charles Brown's glazing is the result of repeated applica- tions and firings. Sometimes as many as six or seven firings are involved.

He has avoided using a great complex of glazes and contented himself almost exclusively with a single basic glaze formula which he mixes and grinds by hand. Through the years of his work in ceramics, he has made certain variations of this glaze in terms of basic ingredients and color, and these, combined with slightly varying firing temperatures, account for the variety of effects he obtains. Glazes are usually applied with a small hand-pumped spray gun, although he has recently been experimenting with the control of pouring and splashing glazes.

A definite philosophy about his work is evident when he comments, " I believe a pot should be a work of art. To me it is aesthetic rather than just utilitarian. Just because a pot has a neck on it, or a hole in it, doesn't mean that you have to stick flowers in it; or if it is a bowl, that you have to put salad in it. You don't toss a salad on an oil painting. I don't understand why people can' t think of ceramics as objects for visual, aesthetic pleasure. Of course I think of it as a fine art rather than a utilitarian craft! And I am now becom- ing interested in sculptural forms. I have tried several and I want to do more of this work."

In spite of the fact that it appears to contradict

20 Ceramics Monthly

Detail o{ the carved decoration for the Baptismal Font shows how Brown combines use o[ texture and glaze.

his philosophy, one of the fine things about Charles Brown's pottery is that it is also utilitarian. No closer union exists than that of a tree or shrub and one of his planters.

At a time when many, many people feel an im- pelling urge for self-expression through pottery, it is especially encouraging to know the story behind Charles Brown and his work.

Hal Riegger is a well- known p o t t e r , s cu lp tor and teacher who lives in M i l l Va l l ey , Cali[ornia. His work is represented in the permanent collectiops o[ the Metropolitan Mu- seum, New York, and the Everson M u s e u m , Syra- cuse. A m o n g the many awards he has received are two "'firsts" in Ceramic National exhibitions and a Good Design award from

the Museum o[ Modern Art. His work also is represented in the 22nd Ceramic National exhibition now touring the country. Mr. Riegger is currently conducting Raku workshops on an itinerary that includes cities in Texas, Florida, New York and Ohio.

m J . . . . . . . . . "

~ ~ ~ .~-.

............... ~.~ ~ :~:~ ~ .~ .:~ : ~ ~

Planter above is one of ten that Charles Brown madc for ~ u e r e loosely applied z~:,ith hot paraffin after the pot ~c'a~

the Universal-Marion Building in Jacksonville. The brush- glaze fired a dull green; then, brown glaze was sprayed

ed glaze decoration was done in wax resist. The figures over-aU and the piece was fired again.

.~ /a rch 1964 21

THROWING OFF THE by ANNE APPLETON CLARK

LUMP

IN THE ORIENT it is customary to throw many pots from one large lump of clay. Although some Western potters also work in this manner, most of us spend precious time (time that could better be used in making pots!) in wedging up and weighing out many small balls of clay. Throw- ing from a lump may sound difficult to some of us who are not accustomed to handling large amounts of clay on the wheel, but as only the top of the lump needs perfect centering, it is actually a quick and easy method to make a series of small pots that may or may not be similar in size and shape.

Although the most practical way to work is with a

larger anaount of clay, it is better to try out this technique with a lump of only about eight pounds. This should be wedged and shaped into a fat cone.

The lump of clay is firmly placed on the wheelhead (Photo 1) and then, with the wheel spinning rapidly, the hands exert a strong downward pressure on the clay to assure its adherence to the wheel. By pressing firmly in and up on the clay with both hands, the roughness in the shape is smoothed somewhat; this also raises the size of the cone somewhat and brings it nearer to center. When working at the top of the lump, the potter nmst retain its rounded shape by pressing down on the lump

I. An eig/~t-lJo,m/ lump o[ clay is u'cdgcd, draped i~t, a [at cone and placed firmly on the center o[ the wheel.

II .gD.'_-

3. A ridge of clay is raised with the hands in tke sam, position; near the top the ridge is pressed into the cone.

22 Ceramics Monthly

2. As I t , a / , , l spilz~, the hands press in and up to smootk out the roughness o[ the clay and start centering.

4. A knob of clay is [ormed [or ma/,m~ tk, /ir.,t stta!,, b~ pressing it with the little lingers. Thumbs ride on top.

with the right hand and, at the same time, pressing in toward the center with the left hand. If this is not done, a hollow or depression will be formed at this top, and this will ahnost certainly cause difficulties later on.

The base of the cone of clay is indented by pressing inward with the sides of the hands (Photo 2). The hands are kept in this same position in order to raise the ridge of clay and press it into the cone as they come neat" the top. If the potter keeps his elbows at right angles to his body, little actual strength is needed for this operation (Photo 3). This whole procedure is repeated until a faMy tall cone is produced. The top of the cone should be accmately centered before work continues.

For a first project in throwing off the htmp, it is best to plan a series of simple shapes such as small cups or bowls, all of the same size. An amount of clay about the size of an orange is formed at the top of the cone by pressing in with both little fingers while the wheel

is turning. Thumbs ride on top of the cone (Photo 4). Holding the little fingers in the ridge that was

formed at the base of the knob, the top of the clay is opened by pressing down into its center with the thumbs to within a half an inch of the base of the clay knob. (The position of the little fingers indicates where this area is.)The inside is shaped by pulling the thumbs away from each other and then upward (Photo 5).

Sonic potters make the first pull by pinching and pulling up the wall with just one hand; with very small pots this is just about the only way to work. To try this technique, use the left hand to brace the other wrist.

I normally work by pulling up thc wall with the first two fingers of the right hand on the outside. I brace the wall inside with the left forefinger (Photo 6).

Before the second pull is made, a wooden rib or some similar tool can be used to cut a well-defined groove at the base of the pot area (Photo 7). This gives the

5. T h u m b , 1 " '~ down on top o/ lh, /~/,h a~ld ,11,1 l~ l/t, clay; they press out and up to shape the inside.

6. T h e wall is ra iwd by using the le[t hand It, b~a,i l/ll in dde and pul l ing ul) the clay wi th the first two lingers.

7. A groom, i, ~ t at the outside o/ tlu ba~, ipl ,od, ~ t,, give l ingers a s tart ing place for the nex t pull.

8. AI 0 um ~, nm ,~ a' l/tt tol~ o/ th~ ;call i, t r i m m e d o[[ w i th a po in ted tool al ter the pot is shaped.

M a r c h 1964 23

9. ll'ilh lh, : , / , , ,I ,:i/l , j , , , , i ,~ , the pot i~ cut /1~,~,: th,

lump by drawing a nylon line through its base area.

L

~i~ ̧ : ii

A

I1. Ten cups were thrown from the eight-pound lump o/ clay ~ictured in the first illustration in this series.

12. The leather-hard cul;s arc inucrtcd on tt~c gchccl, tr immed o[ cvccss clay and given a loot treatment.

lingers adequate room to grab the clay for the next upward pull; it also defines the base clearly when the piece is cut from the lure I) later on. The groove is made by holding the rib at an angle and pressing inward as the shape is steadied and braced inside with the other hand.

The pot is shaped as quickly as possible in order to prevent the clay from absorbing too mt, ch water. Throwing water is sponged out of the inside as work is being done; it is also a good idea to keep sponging the water from the unused clay as work is being done above it.

If there is any unevenness at the top of the finished pot, a pointed tool can be used to trim this away as the wheel rotates (Photo 8). If any clay is removed in this manner, the rim of the pot should be smoothed with the fingers and with a sponge.

The pot is cut from the cone of clay of drawing a nylon line through the base as the wheel rotates (Photo 9). The pot could be severed from the lump by cutting through the clay with a vm T wet spatula. I f the pot is

24 C'eraraics Monthly

I0. The ruhrel ta st~./q.,cd and the scu,'rc:l .~/ul,',c ir l:/:,,i from the cone with tile hands or a very wet spatula.

ct,t from the lump with a wire, it can be lifted off with the fingers and set aside for drying (Photo 10). If the spatula is used to cut the pot, it can, of course, be lifted off with the spatula.

The ten cups in Photo 11 were thrown front the lump of clay pictured in the first illustration. Most of these arc of apl)roximately the same size and will be used as a set. The odd ones will be used for testing glazes or they may be matched up with pots that will be thrown later.

When the pieces are leather hard, the excess clay is tr immed off the bases, leaving a slightly concave base for footrims (Photo 12).

When the potter first throws sets of cups, mugs or bowls by this method, he probably will need to use some device such as a ruler for assurance that shapes are enough alike to be used as sets. With practice, however, his eyes and hands alone will tell him when sizes and shapes are sinrilar; when this spontaneity is attained, the potter really knows the real satisfaction of throwing off the lump.

SHOW TIME Texas Crafts

THF. FOURTEENTH TEXAS (_;RAFTS EXHIBITION, shown

November 17 through I)ecember 15 at the Dallas Mu- seum of Fine Arts, included 35 examples of ceramics

by 16 craftsmen. The state-wide competitive show, spon-

sored jointly bv the nmseum and the Craft Guild of Dallis, comprised 116 items in all media by 56 craftsmen.

Selection was nmde from a total of 341 entries submitted

by 96 craftsmen. Members of the jury of selections and awards were Irena Brynner, jeweler, of New York City;

Alice Parrott, weaver, of Santa Fe; and Roger D. Cor-

saw, ceramist, of the University of Oklahoma. One of the txvo top honors in the show went to

Richard M. I,incoln, Fort Worth, for a large incised stoneware bottle which will become a part of the perma-

nent collection of the Dallas Museum. Mr. Lincoln is

a member of the faculty at Texas Christian University and a frequent exhibitor and prize winner in previous Texas Crafts Exhibitions. Velma Dozier, Dallas, was

awarded the other top purchase prize for a nugget neck- lace of cast gold.

The top award in the pottery category went to

Evelyn E. Anderson, Houston, a young craftsman enter- ing this show for the first time. Her winning entry was a

group of fore decorated pots. Another important award

went to Ishmael H. Soto, Austin, for a large stonewme

Large Stoneware Bottle by Richard M. l , i ,coln was win-

ner o/ a major pri:c and will be added to the museum's /,, rmam~t c:)ll,c:i:~77.

Gallery z'icz~ d~oa'~ t, mt o/ 1/~, m,ta//ation~ o[ the 14tl,

Texas Crafts Exhibition at the Dallas Museum.

plaque. Honorable mention awards in pottery went to Mr. Lincoln, George W. Palovich and Evaline C. Sellors.

A special feature of the exhibit was a non-competi-

tive display of work by the three jurors. The installation

of the show was the work of Barney Delabano, assistant director of the Dallas Museum, and Esther Webb House- man, crafts coordinator.

"Torso," a large stoneware plaque by Ishmael H. Soto o[

Austin) was another award winner in the 14th Texas C~a[t ~ Evhibition.

March 1964 25

CERAMIC EASTER by TERESA SGHOBER

EGGS

7.

iI i in small glass jars in the evenings.

A YEAR AGO last February we started lnaking hollow ceramic eggs in our high school General Crafts class. The idea rapidly snowballed and, from then until Easter, the major problem we had was time! All study periods became "art periods," and the greenware eggs were even carefully packed and taken home for additional work

Our interest in eggs began when an article on the history of the egg in art was presented in class. It inspired us to try our hands at making and decorating some eggs that would last longer than just one Easter.

Since the students already had made press molds and thus were somewhat familiar with the handling of plaster, we decided to make plaster molds of real eggs. We made a cardboard box large enough so that when an egg was placed upright in it, at least one inch of margin would be allowed on all sides. The egg was removed and rubbed with liquid soap. Plaster was then poured into the box to a depth of about three inches. When this plaster had just started to set, the egg was pressed into the plaster in an upright position until the egg was half submerged.

When the plaster had becolne solid, we made four round holes, or "keys," in the upper surface of the plaster. We then coated the upper surface, including the four holes, with liquid soap which would act as a separator for the two halves of the mold.

The next step was to add cardboard walls above the existing form, allowing these to rise about two inches above the top of the egg. Finally, we made a 2t~-inch cone of non-hardening modeling clay to place on top of the egg before pouring in the plaster for the upper half of the mold. This cone had to be propped into place.

After the plaster was poured for the top section of our mold, we allowed it time to harden before the cardboard walls were removed. Then the two pieces of the mold were separated and the modeling clay and the egg were removed. An), traces of soap on the casting surface of the mold were completely removed, and the mold was set aside to dry.

When the mold was thoroughly dry, the two parts

26 Ceramics Monthly

were put together and secured with bands of inner tubing. White casting slip was poured into the cone-shaped opening at the top, allowed to stand about five minutes, then was poured out. After a short time, a fettling knife was used to cut the hardening slip out of the cone opening and then the mold was opened and the slip- cast egg removed from the mold. The final steps involved in completing work on the egg at this stage were to close the hole at the top with some thickened slip and a knife, and to scrape away the seam mark around the middle of the egg. The egg was then read), for decoration.

Many decorative processes were used by the students ---excising, incising, sgraffito, mishima, slip painting, and many combinations of these techniques. We have a mix- ture of nationalities represented in our school, and this project brought out some interesting examples of egg decorating from among those of Polish, Ukranian and German descent.

When the decorating was finished and the pieces were completely dry, the greenware eggs were fired very slowly. They were then glazed and fired again. Stack- ing for the glaze firing was done by balancing one end of each egg on a small stilt that had nlchrome wire em- bedded in it. In some cases, the glazed eggs were given touches of gold or platinum and were fired again in a special firing.

We placed all of the finished eggs on exhibition, on a table covered with cellophane "grass," and the reac- tions of our visitors made all of the work seem very worthwhile. The few people for whonl gift eggs had been made felt greatly honored; the rest of the eggs were promptly claimed by the young craftsmen and were taken to their own fanfilies to be enjoyed for that Easter and for many Easter Days to come.

Teresa Schober is the high school art teacher and chairman o[ the Art Department in Dunkirk, N. Y. She holds a Master o[ Fine Arts degree [rom Catholic University in Washington, D.C., and writes that she has had "'wonder[ul summers studying art at Syracuse Uni- versity, the University o[ Bu[[alo and the University o[ Colorado; I also had a two-week Amaco ceramic workshop in Indianapolis.'"

f , j l ~ ~ ~ PLASTIC|NE CoNE

I ~i:|~ql~!, ,: 1 4 - 1",.,'o OF T .E ~OV.~ WALLS FO~ THe

. ~ ~ ; r ' DUN h HOL([~* (V~ADE ~Y ROTATIN0 "TIp OF SPOON

"T'U'e,I N G - ' - ' - ' - '~

S L I P ~'~~

~la~ h 1064 2"7

THREE DECORATING TECHNIQUES

The pussy willow design uses the brush print,

the hesitation stroke and the sponged band

demonstrated by MARC: BELLAIRE

PRINTING wrrH A BRUSH is probably the easiest of the three basic methods of using the brush for ceramic decoration. The other two brush methods--lines and strokes ---require much more practice on the part of the decorator before lie can control them as easily as he can the print.

A print of anything is simply a shape of that thing pressed against some other surface. The print might be of a piece of cardboard, a sponge or a brush. Using a brush for decoration is the technique of pressing the color-laden brush against a greenware surface.

An underglaze decoration that is appropriate for this time of year - -and one that also utilizes brush prints to very good advantage--is a simple spray of pussy willow branches that nearly fill a greenware plate shape. Most of the actual work on the design can be done with prints from two of the decorator's kit of basic brushes, the liner and quill. The rest of the work in the design is done with the simple hesitation brush stroke and a banding llne done with the sponge.

Marc Bellaire starts his demonstration by selecting a round greenware plate and cleaning it thoroughly. The basic design, which consists of three sprays or branches of pussy willow, is blocked in by pencil on the plate surface to nearly fill the decorating area. Notice that the lines stay away from the edge of the plate so that none of the design runs off the shape. This design will be completely contained within the plate.

The underglaze colors selected for this project are pink, purple and black. The colors are mixed thoroughly in the jars, then a small amount of each colorant is poured into a jar lid and conditioned to tile consistency desired.

The brush selected for making the pussy willow prints is a number 6 quill. This particular brush is used because it has a long shank of hair and is not very wide; it is just the proper shape to make the printed blossoms. This brush is dipped into the lightest color (pink) to completely fill it. I t is next shaped to a point on the edge of the jar, then the tip of the brush is dipped into the

28 Ceramics Monthly,

next darkest color (purple). By filling tile brush in this way, a two-color effect can be made with one print.

The print is made by laying the brush on its side on the plate, positioning it along tile pencil plan line, to form the individual pussy willow blossoms. Note that the brush is held with the tip down so that the darker color is at the bottom of the print. About six of these blossom prints can be made from one filling of the brush. When it is necessary to refill the brush, it should be cleaned in water, then dipped in each color again.

The stems are made after all of the blossoms are in place on the plate. Tile stem is made with the liner brush and black underglaze. The line for each stem can best be described as a continuous one that stops or hesitates and presses down at each joint to make a little node. The brush is not lifted but simply pauses, presses down slightly to give a thicker area, then continues with the line.

The print is used again, this time with the liner brush, to make the husks or pods at the base of each blossom. These connect the blossom to the stem. Just the tip of the brush is used to point toward the stem and form two little pods.

The area at tile base of the decoration is filled in by the addition of several "hat-pin" strokes done with black underglaze. These are made with the liner brush and consist of thin lines with a brush print at the end of each. They are done in one continuous motion, not lifting the brush from the surface.

Because there is quite a lot of space around the completed design, Marc Bellaire uses a frame or band around the edge of the plate. A sponge is dipped in black underglaze and is held with two fingers pressing in against the edge of the plate as it is revolved in the hand. This results in an even, crisp band.

The final step in this decoration project is to scrape or scratch a line around the outside edge of the plate to lighten the dark band. This band treatment not only en- closes the design, but also emphasizes its delicate quality and its placement of the shape.

I. Three sprays or branches are penciled itl on th,' greenware plate to provide a working plan.

v , ~ ~i ! i ~!!i!i~ i i : i ~i i ¸ i ̧

3. 7'he liner brush is loaded with black color and used in a hesitation line to create the stems and nodes.

2. The quill brush is dipped into underglaze color aml touched to the plate to make the indi~'idual blo~oms.

4. Small tJriTtt~ made in black with the tip o[ the lim'r brush form two small pods at the base o[ each blossom.

5. Th," de~igl~ i~ ~omplctcd a'ith th, additiult o/ a /~a hat-pin strokes and a sponged band around the rim.

6. A lira' i~ ~ra.t~cd th~,mgh tlt, bla~t~ baird at lhc , d,.,, o[ the plate to lighten this area of the decoration.

March 1964 2q

ENAMELED R O O M DIVIDERS

Part 3: Shutter and solid types

by K A T H E BERL

IN TIIE TV¢O previous articles in this series on enameled screens and roonl dividers, we have explored tile possibilities of filling wooden frames with enameled units that were assembled in various ways to produce a wide variety of effects. All of these exam- pies had open space in between the individual enameh 'd units that con> prised the screens so that one could look through from one area of tile room to another .

In this a r t i c l e - - t he last of the series - - a basic technique is described which can be used by the enamelist to de- velop his own schelne or plan for an individual unit. One version of this technique takes tile form of shutters that can be opened and closed quite easily; the other version is a completely rigid and solid screen. Both of these can be most useful in ever so many varieties.

The shutter screen consists of enameled units mounted on wooden boards that pivot within a frame. When

"1

I

J closed, these vertical boards present a solid wall effect; when completely open or par t ly so, they present an effect somewhat similar to an up- ended Venet ian hlind.

The boards used should be no th inner than ~ inch, but their width may be anywhere from 4 to 12 inches, depending on how and where they are used in the frame. On the bottom and top at the center of each board, a l~2-inch screw is inserted to a depth of about ~, inch. This leaves a lqmlxinmtely ~ inch of lhe

30 Ceramics Monthly

screw exposed. Tile head of the screw is cut off and what remains is the

_1_ 1

pivot on which the board will swivel. Each pivot should have a sheath to cover it, and this is made by selecting a length of metal tubing that easily fits over the screw.

For each pivot, a hole must be dri l led into posit ion in the wooden frame. One of the meta l tubing sheaths should be driven into each of tile holes so as to get a snug fit. By this t ime in the project , all of the wood pieces, including the frames, should be given the finish in tended for them.

T h e individual e n a m e l e d parts should be done next. In my sketches I show square and oblong shapes, but o ther shapes could be used ef- fectively. After the copper shapes are cut, I would suggest that they be domed. T h e dimension that this gives the work adds to its a p p e a r a n c - ; doming also gives more assurance that the pieces will not warp in the firing. Of course, pre-cut copper blanks could be uwd if you do not wish to ( 'lit y o n r o'~vn.

When tile copper pieces are enameled as desired, a method for setting them nn,st he devised. The settings suggested here consist of 24- or 26- gauge sheet nletal (copper, brass or a luminum can be used) . On one of these sheets, trace the outline of one of tile enameled pieces and add inch to this on each side. to make the

frame actually larger than the original piece. This should be cut out next. Now, going back to the original tracing, add ~ inch to each line on the inside of the frame, and cut this out. This gives a basic frame. It is shaped by cutt ing off the corners diagonal ly and filing the cut edges smooth. The /a - inch addit ions on tile outside of the frame are now bent down over the edges of a bench anvil to make the setting. Several holes are. dri l led in the inner port ion of each frame to a t tach it with screws to the board. T o make final a t t achment of a completed unit, place the enameled piece on the board, cover with a frame and screw it down to the board. A hm'nisher xnay be used to bring tile

inside of the frame down tightly over the enamel section.

When all of the enameled parts are fastened to the boards, the screen is assembled by working before the top bea rd of the frame is a t tached to the sides. The bot tom pivots are placed in their respective shafts, then the top section is a t tached, fastening the top pivots in their shafts. When the frame is secured properly, this mission is accomplished!

A screen or room divider that is solid and has no open spaces can be made by general ly the same method described above but wi thout the pivoting action for the boards. A f, ame can be built with solid panel inserts and the panels can be finished in a wood stain or covered with some mater ial such as bur lap, match- stick bamboo or a special mat t ing material .

If square or rectangular enameled Cont inued on Page 35

{ REDUCTION FIRING by F. (_IARI,'PON BAI,I, t

l SttALL NEVER forget my first firing of a kiln. I had had a four-unit course in pottery, along with an M.A. degree in painting, and this qualified me for a job teaching pottery, jewelry, sculpture, drawing and physical education in a California craft school. The kiln there, the very first used in a school in that state, was a five- cubic-foot Denver Fire Clay kiln that was old, rusty and cracked. I fired the first load of ware and, in the wee hours of morning, as the temperature a p p r o a c h e d c o n e 08 the flames spurted out of the cracks in the old kiln and the temperature seemed terribly hot and frightening. My teacher, Dr. Glen Lukens, had given lne some glaze recipes, and these came through the firing beautifully and saved my hide!

I was very happy with the cone 08 firings for about seven years; finally, however, I dared to fire as high as cone 04 in another second-hand kiln at Mills College, and this firing, too, was encouraging because the pots came out well and the kiln didn' t fall apart. We next bought a high temperature kiln that would stand up under a cone 10 firing, but our only trouble was that we had no cone 10 glazes. At this time in our history, all potters had their own "little black books" of glaze recipes and these were kept secret. In addition, very few glaze recipes were published. 1 finally came across a very helpful and fascinating book in the California State Library, "Le Grand Feu," by Taxile Doat. This French author wrote about his work at the Sevres Porcelain Factory when he was one of the principal artists there. While there were glaze recipes in this book some of the words had to be trans- lated to lnore modern names for these materials. These recipes proved to be useful to us at this time and I still am using two of these glazes:

GLAZE R6 (Cone 7 - 10) Feldspar 43.4% Flint 28.1 Kaolin 10.3 Whiting 18.2

100.0%

GLAZF, R8 (Cone 7 - 111) Potash Feldspar 25%. Whiting 25 Kaolin 21) Flint 30

100%, After ,uuch ~,'ork and experimenta-

tion, we produced some beautiful pottery in these cone I0 oxidation firings. When we finally got a new high temperature kiln. the firings seemed uneventful to us. Then two )ears later the top arch collapsed during a firing and plugged up part of the stack. Luckily, this happened at just the right stage of the firing! The kiln smoked and smelled like coal gas and it seemed that the pots must certainly be ruined. Most of them were, too, but some of the remainder were very beautiful and quite different; this gave us our first taste of reduction firing.

Tha t kiln, however, wasn't designed for reduction firing and we soon bought a 12-cubic foot second- hand kiln of a newer design that would take cone 10 firings. This kiln was only partially muffled and the muffles were movable, so we removed part of them and put a one-inch. space between the remainder so that we could fire in a reduction atmosphere.

At about this time Bernard Leach's, first book reached us on the PacifiG coast and his enthusiasnt for high temperature reduction firing inspired us further; it also gave us a few more high temperature glaze recipes. I still am using some of these, such as the Lung Ch 'uan celadon and Kawai 's celadon, both of them firing from cone 4 to 10. In both them I sub- stituted nepheline syenite for the feldspar.

We tried about ten different glazes in our first i n t e n t i o n a l reduction firing. The kiln was fired to 1800 ° F in oxidation b e f o r e r e d u c t i o n was started. Our big question was "How much reduction?" since there was no information available on this point except that the kiln must smoke. We put an old kiln shelf over most of the stack and then ran out of the build-

ing, just in case the kiln blew up! While it didn' t explode, it did smoke and produce a horrible smell. Upon looking into the spy hole we saw yellow flames slowly drifting and caressing the pottery, and we knew that this was correct, according to T h e B o o k (Leach's) .

Of course, we decided to reduce more, just in case we weren't getting enough reduction. We put small chunks of asphaltum into the fire box: xve put rosin into the kiln to simulate the pitch in pine wood that the Chinese might have used; we even put bacon rinds into the kiln to simulate the effect on the firing related by the story of the Chinese potter who threw himself into the kiln in order to produce a beautiful copper red pot. Finally, we threw a pair of old shoes into the kiln to produce smoke. Well, the kiln d id reduce! There was heavy black smoke pouring out of the kiln and soot floating all over the room; within 15 minutes we all looked like coal miners. What a mess it was!

Meanwhile the kiln temperature dropped 100 ° in just a short time, so we had to stop reducing quite so heavily. Next, we tried oxidizing the kiln for 15 minutes in order to raise the temperature, then reducing the kiln for 30 minutes to counteract the

, oxidation. By using this process we did get the temperature to climb, but it was very slow and it appeared that it would take at least two days to fire with this particular procedure.

After several hours of this, fatigue settled in on the firing crew and as a result I carelessly forgot to close the damper quite as much as I had been doing after each 15-minute period of oxidation. But instead of causing new trouble, the kiln seemed to be reducing properly and, in addition, the temperature rose smartly in an almost miraculous manner. We therefore left it adjusted in this new position.

The kiln temperature was at about 2100 ° F. at this time and the escaping unburned gases ignited at the top of

" " Continued on Page 32

M a r c h 1964 31

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32 Ceramics Monthly

R E D U C T I O N F I R I N G

Continued [rom Page 31

the kiln, creating a one-foot flame at

the stack. Leach's book mentioned the tassel of flame spurting out of the

Japanese kilns when they were hot. It also spoke of the flames spurting

out of the spy holes in their kilns. We,

too, had flames spurting from ours when we pulled out the plug. In fact,

I singed away most of my eyebrows by looking into the spy hole!

From these signs, we decided that our firing just possibly could be pro-

gressing satisfactorily and went ahead.

Sure enough, cone l0 finally went over and the firing was done. It was terribly hard the next day to wait

for the kiln to cool enough to open

it and we kept trying to see inside with the aid of a flashlight beam.

The actual opening of this kiln was one of the two most exciting in my

life. (The other occurred five years

later when Bernard Leach himself

gave a two-week workshop at Mills College.)

The pottery pieces from this first r e d u c t i o n kiln were encouraging.

There were three excellent glazes, three fair ones and one complete

failure. They included some celadons

and some iron red glazes. The results were good enough to excite all of

the participating potters and make

them ready to go on another ordeal by reduction firing.

The next few firings were not as

difficult as the first one had been for

I had learned one of the most im-

portant lessons about firing: A kiln can be choked with too much gas

or too much damper. There is a very

delicate point to which the damper can be closed, yet allow the tempera-

ture to increase constantly. I f the

damper isn't closed enough, there won't be enough reduction; if the

damper is closed too much, the temperature won't rise. Too much reduction doesn't seem to damage the

ware, by the way. I t is not necessary to have black smoke pouring from

the kiln, either. A little black smoke

and a small deposit of soot around the spy hole are indications enough. The ideal conditions are for the damper to be placed at the right spot for sufficient reduction and for the

gas to be turned up enough so that the temperature climbs about I00" an

hour. I found that if the damper was

left in one position and the gas turned

up too much, the kiln could be choked with too much fuel. I found

also that I could only use half of the

amount of gas that was available to me at the kiln.

Reduction firing is hard on a kiln.

With the damper nearly closed, there is pressure within the kiln and un-

burned gas is forced out of any small

crack or hole and ignites upon contact with the air.

If a potter treats his kiln carelessly

- -bmnping the door or door frame with kiln shelves or leaving scraps

of clay on the door sill to cause small

holes to be formed--this will cer-

tainly lead to trouble. The door seems to be particularly vulnerable to dam-

age, and this is so because of the size of the door. It is a great convenience but it also may be a weak spot. A

small hole that is formed in the fit of a door allows gas to escape and ignite at the high temperatures. This

heats up the angle iron frame, which expands on heating, and causes it to

bow outward. I t does not straighten out again on cooling. Each time the kiln is fired the metal bows out a

little more until finally there is no longer any support for the bricks and

these start getting out of line. Gradu-

all), the area around the door breaks down and the kiln becomes unusable until it is repaired.

Later models of some of the high

temperature kilns intended for reduction firing corrected this weakness

around the door with heavier con-

struction, but even the heaviest con- struction will not protect a kiln

against careless handling. I have seen

new and expensive kilns nearly ruined with just a year of use simply because of careless handling and lack of re-

pairs when damage did occur. I have also seen Mr. A1 King's kiln, which

is 33 years old and still in excellent condition because the smallest flaw was repaired as soon as it appeared. This kiln is fired to cone 14 in a reduction atmosphere, and this is

hard on any kiln!

Next month F. Carlton Ball will continue with this current series of articles on reduction firing.

CERAMACTIVITIES people, places and things

KENNEDY MEMORIAL GIFT TO BOSTON In memory of John F. Kennedy, the

Boston Museum o[ Fine Arts has been given a nearly life size, un.ique glazed ceramic portrait bust of a man in late mediaeval costume. The sculpture dates

from the end ol the 15th centul-y and comes from an Augustinean Abbey in the See of Salzburg.

The donor is R. Thornton Wilson of New York, collector and scholar. Mr. Wilson's taste and discrimination are most widely known to the art world through the extensive collections of 16th, 17th and 18th century German and Austrian pottery and porcelain which has been assembled at New York's Metropolitan Museum o/ Art over the past twenty years.

Mr. Wilson, who is a great admirer of the late President, felt that such a memorial is fitting in the Museum of the city of his birth. Both the late President and Mrs. Kennedy were members of the Mu- seum. Following is a portion of Mr. Wil- son's statement:

"This is the native city of our martyred President and his forebears. I t was here that he spent his childhood and, at Har- vard, received his college education. He was one of our few Presidents who truly loved and fostered the arts.

"The terra cotta Gothic bust which we dedicate today to his memory in this great Museum, dates from the late 15th century. It is an example of a Ceramic Art known as "Hafner" which was produced during the 15th and 16th centuries in South Ger- many and Silesia. I acquired it from the famous collection of Count Wilszek of Vienna, and it has been in my possession for a number of years. It came from a wayside chapel near Salzburg, and is the only known example of a human figure in this ware.

"I feel that this philosophic, yet in-

tensely Imman visage, portrays the emo- tions we all feel when we remember the gallant figure who has been so ruthlessly removed from our midst."

Mr. Wilson presented the memorial on January 2 in brief fonnal ceremonies at the Boston Musemn. Among the special guests were the Governor o[ the Common- wealth o[ Massachusetts and Mrs. Endicott Peabody, and the President of the Mu- seum, Ralph Lowell. The Director, Perry T. Rathbone, accepted the memorial. The sculpture was then placed on public view in the Rotunda. Photo: Courtesy, Museum o[ Fine Arts, Boston.

EXPLORER TRIP ANNOUNCED Hal Riegger is ('onductin~ another of

his pottery-making field trips for the first week in May. This "potrip" will be con- ducled in southeastern California, near Death Valley, an area that provides natural sources of all the minerals, clays and fuels for making colored, glazed pottery. No historic types of pottery will be emu- lated on this trip, the challenge being rather in producing pottery with the available materials and under the prevailing conditions. For information, write Mr. Riegger at 469 Panoramic Highway, Mill Valley, Calif.

DOGWOOD FESTIVAL EVENT A feature of the renowned Dogwood

Arts Festival, held from April 10-19 in Knoxville, will be a ceramic competition sponsored by the Mud Hens Club and held at the Y.W.C.A. The competition is open to both amateur and professional ceramists, and there will be cash awards and ribbons. The jury will be comprised of distinguished artist-craftsmen from the Tennessee area. For full information on this event, see the "Special for Hobbyists" section of this month's Itinerary.

FINAL CIRCUIT DATES The final two listings on the circuit of

the 22nd Ceramic National exhibition organized by the Everson Museum of Art are a.t Newcomb College, New Orleans, and Brooks Memorial Art Gallery at Mem- phis. Dates for the Newcomb College showing are April 1 through 30; the dates at the Brooks Gallery are from May 24 through June 20.

FRITH POTTERY SHOWN An exhibition of pottery and jewelry by

Donald E. Frith is currently on exhibit at the Art Institute o[ Chicago through March 29. The one-man showing includes some 42 pieces of stoneware and six finger rings set in white and yellow gold. The ceramic work exhibited ranges from delicate teapots with decorative bamboo han- dles to bold garden lanterns about three

feet high. Soft blue-green, blue, combinations of yellow, sand and beige, burnt ochre and umber are the predominating colors in Frith's work. Donald Frith was born in Denver and educated at Denver Irniversity and at Alfred. He is currently Associate Professor of Art at the Univer- sity of Illinois and heads the ('raft area.

ARIZONA GROUP ORGANIZES The newly-organized Valley of the Sun

Ceramic Association has announced the names of officers elected in a recent meeting at Phoenix. The president of the group is Carol IVard; Leona Kunstman is vice- president: Mabel Mart~n is secretary; Marie Walling[ord. the corresponding secretary: Mary Round)', parliamentarian; and Doug Weedman, member-at-larze. According to Marie Wallingford, "Our first project as an association was to par- ticipate in the Arizona State Fair in No- vember of 1963. We had a most attractive booth with the finished ceramic pieces of the members of the association. The booth was received with much interest and enthusiasm by the public." The new Ari- zona group has affiliated with the National Ceramic Association.

BADGER ASSOCIATION NEWS New officers of the Badger Ceramic

Association of Wisconsin were elected recently. President is Bob Smith; Sally Mann is the new vice president; Vivian Mertens is secretary; Dorothy Zuber, treasurer; Jerome Partl, sergeant-at-arms; and Irene BuIson, historian.

The group held its Seventh Annual Ce- ramic Show in September and, according to Vivian Mertins, "I t was a great success and demonstrated how well the hobby industry" is going in our state. The show was held at the new and beautiful War Memorial building in Milwaukee, the art center of lhe state." Pictured are winners

of the first awards: Marie (;ra~op[ (left), adult division winner for slab con- struction; Dorothy Smith (center), show co-chairman; and Tommy Barker (right), winner in the children's division. Ed King served as show co-chairman with Dorothy Smith.

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

March 1964 33

22 SELECT TITLES FROM THE CM BOOK DEPARTMENT DESIGN FOR ARTISTS AND CRAFTSMEN by Louis Wolchonok One of the best books on design, it will prove to be invaluable to pottery and sculpture enthusiasts as well as decorators. Geometric, flower, bird and animal forms are shown in detail. $4.95

THE ART OF MAKING MOSAICS by Jenkins and Mills This fascinating book shows the beginner how to make unusual and beautiful mosaic pieces in home or workshop. Well illustrated. $5.95

CERAMICS by Glenn C. Nelson An important addition to the list of books for both student and teacher. Many step-by- step photographs of clay-forming and decorating techniques. Review of equipment. $5.95

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, human figures, etc. 170 pages. $1.85

CERAMICS AND HOW TO DECORATE THEM by Joan B. Priolo Mrs. Priolo gives detailed de- scriptions and illustrations of dozens of decorating techniques and shows exactly how to go about using them. Starts where other books leave off. $5.95

FREE BRUSH DESIGNING by Egberf and Barnef The authors' exciting approach to painting and designing develops confidence in the new artist. Extremely well adapted to ceramic decoration. $3.95

CRAFTS DESIGN by Moseley, Johnson & Koenig A wonderful introduction to crafts design, this handsome book shows the art and technique of creating through crafts. Over 1000 illustrations of pottery, mosaics, enameling, etc. 436 pages. $18.00

STONEWARE AND PORCELAIN by Daniel Rhodes Describes techniques and materials used in high-fire pottery. Includes sections on clay bodies, glazes, colors, textures and decoration. $7.50

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GLASS CRAFT by Kay Kinney The complete book on fusing, laminating and bending glass. Basic techniques, step-by-step projects and a "Glass Clinic" to help solve problems. Hard covers, 200 pages. $7.50

A POTTERY SKETCHBOOK by Aaron Bohrod Bohrod, one of America's distinguished painters, is well known in the pottery field for his decoration of pottery thrown by Carlton Ball. Thousands of sketches. $7.50

HANDBOOK OF DESIGNS AND DEVICES by Clarence Hornung Over 1800 sketches of basic designs and variations including the circle, line, scroll, fret, shield, snow crystals and many more useful symbols. $1.90

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MOSAICS, HOBBY & ART by Edwin Hendrickson This profusely - illustrated handbook for the beginner and advanced hobbyist includes step-by-step instruction on 12 basic projects. $3.50

CERAMIC SCULPTURE by John B. Kenny Contains over 1000 photos and sketches covering all phases of the sculptor's art. A valuable aid for all craftsmen. Large format (7"x10") , 302 pages. $9.95

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 day to putt ing the final touches on a piece, all clearly explained. Ce- ramics at its best! $7.50

CERAMIC GLAZES by Cullen W. Parmelee T h i s invaluable reference book completely covers glaze making. Includes formulas and batch recipes for glazes. 314 pages of technical information. $8.00

DESIGNS AND HOW TO USE THEM by Joan B. Priolo Top-notch decorating can be achieved by following the simple motifs which may be enlarged or transferred. A complete list of subjects: birds, fish, etc. $5.95

CLAY AND GLAZES FOR THE POTTER by Daniel Rhodes Two complete books in one! Fundamental details on both CLAY and GLAZES make this book a "must" for every hobby - craftsman, student, teacher and potter. $7.50

CERAMICS BOOK by Herbert Sanders This excellent introductory book describes methods and materials for hand forming, wheel-throwing and casting. Covers ceramic jewelry, decoration and firing. $1.95

ENAMELING ON METAL by Oppi Unfracht Step-by-step photos are used to describe fundamentals on through to newly developed experimental styles. This complete guide is a major con- tribution to Enameling. $7.50

I W E P A Y P O S T A G E I

A WORLD OF PATTERN by Gwen White This volume offers the beginner a wealth of ideas and information on design and color. A sound approach to the art of decoration. Color and line illustrations. $3.75

DECORATIVE DESIGNS FOR CRAFT AND HOBBY by Frances Johnson The author, a designer and potter, presents 350 designs, many in full size, with suggestions for proper colors. Many Pennsylvania Dutch designs included. 7 2 p a g e s . paper-bound. $3.00

34 Ceramics Monthly

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K A T H E B E R L

Continued [rom Page 30

panels are used, they can be mounted in the method described above. How- ever, I shall introduce something new here by suggesting that someone may want to use curved pieces instead! Soldered bezels for settings could be made, but I am sure that very few people would want to at tempt tiffs for such a large project. Instead, let us take the easv way out, just for this one time!

As before, trace the shape of the enameled piece on sheet metal, then add the ~ inch to the outside and the ~(~ inch to the inside of that shape and cut out the frame. There will be no trouble fitting the inside shape to the frame, but the outside is another story! The easy way is to scallop or

inake "shark's teeth" by cutting little triangles out of the ~ - i n c h outside frame and bend this decorative pattern down as in the other frame. Then attach as before. I think that it is a good thing that I have sketches

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36 Ceramics Monthly

ITINERARY

Continued [rum Page 11

Wade Park Manor. Featured will be a members' hobby competition, a competition for handicapped persons, studio and manufacturer displays, and demonstrations. Chairman of the show is Mrs. Edith Pressly, 3663 Langton Road, Cleveland Heights.

OHIO, COLUMBUS September 11-13 The Third Annual

Columbus Ceramic Show, sponsored by Ceramics Anonymous, will be held at the Youth Building at the Ohio State Expo- sition Center. Open competition for children, amateurs and professionals; Booth displays; Demonstrations and classes. For information, write: Mrs. Robert Cowle, 198 Orchard Lane, Columbus.

OHIO, DAYTON April 10-12 The Sixth Annual Ceramic

Show, sponsored by the Midwest Ceramic Association, will be held at Wampler's Arena. Competition, demonstrations and exhibits. For information, write: Midwest Ceramic Show, Wampler's Arena, 1001 Shiloh Springs Road, Dayton, Ohio 45415.

OHIo, TOLEDO September 19-20 Third Annual Ex-

hibit of the Toledo and Area Ceramists will be held at the Sports Arena Exhibit Hall. President of the group is Ila Periat, 2646 l l7th St., Toledo 11.

OREGON, PORTLAND March 13-15 The Fifth Ceramic and

Hobby Show, sponsored by the Oregon Ceramic Association, Inc., will be held at Memorial Coliseum.

TENNESSEE, KNOXVILLE April 11-14 The Y.W.C.A. Mud Hens

Club's First Annual Dogwood Arts Ceram- ic Competition will be held at Central Y.W.C.A. and is open to all ceramists, both amateur and professional. Eentry fee; Jury; Cash awards and ribbons. Deadline for entries is April II. For entry blanks and full information, write: Miss Jennie Morrison, Y.W.G.A., 420 West Clinch Ave., Knoxville.

TEXAS, DALLAS April 17-19 The Annual Southwest

Ceramic Show will be held at Freeway Hall in the Market Hall. For information, write: Anita Holcomb, 6950 Westlake Drive, Dallas 14.

TEXAS, SAN ANTONIO March 20-22 Third Annual Ceramic

Show sponsored by the San Antonio Ce- ramic Art Association will be held at the McCreless Shopping City. Demonstrations and competitive categories for hobbyists and professionals. For information, write: Mrs. Ruth Rice, 143 Croeeus Ave., San Antonio.

VIRGINIA, RICHMOND April 11-12 The Fourth Annual Show

of the Virginia Ceramic Art League will be held at Byrd Park Carillon. There will be professional and amateur exhibits and demonstrations. Inquiries may be addressed to Mrs. Virginia Nichols, 2305 Capehart Road, Richmond.

WEST VIRGINIA, PARKERSBURG September 25-27 Ceramic Show spun-

sored by the Ceramic Art Association of Parkersburg will be held at the Chancellor Hotel Ballroom. For information, contact: Mrs. Martha Booth, 1517~2 St. Marys Ave., Parkersburg.

WISCONSIN, MILWAUKEE April 11-12 The Eighth Annual Ce-

ramic Art Exposition, sponsored by the Badger Ceramic Association, will be held at the Tyrolean House Motel. Co-chairmen for the show are Mrs. Dorothy Smith, Box 346, Germantown, and Matt Zuber, 719 Madison Ave., West Bend, Wisconsin.

WHIRR TO GO

CALIFORNIA, SAN FRANCISCO through March 22 "Swedish Folk Art."

Smithsonian Institution Traveling Exhibi- tion, at the M.H. de Yoimg Memorial Museum.

ILLINOIS, CHICAGO through March 29 Ceramics and

Jewelry by Donald E. Frith, at the Art Institute.

II.I.INOIS, ELSAH through March 15 "Craftsmen of tile

City," Smithsonian Institution Traveling Exhibition, at Principia College.

INDIANA, EVANSVILLE through March l Mid-States Crafts

Exhibition, at the Evansville Museum of Arts and Sciences.

MICHIGAN, EAST LANSING March 13-April 6 Faculty Exhibition

includes work in ceramics, enamels, sculpture, prints and painting. At Kresge Art Center, Michigan State University.

MISSOURI, KANSAS CITY through March 8 "The 22nd Ceramic

National Exhibition," sponsored by the Everson Musenm of Art, at the William Rockhill Nelson Gallery of Art, Atkins Museum of Fine Arts.

NEW MEXICO, SANTA FE through March 15 "Pennsylvania-Ger-

man Folk Art," at the Museum of New Mexico.

NEW YORK, NEW YORK through March 5 Group Show of

pottery and sculpture, at Greenwich House Pottery.

NEw YORK, NEW YORK March 6-April 9 Jewelry by John Paul

Miller, in the Little Gallery of the Museum of Contemporary Crafts.

NEW YORK, NEW YORK March 16-April 30 An exhibition of

porcelain and vitreous architectural enamels by Mira Jedwabnik Van Doren and Barbara Kinigstein, sponsored by the Artist-Craftsmen of New York, at the National Design Center.

NEW YORK, SYRACUSE March 7-April 5 The 12th Syracuse

Regional Art Exhibition includes work in crafts and arts by artists living within a 100-mile radius of Syracuse. At the Ever- son Museum of Art.

Continued on Page 78

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C E R A M I C S . MOSAICS COPPER ENAMELING

~. Huge Stocks 11c Fast Service lk" ~)uality Merchandise lf~ Write now for FREE l i terature

I L L I N I C E R A M I C S E R V I C E 439 North Wells, Chicago 10, Illinois

Sold only by

Authorized Dealers

W. P. DAWSON 1100 " . ' . Bast Ask Fullerfon, California

S H O P P E R CLASSROOM CERAMICS BOOK

"Clay in the Classroom" is a new book on clay work in the classroom published by Davis Publications. The author is George Barford of the Department of Art at Illinois State Normal University; the book was edited by Dorothy Perkins. According to the publisher, the book "takes the mystery out of ceramics- gives you the basics for successful classroom use with special help for beginners." Some of the chapters in the book include Meth- ods of Handforming, Surface Enrichment, Glazes and Glazing, Throwing, Tools and Equipment, and Stacking and Firing. 120 pages; Fully illustrated. Davis Publications, Printers Building, IVorce~ter 8, Mass.

RAFFIA HANGERS

Attractive raffia hangers are ready for use for han~ing planters, bird feeders, bird

houses and a variety of other purpos- es. The hangers are 26 inches long and are made from natural color raffia, braided and knotted. They may be used indoors or out. The manufacturer s t a t e s that the hangers will accommodate ceramic pieces of nearly every shape and in size up to one foot or even more in di- ameter. One or more

of the bangers may lie ordered; discounts are given to studios in dozen and gross lots. The firm also has available lamp parts, stackers for greenware, mold straps and jewelry findings. Sugar Creek Art Products Co., 114 N. Grant Ave., Craw- [ordsville, Ind.

ALL PURPOSE GLUE

The new Wilhold Household Epoxy' Glue is advertised as being for every use from "toys to treasures." The glue is waterproof and oilproof and the manufacturer claims that it makes strong rigid bonds to metals, glass, plastics and mar- ble. Wilhold Glues, Inc., 687 Clover St., Los Angeles 31, Call[.

HEAVY DUTY BLENDOR

The new Waring commercial blendor is a heavy duty industrial model manu- factured for laboratories, hospitals and industry. Its ability to mix, blend, puree and liquify chemicals, foods and concen- trates makes it ideal for laboratory work, the manufacturer claims. A heavy duty motor assures easy handling of viscous ingredients over long sustained periods. Stainless steel blades and stainless steel clamp are included as standard equipment. Testing Machines, lnc., 72 Jericho Turn- pike, Mineola, N.Y.

SPECIAL NOTICE

The DOUBLE B TOOL CO. has

been purchased by KEMPER

TOOLS. We wish to assure the

public that we will continue to make

the B3 Clean-Up Tool and other

popular tools produced by them,

except ALL wood modeling tools.

We will continue production of

the wood wire tools, double wire

end tools, steel scrapers etc.

A new line of Loop Tools is to be

released soon for potter's wheel

users as well as other newly de-

signed hobbyist tools thereafter.

Write for FREE catalogue to:

KEMPER MANUFACTURING CO P.O. Box 545. Chino. California

GENERAL CATALOG - - full color charts, complete line of ceramics mosaics, copper enameling and other crafts. MOLD CATALOG ~ pictures from leading mold manu. facturers, plus originals by us. SEND S0c FOR BOTH CATALOGS. Free to teachers.

SEELEY'S CERAMIC SERVICE 9 River St., Oneonfa, N .Y .

Please Mention CM when writing our advertisers

C R A M E R M O L D S H O P We Manufacture Our Own Molds. Latest Cat- alogues ° 60c. Shop Hours: 9 A.M. to 6 P.M.

DISTRIBUTORS WANTED R.R. #3 FOSTORIA, OHIO

One mile east on State Rt. ~:!8

AA)O0.o,°, 36 ,o..,, , 1961 revision Sl.25 net

Supplement only, S.S0

Largest supply catalog SI.S0

(REFUNDABLE ON S1S.00 ORDER)

Midwest Ceramic Center 722 SoetBwest Blvd. Kamsas City, Missouri

March 1964 37

PENLAND SCHOOL OF CRAFTS

FENLAND, N. CAROLINA

SUMMER SESSION JUNE I SEPT. 26 An opportunity for serious study of crafts. Courses for credit recognized by all accredited colleges through East Tennessee State College. WEAVING CERAMICS METALWORK JEWELRY ENAMELING GRAPHICS DESIGN WOOD WORKING FIBER DESIGN LECTURES DEMONSTRATIONS EXHIBITIONS Both 2 and 3 week sessions. Excellent food, well equipped studios. Recreational activities, hiking, golf, and sw;mming.

For cataloq, write PENLAND SCHOOL OF CRAFTS

Box M , Penland, North Carolina

P O S I T I O N A V A I L A B L E

Interesting summer position available for skilled ceramics craftsman who enjoys working with young people. Unusually creative New England teen-age project. Address:

SHAKER VILLAGE WORK GROUP Box 1149, Pittsfield, Mass.

See the April CM f o r Summer Workshop listings

Norwest Novelty Co. 3 2 4 8 0 N o r t h w e s t e r n H i g h w a y

Farmington , M ich igan Hours: 9 to S

OPEN S U N D A Y - Closed Monday Phone M A y f a i r 6 -6003

LIBRARY BINDER This durable cloth-lvound binder is green in color and has "Ceramics Monthly" stamped in gold leaf on the front covet' and backbone for immediate identification. A steel blade holds each copy in place. New issues are quickly and easily inserted. Order Now! Price $3.50

Ceramics Monthly 4175 N. High St., Columbus, Ohio

Please send me __ binder(s}. CM Pays Postage

Name . . . . . . . . . . . . . . . . . . . . . . . .

A d d r e s s - -

City. State. -

I enclose $ . - - . Send remittance with order. Ohio residents add 3% Sales Tax.

Y I ' I N E R A R Y

Continued from Page 36

NEW YORK, UTICA through March 29 " T w o Craftsmen

of Central New York," at the Munson- Williams-Proctor Institute.

OHIOj AKRON through March 22 Enamel panels, ob-

jects and jewelry by Fern Cole, at the Akron Art Institute.

OIIIO, AKRON through March 29 "Art of the Amer-

ican Indian," an exhibition of objects used by the Indians for their everyday needs and ceremonies, in the Children's Gallery of the Akron Art Institute.

OHIO, COI.UMBUS March 6-April 5 "Designer-Craftsmen

of Ohio," sponsored by the Beaux Arts and the Gallery of Fine Arts, at the Co- lumbus Gallery of Fine Arts.

ONTARIO, OTTA~VA through April "Picasso: Ceramics and

Posters," circulated by the American Fed- eration of Arts, at the National Gallery of Canada, Extension Services.

O NTARIO~ TORONTO March 6-April 28 "Five Potters," the

work of award-winning artists from Tor- onto~ Bailey Leslie, Marion Lewis, Mayta Markson, Dorothy Midanik and Anette Zakuta. At the Canadian Guild of Pot- ters, 100 Avenue Road.

PENNSYLVANIA., PHILADELPI~IA through March 29 "The Egg and

Easter," exhibition of Easter Eggs, Mu- seum items, fine jewelry and novelties, at the Art Alliance.

SOUTH CAROLINA, COLUMBIA March 1-31 "Designed for Silver,"

Smithsonian Inst i tut ion Traveling Exhibi- tion, at the Columbia Museum of Art.

TENNESSEE, MEMPHIS through April "200 Years of Wedg-

wood," at Brooks Memorial Art Gallery.

TVXAS, DALLAS March 15-April 12 "The Crafts and

Worship," an exhibition of outs tanding work being produced by contemporary American craftsmen, at the Dallas Mu- seum of Fine Arts.

WISCONSIN, RIPON March 1-30 Pottery and wall reliefs by

Clyde Burt, at Ripon College.

o~e'% ~r'C~lIi~ CIhlTl ~I:ILt !n-i!llction.

Advertisers Index March 1964

American Art Clay Company . . . . . . . . 11 Anderson Ceramics Co . . . . . . . . . . . . . . 37 Art-Craft Supplies, inc . . . . . . . . . . . . . 32

B & I Mfg. Co . . . . . . . . . . . . . . . . . . . . . 4 Bergen Arts & Crafts . . . . . . . . . . . . . . . 36 Bisq-Wax . . . . . . . . . . . . . . . . . . . . . . . . . I 0 Buffalo Ceramic & Art Supply Center . . 35

Central Ceramic Art Supply . . . . . . . . . . 35 Ceramic Expositions, Inc . . . . . . . . . . . . 8 Ceramiehrome . . . . . . . . . . . . . . . . . . . . . 10 Cramer Mold Shop . . . . . . . . . . . . . . . . 37 Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . 36

Dawson. W. P . . . . . . . . . . . . . . . . . . . . . 37 Duncan 's Ceramic Products . . . . . . . . . 6

Gare Ceramic Supply Co . . . . . . . Cover 2 Grieger's, Inc . . . . . . . . . . . . . . . . . . . . . . 37

IUini Ceramic Service . . . . . . . . . . . . . . . 37 Industr ial Minerals & Chemical Co . . . . 5

Kemper Mfg. Co . . . . . . . . . . . . . . . . . . . 37 Kiln-Gard . . . . . . . . . . . . . . . . . . . . . . . . 36 Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . 8 Klopfenstein, H. B. & Sons . . . . . . . . . . 36

L & L. Mfg. Co . . . . . . . . . . . . . . . Cover 4 Leonard, Jean, Ceramics . . . . . . . . . . . . 36

Mayco Colors . . . . . . . . . . . . . . . . . . . . . 4 Midwest Ceramic Center . . . . . . . . . . . . 37

National Artcraft Stxpply Co . . . . . . . . . 36 Norwest Novelty Co . . . . . . . . . . . . . . . . . 38

Ohio Ceramic Supply . . . . . . . . . . . . . . 35 Or ton Ceramic Foundation . . . . . . . . . . 6

Penland School of Crafts . . . . . . . . . . . . 38 Pottew r" by Dot . . . . . . . . . . . . . . . . . . . . 35

Reward . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Richman, D . . . . . . . . . . . . . . . . . . . . . . . 35

Sculpture House . . . . . . . . . . . . . . . . 35, 37 Secor Ceramic Supply . . . . . . . . . . . . . . . 36 Seeley's Ceramic Ser¢ice . . . . . . . . . . . . 37 Shaker Village Work Group . . . . . . . . 38 Skutt & Sons . . . . . . . . . . . . . . . . . . . . . . 3 Stangren . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Tepping Studio Supply Co . . . . . . . . . . 32 Thompson, Thomas C., Co . . . . . . . . . . . 9 Trini ty Ceramic Supply . . . . . . . . . . . . . 37

Van Howe Ceramic Supply . . . . . . . . . . 32 Vars, D. M . . . . . . . . . . . . . . . . . . . . . . . 35

Walker J amar Co . . . . . . . . . . . . . . . . . . . 38 Westwood Ceranfic Supply . . . . . . . . . . 7

Back Issues 7"he ]ollowing back issues o[ Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 3% sales tax). We pay postage. 1953 June, August, December 1954 March. July, August. December 1955 August, November, December 1956 May, October, December 1957 April, May, June. July, September, De-

cember 1958 April. May, June, September, Novemt~r 1959 November. December 1960 June, December 196t January. April October, Novemlmr, De-

cember 1962 January (9-year Index issue), February,

April. May, June. November 1963 June, September, November 1964 February

Please send remittance (check or money order) with list o[ issues desired.

CERAMICS MONTHLY

4175 N. High St. Columbus, Ohio 43214

38 Ceramics M o n t h l y

Headed for the

"Best Seller" list!

The NEW John lenny

book...

J o h n Kenny, who is p r inc ipa l of the High School of A r t and Design in New York City, is no s t r a n g e r to the r e ade r s of Ceramics Monthly . His a r t i c les have a p p e a r e d m a n y t imes in the magaz ine . Eve ryone who enjoyed Mr. Kenny ' s a r t ic les in Ceramics Month ly and his f i r s t two books. "Comple te Book of P o t t e r y M a k i n g " and "Ceramic Sculp ture ," will want th i s new t i t le for his l ib ra ry .

Ceramic Bellgll is a p rofuse ly illus- t r a t e d book in which the a u t h o r dem- o n s t r a t e s m a n y basic c lay work ing techniques and covers a wide r a n g e of p ro jec t s fo r both beg inne r s and advanced s tuden t s . The pub l i she r s of th is exc i t ing new book have called it the "how to do" and " w h a t to do" book in one. Complete i n s t ruc t i ons fo r methods of f o r m i n g and decora t ing ceramic wa re a re given, wi th s tep-by- s tep photo~Traphs to guide the designer a long the way.

Carefully Writtea c h a p t e r s on form, sketching, coiling, rol l ing, s lab building, pour ing , t h r o w i n g and combin- ing a re supp lemented by o the r s on carved design, shap ing , coloring, glazing, f i r ing and d rawing . More t h a n 50 photo sequences, some wi th over 24 s tep-by-s tep pho tog raphs , and more t han 100 p ic tu res of o u t s t a n d i n g examples of ceramic des ign ( m a n y in full color) , d i a g r a m s , d r awings and s k e t c h e s i l l u s t r a t e th i s beau t i fu l book. They a re supp lemen ted by an appendix , a l is t of ce ramic ma te r i a l s , t ab les and recipes and a g lossary .

Money.Back Guarantee_ All books ordered through the Ceramics Month- ly Book Department are returnable for immediate, full refund.

WE PAY POSTAGE

CERAMICS MONTHLY BOOK DEPT.. 4175 N. High St.. Columbus, Ohio

Please send me: - - copies of CERAMIC DESIGN @ $9.95 per copy.

NAME

This new book will find wide use among hobbyists, schools and craft ADDRESS centers and makes an ideal gift for any occasion. I t is a beau t i fu l ly CITY__ .STATE. bound edition with a large 7cA " x 101h " format and has more than 600 Ohio Residenls: add 3% Sales Tax. photos with 16 pages in full color! I enclose ~ Check

Order your copy now--S9.95. We pay ~Money Order [] Other pos tage and sh ipp ing charges . . ~ ~ ~ ~ ~ ~ ~

UL APPROVED FOR YOUR PROTECTION Ask your local Electric Company or Fire Insurance Company about the importance of UL approval on any electric appliance. Others claim that wire and switches are UL approved, but their kilns are notl

IN A COMPLETE NEW LINE - ONE UNIT T O P L O A D E R S

MODEL H-8800

20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNAo GLOW porcelain element ho lders . . . 4-way switches . . . 2 peep ho les . . , pilot l i gh ts . . , and they are designed with your safety in mind.

A complete line of bench and f l o o r models available.

I m

H I G H T E M P E R A T U R E

F U R N A C E S

T O 3 0 0 0 ° F

. . . using silicon carbide heating elements. M O D E L 8 1 8 - O

e

T E M P E R A T U R E H O L D I N G E N A M E L I N G K I L N

Can Also Do Ceramics !

s 7 4 8 o plus $2.00 cratlng charge Chamber size: 4 " x 8 Y : " x 8V2"

M O D E L E 4 8 E N A M E L I N G K I L N

II . Price includes Pyrometer,

Input Control Switch, Gravity Door, Pilot Light, and Patented Dyna-Glow

Porcelain Element Holders• Attractive . . . Plugs m anywherel

M O D E L E 4 9

All steel welded case.., gravity door. . • $ Z 5 0 C Patented Dyna-GIow element holders... Plugs in anywhere.., attains enameling temperatures quickly regardless of voltage conditions no crating charge.

• " " Chamber size: elements can not b~ burned out due to over-firing. 4" x 8" x 8"

*Pyrometer available at $20.00 extra

WRITE FOR LITERATURE

MANUFACTURING C O M P A N Y CHESTER 11, PA.

DEALER INQUIRIES INVITED

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MARCH, 1964 60c - Ceramic Arts Network...magazine display rack is supplied free studio selling...

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