iwn v HI • ~ m.. I - Ceramic Arts Network · i ii iii glazes il i ii • gloss glazes • satintone glazes matte glazes • red glazes • speckletone glazes • clear gloss glazes

A P R I L 1 9 6 2 . * 5 0 c

i w n v H I • ~ m . . I

/ ~ I ~ ' ~" ~' "S t

4 1 ! L.qp"

/I

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 not!

m l . ] - - - n[.I._I . ] d : j _ ~ IN A COMPLETE NEW LINE - ONE UNIT

20 quality built, feature packed models from which to choose. DYNAKILNS feature the patented DYNA- GLOW porcelain element ho lde rs . . . 4-way switches . . . 2 peep ho les . . , pilot l i gh t s . . , and they are designed with your safety in mind. MODEL H-8800

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

r:3 7i i_i 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 e f B - a

a

T E M P E R A T U R 1 E H O L D I N G E N A M E L I N G K I L N

Can A lso Do Ceramics !

,748. Chamber size: 4 " x 81/2" x 8Y:e"

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 . . . $ 1 ~ ~ih Patented Dyna-Glow element holders... Plugs in O 0

k mF anywhere.., attains enameling temperatures quickly regardless of voltage conditions, no crating charge.

" " Chamber size: elements can not be burned out due to over-firing. 4" x $" x s"

*Pyrometer available at $20.00 extra

WRITE FOR LITERATURE

MANUFACTURING COMPANY CHESTER 11, PA.

DEALER INQUIRIES INVITED

Our BIG New '62 Supply & Equipment Catalog

42 pages of Decals • 16 pages in Color • 144.8W'x 11" Pages

These products shown in FULL COLOR:

FRANCES Perma Stain DUNCAN'S E-Z Flow Products TRU-FYRE, King of Colors PETERSON 3-Way Fired Stains AFRICANA bisque colors MACK China Paints REGAL hobby molds EX-CEL dry glazes EX-CEL Flowertex clays

and many other items

IHCUSE

C[ I~AMI f_J

SUPPLY , ~ E Q U I P M E H T C A T A L O G

N O W avai lab le ~ Ful ly i l l us t ra ted

CLIP THIS COUPON and a t tach your

Check f o r $1.00 . . . (not deduct ib le )

L CITY STATE j 2 4 8 1 M a t t h e w s Avenue - - Memphis, T e n n . / / / / / / / / / /

CERAMICS M O N T H L Y . A p r i l 1962, Vol. l ~ N o . 4. Publ ished mon th l y except Ju ly & Aug, , by Professional Publ icat ions, Inc - - S . L. Davis, Pres, P. S. Emery, Sec.; at 4175 N. H;gh St~ee!, Columbus 14 OhTo Entered dS second-class mat te r at ,he post o f f i r# ~f A + ' ~ , r~ Subsr~Tpf:C~" Or~ Vp4r SS T*~ y ~ - Sq Thr~-,~ Y~,:~: ~12 ~cr ~rla h+ '062 A II R'a '~" R~. r r . , - d

introductory kit $3.95 8 brilliant ceramic decorating colors

Apply by: Decorate:

Silk Screen Glazed Pottery

Brush • Stencil Enameled Metal

Air Brush Ceramic Tiles

versatile • semi-liquid

v e r s a in tubes

c o l o r g ~ l ~ C O Request 56-page catalog "Amaco Pottery and Metal Enameling Supplies and Equipment"

A M E R I C A N A R T C L A Y C O M P A N Y • INDIANAPOLIS 24., INDIANA

L A B O R A T O R Y SIEVES

ONE GALLON CAPACITY - - 61/2 '' DIAMETER BRASS

SCREENS PERMANENTLY FUSED INTO TOUGH,

FLEXIBLE, POLYETHYLENE PLASTIC BASINS.

30 mesh . . . . $4.25 40 mesh . . . . $4.50 60 mesh . . . . $4.75

80 mesh...$5.00 100 mesh...$5.25 Finer meshes also available.

OUR REGULAR 31/2" DIAMETER STUDIO SIEVES:

30, 40. 60, and 80 mesh only $2.50 each. 100 to 200 mesh $2.95

ORDER TODAY! Postage Paid on Prepaid Orders.

COLE CERAMIC LABORATORIES Depf. CM., Gay-Way SHARON, CONNECTICUT

Dealer lnquiries Invited

GLASS CRAFT by KAY KINNEY

THE FASCINATING ART OF CONTOURED GLASS

Send for Your Autographed

Copy Nowf

Here - - at last m ;s the complete book; the result of nine years of experimentation in the wonderful world of glass bending. This is the book you'll want for your permanent library; hard-bound, 200 pages, with over 300 illustrations.

Four pages of co/or pictures, too. You can work right along with the author on step-by-step projects, with excellent photo-

raphs and text as your guide. he wealth of material presented in "Glass Craft" is of

equal value to the hobbyist, craftsman, serious student, and teacher. You'll find sections on all basic techniques, glass cutting, the use of manual and power tools; ceramic frits, suggestions for formulating glass glazes, combining glass and clay, glass and metal; stained glass, bottles, pre-formed plates, and miscellaneous glass. Firing data for all types of kilns is included. And - - to top it off - - there is a "Glass Clinic" chapter to help you answer problems that arise.

"GLASS CRAFT" is published by Chilton Company, as an important addition to their popular Arts & Crafts series.

$ 1 5 0 POSTPAID (No C.O.D.'s, please) PRICE: • California residents odd 30c sales tax.

Order Direct From

K A Y K I N N E Y ~ CONTOURED GLASS 725 Broadway Laguna Beach California

4- CERAMICS MONTHLY

VOLUME 10, NUMBER 4 APRIL • 1962

SO cents per copy

I N T H I S I S S U E

Let ters to the Ed i tor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Answers to 9ues t ions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Summer Workshops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Suggestions f rom Our Readers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

CM's Pic o f the Month . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11

I t i ne ra ry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

C lay Bodies f o r Salt Glazing by F. Carlton Boll . . . . . . . . . . . . 13

Scandinavian Pot ters by Glenn C. Nelson . . . . . . . . . . . . . . . . . . 14

Animals o f Their Own - - In C lay by Alice Wheatley . . . . . . 18

Throw a Hundred Pots by Richard Peeler . . . . . . . . . . . . . . . . . . 20

Hinged Mold Cons t ruc t ion by Den Wood . . . . . . . . . . . . . . . . . . 22

Decora te With C lay by Phyl[is Cusick . . . . . . . . . . . . . . . . . . . . . 26

Show Time: Des igner-Craf tsmen o f Ohio . . . . . . . . . . . . . . . . . . 28

Mending G reenware and Bisque by Louise Griffiths . . . . . . . . . . 30

Decora te Ove r Glaze demonstrated by Marc Bellaire . . . . . . . 31

CeromAct i v i t i es . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

The Enameler 's Column: Abou t Design by Kathe Berl . . . . . . . . 37

Index to Adver t i se rs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3E

ON OUR COVER: Rut Bryk's ceramic tile is a design of barbaric splendor combined with childhood fantasy. Bryk is one of the group of talented potters working in Finland's Arabia Studios. See Glenn C. Nelson's feature article on Scandinavian potters and potteries on pages 1 4 ~ i 7 of this issue.

Editor Thomas Sellers

Editorial Associate Louise Friedl

Art Director R. E. Gracer

Business Manager Spencer L. Davis

Circulation Manager Mary Rushley

Advisers and Special Contributors: F. Carlton Ball; M~rc Bellaire: Kathe Beth Phyllis Cusick; Edris Eckhardt; John Kenny: K~ly Kinney; Zena Hoist: Karl Martz: Ken Smlth; Don Wood.

Western Advert is ing Representat ive: Joseph Mervisb. 6716 Gentry Ave. Box 3115, North Hollywood, Calif. TRiangle 7-7656.

Copyright 1962 Professional Publications, Inc.

4175 North High Street

Columbus 14, Ohio

J D 1 year SS D 2 years $9 [] 3 years $12

N a m e _

A d d r e s s _

J City_ Zn. State J : [] Remittance Enclosed I-1 Please Bill Me

When you think o f ceramics, i t 's na tu ra l to think o f CERAMICHROME, qua l i t y glaze and underglaze. Outs tanding fea tu res make CERAMICHROME your wisest ceramic co lo r buy! Choose f rom over 250 co lors and tex tu res in exclusive " co l o r - ba l anced " palet tes. Per fect f o r the ceramic hobbyis t ; used exclus ive ly in countless schools. Send t o d a y f o r va luab le FREE in fo rmat ion .

CERAMICHROME, INC., 15215 S. BROADWAY GARDENA, CALIFORNIA

APRIL, 1962 5

Share your thoughts wi th o ther C M r e a d e r s - - b e it quip, query, comment or advice.

Al l le t ters must be signed, but names wil l be wi thheld on request.

Address: The Editor , Ceramics Monthly , 417S North High St., Columbus 14, Ohio.

A VOTE FOR COLOR

# I don't know what I would do without CM; it is the highlight of my month. Since I am writing to you now, I have a suggestion: would it be possible to print a few of your pictures in color? Especially Pic of the Month. Even if this meant an increase in annual fees, I 'm sure it would be appreciated.

MRS. NICOLE MARCHAND Hull, Quebec

CM FOR REFERENCE

# I am another CERAMICS MONTHLY admirer. Being a great believer in having a good library for reference material, I put your magazine in this class without any hesitation. I teach ceramics and still take pottery lessons. In addition, I have opened a small shop in my home and have many requests for ceramic jewelry.

NORMA WILLIAMS Colgate, Wis.

• . . FROM A LUMP OF CLAY

I am a potter, have a kick wheel and an 18-inch electric kiln. I fire from cone 04 to 4 and plan to fire to cone 6. I find your articles improving over the years and the taste in pots illustrated of a higher calibre• The recipes must be much appreciated by many. I believe that if you continue to give the subscribers high-quality articles and illustrations, the general taste level is bound to improve. I find that people who long have felt the need to be "creative" are astonished at the satisfac- tion anyone can get from a lump of clay.

MRS. CHRISTINE THOM Victoria, B.C.

VIA BACK COPIES I have always enjoyed your magazine

and am not certain why I have not sub- scribed sooner, f have been interested in ceramics for a few years now and have read back copies of your magazine given me by Jim McKinnell, the professional

potter previously of Deerfield and now with the University of Iowa ceramic department. I have seen much of his work in your pages and have never thought they did his beautifully-subtle work jus- tice. I was lucky enough to study under Jim last summer and now am using the clays and wheel which he left behind when he departed for Iowa.

Looking forward to reading the latest issue of your magazine . . .

KENNETH W. VOGT Deerfield School Deerfield, Mass.

OUR READERS W A N T . . .

# More glass contouring, fusing and decorating. I have especially enjoyed Kay Kinney's articles. Also I like Edris Eck- hardt, Ann Entis and Kathe Bed's projects. But please, no more extremely modern monstrosities !

KORFF CRAFT STUDIO Lockport, N. Y.

# More on what successful teachers in Junior High are doing that would help other teachers.

ROSA SALAZAR Los Angeles, Calif.

# More on glazes and decoration. I have found the articles by Richard Peeler and Didier Journeaux very interesting.

MRS. R. E. DREHLR San Francisco, Calif.

Spring Colors from

MAyCO • . . . . ~:?~! . . . _

AMERICA'S FINEST COLORS

, , b ( :l

Dealerships Available - - See Your Neares t M A Y C O Distr ibutor or Write Us

MAYCO COLORS 10645 CHANDLER BOUI.EVARD NORTH HOLLYWOOD, CALIFORNIA

6 CERAMICS MONTHLY

Kilns .... superior design

/ !

' r i7 h c c I s by

for the practical craftsman

For classroom, studio or hobby

shop, SK UTT KILNS are custom-

engineered, precision-manufac-

tured with the working ceramist

in mind. Compare SKUTT KILNS

S k u t t & : Sons with others. You'll find no other professional equipment combines

automatic shutoff Safe, sure and fool-proof, the ingenious Daw- @ so many elements of superiority. son "Ki ln-Si t ter" is built- in each kiln for permanent al ignment and reliabil ity.

controlled cooling Draftless Skutt Kilns feature radiant cooling, automatical ly lowering the temperature rapidly and with complete safety . . . quickly through the tolerant ranges, carefully through the brittle ranges.

ease of maintenance Rust-free, dust-free, encased entirely in stain- less steel. All parts are easily replaceable by owner or handyman.

light in weight You gain economy in shipping and ease of handling at no sacrifice of quality, capacity or durabil ity. The heaviest sections of a Skutt Kiln can be lifted by one person.

M O D E L 181 (shown at right)

MODEL i81 Porcelaip-Sroqewore k;in 2.63 cu. it. {iring chamber, 171/"2 " across ]8" deep, with all SKUTT features. S~,;pping weight 150 Ibs. Blank ring can be inserted for 221/2 " chamber depth giving 3.3 cu. ft. !or firing to Cone 0T. Fully U.L. Approved.

",

(below)

SKUTT ELECTRIC WHEEL $192.00

variable speed, ~ h.p., permanently lubricated, ful ly portable,

rugged and trouble-free.

Write for more information about these outstanding Skutt products for ceramists.

~ ~ _ _ _ ~ < ~ g ~ l P ~ 2618 S. E. STEELE STREET, PORTLAND 2, OREGON

APRIL, 1962 7

I I II I I I

GLAZES

il i ii • GLOSS GLAZES

• SATINTONE GLAZES

• MATTE GLAZES

• RED GLAZES

• SPECKLETONE GLAZES

• CLEAR GLOSS GLAZES

• CRACKLETONE GLAZES

• ART GLAZES

• SPECIAL EFFECT GLAZES

• FROTH GLAZES

• BROCADE GLAZES

• E-Z STROKE

• COVER COAT

P r e f e r r e d for:

"k EASE OF APPLICATION

CONSISTENT HIGH QUALITY

UNLIMITED COLOR SELECTION

DUNCAN CERAMIC PRODUCTS 5673 East Shields Avenue, Fresno 27, California

( ' i ¢ i~,, ' ~ u e s t l o n S

...... ~ ........... Conducted by the CM Technical Staff

My top-loading electric kiln has large areas o[ rust on the outside and is ver)' unsightly. Is there a special paint I can purchase to paint the metal?--M. M., Trenton, N. ].

Any heat-resistant aluminum paint can be used to paint the kiln casing. First remove the rust and scale with a stiff wire brush: then clean the metal and brush the paint on.

I was recently given some ceramic supplies an.d among these were some bottles o[ underglaze which were completely dried up. Can these be restored by adding water or must there be some other material added too? I hated to take a chance that I might spoil them, so decided to ask [or advice.--M. R., Laguna Beach, Calif.

Prepared underglazes can be salvaged quite easily, and nothing but water need be added. You can simply put a small amount of water in the jar and let it stand a few days to soften the material; a faster method is to serape the dry underglaze off the sides of the jar and chop up the residue in the bottom before adding the water. Stir occasionally and your underglaze will be as good as new.

Q My kiln shelves are old and have had much hard use, but

I think there is a lot o[ life still left i~ them. However, so much glaze has dripped down and adhered to the shelves (in spite o[ coatings o[ kiln wash), that they are quite uneven and sometimes it is di[ficult to stilt ware on them. Is there any way to level these sheh,es?--V. L., Athens, Ga.

Try adding a fair amount of grog to your kiln wash the next time you coat the shelves. By applying this mixture quite heavily, you should be able to produce a level kiln-wash surface.

Q Can I add anything to china painting medium to prevent

the colors [rom drying out so rapidly in a very warm room? ~ M . G., Albuquerque, N. M.

Zena Holst recommended that a few drops of pure oil of lavender be added to keep the overglazes fluid. She cautioned against using too much oil since it will cause the colors to run.

Q I was advised to add some bentonite to my clay to make

it more plastic, but I ended up with a gooey glob o] unmanage- able mess/ Was the advice given me bad, or is there something more I should know about handling this material?--L. D., Anderson, Ind.

Bentonite is an excellent material for use in increasing the plasticity of clay. Just a small amount is all that is needed---one or two percent. Your trouble probably came about from trying to add bentonite to moist clay. Because it is so extremely plastic, it must be added dry to the dry clay. These materials should be mixed together intimately before adding water to the batch.

All subscriber inquiries are given individual affention at CM; and out of the many received, f~ose of general interest are selected for answer in this column. Direct your inquiries to the Questions Editor; please enclose a s~amped self-addressed envelope.

8 CERAMICS MONTHLY

SUMMER WORKSHOPS

SUMMER WORKSHOPS give you that wonderful opportunity to combine vaca- tion travel with hobby fun. Whether you are tripping east or west or only a little ways from home, you'll find a workshop in ceramics to give you that fresh inspiration. Our list to date:

CALIFORNIA, GUERNEVILLE June 25--August 24

The Pond Farm Pottery is offering a 9-week course in pottery techniques for both beginners and advanced students. Instructors: Marguerite Wildenhain and David Stewart, Assistant. Write: Pond Farm Pottery, Guerneville.

CALIFORNIA, LOS ANGELES June 25--August 3

The University of Southern California offers six-week credit courses in ceramics at beginning, advanced and graduate (M.F.A.) levels. Studio practice includes work in stoneware with emphasis on throwing, glazing and decorative tech- tuques. Instructor: F. Carlton Ball. Write: Fine Arts Dept., USC, Univer- sity Park, Los Angeles 7.

CALIFORNIA, LOS ANGELES June 25~August 17

Chouinard Art Institute offers a credit course in ceramics covering throwing, decorating and firing. Instructor: Otto Heino. Write: Miss Kent, Chouinard Art Institute, 743 South Grand View Street, Los Angeles 57.

CALIFORNIA, MILL VALLEY June 18--August 13

Hal Riegger is conducting three one- week field trips in the central area of California. Members of each group will start off with no tools or equipment and will return with finished pots made according to southwest American Indian techniques. Instruction in clay geology, securing and working with clay and clay minerals of the west and firing. Write: Hal Riegger, 469 Panoramic Hwy., Mill Valley.

CALIFORNIA, OAKLAND June 20--August 2

California College of Arts and Crafts is offering a six-week course in beginning and advanced ceramics. Instructor: Ver- non Coykendall. Write: California Col- lege of Arts and Crafts, 5212 Broadway, Oakland 18.

COLORADO, BOULDER June 15--August 24

The University of Colorado plans a five- week advanced course in pottery, wheel and hand techniques, June 15--July 20 or July 23~August 24. Instructor: Pro- fessor Ann Jones. Write: Professor Alden Megrew, Chairman, Fine Arts Depart- ment, University of Colorado, Boulder.

CONNECTICUT, BROOKFIELD July 30----August 17

The Brookfield Craft Center is offering a three-week course in all phases of ceramics, glass and enameling. Instructors: Edwin and Mary Scheier, Maurice Hea- ton and Joseph Trippetti. Write: Brook- field Craft 'Center, Brookfie|d.

APRIL, 1962

CONNECTICUT, NEW CANAAN July 9--August 31

The Silvermine College of Art plans an eight-week course in ceramics, ceramic sculpture and mosaics. Instructor: Tauno Kauppi. Write: Silvermine College of Art, New Canaan.

INDIANA, BLOOMINGTON June 14--August 10

Indiana University is offering an eight- week course in all phases of pottery making, both beginning and advanced, in earthenware and stoneware. Instructor: Karl Martz. Write: Robert R. Richey, Director, Indiana University Summer Session, 335 Education Bldg., Blooming- ton.

INDIANA, INDIANAPOLIS June 25--August 3

Amaco Ceramics Workshops are offering one- and two-week workshops in metal enameling and ceramics for teachers and occupational therapists at the John Her- ton Art School. Graduate and under- graduate credit. Instructors: Kenneth E. Smith, Justin M. Brady, William Gehl and Karl Martz. Write: American Art Clay Co., 4717 W. 16th St., Indianapolis.

MAINE, DEER ISLE June 25--September 15

Haystack Mountain School of Crafts offers four 3-week sessions in ceramics. Instructors: Edwin and Mary Scheier, Ronald Burke, Toshiko Takaezu and M. C. Richards. Write: Haystack Moun- tain School of Crafts, Deer Isle.

MASSACHUSETTS, WORCESTER July 9--20

Craft Center Summer Session plans a two-week course in ceramics and enameling. Instructors: William Wyman and Joseph Trippetti. Write: Craft Center, 25 Sagamore Rd., Worcester 5.

MICHIGAN, EAST LANSING June 20~August 31

Michigan State University is offering credit courses in pottery design, glazes. and stacking and firing a kiln. Instruc -~ tor: Louis Raynor. Write: Michigan State University, Kresge Art Center, Art Department, East Lansing.

NEW HAMPSHIRE, DURHAM July 9--August 17

The University of New Hampshire is offering a six-week course in elementary and advanced ceramics. Instructor: Don- ald Campbell. Write. George R. Thom- as. Chairman. Department of the Arts, University of New Hampshire, Durham.

NEW HAMPSHIRE, PETERBOROUGH July 1--August 31

The Sharon Arts Center is offering an eight-week course in ceramics and enameling. Instructors: Gerry Williams and Fran Brown. Write: Sharon Arts Center, Peterborough.

NEW YORK, ALFRED July 2--August 10

Alfred University Summer School offers courses in ceramic design and pottery production at the elementary, advanced

and graduate levels. Instructors: T. A. Randall, Val Cushing and others. Write: Fred H. Gertz, Director of Summer Ses- sions, Box 805, Alfred.

NEW YORK, CHAUTAUQUA July 9--August 17

Chautauqua Center of Syracuse Univer- sity will hold two three-week sessions: July 9--27 and July 30~August 17. Instructor: James Achuff of Syracuse University. Instruction will cover introductory, intermediate and advanced ceramics. Write: Program Administrator, Chautauqua Center, 610 East Fayette St., Syracuse 3.

NEW YORK, LAKE GEORGE June 25--August 25

The Pottery Workshop at the Lake George Art Center offers instructions in pottery techniques, with stress on throwing, form and decoration. The Workshop, located in the Old Stone Schoolhouse, is within walking distance of Lake George. Write: J. Hastings, Lake George Art Center, Lake George.

NEW YORK, NEW YORK June 2--August 7

Crafts Students League is offering an eight-week course in ceramics, enameling and sculpture. Instructors: Roberta Le- ber, Gertrud Englander, Adda Husted- Anderson and Mildred Downey. Maurice Heaton will give another workshop in fusing and decorating of glass July 30--August 7. Write: Craft Students League, 840 Eighth Ave., New York 19.

NEW YORK, ROCHESTER June 25--August 10

The School for American Craftsmen is offering a five-day Designer-Craftsmen Workshop Seminar from June 25-29, and a six-week Summer Session from July 2 --August 10. Instruction will cover ceramics, metalcrafts, jewelry and glass (two weeks, June 25--July 7). Instruc- tors: Faculty of the School for American Craftsmen; glass will be taught by Maur- ice Heaton. Write: Director, Summer Session, Rochester Institute of Tech- nology, Rochester 8.

NORTH CAROLINA, PENLAND June 12~August 18

The Penland School of Handicrafts is offering credit courses in beginning, intermediate, or advanced work in clay including the forming, glazing and firing of the pieces. Write: Miss Lucy C. Mor- gan. Director, Penland School of Handi- crafts, Penland.

OHIO, CLEVELAND June 18--July 27

The Cleveland Institute of Art is offering a six-week course in ceramics and enameling. Instructors: Kenneth Bates and Toshiko Takaezu. Write: Cleveland Institute of Art, 11141 East Blvd., Cleveland 6.

OHIO, COLUMBUS June 18--August 24

Ohio State University is offering a summer ceramic workshop that includes hand building, throwing, sculpture, ceramic art

Continued an Page 36

OF CRAFT SUPPLIES Enamel powders

Hotpack Kilns Dremel power tools

Jewelry findings Steel and copper shapes

Tools and accessories Decorating materials

Enameled tiles Paasclle spraying equipment

t.iquid enamels L & L kilns

" 51;" ~"~"-": .................. Firing toots ~ ..... . ..... Copper Cat jewelry kits

T h i s big, new, fully-illustrated catalog includes a complete line of materials and equipment for enameling, ceramics, and other crafts. Whe the r you're a hobbyist, professional, teacher or student, you'll f ind everything you need . . . select and order at your leisure from one complete source. Take advantage of convenience, fast shipment , and at tractive low prices. You'll f ind over 200 enamel colors listed, more than 50 jewelry items, an outs tanding selection of copper trays, bowls, and free form pieces.

SEND FOR YOUR FREE COPY NOW!

I Thomas C. Thompson Co. Dept. C M I I 1539 Deerf ie ld R o a d - - H i g h l a n d Park, III.

Please send your free catalog of enameling and I craft supplies. I

I NAME ! I I ADDRESS I

I CITY ZON E _ _ S T A T E _ _ _ _

f r o m o u r , r e a d e r s : . . . .

Blender for Slip W h e n I need a small quanti ty of terra cot ta or buff slip, I

prepare it very easily in the food blender. I mix the clay and water, pu t it in the electric blender, turn it on and in about three seconds I have a lovely creamy mixture.

--Barbara Gory, Glencoe, Ill.

To Prevent Tile Warping To keep homemade tiles from warping, make them from

a clay that has grog added for a more open structure. This means it will have more even drying.

Place each tile between two commercial bisque tiles and put a weight on top and set aside until dry. Tiles also can be dried very slowly in the damp box, to prevent warping.

A slow firing schedule should help to prevent wraping in the kiln; also avoid placing tiles near the kiln elements in order to prevent one area from receiving more heat than another.

--N. Fulton, Culver City, Calif.

To Attach Bats To save time, clay and mess, use clay slip to adhere a

removable plaster throwing bat to the wheel head. Put a thick glob of creamy slip on the back of a dry plaster bat, then place the bat slip-side-down on the center of the wheel head. Work the bat in a slight circular fashion until it is securely fastened. I 've never had a ba t come off the wheel head yet!

--Ed Sajbel, Pueblo, Colo.

Wire and Fall Unusual glaze effects result from the use of copper wire

or a luminum foil. Wrapped copper wire shaped into a petal or a snakelike form can be placed on a flat object, then be glazed. and will result in a dark green or almost-black decoration after firing. U n w r a p p e d copper wire can be cut into small pieces and sprinkled over the unfired glaze, and the fired effect will be of many pret ty flecks of dark green.

Aluminum foil can be cut into small pieces or shavings, and these can be placed over the glaze. When covered with another light coating of glaze and fired, it gives an interesting effect since it assumes the color of the glaze. However, the foil may need to be filed down a bit, if it remains sharp.

--Rosalie Barger, Washington, D. C.

"Permanent" Labels To make waterproof labels for glaze and slip jars, here

are two suggestions. Write the name of the jar ' s contents on a piece of ordinary paper and affix this to the jar with Scotch Tape. Cover the paper completely, leaving an ample amount of tape on all four sides. This makes a water- and smudge-proof label. There also is a liquid product on the market called "Label Glaze" that can be used over gummed labels to make them waterproof.

--L. F., Olean, N. Y.

D o l l a r s f o r y o u r T h o u g h t s

CM pays up to $5 for each itemCM,USed4175in thlSN, w1~ column. Send your bright ideas to High St., Columbus 14, O. Sorry, but we can't acknowledge or return unused items.

I 0 CERAMICS MONTHLY

~

;z!i~!~i i ¸ ! i ~ i i i i : ¸

4. . . . . . . . . . . . .

CM's Pi¢ of the Month: Stoneware Bottle, by Edith D. Franklin of Toledo, was awarded the Claycraft Prize

in the Deslgner-Craftsmen of Ohio exhibition. Mrs. Franklin combined several methods of working to produce this six-

inch bottle. The body was made in a press mold, the neck was thrown and the foot was coiled. A Bristol glaze was used

over black slip decoration to achieve the distinctive gray-green semi-transparent surface. The piece was fired to cone 9

in an electric kiln. Photographs of other prlze-winning ceramic pieces from this show are featured in "Show Time," start-

ing on page 28 of this issue.

APRIL, 1962 II

Beauty By

f r o m R e w a r d

An I n v i t a t i o n To

TEACHERS S e n d for free literature o n

REWARD'S famous line of ceramic colors and glazes • • products that have been proved through years of use in schools from coast to coast •

O u r qualified staff , modern plant, and product research program assure you of the f inest quality products for the classroom • Send us a note now on your school letterhead and we'll rush information to you on RE- WARD'S easy-to-use, reliable ceramic colors and glazes •

NEW ADDRESS 6811 Washington Blvd. Baltimore 27, Maryland

12

I! Send show announcements earlyD

WHERE TO SHOW: Ihree months ahead o1 entry date. WHERE TO GO: at least six weeks before opening.

• WHERE TO SHOW

*national competition

MASSACHUSETTS, LINCOLN June 24--September 23

New England Crafts Exhibition, sponsored by the New England Crafts Council, is open to all New England craftsmen. All media; work done within the last two years. Regional selections made at various museums. For full information, write: Frederick Walk*y, Di- rector, DeCordova Museum, Lincoln.

NEW YORK, NEW YORK May 25--September 22

*Young Americans--1962, a national competition for American craftsmen 30 years of age and under, is being sponsored by the American Craftsmen's Coun- cil and includes work in ceramics, glass and enamel. Entry Fee; Jury; Cash Awards. Work due April 2-11. The exhibit will be circulated by The American Federation of Arts. For prospectus and application blanks, write: Miss Eileen Farrell, Young Americans--1962, Muse- um of Contemporary Crafts, 29 West 53rd St., New York 19.

NEW YORK, PLATTSBURGH April 17- -May 11

A jewelry competition and exhibition will be held at State University College. Jury; Prizes; Entry Fee. For information, write: Evan Kern, Dept. of Fine Arts, State University College, Plattsburgh.

OHIO, CLEVELAND May 16- - June 24

The 44th Annual Exhibition of the work of artists and craftsmen of Ohio's West- ern Reserve includes enamels, ceramics, jewelry. For prospectus, write: Cleve- land Museum of Art, Cleveland 6.

OHIO, T O L E D O May 6 - -27

The 44th Annual Toledo Area Artists Exhibition is open to present and former residents of Toledo proper and to present residents of 15 counties in Northwest Ohio and two in southeastern Michigan. Jury; Prizes. Entry dates are April 5- -7 . For prospectus, write: Toledo Museum of Art.

OREGON, ASHLAND July 21--September 9

*Exhibition with Shakespeare Theme, sponsored by the Ashland Art Gallery, is open to all artists in all media. Fee; Jury; Prizes. Work and entry cards due July 10. For information and entry cards, write: Ashland Art Gallery and Work- shop, 31 Water St., Ashland.

OREGON, PORTLAND May l l - - J u n e 9

Tenth Biennial Exhibition of Northwest Ceramics, sponsored by the Oregon Ce- ramie Studio and the Creative Art Foundation of Oregon, is open to artists residing in Oregon, Washington, Mon- tana, Idaho, Alaska and British Colum- bia. Media include pottery and ceramic sculpture. Jury chairman: Paul Soldner. Entries due April 16--25. Entry blanks

and complete information available by writing Oregon Ceramic Studio, 3934 S.W. Corbett Ave., Portland 1.

RHODE ISLAND, PROVIDENCE May 30 - - June 10

Fourth Annual Rhode Island Arts Fes- tival is open to all artists in the New York-New England region. Media in- elude crafts and sculpture. Over $i000 in prizes; Jury. Work due May 4. For applications, write: Rhode Island Arts Festival, Box 421, Providence.

SPECIAL

CALIFORNIA, CULVER CITY March 30--Apri l 1

California Ceramic Show, to be held at the Culver City Auditorium, will feature hobby and studio displays, demonstrations and hobby competition.

COLORADO, DENVER May 5 - - 6

Ninth Annual Ceramic Exhibit of the Rocky Mountain Ceramists Association, to be held at the Grange Hall, 2475 W. 26th Ave., will feature demonstrations and a hobby competition. For information, write: Z. Z. Pool, 1841 S. Forest, Denver.

GEORGIA, BRUNSWICK April 2 0 - 2 2

First Southeast Georgia Ceramic Show. to be held at the Howard E. Coffin Recreation Building, will have competitive exhibits for hobbyists, professionals and children. For information, write: Superintendent of Recreation, P.O. Box 1297, Brunswick.

ILLINOIS, CHICAGO August 25- -28

*Chicago Ceramic Show, at the Pick- Congress Hotel, features classes, demonstrations and exhibits. $1000 competition open to hobbyists; special ceramic sculpture section and professional competitive event. For complete list of events, categories and awards, write: E. Kane, Box 115, Wilmette, Ill.

NEW JERSEY, ASBURY PARK May 17--20

Tenth Annual Eastern Ceramic Show, sponsored by Ceramic Leagues, Inc., will be held at the Convention Hall at As- bury Park. The theme of this year's show is "Ceramic Knowledge through Art Ed- ucation." Featured events include a national hobbyist competition, classes and free demonstrations by some of the na- tion's finest teachers. For information on the show and the competition, write: Ceramic Expositions, Inc., Convention Hall, Asbury Park.

OHIO, AVON June 9 - -10

Sixth Annual Hobby Show, sponsored by the West Shore Mud Hens of Cleve- land, will be held at the Saddle Inn, Avon. For information, write: Mrs. Lewis Vilagi, 476 N. Main St., Am- herst, Ohio.

Cont inued on Page 32

CERAMICS MONTHLY

Strict ly Stoneware

CLAY BODIES FOR SALT GLAZING

by F. CARLTON BALL

T HERE ARE so many variables in salt glazing that it is quite diffi-

cult to come to any definite con- clusions as to what materials, firing atmosphere, temperature, amount of salt, etc., give certain effects.

I t is advisable to try to fire the kiln several times in exactly the same way when tests are being made. It also is advisable to repeat the same tests at least three times in order to be sure of certain effects achieved in the first firing. This is difficult or even impossible with a new kiln, however. for each firing will give different ef~ fects until the kiln is broken in or "ripened." A new kiln acquires a coating all over its interior on each firing until it becomes heavily coated with the salt glaze. I t may take as

many as 15 or 20 firings until con- sistently-glazed ware comes froln the kiln.

The kiln is not the only thing to be broken in. The potter, too, must become accustomed to the salt-glazing techniques and the use of a par-

ticular kiln; until this point is reached his results will be haphazard and un- reliable. Some will be good and some

bad, but all will be interesting and exciting to him.

Until the kiln is ripened, good results cannot be relied upon and bad

ones shouldn' t be discarded. All tests should be made again and again un-

de,- as much control as possible. When the kiln and the potter have properly ripened, the good results must be repeated again just to make sure of them.

Following are clay body recipes for salt glazing. The), may not give the results described until the kiln is broken in and variations in firing procedures are tried over and over again.

APRIL, 1962

Clay Body 1 Jordan Clay 45% Bandy Black Ball Clay 20 Flint 15 Feldspar 5 North American Fire Clay 10 Barnard Clay 5

100%

This body gives a better glaze at cone 5 or 6 than at cone 8. The glaze is bright, thick, and transparent, with a good orange-peel texture. The body is a gray color under the glaze.

Clay Body 2 Jordan Clay 45.0% Bandy Black Ball Clay 20.0 Flint 15.0 Feldspar 5.0 North American Fire Clay 10.0 Red Iron Oxide .5

95.5%

Clay Body 2 turns a light color under the glaze at cone 8. The glaze is clear, bright, and transparent. It has an orange-peel texture and looks

SALT-GLAZED POTS made by the author at

Mills ,College in 194S have a warm brown

color under the orange-peel textured glaze.

very nmch like the early American gray salt-glaze ware.

Clay Body 3 Jordan Clay 22.5% Bandy Black Ball Clay 10.0 XX Sagger Clay 47.5 Flint 7.5 Feldspar 2.5 North American Fire Clay 5.0

95.0%

This body, a medium gray color under the same glaze, gives a good bright glaze with orange-peel texture and some iron-red color areas at the texture tips which enrich the glaze. This is a very good body for salt glaze at cone 8.

Clay Body 4 North American Fire Clay 43% Cedar Hill Red Clay 10 Bandy Black Ball Clay 15 Flint 15 Grog (60 mesh) 15 Bentonite 2

100% Body 4 has a dark gray color under

the salt glaze. At cone 8 the glaze is almost too heavy, having a heavy orange-peel texture, and a shiny

green color. In a strong reduction fire it becomes an opaque dark iron- red color and is unpleasant. The results would be much better at cone 5 or 6.

Clay Body 5 Jordan Clay 15% North American Fire Clay 20 XX Sagger Clay 40 Dalton Clay 25 Grog (60 mesh) 8 Bentonite I

109% Clay body 5 gives a beautiful salt-

glaze body, medium gray in color. The glaze layer is thick, with orange- peel texture and a warm iron-red color.

C o n t i n u e d on Page 32

13

SCANDINAVIAN POTTERS by GLENN C. NELSON

~ . ~ ~ ! . , ~ " ~ - , . ~

~'~ ~ ." ~ ..~, ~ . ~ ; ~ . ' ~ ~

CERAMICS MONTHLY 14

D URING the past few years much interest has been

centered on various products in the Scandinavian de-

sign field. The term "Scandinavian Modern" has become

synonymous with a type of streamlined functional design

found not only in imports of furniture, glass and ceram-

ics, but in our native products as well.

It might be of interest first to think of Scandinavia

in some relationship to the United States. Sweden, the

largest country in this group, has a population of about

seven million, which is comparable to that of New York

City. Denmark, with a population of slightly over four

million, might be roughly compared with the city of

Chicago. Finland is about the same in population as

Denmark, and Norway is slightly smaller. In each coun-

try a large percentage of the population is concentrated

in the capital city and in many cases the smaller pottery

shops in which we are interested find their chief markets

in the capitals and are located near them.

In each of the Scandinavian countries there are

large ceramic factories which supply the entire ceramic

needs of their respective countries. In some instances

they make not only porcelain dinnerware but also elec-

trical insulators, bathtubs, and refractory brick. Such di-

versification, however, is exceptional and most ceramic

factories limit themselves to either dinnerware and art-

ware products or industrial ceramics.

An unusual feature of the Scandinavian porcelain

factory is the existence within the factory of a Design De-

partment, the members of which invariably make and ex-

hibit one-of-a-kind pieces under their own names, as well

as design the varied production items for the factory.

Much of the unique nature of the Scandinavian mass-

produced product in the ceramic area is, I feel, the re-

sult of this "design studio" arrangement. For example,

I know of no American ceramic factory which has a de-

sign staff whose members are also producing potters.

Perhaps the recent loss of sales to foreign imports which

is being experienced by American ceramic firms may be

due in part to a sterility of design as well as to the price differential.

Although the larger companies dominate the ceramic

field, there are in all the Scandinavian countries, with the

exception of Finland, many small ceramic workshops

which have been operating successfully over a period of

years. These potteries vary in size. Saxbo Stoneware, in

the suburbs of Copenhagen, employs about a dozen pot-

ters. Many other workshops consist of only two or three

workers or a husband and wife team. It seems quite re-

markable that there are approximately 40 such estab-

lished workshops in Denmark which give gainful full-

time employment to creative potters.

Denmark. The individual potters of Denmark show a

wide range of work. Some reflect an oriental simplicity

in their extremely-high-fired stoneware, many others

work in gaily-decorated earthenware, while artists such as

Bjorn Winblad produce whimsical and decorative pottery

and ceramic sculpture. For the most part, however, Dan-

ish work tends toward the useful and functional, reflect-

ing the native tradition. The production of a reddish-black earthenware pot-

tery is traditional in many communities on the peninsula

of Jutland and one finds this ware (especially teapots) in

the most fashionable Danish stores in Copenhagen. This Please Turn the Page

APRIL, 1962

<i

S T O N E W A R E Vase by E ta Staehr Nielsen. Denmark shows an oriental re~trai~t ,.; ',~,': ~z,i ,ilkv glaze quality.

VASE (left) by Erik Ploen, Nor- way, is stoneware with a handsome pressed decoration. The sturdy vase below also is by Ploen, one of the Norwegian studio potters.

i . . . . . . . . . .

T E A P O T by Grete Mol- ler, Sweden, is salt-glazed stoneware. Mrs. Moller and her husband operate one of Stockholm's many small studios.

IS

TEAP( )T by Marjukka Paasu~ta. .-l~abm 5':u,lio~. Finland, is an undisguised Junctional [orm.

M A R I A N N E W E S T M A N designed this color[ul tableware [or Ror- strands, Sweden.

B O W L by Degny and Finn Hald, Norway, has glazed decoration similar to neolithic pressed reed design.

V A R I A T I O N S on a thrown ]orm, b) ()/,:,z Lalne, were done at the Arabia Studios.

dark earthenware is a direct descendent of the neolithic pottery made of dark red earthenware and burnished on the outside. Finland. In contrast to the number of small potter)' workshops throughout Denmark, the ceramic output of Finland is almost entirely in the hands of the large Arabia Ceramic Factory which is located outside Helsinki. I t employs a working staff of about 1200 and makes a corn- plete line of ceramic products that includes sanitary wares and refractory bricks as well as individual hand-crafted pieces. The situation of the studio potters at Arabia is truly unique. They are located in a dozen private studios. each containing a potter's wheel, clay bins, storage shelves, etc., on the ninth floor of a relatively new factory wing. The importance of this group, which includes Richard and Francesca Lindh, Kyllikki Salmenhaara, Toini Muona and many others, is fully appreciated by the Arabia management. These craftsmen are well known throughout Europe and their work has received numerous awards in international exhibitions. Their situation is unusual since they produce only individual hand-thrown pieces and are on a monthly salary basis with a bonus commission on sales.

Unlike the procedure common in American factories, which evolves from a sketch on paper to a plaster model and finally to the clay, the Scandinavian approach is to proceed from a series of hand-thrown forms which are changed only slightly as the design progresses to fit into an economical production technique. The thrown- clay form has a feeling of movement, tension and dynam- ic change which cannot be captured in a model turned from plaster on a lathe. The presence of this hand- thrown ware within the precincts of a large Scandinavian firm is a constant reminder to those responsible for the decisions pertaining to mass-produced articles that there is much excitement and stimulation in a thrown form that must be retained in the finished product.

While the group of studio potters is larger at Arabia than at other Scandinavian factories, reflecting in part the absence of other potteries in Finland, the general pattern is much the same in all Scandinavian factories. For example, when one thinks of Swedish ceramists the names Kage, Lindberg and Stalhane come to mind. Their individual "unique" pieces are exhibited under their names as well as the names of the factories. It is indicative of the importance placed upon design in Scandinavia that all advertisements and promotional brochures, and even the price tags in the stores, bear the name of the designer as well as the manufacturer. Perhaps we could take a cue from this practice. The anonymous designer is less apt to take pride in his work if he receives no recogni- tion for doing a good job! Sweden. Although there are five fairly large ceramic firms in Sweden which take care of all of their ceramic needs, including a sizable export trade, there are also numerous small potteries similar to those in Denmark which vary in size from a home workshop to those which em- ploy a dozen or so workers. These are found not only in the vicinity of Stockhohn but are spread over southern and central Sweden. Like the Danes, the Swedes work in both high-fire stoneware and earthenware. Many potters find a ready outlet for whimsical ceramic sculptures which are a contrast to the functional nature of most Swedish work. Here too, the personal character of the

16 CERAMICS MONTHLY

hand-thrown pot is sought after by many Swedes who seek a change from the commercial wares, well-designed as they may be.

Norway. There are three large ceramic firms in Norway which produce dinnerware. However, a large portion of the more decorative pieces are produced in smaller studios which reflect the traditional Norwegian love of color such as is found in their fabrics and enamelware. The small shop producer often specializes in red earthenware with brush decoration in traditional peasant designs. However, there now are a number of individual potters producing high quality stoneware which compares favor- ably with the work of studio potters in the other Scan- dinavian countries.

The existence of such a large number of individual producing potters, numbering over 200 in the four countries, cannot but be encouraging to every American craftsman who realizes the potential which lies untapped in the United States. It nmst be remembered, too, that the members of this group receive their living wholly or primarily as potters and designers. This is quite the reverse of the situation here in the United States, where the hand-thrown pot is generally pursued as a hobby or the part-time activity of the teacher.

A significant factor in the development of Scandinavian design is the role played by their Industrial De- sign Societies. The term "industrial design" is a rather inaccurate trans- lation from the Scandinavian, as is the frequent use of the word "design." The Scandinavian crafts schools have no courses entitled and dealing specifically with design. This is something which is developed naturally within the particular field and not as an entity to be studied in terms of certain vague principles which are then imposed upon a technique or inflicted upon a particular material.

The craft schools in Scandinavia are few in number but selective in enrolhnent. These art-craft schools date from about 1850 and originally were established by the Design Societies as a means of contending with the lowering of standards in craftsmanship which resulted from the gradual discontinuance of the guild and apprenticeship systems. It is the intention of these schools to turn out [~rofessionals in the field; they are not concerned with the concept of the "well-rounded individual" who has a smattering of everything and rarely any proficiency in just one area. Another distinct feature of their craft school program is that the instructional staffs are, for the most part, expected to be professionals in their respective fields and, as such. creatively active. A great number of the best designers teach or supervise in the craft schools in the interest of the development of design education.

The origin of "streamlined Scandinavian design" lies in the efforts of the Society to develop everyday objects for the home which are attractive in design, functional in use and econonfical to manufacture. The character of these designed items has been due more to these factors than any carry-over of traditional motifs or handcraft techniques. However, the influence of the

Society has been used to increase interest in the handcrafts as well as in the mass-produced articles, since the emphasis in their educational campaigns always has been on the quality of design and not upon a manufacturing technique. They reason that the work should be a re- flection of man's sensitivity to the excitement inherent in form and the sensory qualities of materials.

Mention nmst be made of the sales outlets for crafts and manufactured goods of superior design. Most famous of these is the well-known Den Permanente in Copenhagen, which carries the products of nearly 400 craftsmen: similar smaller organizations are found in the other countries. All of them display the quality products of their native craftsmen in excellent surroundings and at reasonable fee charges and commission payments to the exhibitors. In addition, the larger department stores carry a fine selection of handcrafts from native craftsmen as well as from those of other Scandinavian countries. All of this serves to give the consumer an admir- able selection of items in all of the major craft fields.

The Scandinavian studio potter has basic problems more or less the same as our own, aside from the differences in cultural surrounding. Clays and chemicals are

a little more expensive since many of these materials must be imported from Germany and England. The average potter uses an electric kiln because of the reasonable power rates, and his kiln is apt to be better insu- lated and contain heavier elements than are common here. The average size kiln in a private studio is a 12 to 16 cubic foot capacity. The potter's kick wheel is the typical European style, without a pan, which would be a problem to most of our potters. It often has a single speed power attachment on the fly wheel. In the average small studio, slip casting is quite rare; however, in making cup

and saucer sets, a mold is often used for the underside of the saucer, with the face side being finished on the potter's wheel by hand.

Ceranfics as a hobby is not very common in Scan- dinavia. Enrolhnent in the five craft schools is limited and generally open only to those whose interest is voca- tional. Medium-sized shops usually have an apprentice or two. and a few private potters take students. This is tile onh resource open to those unable to enter the state craft schools.

Man.v prospective travelers want to know about the prospects of taking a short course in ceramics abroad. The sulmner workshop is so common in this country that one expects it to be universal, but the Europeans take the summer holidays seriously and there are no summer sessions in the craft schools even for the regular students.

However, if one arranges for an appointment, most studio potters are very kind in showing American visitors through their workshops. To the wandering potter, I would suggest taking along a group of slides to show fellow craftsmen your work and studio. It might lead to a fine friendship; it certainly will contribute to a pleasant visit! •

APRIL, 1962 17

ANIMALS OF THEIR OWN

A project to delight children--ond

develop personol ond creotive sculpture!

by ALICE WHEATLEY

. , t

'h

S 8 CERAMICS MONTHLY

m IN CLAY

T AKE A C H I L D to a zoo and right away you will notice bright eyes. laughter and wonderment. Above

all, there will be a strong desire to own one of these strange animals, even if it only exists in clay.

Irresistible to a child are the clumsy bear, the roar- ing lion and the giraffe, whose spindly neck seems that it should show the meal being consumed, like something trapped in a plumbing pipe. The disdain}ul look of both the two-humped camel and the llama from Peru also in- trigue the young.

When a child's attention is captured bv something new, encou,'aging his appreciation of it and increasing his knowledge from his own interest in it is a most re- warding experience. The trip to the zoo can be only the beginning. The follow-up might be in the form of a painting, drawing or clay project. The three dimensional interpretation of clay seems to give the richer and more exhilarating experience, and this is the framework on which all mature art development is built.

Since the child's approach is uninhibited, he is not bothered bv the fact that the creature he builds only faintly resembles the original. He makes a lion and he does it well. This is all that matters!

To make the actual building easier, we wedged the clay beforehand. D,'e laid out all the essential equipment:

APRIL, 1962

oilcloth for rolling, water, knives, sponges and a few simple tools. Then we practiced making rolls or coils of clay as uniform in thickness as we could, because we planned to make the ani,nal body by adding coil to coil. standing upright, and then add more coils for the headl neck. feet and tail.

These sausage-like bodies were built from coils joined with a bias-cut joint and sealed together before being added to the next row. When we had a fair-sized pile of these we joined them together carefully by pushing the top coil down onto the one preceding it and pulling the bottom one up to join the upper one. just as we would for other coiled structures.

We struggled to make the walls of uniform thickness and joined the coils to one another securely. The use of a tool came in handy here. Then we closed both the head and tail ends by adding smaller coils and a flat "hat" of clay. If the sausage shape showed signs of splay- ing out, we actualh- cut out a wedge-shaped piece and then pulled the shape together again before continuing. We remembered to poke a small hole in what would [~e the animal's underside to allow for the escape of air.

Since the body had to finn up before further work could be done, we started work on the legs and other necessary parts. Legs were made from coils of clay. When we added them to the drying body we inserted some supporting props - - crayons or short pencils - - and worked with the animal on its back. We left these props in the clay until it firmed up, and when we withdrew them the holes that remained in the clav made the legs lighter and the walls thinner. Of course in building all of this en- thusiasm into clay forms, the children must be warned that they must forego long, lanky legs in favor of chunk- ier ones that will support a clay body.

Depending on the age of the children, detail is added or eliminated. Davey, who is only seven, wanted the head of his lion to look real; he seemed to think that this was the most important part of the animal, and he was right! He fastened the tail and head with slip to make good joinings with the body. To keep the feet from spreading out under the weight of the body, he placed a small jar underneath to give support until the legs stiffened.

The giraffe was given a nice long neck. A pencil was pushed through it and into the body for support until it would stand alone. The head was made sepa- rately and added last. We had a serious talk about the differences in the heads of elephants, lions with their ruffs and giraffes with their little ears and laughing mouths. Engobe was added to highlight any parts we thought necessary to enhance a likeness.

When the zoo animals were fired and finished, some of the pieces were inounted on blocks of wood and made into gifts. One of these was an alligator whose creator insisted had laid its eggs in a tree stump, pre-empting the nest of a bird! Everyone admired this as much as did the young artist.

This project deals with one of the intangibles of human experience; it is built upon an outing which not only delights the children but also helps them to develop from it a truly creative and personal imaginative sculpture that tells how they think an animal looks and plays. I t makes for a better understanding of the world around them, and this is the essence of good teaching. •

!9

THROW A HUNDRED by RICHARD PEELER

POTS

20 CERAMICS MONTHLY

l T H I N K xve potters have a tendency to nmve about too much from on(' form to another, l, Ve throw first

a vase, then a pitcher, a teapot, bowl, casserole, etc. 1.re seldom stick to one shape or one way of working long enough to explore its possibilities. The few times I have thrown several pieces of a kind in succession, I invariably have noticed a deve lopment of technique and ideas which is most beneficial. The last ones are always bet- le t than the first!

R e c e n t h I asked myself what might happen if I threw a great nmnber of similar shapes. Would my skill develop fur ther through repet i t ion? Would my ideas on propor t ion and design lnature? And would there be a noticeable difference in the design of the first few as contrasted with the last few pots?

Therefore I decided to try the discipl inary exercise of throwing an a rb i t ra r ih -se t number of one hundred pots to be made as quickly as possible. The shapes all were produced from balls of clay weighing from two and one-half to three and one-half pounds and were to be functional flower vases with openings nei ther too small nor too large to a r range a bouquet of flowers. These shapes were to be made in rapid succession with no other shapes being throxvn dur ing the exercise. I wanted the whole exper iment to be as un in te r rup ted as possible. The vases were finished entirely on the wheel in the moist clay stage, with no t r imming or turning being done aft- erward.

Dur ing the process. I found that my throwing skill improved and mv ideas on the design of a wheel- thrown form crystallized. DFhile none of my previously-held ideas were changed rad ica lh , some of the notions which before were only vaguely felt were reinforced into f i rm convictions. The last txventy pots made were bet ter than the first twenty.

Follmving are a few of my convictions which were more fully realized dur ing this interest ing exper iment :

CONTOUR. Tile profile of a pot made by any method is extremely impor tant . Tile silhouette should be a flow- ing line which the eye can easih" slip a round without being arrested here and there by a lmnpy or i rregular surface. Nothing spoils tile appearance of an otherwise good pot as much as an awkward contour. Kar l Mar tz has contrasted tile contour of a sack of potatoes with an inflated toy balloon. This comparison vividly illustrates the iml)ortance of good surface with a feeling of tension not par t ia l ly collapsed.

All lines or contours should curve at least a little. A perfectly straight line looks too mechanical and seems foreign to the material .

PROPORTION. The piece should have either a vertical or horizontal emphasis; that is, its height should not ap- pear to equal its width. A 5x7 propor t ion is more interest- inF than a 5x5 square.

Also, the widest point in the width of the pot should come ei ther above or below center, not in the exact middle. An e,~m~ is a more pleasin~ shape than a sphere.

FINIALS: The lip and footrim should be niceh" turned for accent. The top should be finished off with some special t reatment . I t might be slightly enlarged or some- wha t flared, but it should accent the piece. This finishes the shape with a nice touch and leaves no doubt that the pot ter in tended the form to end here. The top of a piece should not be cut off, as with a wire or knife, and left this way. Such a piece may look incomplete.

The bot tom of a pot should, more often than not, be beveled to avoid a cut-off look that may make the piece appea r as if it should continue downward. A nice bevel says: "This is it."

These are some of mv ideas. The reader might have some fun rat ing the pots numbered from 1 to I0 in the pho tograph according to his own preferences. I rate No. 1 the poorest, No. 10 the best. W h a t do you think? •

4 6 .V 8 II 9 fo

APRIL, 1962 2T

b

HINGED MOLC by DON WOOD

A BALLOON filled with water and used for a water bomb by the boys at our house seemed to offer bet-

ter and tidier possibilities than being dropped from the upstairs window! The shape suggested hanging planters, a bird house or a basic form for such functional con- tainers as pitchers, teapots, deep bowls and covered jars. I f a plaster mold were constructed from a balloon shape, the rubber could be stretched to any number of sizes to suit the design demands and plaster could be cast against the rubber without problems of sticking.

The author thought that the potential use of such a basic-shape mold warranted the exploration of this idea. When it was realized that the water-filled balloon was lighter than the plaster mix, the author's son suggested that the balloon should be tied to the bottom of a cardboard box and allowed to float upward as the piaster was poured into the box. This would position the balloon in the cemer of the mix and hold it in place.

As this method of forming a mold was being con- templated, the problems of separating the mold into halves and keying these halves together presented itself. Out of several suggestions it was decided to hinge the mold and then saw it in half. This procedure is described in the following text and the photographs.

A cardboard box of suitable size is prepared as the container for the plaster mix bv taping" the seams. Cardboard pieces are taped into position diagonally across the corners of the box to reduce the size of the mold and thus conserve plaster (Figure 1). All cracks must be watertight to prevent loss of piaster and a big mess on the table! Two small strap hinges are bent so as to con- fonaa to a cylinder with the pin sections of the hinges protruding about an inch from the cylinder. Figure 2 shows a pair of strap hinges before bending (center left) and after bending (center right).

Hardware cloth is cut to the appropriate size and rolled to a curved shape. Two pieces are made as half-cylinder shapes, each to be imbedded in one half of the two-piece mold. The bent strap hinges are firmly wired to the two pieces of hardware cloth so that the construction forms a complete cylinder of wire which opens and closes like a clam shell (Figure 3). The cut size of the wire is made to fit an area embedded within the plaster mass about half way between the outer and inner surfaces of the mold.

The center of one side of the cardboard box is marked with a pencil line from top to bottom and the

Please Turn the Page

CERAMICS MONTHLY

NSTRUCTION

I. CARDBOARD box is prepared by taping the seams and adding

corner pieces to reduce size of the mold.

2. TWO strap hinges are bent to conform to a cylinder shape~ pin

sections are bent to protrude.

3. HINGES are wired to two pieces of hardware cloth that are

bent and cut to form a cylindrical shape.

4. PIN ends of hinges are pushed through prepared slots to protrude

on outside of the cardboard box.

I .

3+

AFRIL, 1962

4.

\

y t

23

5. WATER-filled balloon is placed and fastened in the box and enough plaster is mixed and poured at one time to fill the entire mold.

HINGED MOLDS

Continued . . .

pin ends of the wired hinges are pushed through prepared slots on this line so that they protrude to tile outside of the box. Opposite the hinges the two edges of the halves of hardware cloth should coincide with the center line of that side of tile box (Figure 4). The pins of the hinges will protrude beyond the plaster mass so the mold will open properly when sawed apart.

Tile next step is to fill a balloon with enough water for the desired shape and tie it closed with a string. The string is put through a hole in the center of the bottom of the box and this area is taped over to prevent the plaster from leaking out of the box.

The box is set upright on blocks so that the string can be manipulated into the proper length for the balloon to position itself properly. The string end is securely taped m prevent its being pulled back into the box bv the

6. AFTER plaster is set, the soft cardboard is cleaned from the mold with a metal scraper. Hinge pins can be seen protruding from the block of plaster.

7. BLOCK is sawed in half from the top down to the hinges after the balloon has been punctured and the water is drained from it. Each half must be identical.

8. AIR bubbles are filled, edges beveled and the hinges are oiled and cleaned. Two halves are perfectly aligned by the hinged construction of the mold.

24

9. CLAY shapes are made by pressing wlre-cut slabs in the two halves and closing the mold. Openings are cut when the clay is leather hard and can be handled safely.

CERAMICS MONTHLY

floating balloon (Figure 5). Enough piaster to fill the entire mold is mixed and poured at one time.

While the plaster is setting, the cardboard box absorbs enough of the water to cause it to disintegrate for easy removal. The pins of the hinges can be seen protruding from the plaster block in Figure 6. The soft cardboard is scraped from the plaster and an accurate line is extended completely around the block in line with the two hinges to divide the block in two halves.

The block is carefully sawed in half after the balloon has been punctured and the water allowed to drain into a bucket. The block is placed hinge-side-down on strips of wood and sawed from the top down toward the hinges. This must be carefully done so that each half of the cavity will be identical. If one half is larger than the other, the large half will take in more than 180 degrees of the diameter of the balloon shape and cause an undercut which will prevent the easy removal of the pressed clay piece (Figure 7).

After the halves are cut, the whole mold is cleaned up. Air bubble holes are filled, edged beveled and the hinges cleaned and oiled (Figure 8). The two halves are perfectly aligned when the mold is closed and could not be otherwise, due to the method of the construction.

After the mold is thoroughly dry it can be used to press the basic "clay' balloon" shapes. The author prepared a quantity of ¼-inch clay slabs by cutting them with a wire with the help of a supporting box and thickness gauges. Strips of the clay slabs were laid into each half of the mold and the overlapping seams pressed together. The top edge of clay in each half of the mold was trimmed about ~ - inch higher than the mold half and this edge coated with a thick slip. When the mold was dosed the excess clay squeezed firmly together, trapping air on the inside of the clay shape. The reinforced construction of the mold and the support from the trapped air in the clay balloon made it possible to apply extreme pressure to the mold without the danger of breaking the mold or collapsing the shape. Many of these pots were fired and not one cracked at the joint.

The clay balloons may be removed from the mold while still soft since the trapped air supports the shape. Each piece should be placed in a ring or on the end of a cardboard tube to dry, since laying it on a flat surface will cause it to flatten on the bottom. An opening is cut into the piece when the clay becomes leather hard and able to hold its shape. This puncture, to release the trapped air, should be made before the piece shrinks sufficiently to cause the trapped air to crack the piece.

The hanging planters shown here were made by drilling a hole at the valve end of the balloon shape and threading a knotted rope through it. The pots can be glazed or left unglazed. They can be hung in clusters and vines will climb on the hanger ropes. Many uses can be found both indoors and outside for these versatile balloon-inspired shapes. •

APRIL, 1962 25

DECORATE WITH CLAY

by PHYLLIS CUSICK

To get the greatest

variety from cast

pieces, try these

unusual methods of

decorating with clay.

B A S I C P O T T E R Y S H A P E S can be ornamented in such a

variety of ways that the ceramist could work all his life and never repeat a decoration. One of the most satisfying methods of ornamenting a pottery form is by adding clay to it, and there are many ways in which this can be done for various effects.

The obvious technique that is thought of in considering the addition of clay to clay is called "sprigging." In this, a small, flat ornamental casting is attached with slip to a larger form. Sprigging is a feature of much of the famed Wedgwood ware.

In addition to sprigging, there are four completely different methods of clay application that can be used to good effect for decorative purposes in working with cast shapes. These include the application of clay to the mold itself before a piece is poured; the attachment of hand-formed decorations to the cast piece; the addition of extruded clay pieces; and the application of cut-out attachments. Lit- erally thousands of variations can be evolved by utilizing these four methods in addition to the usual sprigging technique. It is with these techniques that this article is concerned.

The selection of simple basic shapes is quite important. For demonstration purposes a tall tear-drop shaped bottle, a cylinder, a cut down long- necked vase, a low bowl and a sphere are selected. None of these have any ornamental features that might dis- tract from the clay decoration that is to be added. The Bottle. A two-piece mold that opens horizontally in the middle rather than down the sides is selected for this project. The inside face of the bottom half of the mold is dampened lightly with a sponge so that added clay will adhere to it. Then coils of clay are rolled out, inserted in the mold and pressed against the plaster face. If the coils are pressed into the wall quite firmly, all of the coil detail will show distinctly in the finished form. If the coils are not attached firmly the slip will cover some of the outside areas and give a more subtle decoration.

After the top half of the mold is set in place, the mold is poured with slip in the usual manner and allowed to build up a rather heavy wall. After the excess slip is drained out of the

mold and the casting is removed, it is found that the coils have become perfectly welded into the clay walls.

The decoration of this piece might be considered finished at this point or more clay detail may be added. For purposes of demonstration, another coil is rolled out and attached with slip to the greenware form at the point where the imbedded coils ended. This is wound around the form in a spiral manner and securely attached. After the shape is leather hard, openings can be cut near the top and two holes made near the rim. These openings can be used for trailing vines and the small holes will serve to hold the piece suspend- ed if it is to serve as a hanging plant- er. This form makes a good bird house if just one hole is cut in the side and the top is closed off. The Cylinder. Th is fo rm combines the same techniques used on the bottle but produces an altogether different effect. As before, the mold is dampened lightly with a sponge. Small wads or pinches of clay are pressed into coffee grounds or any other combustible material, then these wads are pressed and smoothed around the top of the mold face, with the coffee ground surface against the plaster.

The process is continued with the pouring of the slip, allowing for a thick wall. Then the slip is drained and the casting removed from the mold. Decoration can be continued by making coils, either by hand or in an extruder, and attaching them ver- tically at intervals around the cylinder. The tops and bottoms of these coils can be beveled.

After firing, the coffee grounds are burned away and that area of the piece has an unusual pitted texture. Special underglaze or glaze treatment of this texture heightens the contrast of the decoration. The Vase. Originally this form was a long-necked vase, but the top section was cut off soon after it was removed from the mold. While the greenware still is wet, small pellets of clay are flattened and attached to the vase form with slip. Some areas of the vase are left uncovered by the pellets to afford contrast. The pellets themselves are decorated by pressing their centers with the blunt end of a brush handle and making

26 CERAMICS MONTHLy

some slanting lines in the soft clay. Two-toned glazes are good for such a decoration as this since they tend to pool around the circles and bring out the second colors very sharply. The Bow[. A thickly-cast wet green- wa re bowl is d e c o r a t e d by a t - taching straight vertical coils upward from the base. A decorative rim is made by forming coils into ornate shapes and attaching these just below the rim of the bowl. This makes a very good over-all design and is particularly attractive when finished with a two-toned glaze. The Sphere. F o r my las t e x a m - ple, a slab of clay is rolled out fairly thin and flower shapes are cut from it. These are attached with slip to the side of the bottom section of a covered ball container. The decoration is repeated by using it as a finial for the top section. After being bisque fired, it is finished in a clear, deep Chinese blue glaze to make a very charming accent piece. •

iiiiii!i i~ii~ i i ili !iiii~!iii!~ ~ i~!+ , i i ! ! ¸I ~! i~ BASIC SHAPES selected for added-clay decorating include a boffle, cylinder, vase, bowl and sphere. Simple, clean-lined greenware forms offer greater possibilities for ornamenting with c/ay attachments.

SAME FORMS after being ornamented with added-clay coils, pellets and cut-out flowers. Some of these decorations are attached to the mo/d before pouring and others are added after the forms have been cast.

FINISHED PIECES show the result of the proper choice of glazes on the textures and decorations

achieved by these clay-on-clay attachments. Infinite variety is possible by the use of the simple techniques described in this article by Phyllis Cusick.

N

APRIL, 1962 27

GROUP OF THREE STONEWARE VESSELS by Claude Conover, Cleveland, was given the Columbus Gallery of Fine Arts Purchase Award. Tallest pot is 141/2 inches high; the foreground shape is 161/2 inches wide. The pinkish-buff clay is accented with white engobe.

SHOW TIME Designer-Craftsmen of Ohio

p RIZES totaling $1600 were awarded in the De- signer-Craftsmen of Ohio exhibit held March 2 - -

April 2 in Columbus. Sponsored by the Beaux Arts Club and the Columbus Gallery of Fine Arts, the purpose of this exhibition is to present and encourage outstanding crafts executed on a professional level in Ohio.

This first state-wide craft competition attracted entries from 144 craftsmen; the 173 pieces selected for the exhibition represented the work of 99 of them. Juror for the event was David Campbell, director of the Mu- seum of Contemporary Crafts and president of the American Craftsmen's Ceuncil. In his statement Mr. Campbell said: "This outstanding collection of objects representing tile work of only one state is equal to any nationally-represented show in the country today. The craftsmen of Ohio and ti~e Columbus Gallery of Fine Arts can well be proud."

The principal purchase award went to Mary Ellen McDermott of Akron. She received $300 for her enamel panel, "Men and Ideas." This piece will be presented by the sponsoring groups to the Museum of Contem- porary Crafts for its permanent collection. •

28 CERAMICS MONTHLY

ENAMEL PANEL, "Men and Ideas," by Mary Ellen McDermott,

Akron, makes use of silver toll for h~ghllghts. Colors are warm tones

of gold accented with olive green and turquoise. 11 inches square.

Purchase Award for presentation to the Museum of Contemporary

Crafts in New York City.

!~ ! ~ ~, , ~ ~ , , ~

STONEWARE FOUNTAIN "Adam and Eve," by David Black, Columbus, is slab

built with white engobe accents; it is 33 inches tall and 31 inches wide. The juror

commended this award winning enlry as "outstanding."

APRIL, 1962 29

MENDING GREENWARE AND BISQUE

by LOUISE GRIFFITHS

A N OLD PROVERB says that when the cause is found, the cure

is not far behind. Just as doctors are unable to cure many diseases because their causes are unknown, so many a beginning ceramist fails to cure a crack in a clay piece because he is not aware of its cause.

I recall a stubborn crack that ap- peared in the base of a coil-made pot and which I diagnosed as being caused by careless knitting together of the coils in the base. Following instructions given me, I dampened the whole piece, wrapped it in a damp cloth and returned it to the damp box. When the piece was moist I went over the cracked area, knitting carefully and adding pinches of moist clay. Surely it would not crack again, I thought. But when it was dry the crack was there again, and another had joined it! When the cracks returned, after trying again and again to repair them, I finally gave up.

More recently I had a similar experience with a coil-built teapot but this time I refused to give up on the mending. I asked myself why the base was cracking. After noting the weight of the coiled walls on the outer rim of the coiled base and the added thickness of a coiled footrim beneath, it occured to me that the wall and foot were creating a strain on the base, keeping it from shrink- ing and thus forcing it to crack open. This time when I had brought the piece to its moist condition again, I not only mended the crack but also made some holes in the footrim, up through the base and into the wall for a fraction of an inch. This time the pot dried and fired without the reappearance of the cracks. Since then I have noted that strain often is the cause of cracking, and I have taught my students that the relief of strain results in successful mending. With this knowledge strain can be avoided in building a piece, resulting in far fewer cracks that must be mended.

30

Strain is not the only cause of cracks, and it is not always wise or necessary to return a piece to its moist state in order to mend it. Among the other causes of breaks and cracks in both green and bisque ware are air bubbles, foreign materials, unequal areas of moisture, uneven drying, poor workmanship and accidents.

Following are a few of the methods that I have found to be successful in mending. I hope that they will prove to be of some help to others.

Vinegar often helps to make a good mend. A little vinegar brushed or dropped into a crack will find its way along the whole length of the crack. The moistened crack can then be knit with a small sharp tool and the surface can be smoothed. I t may help to press into the moistened crack a small amount of powdered clay before the area dries. A stiff paste of vinegar and powdered clay also may be pressed into a crack that has been moistened with vinegar.

A small crack sometimes can be mended by rubbing into it a bit of dry powdered glaze - - the same glaze the potter plans to use in covering the piece. The glaze that is used for this type of repair must be one that can be used on greenware, naturally. I have found that colored glazes that are opaque and mat t work better for this than transparent ones.

Waterglass, or sodium silicate, is very well known as a mender, but it has certain drawbacks. A paste made of clay powder and a few drops of waterglass can be used successfully to fill cracks and mend broken pieces, but the paste becomes so exceedingly hard after it dries that any excess that is not scraped off immediately is on to stay! Another disadvantage of mending with waterglass is the tendency of glaze to crawl away from the mended spot during the firing.

The chipped or nicked edge of a piece of greenware can be filled in, but this takes infinite patience. The piece should be heated under a light

bulb and coats of thin slip applied to build up the damaged area. Each coat of slip should be thoroughly dry before the next brushful is added.

While bisque ware is commonly considered hard to mend, I have found two methods that are quite successful. One method is to make a paste of calcined clay flour (powdered clay that is placed in a bisque pot and fired to red heat in the kiln to drive off the chemically-combined water), a few drops of any glue or cement and a few drops of water. This mix can be used to fill cracks; when it is dry, the piece can be glazed and fired safely. A second method is to make a paste of calcined clay flour, dry powdered glaze or frit and a little water (I generally use equal parts of calcined clay and powdered glaze or frit). This mix can be used to fill cracks and mend broken pieces. If broken pieces need support, a few drops of glue may be added to the mixture. This will hold the pieces together until the glaze or frit melts and takes over the task.

Knobs or lid handles can be re-attached to bisque ware by placing a bit of glaze between them before glaze firing. This will attach them together firmly.

Finally, I would like to suggest using a crack or even a break and in- corporating it into a design. A shal- low crack sometimes may be worked into a texture, or indeed may even suggest a decorative texture. A broken rim may suggest an unplanned but desirable contour for the rim. In fact, the whole rim may be redesigned to incorporate the break. This same approach holds good for glaze accidents; it can be just as effective here.

These are only a few of the methods that work successfully for mending. Each one will work on some of the problems but perhaps not on others. The method depends on the problem at hand and the cure depends on the cause! •

CERAMICS MONTHLY

DECORATE OVER GLAZE

To obtain some unusual decorative

effects, try using the wax resist

technique over unfired glaze

demonstrated by MARC BELLAIRE

T H E B R U S H is undoubtedly the decora tors best friend. In the

opinion of m a n y ceramlsts, however. wax-resist emulsion runs it a very close second. This versatile material not only makes it possible to produce some very stunning decorative effects; it also is great fun to use.

Wax resist normally is applied on greenware, where it is used with underglaze color before the bisque and glaze firings. But this process can be used just as easily and effectively over a coating of glaze after the clay shape has been bisque fired.

Marc Bellaire chooses an under- water theme for his decoration on a bisque vase. Seaweed and fish motifs are combined in an al ternating pattern to encircle the rather severe form. A white ma t t glaze is brushed or sprayed on the piece and is allowed to dry thoroughly before decoration is started. Since the wax solution is t ransparent and does not show up very well against the white glaze, it is colored by adding a few drops of laundry bluing. The wax and the colorant burn away in the firing.

After the wax decoration is brushed over the dry glaze, spots of wax are applied from a finger and wax is flecked over the surface from a toothbrush. A thin coating of black underglaze is brushed over the entire pot surface when the wax has dried slightly and the wax resists this layer of color to produce the decorative effect. T h e result after firing is a sparkling white design against a dull black background. •

1. DECORATION is painted over the dry, un-

fired white glaze using wax-resist solution

colored with laundry bluing. By varying the

pressure on the liner brush at certain in-

tervals, the seaweed design is given an interesting broken effect.

i l i ! i ! i~ ! i ! ;

3. MORE WAX is flecked over the surface

from a toothbrush to provide extra texture, then a thin coating of black underglaze is

brushed over the outside of the vase form. The wax decoration resists this coating af black underglaze color.

2. FISH DESIGNS are used to alternate with

the weeds. After the stylized fish are brushed aver the glaze with wax, rounded dots representing air bubbles and sea flow-

ers are spotted on with a finger dipped in

the wax emuls|on.

4. FINISHED .JAR shows a strongly textured

white decoration against a very dull black

background. The wax burns away in the flr-

ing, leaving small dots of color that col-

lected an the surface of the wax during the decorating process.

APRIL, 1962

MOSAIC TILE CUTTER

.7~" 8 S C-I

DESIGNED FOR GLASS

MOSAICS

Favored by Hobbyists SEE YOUR TILE, MOSAIC

OR CERAMICS DISTRIBUTOR

S U P E R I O R TILE CUTTER

1556 W. 134th St. Gardeno, Calif.

the complete

SCHOOL SUPPLY HOUSE

for all

• Ceramic Supplies

I Mosaic Tile Supplies

• Metal Enameling Supplies

• Gravel Mosaic Supplies

WRITE FOR OUR # 6

CATALOG

send S0c refunded on first order

Van Howe Ceramic Supply 118S SO. CHEROKEE

DENVER 23, COLORADO

Salt Glazing Continued [rom Page 13

Clay Body 6 Jordan Clay 15% Edgar Plastic Kaolin 27 Flint 20 Feldspar 23 XX Sagger Clay 15 Grog (optional) 10

110% This fine l ight-colored glaze body

has a l ight blue-gray color. T h e glaze is clear, glossy, and has i ron-red flecks on the tips of the orange-peel texture due to flame flashing.

Clay Body 6B Lincoln Fire Clay #4-6 15% Putnam Clay 20 Flint 20 Feld6par 28 XX Sagger Clay 17

100% This pale gray body is one I have

been most pleased with recently and is general ly used by my students. The glaze is clear, glossy, and has an orange-peel texture colored at the tips with a red- i ron color that warms the glaze and enriches the texture.

Clay Body 7 Edgar Plastic Kaolin 45.% Feldspar 25 Flint 25 Bentonite 5

100% This is a white body beneath the

glaze. I t produces a clear, bright, smooth glaze that has a fine crackle pa t t e rn similar to a Copenhagen Por- celain crackle glaze, e

Itinerary Continued from Page 12

OHIO, CLEVELAND March 31--April 1

Sixth Annual Show of the Ceramic Hobbyist Guild of Greater Cleveland, at the Wade Park Manor.

OHIO, DAYTON April 14--15

Fourth Annual Ceramic Show, sponsored by the Midwest Ceramic Association, will be held at Wampler's Ball-Arena. Competitive hobbyist display, demonstrations and displays. For information and entry blanks, write: Midwest Ce- ramic Association, c/o Merchandise Dis- plays, Inc., 44 Webb St., Dayton 3.

TEXAS, DALLAS April 13--15

1962 Southwest Ceramic Show, at the Agriculture Building on the State Fair Grounds. Competitive exhibitions, lessons, booths. For information on the competition, write: Mrs. Ferroll Hol- brook, 5524 Ridgedale, Dallas 6.

Continued on Page 34

~ ~ We manufacture our own ~ r ~ ) line of Cloy Bodies, , ~ Glozes, Wheels. Tools, etc.

J E T B L A C K C L A Y Nothing like i t anywhere[ Fires black at cones 0S to 2. Al l Ipurpose c lay for sculpture, modeling and throwing.

5-lb. Trial Sample . . . . . . . . . . . . $2.50

Our Aim is: QUALITY & SERVICE 64 page catalog I 35c Dealers Invited

JACK D. WOLFE CO., INC. 724 Meeker Ave., Bklyn 22, N.Y. Tel. EV7-3605

Norwest Novelty Co. 32480 Northwestern Highway

Farmington, Michigan Hours: 9 to S

OPEN SUNDAY Closed Monday

Phone MAyfair 6-6003

A subscription to CERAMICS MONTHLY makes an ideal g i f t fo r any occaslon! Simply f i l l in the subscription blank in this issue, mark i t " g i f t , " and tel l us how you want i t signed. We' l l an- nounce your present with a handsome gift card in your name.

I f the reclp[ent of your gift is already a subscriber to CERAMICS MONTHLY, we wil l extend the current subscription.

LI I 1 1 ~ I~~ 7" Steel Top & Bottom • Kinalloy Bearing Knurled Stem. Easy Spinning • Zinc Plated Rustproof • ONLY $2.95 ( MODEL $ ) i

Also available with cast aluminum head (Model SA) $3195 ~

SEE YOUB DEALER 0! DISTRIBUTOB--0R WRITE

I1 14258 MAIDEN ° DETROIT 13. MICHIGAN s

ANDERSON CERAMICS COMPANY 608 N. McDuffle St., Anderson, S.C.

Complete Ceramic Supplies Send $1.00 for our new pictured mold and supply catalog.

32 CERAMICS MONTHLY

~ ......... people , p l a c e s & t h i n g s

NEW W.S.C.A. OFFICERS

The Washington State Ceramic Associ- ation held its annual election of officers February 2. The new officers include; Viviar~ Hausle (Seattle), president; Ruth Nielson (Olympia), vice-president; Del Buckingham (Seattle), secretary and Peg- gy Sheppard (Tacoma), treasurer. Mem- bers of the board are: Mildred Lopeman, Dottle Kent, Jack Langeloh and Art Hen- dr)'.

Del Buckingham writes that the Seattle World's Fair Ceramic and Hobby Show dates have been set for August 8 through 12 in the New Display Hall.

PLUMER COLLECTION AT DETROIT

Approximately 120 works of Oriental Art from the Plumer Collection are on exhibit at the Detroit Institute of Arts through April 8. Bronzes, paintings and ceramics from early periods of China, In- dia and Japan, before 1500 A.D., are included.

The objects were collected by Profes- sor James M. Plumer while he lived in

China during the 1930's. Until his death two years ago, Professor Plumer taught Oriental Art at the University o[ Michi- gan. He was the author of many scholarly works and articles on Chinese Art, especially in the field of ceramics.

The collection is particularly rich in ceramics of the Han, T'ang and Sung periods in China. Pictured is a Temmoku bowl and sagger from this unusual collection.

APPRENTICE PROGRAM ANNOUNCED

The Worcester (Mass.) Cra/t Center has announced that an apprenticeship is available in ceramics for the coming year starting in September 1962. The purpose of this program is to give mature, creative individuals a year of independent work and study using the Craft Center facilities. Twenty hours per week are spent in service to the Center. The apprentice receives $1200 for the ten-month term. Require-

ments include recent college graduation with a B.F.A. or equivalent in ceramics. Applications are due by April 15. Write, giving full information about education, professional experience (if any), age, sex, career plans, references, color slides or photographs of work to: Richard A. Ken- yon, Director, Craft Center, 25 Sagamore Rd.. Worcester 5, Mass.

MIDWEST SHOW PLANS

The Fourth An.nual Midwest Ceramic Show will be held April 14-15 in the new wing of Wampler's Ball-Arena. This '62 show is expected to be even better than the previous three shows, because of a new site which offers plenty of free park- ing and new modern facilities.

The sponsor of the show is the Mid- west Ceramics Association, which is head- ed by John R. Garwood of New Lebanon, Ohio. Mr. Garwood is also the general chairman for the show.

The association is now making arrange- ments to feature, as in past years, a well- known ceramics demonstrator. Also, the show will again have the competitive award exhibit which has always proved to be a popular highlight of the show. As in past years, the competitive awards exhibit will have 20 classifications for both ama- teur and professional entries. All these entries will be on display during the two days of the show. The Midwest Ceramics Association is a non-profit organization which promotes therapeutical use of ceramics and ceramics as a hobby. It is made up of members from a three-state area of Kentucky, Ohio and Indiana.

SYRACUSE REGIONAL

The winners of awards in cash and U.S. Savings Bonds totaling more than $1000 were announced at a members' pre- view of the Everson Museum's Tenth Syracuse Regional Art Exhibit, Friday, March 16. The competitive exhibition was open to artists living within a 100-mile radius of Syracuse. I t is on view through April 15.

The Regional was selected, and awards were made, by a three-man jury whose members were Martin Friedman, New York painter; Robert Hume, director of the Division of Industrial Design, National Gallery of Canada, Ottawa; and Max W. Sullivan, director of the Everson Museum. The panel chose 178 works by approximately as many artists for inclusion in the show. Exactly 251 artists submitted 440 entries to the event. Paintings in all media, sculpture, graphics, drawings and crafts were eligible for the exhibition. James T. Achu[[, Syracuse, was awarded the Syra- cuse Ceramic Guild Prize for his stoneware footed bowl

NEW ART CENTER TO OPEN

The Lake George Art Center, Gallery and Workshop will begin operations this summer at Lake George, N. Y. Located in an old stone schoolhouse (pictured).

the Center will be used for exhibits, sales and as a school. ]ean.ne Hastings, owner and operator, has written us: "It is a charming spot and I believe a perfect one to develop into a craft school. I have in- stalled eight wheels, a glaze lab, and there is a gallery for the display and sale of crafts and paintings. The gallery will serve also as a painting area for students."

SKIDMORE CRAFT SHOW

Some fifty craftsmen from throughout the United States have been invited by the Department of Art at Skidmore Col- lege to show their work in an exhibition entitled "Contemporary Crafts of the United States." Areas of work to be represented include metalwork, jewelry, enamels, pottery and weaving. Among the enamelists and potters whose work will be on exhibit are: June Schwarcz, Sausalito, California; Jackson & Ellamarie Woolley, San Diego, California; Jane Hartsook, New York, N. Y.; Peter Voulkos, Berke- ley, California; and Edwin and Mary Scheier of Durham, New Hampshire. The exhibition is being held at the Art Gallery at Skidmore College, Saratoga Springs, N. Y. The exhibition opens April 11 and runs until May 1.

BROOKFIELD CENTER NEWS

The BrookJield (Conn.) Cra[t Center has announced the list of new officers for 1962. Nan.cy Hagmeyer is the president; Mrs. Joseph Low, vice-president; Elsa Oetjen, treasurer; and "Mary McBurney Green, secretary. New council members are Olivia Green, Florence Hanlon, Elsa Oetjen, Hildegard Woodward, Richard Cole and John May.

Plans for the summer include classes in glass by Maurice Heaton; ceramics by Edwin and Mary Scheier; and enameling by Joseph Trippetti. In April, the Annual Prestige Show of the Society o[ Connectio

Continued on Page 38

APRIL, 1962 33

M O L D S

185 Pitcher, cream "Salem" 3 I/2 "h

$4.50

193 Chocolate pot "Salem" I I " h

$10.50

186 Sugar or Jam jar "Salem" 41/2"h

$5.50

M o l d C a t a l o g 5 0 ¢

D e c a l C a t a l o g 5 0 ¢

S u p p l y C a t a l o g 5 0 ¢

( p o s t p a i d i n U. S. A.)

(ILN-eARD 4

P. O. Box 1055 Jacksonville Beach, Fla.

CREEK-TURN G L A Z E S - M O L D S

Catalog $1.00 BE A DEALER

Rt. 38, HAINESPORT, N .J .

WRITE FOR FREE LITERATURE QUALITY C E R A M I C PRODUCTS

Glazes - Stains Kilns

Manufactured by:

NORRIS LABS. 2154 IRVING BLVD., DALLAS 7, TEXAS MOSAICS

COPPER ENAMELING * Huge Stocks

* Fast Service

* Quality Merchandise

Write now for FREE literature

ILLINI CERAMIC SERVICE "Quality Ceramic Supplies"

439 N. Wells, Chicago 10, III. Phone MI 2-3367

I t i n e r a r y

Continued from Page 32

t ARIZONA, TUCSON through April 15

"Spectrum and Space," Arizona crafts show, at the Tucson Art Center.

CALIFORNIA, SAN FRANCISCO May 1--June 15

Chinese Art Treasures from the Imperial Collection, at the M. H. deYoung Me- morial Museum.

C O N N E C T I C U T , BROOKFIELD April 21- -May 5

Annual Prestige Show of the Society of Connecticut Craftsmen, at the Brook- field Craft Center.

D.C. WASHINGTON April 17--21

Annual Spring Show of the Ceramic Guild of Bethesda, at the Woodward and Lothrop Auditorium.

FLORIDA, MIAMI through April 15

Fifth Annual Design Derby, at the Hia- leah Race Track.

GEORGIA, SAVANNAH April 16--May 7

"Contemporary Jewish Ceremonial Art," circulated by the American Federation of Arts, at the Telfair Academy.

ILLINOIS, CHICAGO April 13--27

Wedgwood and Bentley, an exhibition of ornamental wares made by Josiah Wedg- wood and Thomas Bentley, at the Art Institute.

INDIANA, S O U T H BEND April 15--29

"School Art Show," work done in the South Bend Junior High Schools, at the Art Center.

MAINE, PORTLAND April 2--28

"Contemporary Maine Crafts--1962" at the Portland Museum of Art.

MASSACHUSETTS, LEXINGTON April 28--29

Annual Spring Exhibition of the Lexing- ton Arts and Crafts Soeiety, at the Art Center.

MICHIGAN, BLOOMFIELD HILLS April 1--30

"Japan: Design Today," Smithsonian Traveling Exhibition, at the Galleries of Cranbrook Academy.

MICHIGAN, D E T R O I T through April 8

The Plumer Collection of Oriental Art includes many pieces of ceramics of the Han, T 'ang and Sung periods in China. At the Detroit Institute of Art.

MICHIGAN, KALAMAZOO through April 30

"Midwest Designer-Craftsmen" exhibition, at the Kalamazoo Art Center.

I MISSOURI, KANSAS CITY through April I 21st Ceramic National, circulated by the

Cor~tinued on Page 35

• CERAMICS • COPPER ENAMELING • MOSAICS • JEWELRY FINDINGS • RHINESTONES • CRUSHED GLASS

Send SOc for 100 Page Catalog #11

BERGEN ARTS & (:RAFTS, IN(:. 300 S. W. 17th AVENUE, MIAMI, FLORIDA

CERAMICS FINISHED AND GREENWARE

Distributor: #r Reward ~lrDobe GIo ~f Willoughby lit Symphony ~tr Kay Kinney Glass Molds, Bergen & Marx brushes also tools. Our stocks of all are large and varied.

NO CATALOGS SUBURBAN CERAMICS STUDIO

830 Warren Avenue Downers Grove, III. WO 8-0719

M o l d s and Porcelain

"The Clntna Decorator"

M o l d s and Porcelain 407 E. Florence Ave.

Inglewood, Calif.

J FOR SALE: | Light weight TRIVETS for the beffer~ enameling of all copper bowls, plates l

P R I cn ;s ~ eweiry" i for bowls & plates sn .00 . $4.50 or S2.50| for jewelry pieces S4.75 a set I

!THE MASTERS B,Ev:OoU.TeN. ~'. [

1962 REVISION

6 000"°" representing 34 companies

Y IN ONE CATALOG . . . . . . . . . . . . $1.00

A real freight saver

MIDWEST CERA.,C CENTER

722 Southwest Blvd. Kansas City, Missouri

34 CERAMICS MONTHLY

KENPER TOOLS Recommended and designed f o r

ut i l i ty , qua l i ty , d u r a b i l i t y

KEMPER CLEAN.UP TOOL N.S. (for new style) RETAIL PRICE 75c Each

KEMPER CLEAN-UP TOOL (OS) RETAIL PRICE 85c Each

KEMPER TRIMMER KNIFE RETAIL PRICE 50c Each

KEMPER LACE TOOL RETAIL PRICE 75c Each

KEMPER ZIG-ZAG SAW..Retail Price S0c ca.

O T H E R KEMPER T O O L S :

Kemper Finger Too[ . . . . . . . Retail Price 75c ea.

Kemper Incising Tool . . . . . . Retail Price 75c ea. Kernper Twln-Line Scjraffito Tool . . . . . . 75c ea. Sprincj return pluncjer equipped flower cut-

ters, various sizes and patterns. Flower tools and other popular ceramic utility tools.

Ask your dealer for these Kemper Tools.

Write for FREE catalogue to:

KEMPER MANUFACTURING CO. P.O. Box 545, Chino, C a l i f o r n i a

Ceramics . Mosaics . Copper

Send S0c for two large, illustrated cata-

logs with instruction. Free to institutions.

Seeley's C e r a m i c Serv ice 9 River S t r e e t , O n e o n f a , N e w York

Please Mention CM

when writing our advertisers

JEAN LEONARD CERAMICS 96-24 Corona Ave. Corona, L . I . , N . Y .

Distributor for Glossmatie--Tra Fyre---D raken feld--Zireo

Dunean's---L & L Kilns---Kemper Tools We Pay Postage On Items Listed Below. Mendall--for Greenware . . . . . . . . 4 oz. --75c Magic Glaze Binder (makes a gallon) --6Oc Magic Greenware Release . . . . . . 8 oz.---$1.25

NOTHIN6'$ CHANGED

BUT THE NAME!

DOUBLE B WOOD NOVELTIES was too Ionq a name. So we shortened it to DOUBLE B TOOLS. Everything else is the same---management---quality products--and fine servlce--as in years past! Buy the Orlqinal Double B Lace, Sgraffita and Cleanup Tools • . . the finest made in the U.S.A.

A v a i l a b l e at y c u r Iczal sur)pl ers "Nri:.:~

I t i n e r a r y

Continued /rein Page 34

Everson Museum of Art, at the William Rockhill Nelson Gallery of Art.

NEBRASKA, OMAHA May 1--31

"Tutankhamun Treasures," Smithsonian Institution Traveling Exhibition, at the Joslyn Art Museum.

NEW JERSEY, NEWARK through December

"One Hundred Years of English Pot- tery" shows over 200 examples of work done by both well-known and obscure English potters, at the Newark Museum.

NEW YORK, ALBANY May 1--27

21st Ceramic National, circulated by the Everson Museum of Art, at the Albany Institute of History and Art.

NEW YORK, NEW YORK through April 13

Sculpture Exhibition sponsored by the National Sculpture Society, at the Cor- ning Glass Works, 717 Fifth Ave.

NEW YORK, NEW YORK April 26--May 12

Recent work in stoneware by Daniel Rhodes, at Greenwich House Pottery, 16 Jones St.

NEW YORK, SYRACUSE through April 15

Tenth Syracuse Regional Art Exhibition includes crafts and sculpture. At the Everson Museum of Art.

NEW YORK, UTICA through May 16

"Artist-Craftsmen of Western Europe," circulated by the American Federation of Arts, at the Munson-Williams-Proctor Institute.

OHIO, AKRON through April 15

Annual Spring Show by artists and craftsmen living or working in the area, at the Akron Art Institute.

OHIO, COLUMBUS through April 2

"Designer-Craftsmen of Ohio," at the Columbus Gallery of Fine Arts.

OREGON, PORTLAND through April 7

Ceramics by Virginia Wysel, at the Oregon Ceramic Studio.

PENNSYLVANIA, PHILADELPHIA through April 15

"Design in Germany Today," Smithsoni- an Institution Traveling Exhibition, at the Trade and Convention Center.

PENNSYLVANIA, PHILADELPHIA April 18--May 13

Pennsylvania Guild of Craftsmen Exhi- bition, at the Philadelphia Art Alliance.

QUEBEC, MONTREAL through April 7

"Uncommon Market," a competition and selling exhibition sponsored by the Canadian Handicraft Guild. At the Guild Headquarters, 2025 Peel St. j

I Continued o~n Page 36

We Make If Possible For Anyone To Own A Perfect Production Kiln With Our Famous Pre-Cuf Kiln Kits

8ricks mitered, grooved, and dril led; every part, r ight down to the last nut and sclew, included. With blueprints, and concise building and firing instructions . . . . Order from this ad or write for detail sheet.

K i t s All Kilns and Kits now fire to 2350oF.

12"x12"xI3t/2 ' ' deep . . . . . . . $ 62.50

18"x] 8"x18" deep . . . . . . . . . 99.50

24"x24"x221/2 '' deep . . . . . . 175.00

24"x24"x27" deep . . . . . . . . . 195.00

ALL PRICES F.O.B. SEATTLE

D i s t r i b u t o r s F o r :

• ALBERTA'S MOLDS

• ARNEL MOLDS

• BELL PORCELAIN

• CALIFORNIA CERAMICS

• DOUBLE-B TOOLS

• GRUMBACHER BRUSHES

• HOLLAND MOLDS

• KEMPER TOOLS

• KEN OCORR MOLDS

• MALLORY MOLDS

• MARGLOTEX STAINS

• MAYCO COLORS

• PEMBERTON-NEAL

• PIERCE PRODUCTS

• REWARD COLORS

POTTERY BY DOT 408 N.E. 72nd St. Tel. LA 3 -8300

SEATTLE 15, W A S H .

APRIL, 1962 35

i

~ L % ma.ufectured by

LORRAINE CERAMICS 4209 SPENCER ST.

TORRANCE, C A L I F O R N I A

we also manufacture

LORRAINE MOLDS BOUTIQUE JEWELS PATTERN BOOKS

• . . All Types

UNIQUE BISC STAINS WOOD TONERS etco

"Consistency and Quality make the Big Difference" • • • always ask for FIESTA COLORS and LORRAINE MOLDS.

M O L D C A T A L O G . . $ 1 . 0 0 Send 10c to cover mailing on complete BROCHURE and INSTRUCTIONS for FIESTA COLORS.

~ FRANCOISE C E R A M I C S - - Distributor for

N C A N PRODUCTS - Del ta Brushes A.B.C. Glazes - S ta r Sti l ts

lant i¢ - Hol land - Ludwig Schmid Molds

arc Bel la ire Brushes- Paragon Kilns Art Books - Clay - Slip - Greenwore 13 49th St., So. St. Petersburg 7, Florida

The Famous

KLOPFENSTEIN POTTER'S WHEEL

W r i t e fo r FREE in format ion

H. B. KLOPFENSTEIN & SONS RFD. ~ 2 Dept . A Crest l ine, Ohio

36

I t inerary


S O U T H CAROLINA, COLUMBIA April 1- -May 4

"Story of English Glass," at the Colum- bia Museum of Art.

TEXAS, H O U S T O N through April 15

"Tutankhamun Treasures," Smithsonian Institution Traveling Exhibition, at the Museum of Fine Arts.

WASHINGTON, SEATTLE April 8 - - June 10

Northwest Craftsmen's Exhibition, fea- turing the work of craftsmen residing and working in Washington, Oregon, Montana, Idaho and Alaska, at the Henry Gallery, University of Washing- ton.

Summer Workshops


history, critiques on form and glaze experimentation. University credit to 10 hours. First term, June 18--July 20, or full quarter. Instructors: Eugene Friley, Paul Bogotay and guest lecturers. Write: Ceramic Art Area, School of Fine and Applied Arts, The Ohio State University, Columbus 10.

QUEBEC, MONTKEAL June 4---August 31

The Studio/Gallery is offering a 13-week course covering wheel-thrown and hand- built pottery in both earthenware and stoneware, glazing and glaze calculation. Instructor: Wanda Rozynska. Write: Studio/Gallery, 1443 Mansfield St., Montreal 2, Quebec.

QUEBEC, N O R T H HATLEY June 1--August 31

The Workshop offers three 3-week sessions in pottery, including wheel work and glaze calculations. Instructor: Gae- tan Beaudin. Write: The Workshop, Box 181, North Harley, Quebec.

VERMONT, LUDLOW July 23--August 17

Fletcher Farm Craft School offers ceramics for beginners and advanced students in two-week periods: July 23 - - August 3 and August 6--17. Instructor: John P. Loree. Write: Mrs. Louise Wil- liams, Director, Box 478, R.F.D. #1 , Rochester, N. H.

WASHINGTON, LA CONNOR June 18--July 27

Fidalgo Allied Arts is offering six-week courses in ceramics, enameling and jewelry. Instructors: Hilary Moth and Ruth Pennington. Write: Fidalgo Allied Arts. La Connor.

WISCONSIN, MADISON June 19--August 10

The University of Wisconsin is offering 8-week courses in both beginning and advanced pottery. Instructor: Vivika Heino. Write: D. Gibson Byrd, 219 Education Bldg., University of Wiscon- sin, Madison 6.

~our cuml)lete ~Oulce oi materials o~ equipment. Fully illustrated • -'~6 INSTRUCTIVE C A T A L O G

I FREE if requested on school letterhead I by staff, others 50c. m I Ask for school discounts. I TEPPING STUDIO SUPPLY C O . I professional staff •

ILLUSTRATED C A T A L O G of Molds and Patterns. Included at no extra cost - - many pages of How-to-do-;t Ideas. Send $1.00 today!

BEE BASCH DESIGNS, INC. 70 Pine & First Sis., Engleweod, Fla.

ART CRAFT SUPPLIES, INC. Distributor for

Paragon - - Duncan - - Drakenfeld Bergen Brush - - Symphony - - - - Jacquelyn's Stains

CERAMIC & ENAMELING SUPPLIES 180 NW. 62rid St. Miami , F lor ida

Library Binder. Holds a year's supply of CM. Order yours today. Postpaid.

$3.50

Ceramics Monthly 4175 North H igh St. Columbus 14, Ohio

Elephant Ear Sponges • . . no splits

Distributor And Dealer inquiries Invited ALICE LEE CERAMICS

National Representative 1645 Homestead St. Baltimore 18, Maryland

Write for information and catalogue CM Manufacturers. World's Most Complete Sculpter's Supplies

/]- ~ L ~ . ORegon 9-7474

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

ABOUT DESIGN

"The Easter Egg Style"

by KATHE BERL

H A P P Y When I use the E A S T E R , phrase 'Easter Egg Style," let

it be known that it is not generally known as such hut is my name for a type of design or pattern used to decorate the Easter eggs of folklore origin. I do not refer to the "jewels" made by the great craftsmen, although these are superb in themselves. I am thinking of the ones that have been done by people who do not think of themselves as artists but simply enjoy doing something to enhance a holiday. The eggs that they color and design are marvelously decorative and beautiful.

I firmly believe that anyone who is able to write is also able to draw and decorate if he concentrates on simple pattern. This is exactly what all folk art is built upon. If you take a good look at the Polish, Rus- sian and Czech Easter eggs or folk ceramics, and analyze the patterns, you will find that they consist of calligraphy. Calligraphy is what we all practiced in school when we learned how to write. Perhaps we have been lucky that we had to do this, since the children of the not-too-distant future may come to their first grade classes already armed with typewrit- ers and never, never learn how to write with their own dear little hands!

Calligraphy in design means to me the repetition of straight, curved and looped lines, crosses, dots, etc. Any coordinated person with the necessary patience can produce and arrange two rows, straight or curved, to fill a given area. Straight lines might be used on a flat surface for a border

or around a jug. Curved lines might be used running parallel to the rim of a round plate. Any given area can be filled with small patterns in regular, alternating or free arrange- ments. There is an endless source of design possibilities if one just does what is "natural" and doesn't try to break his neck finding "new" and "'artistic" designs.

You may ask how all of this applies to the enamelist, since enameling is not basically a graphic technique and thus does not lend itself very well to the execution of small details and fine lines. The proper technique for doing this is the use of overglaze applied with the finest brush or pen point. With a pen point one can write or draw on an already-fired coat of enamel quite as easily as on paper.

For overglaze I do not recommend the liquid separation enamel but rather the fine powder used in ceramics. I have written in detail about this in the October 1956 issue of CM, and will not repeat all of that information here. What I want to do here is con- centrate on helping you with your design development.

Take a tray or plaque and fire on a coat of white or other light opaque color, or a flux or transparent enamel. Over this, wet charge or stencil some stripes of various widths in bright but not too-dark colors, and then fire again. Now place a small amount of black overglaze on a shal- low plate, add a bit of water and, with a small spatula, grind it to a thin paste - - smooth and without any visible lumps in it. Use a brush to

cover some of the stripes with even strokes of this black color. When the black turns a gray color it means that the overglaze is dry. With a sharply- pointed instrument, scratch away some calligraphic designs, such as rows of loops, slanted lines or dots. This sgraffito work will expose the color of the background against the black of the overglaze.

To use the pen, fill your brush with slightly thinner overglaze and paint the pen point with it. If the overglaze is the proper consistency it will "write" just like ink. Make your calligraphic designs on the colored stripes not yet covered with black and this will give you a black design on a colored ground; this is just the opposite of the sgraffito technique.

Overglazes have low melting points, therefore we use them for the last firing if we do not plan to use anything that goes even lower, such as liquid metals. For best results, warm up the firing rack with the trivets in place, put the enamel to be fired on this warm rack to allow it to absorb heat and then fire until the enamel is gloss),. Do not overfire by a single second, for overglazes just won' t stand this. However, if you plan to fire some liquid gold on your piece later, do not fire until completely gloss), but leave that for the next firing.

This "Easter egg" type of design can be done in one color on a solid background or else on a many-colored background with various colors. There are many, many possibilities for using this simple pattern design for enameling projects. •

APRIL, 1962 37

Summer Workshops

IN LUDLOW, VERMONT

FLETCHER FARM CRAFT SCHOOL Weaving: BERTA FREY; LILLY HOFF- MAN; GUY HUGHES - Pot t ery and De- s ign: JOHN LOREE - - Textile Printing: ELLEN EPPELSHEIMER - Early Ameri- can Decoration: RONALD SLAYTON ; MONA ROWELL - Woodworking: HUGH W. M a c N A I R ; F. LESLIE JONES - Rug Making: GUY HUGHES t Painting: RON- ALD SLAYTON - L a m p Shades: WANDA G R I F F I T H - Crewel Embroidery: MURIEL BAKER.

Four two-week sessions, July 9 to A u g u s t 31.

For Free Brochure wri te: Mrs. Louise Wi l l i ams , D i r e c to r Dept. CM, RFD 1. Rochester , N . H.

THE BROOKFIELD CRAFT CENTER Brookfield, Connecticut

E d w i n and Mary Sebeier will instruct Ce- ramics from July 30 through August 17. Jane Kauppi will hold Ceramic Workshop three evenings a week from July 1 through July 20. Many courses in other crafts. Write for free brochure.

WORCESTER CRAFT CENTER 2 WEEK SUMMER SESSION

J u l y 9 - 2 0 , 1962 u Instruction in 8 Major Crafts a Al l Day Workshops • Room and Board Available Write for Brochure:

Depf. C M 25 Sagamore Rd. Worcester, Mass. PL 3-8183

The following back issues of Ceramics Monthly are still available at sixty cents per copy (Ohio residents pay 30/o sales tax). We pay postage.

1953 January. February, March, July, August, December

1954 March, July, August, November, Decem- ber

1955 August, November, December

1956 May, August, October

1957 May, June, July, August, September, December

1958 April, May, June, September, November

1959 November

1960 June, November, December

1961 January, April. October, November, De- cember

1962 January, February

Please send remittance (check or money order), with list of issues desired.

CERAMICS MONTHLY 4175 N . High St. Columbus 14, Ohio

N.Y. STATE FACTORY REPRESENTATIVE }or the Fabulous Homogen;zed Mayco Glazes, and Kay Kinney Glass Stains and Molds. Wr i te for Descriptive Circulars.

PERFECT ITEMS FOR A N Y S C H O O L R O O M

BUFFALO CERAMIC & ART SUPPLY CENTER 437 Frankl;n St. Buffalo 2, N.Y.

38

CeramActivit ies


cut Craftsmen will be held at the Center headquarters. Another scheduled exhibit is the showing of the work of instructors for the coming season. There also will be a Student-Member Exhibit. Director of the Center is Alex Slade.

TOLEDO MUSEUM ACQUISITION A matched pair of early 18th century

multi-colored Dutch Delft covered vases has been acquired by the Toledo Museum of Art as additions to the Museum's grow- ing collection of Dutch art. The vases are over 26 inches high and are decorated with flowers and birds in red, green and blue glazes on a white background. The lids terminate in seated lions. This pair of vases (pictured) was intended for use on

top of a mantelpiece, table or tall chest. The vases are rare on account of their large size and unusually fine decoration.

They date to the time when Holland was enjoying an enormous commercial prosperity which also encouraged the great Dutch painters of the Golden Age of Dutch Art. Delft ear thenware of the 17th and 18th centuries was inspired by Chinese porcelains and was famous all over Europe for the brilliancy of the glaze.

HOBBY COMPETITION ANNOUNCED Categories have been announced for the

Competitive Exhibit at the Chicago Ce- ramic Show to be held at the Pick-Con- gress Hotel, August 25-28. The classes of competition include Adult Hobbyist Ceramic Sculpture, Adult Hobbyist Functional Ceramics, Children (to 12 years of age), Teen-agers, Professional and Handicapped. For complete entry rules, classes and instructions, write E. Kane, Box 115, Wilmette, Ill.

PITTSYLVANIA GUILD SHOW "The Ageless Art," fourth annual show

of the Pittsylvania Ceramic Guild, will be held in the Pittsburgh room of the Penn- Sheraton Hotel, June 7-8. Members of the Guild will exhibit their work and com- pete for awards. They also will demon- strate various techniques used in making ceramic pieces. The show chairman is Charles Marsden; Ruth Entwisle is co- chairman.

• i

APRIL 1962

Al ice Lee Ceramics . . . . . . . . . . . . . . . . 36

A lp ine Kilns . . . . . . . . . . . . . . . . . . Cover 4 Amer ican Ar t C lay Company . . . . . . . . 4

Anderson Ceramics Co . . . . . . . . . . . . . 32

Ar t -Cra f t Supplies, Inc . . . . . . . . . . . . . 36

Basch, Bee, Designs . . . . . . . . . . . . . . . . 36

Bergen Ar fs & Crafts . . . . . . . . . . . . . . . 34

Brookfield Craft Center . . . . . . . . . . . . . . 38

Buffalo Ceramic & Ar t Supply Center 38

Campbel l , Gi lmour . . . . . . . . . . . . . . . . . 32

Ceramic Expositions, Inc . . . . . . . Cover 3 .Ceramichrome . . . . . . . . . . . . . . . . . . . . . S

Cole Ceramic Laborator ies . . . . . . . . . 4.

Creek-Turn . . . . . . . . . . . . . . . . . . . . . . . . . 34

Double B Tools . . . . . . . . . . . . . . . . . . . . 35

Duncan's Ceramic Products . . . . . . . . . . 8

Fletcher Farm Craf t School . . . . . . . . . . 38

Francoise Ceramics . . . . . . . . . . . . . . . . 36

House of Ceramics . . . . . . . . . . . . . . . . ]

I l l ini Ceramic Service . . . . . . . . . . . . . . 34

Kemper Mfg. Co . . . . . . . . . . . . . . . . . . . 35

Ki ln-Gard . . . . . . . . . . . . . . . . . . . . . . . . . 34

Kinney, Kay . . . . . . . . . . . . . . . . . . . . . . . 4

Klopfenstein, H. B. & Sons . . . . . . . . . . 36

L & L Mfg. Co . . . . . . . . . . . . . . . Cover 2

Leonard, Jean, Ceramics . . . . . . . . . . . 35

Lorraine Ceramics . . . . . . . . . . . . . . . . . . 36

Masters, The . . . . . . . . . . . . . . . . . . . . . . 34

Mayco Colors . . . . . . . . . . . . . . . . . . . . . 6

Midwest Ceramic Center . . . . . . . . . . . . 34

Norr is Labs . . . . . . . . . . . . . . . . . . . . . . . . 34

Norwest Novelty Co . . . . . . . . . . . . . . . . . 32

Ohio Ceramic Supply . . . . . . . . . . . . . . 34

Pottery by Dot . . . . . . . . . . . . . . . . . . . . 35

Reward . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

ScuLpture House . . . . . . . . . . . . . . . . . . . . 36 Seeley's Ceramic Service . . . . . . . . . . . 35

Skutt 8: Sons . . . . . . . . . . . . . . . . . . . . . . . 7

Suburban Ceramics Studio . . . . . . . . . . . 34

Superior Ti le Cut ter . . . . . . . . . . . . . . . . 32

Tepping Studio Supply Co . . . . . . . . . . . 36

Thompson, Thomas C., Co . . . . . . . . . . . 10

Trinity Ceramic Supply . . . . . . . . . . . . . 32

Van Howe Ceramic Supply . . . . . . . . . 32

Walker Jamar Co . . . . . . . . . . . . . . . . . 36

Wi l loughby Studio, Inc . . . . . . . . . . . . . . 34

Wolfe, Jack D., Co . . . . . . . . . . . . . . . . . 32

Worcester Craft Center . . . . . . . . . . . . 38

CERAMICS M O N T H L Y

( E I ( HI) M a y 17-20, 1962

ASBURY PARK, NEW JERSEY SPONSORED BY: CERAMIC LEAGUES, INC.

" C E R A M I C K N O W L E D G E THRU

C E R A M I C E D U C A T I O N "

FREE DEMONSTRATIONS DALLY BY

TOP NAME ARTISTS!

HOBBYISTS! SHOW YOUR WORK!

AN AWARD MAY BE YOURS

SHOW HOURS: DALLY 1o9 P.M. SUN. 1-7

DEALERS ADMITTED AT NOON P. M°

Make sure your firm is represented in this show

Write for information

: l ~ i ~ - - - . . . . . . , ° d . . . . . . . . . . . . ~ . . . . . h a , . . . . . , . . . .

i i I for portable shelf storage, drying racks, and many other '~'~ I l - ~ l ,~ applications. Alpine glaze formulating tables eliminate I i!'! !1 " waste, save time, with no messy open o r torn sacks - - a I ~ i ~ II : varletv of materials at your Hngertlps. Other ceramic eqv[:~ ~ • : ~ available.

#.-~; ..~N%I, : ~ /

Documents

iwn v HI • ~ m.. I - Ceramic Arts Network · i ii iii glazes il i ii • gloss glazes • satintone glazes matte glazes • red glazes • speckletone glazes • clear gloss glazes